End Term Examination

Q1. The Greek philosopher Plato preferred Egyptian art over Greek art. Compare the two
styles and underscore similarities and differences. Explain why Plato preferred the Egyptian
style and whether our visual culture is closer to that of Egypt or Greece. Include at least two
periods of Greek art in your analysis and discuss at least two artworks from each art
(Egyptian and Greek) to demonstrate your argument.

Egyptian art and Greek art both had mesmerizing art and architecture. Egyptian art was more
oriented towards religion whereas Greek art was more focused on philosophy. If look at the
similarities between the two-art period, we find the influence of Egyptian art in Greek period.
“Isis Gave” also known as the geometric period of Greek art has also shown the ownership of
the Egyptian art in the Greek objects. There were great similarities between the sculptures of
both the periods as well for example construction of life-size sculptures. The stance and the
shape in the statues are both recognizable traits in Greek and Egyptian art. The concept of
individualism in portraying figure have always been consistent in the Egyptian art but its
influence can also be traced in Greek figures for example in “statuette of women”. On the
other hand, when we look at the differences between the two art forms, firstly, we see the
difference in stylistic approach between the two in creation of sculpture. The Greek art was
more liberal when compared to Egyptian art and it di not follow and strict stylistic rules.
Whereas the Pharaohs were made with strict rules and regulations related to the art. Secondly,
the concept of Greek art and Egyptian art varied in that Egyptian art was more religious in
nature. Early Egyptian painters considered that their monarchs were supernatural creatures
sent from heaven. In order to respect the rulers, they depicted them in their art. This is not
true of the Greek painters. They developed their paintings with a philosophical bent. These
are the primary distinctions between the two major kinds of art of ancient human civilization,
especially Greek art and Egyptian art. The Archaic period of Greek art was influenced by
Egyptians. This period presented the beginning of the artistic forms using cultural synthesis
and combining then with new themes and styles. Pottery was one of the important
commodities of this period. This period saw the transformation of geometric style of vase
painting that were characterized by linear bands and were decorated with geometric shapes.
But lately there were also traces of orientalism art that included mythological animals and
sirens. For example, In Polis of Corinth where vase paintings, we see the popular style
depiction of tapestry like patterns of silhouette animals and also of mythological depictions.
The Archaic period saw the birth of Greek sculpture. Stone sculptures from the East,
particularly Egypt, influenced early Greek sculpture. Greek sculptures from this era were
frequently life-sized or greater, and nearly invariably showed a naked young man (kouros) or
a clothed young lady (kor), Because male nudity was thought proper while female nudity was
not, the sculptures represent these values.  While these sculptures are defined by their figures'
rigid, angular stance (a relic of Egyptian influence), the Greeks devised a typical Archaic grin
to make them more realistic, with the left foot going forward. Their hair is often braided and
rope like, bearing little similarity to natural hair.
During the classical period the sculptures were in more idealized forms were seen. The
beauty and the youth in the sculptures were highly valued. If we look at the sculpture “Statue
of Hermes and Dionysus “we can find the clear representation of how the beauty has been
more focused upon and it is clearly visible through the face representation. Another element
of this period was focus on emotions. The expressions in this sculpture are static and void
and very well portrayed. Hermes has a neutral expression whereas Dionysus is seen looking
up as Hermes with a guise. Artists began to use calm and fixed postures in their work.
Hermes leans against his sword in the statue Hermes and Young Dionysus, while his younger
brother looks up at him. Most sculptures of the time had a similar stillness to them, with very
little movement. Thus, this absence of movement contributes to the Classical period statues'
calm and regal appearance.

Q2. Early medieval art had three major cultural influences which were integrated into its
Christian worldview. Discuss these influences and provide at least one example for each of
them.
The early medieval art had major cultural influences that were mainly the people from the
northern province of Rome, north-western province, and non-Roman people of north of Alps.
The three major influences were firstly, The art of the warrior lords ( 5TH – 10TH Century) –
After the fall of Rome the Huns , goths , vandals , franks ,vandals, Merovingians ,Vikings
and other non-Roman people had competed for power and land in the north-western
provinces of roman empire. During this period aside from the embellishment of ships used
for funerals, the surviving artworks of this time are small-scale status symbols, particularly
personal adornment like as bracelets, brooches, purses, and belt buckles, typically with
cloisonné design. These pocket jewels include a blend of abstract and zoomorphic themes.
Intertwined animal and interlace designs are very distinctive. The Merovingian Fibula, an
ornamental pin worn by Romans, was possibly the most representative of early medieval
status adornments. It was used by both men and women to keep their clothes intact. They
were usually made of bronze, gold or silver and were also decorated with precious stones as
well. These were a status symbol of people during that time and also a proud possession of
people with high status. Secondly, Hiberno -Saxon art (6th – 10th centuries) - Early medieval
Christian art in Britain and Ireland is referred to as Hiberno-Saxon or Insular. The illuminated
manuscripts produced in the monastic scriptoria of Ireland and Northumbria are the most
important existing artworks during the early medieval period. Folios in these Insular books
are devoted to ornamentation rather than text or picture. “Carpet pages" were the decorated
panels with abstract and zoomorphic designs. Some publications also included full-page
illustrations of the four evangelists or their emblems. The beginning letters of key chapters
are frequently expanded and converted into complex artistic patterns on text pages. One such
example of artwork is “Book of Durrow” it is one the earliest Hiberno -Saxon manuscripts. It
exhibits one of the most distinguishing elements of Insular book illumination: whole page
dedicated to embellishment rather than to any text or art. It also has pages where the
illuminator expanded the first letters of an important piece of religious scripture and
converted them into complex artistic patterns. Thirdly, Carolingian art (768-877) -
Charlemagne, ruler of the Franks extended the domains inherited from his father and was
proclaimed Emperor of Rome by Pope Leo III in 800. Charlemagne and his successors led to
intentional renaissance of Early Christian Rome's art and culture. The artists during that
period resumed the imperial Roman custom of representing monarchs on horses, as well as
the Early Christian habit of portraying Christ as a majestic. Artists combined classical
painting's illusionism with the northern European linear style and replaced the models calm
and solid forms with figures that spring from the page with frenetic intensity. Even the
architects took inspiration from Ravenna and Early Christian Rome, but altered their sources,
developing the twin-tower western front for basilicas, for example, and adopting rigid
modular layouts for the whole monasteries as well as specific churches. One such example of
architecture is “The Abbey of Saint Gall’. It is regarded as the pinnacle of the magnificent
Carolingian monastery and owed much to 18th-century construction projects, displaying
architectural evolution over many centuries. It is an architectural masterpiece composed of
many structures collected around the abbey's main square: the west side comprises the
historic abbatial church (the current cathedral), surrounded by two towers and the ancient
convent. Lastly, Ottonian art (919-1024) - In the mid-tenth century, a new dynasty of
emperors, the Ottonians, united the eastern portion of Charlemagne's old territory and strove
to maintain Carolingian culture and heritage. Ottonian painters, like other early medieval
artists, excelled at creating magnificent small-scale artworks, particularly ivory plaques with
narrative reliefs, which were frequently influenced by Byzantine art. However, Ottonian
sculptors rediscovered the craft of massive sculptures with masterpieces like as the Gero
Crucifix and the gigantic bronze doors of Saint Michael's Church in Hildesheim. Ottonian
painting mixes Late Antique themes and natural scenery with Byzantine gold backgrounds.
The architects during that time designed basilica churches that incorporated the towers and
westworks of its Carolingian counterparts while also introducing the alterative structure and
galleries. “Saint Cyriakus”, one of the best-preserved architectures of Ottonian Basilica. The
church features an east wing with a square alter in front of the apse. The nave was among the
earliest in Western Europe to have a gallery between the ground-floor arcade and the
clerestory, a feature that became highly common in the ensuing Romanesque era.

Q4. Romanesque and Gothic arts manifested themselves first in architecture. Discuss the
architectural innovations of both periods and provide two examples for each one of them.

Romanesque architecture was popular during the 9th and 12th centuries. Romanesque
architecture has been inspired by Byzantine and Roman influences. Whereas the origins of
Gothic architecture may be traced back to the mid-12th century. Romanesque art and
architecture began a transformation in building, architectural embellishment, and visual
narrative by capturing the ideals of a new era. The use of visual iconography for instructional
reasons became common throughout the Romanesque era. Because most individuals outside
of religious orders were illiterate, complicated religious scenarios were employed to instruct
and teach Christian theology to the devout. Architects used the tympanum, the arched area
above the church doors, to depict scenes such as the Last Judgment to lighten the scene upon
entering the church. Wherein, The advancements of Gothic style were based on Abbot
Suger's notions that earthly light included heavenly light and that the physical construction of
the church was required to make this notion visible. Flying buttresses and groin vaulting were
revolutionary transformations that allowed for the inclusion of more arched windows in the
church' structure, transforming ordinary sunlight into a lens of colour schemes that danced
over the substrates of the rocks and notifies devotees of God's divine presence. The goal of
Gothic architecture was to make cathedrals appear like heaven. Highness, flying buttresses,
and vertical lines are all characteristics of Gothic architecture. Similarly, large interior areas,
barrel vaults, sturdy walls, and rounded arches on windows and doorways were
characteristics of Romanesque architecture. The Romanesque constructions had massive
frameworks wherein Gothic constructions, on the other hand, had a thin skeleton. The Gothic
structures have large windows with stained glass that let in more light inside comparatively
the Romanesque structures had few windows, and the chambers were poorly illuminated.

Cathédrale Notre-Dame de Chartres (1194-1260) also known as the high point of gothic art is
one of the most dominant western facades. It is one of the designated Chartres cathedral
world heritage sites. The Western façade is dominated by two spires; the one on the right was
built about 1160, while the one on the left combines the lower tower with a spiral in the
Flamboyant style from the early 1500s. The two towers work together just to form a strong
vertical motion, which is reflected by the pointed arches of the apertures and the three
projecting columns that run the length of the towers. The cathedral is built in 2/3 to represent
the Holy Trinity (Father, Son, and Holy Spirit); the horizontal divisions of the façade are
clearly defined, and three windows just above entry repeat the three entrances. As a result, the
cathedral gives a strong feeling of earthy strength that is both anchored and ascending. Also,
the cathedral located on the city's tallest hill, dominates the vista of the city, indicating its
importance not just as a focus of religious activity, but also as an economic and social hub in
its duties as a marketplace and a location for local fairs and festivals. Church of Sainte-Foy
(1050-1130)- The Romanesque architecture is exemplified by this pilgrimage church, which
serves as the heart of a flourishing monastery. The west façade is framed by two symmetrical
towers, their stone walls supported by jutting piers that enhance the horizontal appearance. A
round arch with a hexagonal tablature surrounds its doorway, where a huge tympanum
portraying Christ's Last Judgment greets the traveller with caution and warning. The two
circular, blind arches on either side, as well as the top-level arch with its oculus over two
windows, add to the site's splendour. The facade exudes power and firmness, and its force is
enhanced by the simplicity of the ornamental features.

Q3. Iconoclasm and iconophilism were central to the development of Eastern and Western
Christianity. Explain how these approaches to the image shaped Byzantine and Medieval arts
and provide at least two examples to demonstrate these attitudes
Iconoclasm is the concept that religious icons, holy images, or religious monuments should
be avoided because they are considered a form of worship and people who engage in, or
support iconoclasm are called “iconoclasts. Icons were mainly small paintings that usually
depicted Gods or holy figures. During the early sixth century these icons became popular in
Byzantine periods and later also in medieval times. Not only did the depiction of Christ, the
Virgin, and the saints stop for more than a century, but iconoclasts also destroyed
innumerable masterpieces from the beginning. Many centuries of Christian history .The
Macedonian dynasty revived the Early Byzantine tradition of extravagant emperor funding of
religious architecture and art, as well as the production of religious art.