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No part of thot publention tay be sepreduced, stored in o-nétsinval aystem., or tranamitied in any form or byany moans, eipcteenic, mechanical photoeopying, roconiing, br ceherweae, without. the prior writen permis of the enpyraght wnat ACIP catalogue weed kor ‘this book ts available treen ‘he British Lituary. ISBN O7e-t-aa12-t90L-8 Printed in China, ANWORLO OF IDEAS, SEE ALL THERE I5 10 KNOW veww.dle.comCONTRIBUTORS Carotine Bupler has a degree in Histoty af Art fro (Cambridge University ancian NIA funn the titute in London, She hae written see Jnctading The Cal’ 9.800 Yous af the Catan Are are fumes article § ‘atthe Nationel Gallary: London, and atthe Art Fund ‘Ann Kramer has-wrtten well over 80 books for the (general reader on various topiog, inctuchng-art.and ‘women’s history. Sho has 7ecentiy deliwered a series of ecturns and werkshops.on wecanarcaraete linked to Shisnex) where nthe ive, Marcus Week studied munis ane phusmaphy ac otked ad a teacher belere embarking on a career ne fan.auilicr He han contribsiteel 2 many boots on thn ar and popular acienow, nctuching amvezal Ubles tn Dk's Aig ddoaesaniee, ‘ourtauld has also wacked ae att edtLat maker. She ptudiod University, ancl lato the Coureael In worked p Ast History at hile thers, she 7 European dep:CONTENTS 10 INTRODUCTION PREHISTORIC AND ANCIENT ART This is wetual woinen 22 We area species ath tn transition 2 History is a graveyard T Bronzeware in China records the spiritual core of Chinese civilization 31 Fina, compact, and strong - like inteltigence Mo Achannel forthe universal soul 8 Certain idea! beaution of nature exist enly in 2 to.any other 44° Stylized form and spiritual heauity have become reregnized fanturer of the Budgha-image 8 Tha most monument and awe-inspiring visthle expression of his authority Marcut Aurelius 50 The face of Tootinuacan ‘Your edifice unravels the mystery of the faithful Mintsts Gre BI Anew type of figural oo composition 82 Drassed to establish their eternal presence among 11 Iti astory shaped by purpose the divine th oe Tap y nian 18 The rhythm is the Reartbeat sound of the cosmos 1% The finished statues simply walked to their stated daetinations THE MEDIEVAL WORLD @ Wis not an impure idol, " und death, the beginning it is a pious memorial and the end Relinuary of Tt Matern The work of angetic: rath than human skill Boek of alte Lot there be light 8 Aclear symbol of Christ truly human and truly dead on the Gross Astrong classical spirit motivates ita forms7 ff Every painting ira voyage 120). An elegantly compact wa Into a sacred harbour Image of the subject's " i Vie proclaimed virwes i" ommumeuancay | immwsanues Soo taba ia Wh. The aye makes fower Be cenasieipeen serene inves euts oe Re dnclomeiesastiinidl | 5alS3ptam vile che sso Seon la —— aw higisaein i eeu RENAISSANCE ~ 7 ENA SURE se iti See ge Sonia a avai sicaea a ‘i the palm of A painter must compen! the natural deficiencies WT Icons are in colours af his art what the scriprures Q b are in words W@ Perspective is the bridla and rudder of painting Ht The man who transformed the mere binding of pigments with off inte ofl painting i Some wiorilecan d ae ty an bury By sculpture Imean that which is done by subtracting A prince's mistrous who basks in the warmth of her oven flesh His majesty could not satiate his eyes with geaing upon it envenuts Cellini could nat Rarely Nad Landscape been given such pride of place Perfection in to imitate the face of mankind Like his imperial montor, wan created ay natur as the wind blowsBAROQUE TO NEQCLASSICISM 11 Darkness gave him light Wa Through paintings or other roprasnntations the people, are instructed 13 Ihave nover tacked courage to undertake any design, however vast in size 0 The valour of the vanquished makes the glory of the victor kt Lf thin is divine love, 1 know it 4 My nature constrains me to seok and to love. well-ordered thinge 185 Life etehes itsel! ante our facos as we grow old showing our viplencs excensos or kindnwanes cenit arith Fr Hombre 82 The calm sunshine of the heart caneézeape with Ass 200 Other pictures we awe, Hogarth's wa read 20¢ Ihave therefore drawn Uhewe cule with: possible exquisiteness ‘Giovanni 20. The spirit of the Industrial Revolution Ai 2M He hoped to ward aursy: the spirits that invaded his mind sot Morir 2024 light in tye storm of revolution Avery inchanting piece of ruin. Nature has now made it her awn ‘Tiere Abbbuy, Joop Mal Wal Noble simpltcity and calm grandeur Tomb of Matin Christina 2B Portfolio, ROMANTICISM TO SYMBOLISM 20 The sleep of reason produces monsters te Wier Prancison de Gay 28 A mode for defining the presumed cultural inferiority of the Islamie Orient Jeran-Aigiewts-Demt 28 have to stay alone in order to fully comtempinte and fool nature Tho Wanciorar aie tho Sen af Fog, Caspar Bewviel Thave no love af rearonable painting Death of Saicisrtapals 24 From today, painting ts dead Boule Meare Touia-das gash 24 Observe nature, What other wacher do-you nasa? 1 5 should be a meral In every work of art0 There's scarcely s novice who | 74 fails te solicit the honours of the Rxhibition 3M Show meen angol and Till paint on: 3M One can almont hear Seeks to clothe the Idea ‘a perceptible form, Portfolis the crack of thunder 28 A temple consecrated to ser) Shaver eves Sb 384 I would like to paint asa bird sings 264 Subject matter has nothing to do with the harmony of colour the cult of Beethoven tin Baodhonen Fraa G THE MODERN AGE A pot of paint ha been flung in the face of the public sn with oe Hat, Heart Mlatice An agonizing restlessn: drove me out onto the streets day and night neet Dresciaa, ‘The senser deform, the mnind formas Universal dynamism mt ust be rendered In painting ama dynamic sensation Colour exerts a direct influence upan the soul Gu Wi Use Rombrandt ae an ironing board Hicyrie Wie! D that’s art, hereafter Tm a bricklayer Hand-painted dream, photog: ular D 31 Bach maverial bas ite individual qualities 318 Every good painter paints 324 Real art is lurking where you don't expact it WB I take 6 cliché end try to organize its forms to make it monumental EE Actual warks of art are little ‘more than historical curiasitios 328 Qne's mind and the sarth are ima constant state of erosion 32 We're all educated to be Frightened of female power Ths 394 [chal never tire of ‘28 Change is the creative impulse The Glock, Chistian Mi 338 Portfolio 342 GLOSSARY 344 INDEX ‘350 QUOTATION SOURCES ‘352 ACKNOWLEDGMENTSINTRODU = | aCTIONThe rise of the artist T F anOE,Personal expressionINTRODUCTION 15 protecting their own styio 1 of Socialist Rew was n km cause ible to the gern ( celabeated the achievements rlinary Rl 6 produce their work 2, 56 and giving New technologies Independe Technological innovations 8 capa Ideas i bas het ane huge ‘mn: pract chanel ‘Th introduction of portable pair | tmed thair backs on the @ 1840s, ke the past, in particular depiction of a erty toy work with ahd celeast tn ocluctian staat foc ought nan: bie type-in the 5th century | devolog one of thee devining features I materiale andl sha ing nee | of their weeking method x ca their work in iss, th tem | inthe open a: # and gain different sn images provided s wealth of | Petkin'# acc jerepectives. In the word inspiyation for atuiats Promously, Klee, “Ant does net ait rey te ‘we seecmther, it make . o weedadt to a petvate eellection — then aeSSss po museums on art gale pointing gieatly acoaterntael 664 transmission of nes , twehni 2xa paintings from the early 1600s vrata publleveod throughout Eurepe by angravinga ef Ma ai The Raphael the most of fig times ni Every child is an artist problem is how to rama ent with nthe is Invention amc among sume ar ider impact on the course of ait | who predicted that is would bring y, because Rap wrk — | about the and af painting tn B the modal for the teachi revise was true Once tPREHISI AND ANC ART18 INTRODUCTION Ahead of a wpe le enevesd ip marmryath A shoe of eolomeal ory, Unawttn ata stana heads car sural Zain’ Veraricm, trom basals boullons is Gaech Republic, itm fa usriqquo feature of Ue Sabet “the warts Qlmec civilization ‘oldest portrait’ ‘af Mexia 0.24,000 aoe 0,1200-900 aoe 6.1500 ace ¢.900—600 ace Autone thyton. oe Chinn stone gumdians yeform cf uri shape aa bull oaced winged Bulls pouting wal, i the op fess eusterpioce Heme charac ol he Minoan civilization 9 Cnte je ides of cating ork | Relative values I ol rt purely ag.an objectat | The distinction that Western slight ive fninly | critics usually make today between new development in human history, | the 'mejar" visual arts—snchitecture, Inthe mow distant past act wee | painting, and poulpture ~ and the ally made with a purpave “minor” deceive 1 eislied arts sacted, ritual, or talisman’. for Homs:not, or i nce, mxist-in many exemple and inthe ease ofrome | cultures ancient and iaolazed cultuzes, thess | exsanpln, commicss generally weed ts playa more mgmiicantaie than | ure, while seme of tho finest sculptural achieveranta cf China he werkoe can | ace in bionder ritual vests, cath owrorful oration than in works involving the human sarge. The Woman (or Veousl of | figure — Willendent: ice meample. $5.0 potent | Western tradition. In a similar vein rendering of the female form, in spite | green jade stone has i of ita tiny sizo.and meaggarated Teveronced in China and used to cereate euper’ luxury objects (it wi cave paintings at Altamira in Spain | also greatly prized by the Aztecs animals ~ bison, horses, and | and Maya of ancient: Amurica). but pet lft hs mse os almost unenozrt in at ass taraly been matched Buropasn act There are othe aeathet aun Purposes temain tuncinar torlay Horkever even when an intellestial dlatstanding of the content of ©: such att (se nil om proportions; arid the Palaeclitht deni dest — sen! ‘The Ishtar Gate. Babylon, insecoratad Museum, Barr fis the pntanncor ot “Assyrian pornos Chingee art, fae the type tha prevails in the The celetrateet Disoobalun (Disc amuse ia cineca by nue Greek sculptor Myron, ocigitully in ‘enone, I i knows through smarle ecri. 6.530 aoe 0.950 ace In Athens, she Grose culpa red-figure vase painting techno io Praaitolas ako: i Aphrodite of evalopieg, m vehnioh re Kinidlag, the frst 10 bow ox Known ilie-sizo black Darsqprou forma nude statue | profound differences in outlook te consider Chinese art, for exaniple, Lyrically expmases the phibeophical attitude of tts oreatar and attempts (0 capture the “aplsit” af nature, wheats Wetec at is sometimes joncaraed mers with representation at deeoestion Egyptian origins Western art has «line of descent: tent jy plans influenced vt; the | tho Cheats, thu Cocke indusnced the Romans, and Roman art lise ‘betind much later achievement in tho West, particularly since ‘the Ronatssanoe Egyptian art ie sernobe itt spirit from te modern secular world, for tte centual idea 4s the service of divine rulers. and 4m particular sustaining ther after earthly death. In spite ol this gultanPREHISTORIC AND ANCIENT ART 19 ‘The ARar of Augwoten, ewes in Forme testuvin ‘the Arch of ‘The panacing at ‘th martiant knew Septimins Severus thedlanta Gave docuimantary sculpture is dasdicated in Rome, ‘Temples show tho lone anawring tes latetty decmratat sophusticacian of iHentafiabia people in calsbeatian af vie Buddhist 2:1 |r Insti e100 sce 0.80 wee Peepeoga arp panintar at the Villa of the ‘Mysteries, Pompeii: ‘hay ane tha baat ‘survives exmrnpes of senfaent Reman patting: fan ewonit of the time 13-9 ace ‘omparar's ¥ictarios 100-200 ce 6200-300 ce Agim rarbie seatun pf Constantine, ‘hs st Christian ‘ermperor in atectet) in Rome, ‘The Gansu Flying ‘Tie Catacom ‘The Gupta dynamty Herse bronze ff Priscilla (7 fe perenicies ewer a golden sculptureis matte seiecerntee! with rome rage of et, els voxcavated in 1859, i becames an sinaficial ‘aymbal of Chinn ofthe gutliaw knawn, Giusti nage ‘Buddhist ori Hind nv ricer inion bolints, the tomb figuras af Frinoa Patkiten and hie wile Nofret are eo vividly charamtarteed that they seen to animate the people who fhved mere than. 000 years iager ‘The ancient Creoke and Romans establiehed znany ideas and themes ‘that had an enduring impact on tho history of western art, Throws the eonepueetsof Aloxarcier the Groat in the ath rontuny nex, their Infiuence spresd as far-as Gandhara in india, where Greek and Buddhist aristic traditions mingied, and new canune.of tvbridized Goak eulkure emerged in Alenandria in Egypt and in Persamen and Antinck both in moder Turkey ‘Clmsicnl depictions of the human figure wete particularly influnntial, posooesing a maturalesm that celebrated the human body tinngside 0 zonse of ideal boematy. Tha Riave Bronzes, for oxamplo, axe exquisite in thelr detailing hutthe figures aloo have a heroic magnificencs that ts distant from the ral weld, Similarly, theequestrinn statue of Maccus ‘Aurellus ig @ sonvineing porte ofa digmified middle-aged man rieling a thoroughly lifelike horse, hutit isalso a distillation of the ines of the emperor's glory. Christian art Rome also playeri an important pact in the establishment nf Christian att. Chatruanity was suppreaged in the Homan Empire until the rear of Constantine the-Great, wis promoted toleninice for the religion in the chet of Milan of 313:cx By tho and of the 4th eantaty, ‘Christianity had been not only Ingalized. bot. masks virtually compulecry, The sarcophagus of Juniuz Bassus, made in Rome in arpund 380 ce, isa majot worl marking this growing dominance In J8D.eR Constantine eshte new capital at Byzantium, which Was renamed Constantinople It L hongus, and on hie deatl in 297 cx, the Roman Empire divided ieto.a Wwontem part (with its-canital st Rome) and an eastern part (with wa capital st Genstantinapie). Ravenna became the vestern caxpitel in 902 ce and, in the following century, the: seat of the Byzantine gewerno| ofkaly. Characterized by ita rich symbolism ancl a rave erway from naturaliem, Slysantins act often fuse religious ned tmpeil themes, fine examples can be pean in Raverina, particninrly of monaies Which in thie penod atzarned neve hitlohte af seletrin epeandoais w8 =a eaeemey THIS IS ACTUAL WOMAN WOMAN OF WILLENDORF (c.25,000 sce) sal images Hots! arty L 40,000 IN CONTEXT Fertility figures BEFORE 40,000 nce The 1 Man’ fur, sostaln- Sead mara a 40,000-35,000 nee The eailient known of the “Venus figurines, the ivory Yous of 29,000-25,000 ace T ‘Venus of Dalni Véstonioe, i ‘Moravia — the okle ceramic artefact ER A 6000 nox The Seated Woman of Gatalhdyiik in Anat ‘¢Parkoy), 0 terracotta stat portiays what is believed to be a mother geciniess21 See alee: Cove (ivenpan 279 Venus figurines, pel fiction ovidanca tf 0 awe bran found fr Siberia. Archaeol teapeculat ‘Male fertility figures ‘Compared to the large numbers of Venus figures, ‘only a small number of tale fertility statues have been found. The most noteworthy is @ disembodied, life-size, ‘polished stone phalas Unearthed in the Hobie Fele, near Uim in Germany, sculpted at much tho same time as the early Venus Aguiines. Depictions of male Dolls or fertility became widespread. playthings ‘only in the civilizations af paseibly with ancient Grace, with its educational representations of Priapus, the Purpose .god of fertility; anclent Egypt, ‘with ite depictions of Min and Osiris; and ancient todia, in A calebration of fomale sexuality in se natriarchala about encourage fertility or venrd off evi spirits Religious br eultie spmbe of goddesses In tie nomadic societies of fea Age | depibtion of her hair. which hn sr Dosie a ae uae, obesity weruk douse heen alabirataly braided or beaded, | Soengim. Partiligy goddsases have been | Hmr haa along history aaasomce | Gretmestcal antigay wees The corp | oteexual attention, 30 fis mst cepead with becweaatige o£ Wille likely that we inter eras to modesty, possibly reflecting ‘swell as pethaps aymbol: portray erotic aenuality rather aa more patriarchal sociaty torlity, may represent the hope. than puroly reproductive fartility survival, lang life. and abundance | Alvematively, ecine echola oe ‘The Willeneined yeornan stands apart | theseven carved concentric lines in ferm throughout the from other Venus figuiinesinthe | that enencle the figurea head of yan ower wwhlels notas hair but as snr kine of they vrerermacie, ritual headgear consistant and definite purpos Some historians sugnest tha | Questions of purpose fisting comfortably in the lumen he Venus statoattes ate among — | hand, the aculpturas may have the highest artistic tears of the been carried as charms ox al | Stone Age, ond grost spoculntion | enthor to-bring tho boater terti surtounels their function 11 of to protect aguinn avi. C | Palaeolithic sosiety: Hanging ftom | hive observed that the Wilendatt | to 20in} in woman was originally coloured fanath, they remained remarkably | with ted ochre, as used in bear ting her aggnificanae in | risa 0 wonclaredd Whather the flqutines wete self ‘The Venus of Lauss ‘ren xd 20,000 aon, iv a ex colbured! writh vod ved Into a hleck of i in sauthivesta age | portraits. mace by women Tecouise to 9 mitios — thereby explaining the eof a face a22 WE ARE A SPECIES STILL IN TRANSITION CAVE ART AT ALTAMIRA (c.15,000-12,000 sce) ‘ ary’ IN CONTEXT Focus Cave painting BEFORE_ PREHISTORIC AND ANGIENT ART 23 0-24 = Asayrian lim furnt teint 4-35 +B vin, Rabbi Benen 225 « Lion Chua ‘See alsa: Vsran ef iu ‘Lice Bhat 1TB-77 = Hardin ss Sneny 154 8.000 years ayo an the Cave a! the Hares in Pocaygemia, Other arzyyonte in the cavp inclucle Image of felines humans and hunting sores, As onrly 2 109,000 yours: Saboran humans had developed irethoes chess {ssrth pigments containing Sion oxide, charcoal, and bones, mixed with saliva ot animal fats ‘These appear to have been toe fare and body painting, as thare ino evidence ol cave painting (his ently, but the knowieeige af these aime tavelled with prehistorier people fas thay sprend across tha world. Palnteet mages, sch as hand stencils (which ware created by blowing pigment throutsh # lilo bans arf ware mode by adhults ane childien, males ancl females), handprints, dss. and dises, bern to appear alangaice pettoglyphs or sione carvings, in caves as fir apert ae Spain anil Indore between 29,000 and 95:00 nce ‘Representing the world ‘At around the same time, eave ‘amists bogan to maks tecognLrable Tapresentatians of the weed arotind ‘them, In the first sarviving works ot figuiative art The eauliest examples of animals pointed ot engraved: onto the walls of caves-.are, 10 modietn eye, cruciely miylized portrayals, barely chetinguishable for the albstisct aymibels azoured them, However, notably in the caver Jocabed in what ame now southern France and northern Spain, the artists sven mastered seehiniques to.achieve mora realistic repessentations. This can be seen in the maticulously depicted animal paintings and drawings in the Chauvet-Pant- d'Aro Gave in the Ardéche region, ‘of France, dating trea ¢.90.000 er The figurstive cave paintings anc entituly representabions of animals With the notable exception of the so-callad Bradshaw paintings (named afver their discoverer in the caves of Kimberley, Auszral human figures were extramely rare ‘At finit, during the Autignacian 66 "No amounts of stone and bone could yield the kinds ‘of informatien that the paintings gave so freely. Mary Leakey Disclosing the Past, 1824 99 diswings al this period: were almoxt | Ry | 218 44G.000-25,000 nov), gum | psinsinga wese mainiy of pre fniniala'euch axons. wolves, and | beste, but ftom about 25 000 sce { malonity of images vepictd | aeniimals thet yee fitted fo food ane skins: including meammethss, heroes, bear, deer, and cattle such ge bison and nuyozha, Franco-Cantabrian art | he fine paca of the Ago saw the culminaticn of a gradual refinemsnt of engraving and panting techniques, which was tmiost evident in the cava art of thes Franoo-Cantabnen region of France nd Spain. The population of this brea yess relatively tenae, thank toa modéeatoly mild climate fot the tiene, and ec the region haw greater number of examples of cava Art than elsewher, ant of 3 hight quality, In particular, te perm from 18,000 to 10,000 ce be a ficutinhing of fuiative cae painting bere, marking the high point of cave art Some of the m24 GAVE PAINTING A timeline of cave art fet coe pnt: hard en ber. i ‘Tas stunning depictions ot animals in the Altamira and Laseaax caves ore a pinnacle of cave painting, but represent a traction of the varied styles and techniques of prehistoric beatknown examples of all eave painting ores f Franco: Cantabrian art. inolucing the painting found in the caves. of Lascaux and Font-daGaume in Ceti and Altamiza in Spain Polychrome paintings "The Altamira eave complex, in ‘Gantatarin, yas clinorvered in B68, Dut it was nog exnlnced properly until the early 20th century Tha ‘caves, stretching back about 270m (890%), comprise thee main. gallerten: tse fleet ef the bohind the entrance cavern, is known an Chamber of Praseoes. the ind Hall of Polychromes; further in te the Chamber of the Hale (ar Basin). and at the extreme ead lera narrow passage known.as the Horse's Tail. A landishde several millannia sgo-seaied the caves! entranos, thereby allowing their spectacular paintings to be im this peried of th ber of the Hole, and méany mas ane! yrabaals fn thee i passage, but iis the of Freanoes for wt Altamtra in juetly farncus shamber is around tm (6941) long fous’ and Sin (30d wide. fs Low ev i adornod with eamisitely realistic depictions of honsee, deer, anci bison in yartous poses, a5 tun as handprints, hand stencils, and painted ex exgraved abstmctssignis ‘While same af the symbol and hneddprinis in tho caves lato back tn 34,000 ocx, the magnificent ‘painting of bison and etter animal ‘species in the-Cihamer of Freacnes were executed after 15,000 now. Beel {befor about 12,000 scx, when the Jondslide Liocked the entrance pe biann, which greatly ‘outnumber tha other animals in this gallery, axe depicted with Unpeosedanted soph istiestion Pethapa the most imrextia Man isa creature who aike in two worlds ancl trates upon the walls of cave the wonders and the nightmare experiences ol his spiritual pilgrimage ‘West The Clowns of God, 1081 99PREHISTORIC AND ANCIENT ART 25 Mesolithic aia that ell nadie, cnve-dwe sh ie and the instances of rl, being teplaced with ieart-in the forms « 7 the artist Altamira the principal meat sautoe 10 Mc With ‘9s dear, rather than bison, while Qrowna, teds, and yellows from | she painters at Lasoo, farmon # paintings of horses, ate ceindeet kienor eat in por ‘The red deer in the Altamira Me-atzn. ta eelly 2 al op ia th ing Ue an outline in se end of the Joe Age in marked the end sithie ara. During the St abou caf tho Pal ecLof thede imag can only ie appreciation by vi ‘The Isieon — sane painted ¢ and on of Light, Usey seam in barely ucéessible areas. TheHISTORY IS A RAVEYARD OF ARISTOCRACIES a RAHOTEP AND HIS WIFE NOFRET c.2570 see )28 TOMB SCULPTURE TN CONTERT le company FOCUS 6 6 gee eT Teeab expr altar BEFORE ‘The style of anc oyptian €.100,000 scx Burials by art is transcendently clear Luxuries for the afterlife hominis in Skbul and Oxi, Its con and During this Neck in the Midelis Bost, tinchide codification is one of the most yours tems such as food end tools, efic journeys in all art. became mor implying belief in an afterlife Jerry Saltz Raw York magazlen, 2012 ALTER 26th century noe Ligyptian contained objects al este “Khatre Enthroned’ the funerary ‘statue of the pharach Khate ‘7hh-Sith century acx Cirsek ouros trate youth) statuaba are placed in camotaries in a found in . honour of tha dacecarad nase " woekd Gtheentury sex The ftruscan | pices Sareopnames of the Archet feaiutes & sculpture of a couple oe ‘ag a bargquet in the afterlite Srd century sex Toxracotts wartiots aiid Horses any buted near thebomb of Fim Shi: Huang of China 1 protect ‘him In the afterlife with iteme such a8 toale. belopaings 66 a Assyrian da powe and so dict chaic Greeks Emil NoldePREHISTORIC AND ANCIENT ART 29 in many culiutes, beliot in the afterlife |x to nurying artefacts Jongeide their dead ‘Thea artafacte woo the form of grave goods io ive the circuaseel comfort in the afterlife jact th docansad acer there add boan burial sites sane| military leaders em the civilizations that follows, they ‘yee affana obvious hierarek acged in {Whe same fuccuries for this attercife, hat their occupa joved. cei theny x imonts ta their givatnoes fg the mp, were pyramida of ancient Ee Ito bo the tombe of great leaclars As well as grave goods, thowe wete-olten effigies to scl oa Wessels for their souls, of 25 commemorty statues Jaseas commission ‘arterories (ncluchn ahs oe wall deosratinn, x thelr tombs vally fe fom the start of th sound 9000 son ef burying the phusragis ind their families in elaborate tombe | these st snore tia Guat began, are the conventions af eommemorat esticna Egyptien art— donut: the fic tual purpose function on hehail af the decensed the decd oy aspect of the nial tr: Rahotep and Nofret wes the creation of o statue of the | Unlike tho non-realistic royal tobe — | statuses placed in the outer re tomb: | af tomb complexe for public viow aaidane to | the statues placed insite the t presecve the mortal 1a the — | wore often strikingly litetiley, Whee: Bqyptians bel the a(tha | the statnes Rabatep and iL dy ater | his wile Nafta vrero hod by death Tho tomiystatue was made | the French archaeoiogist Augus fas & pecmnensent rewtinig place for it th af poe everything inthe vomnb was c 3871, workune assuciaued with the rituals anel vite 2 A bay thr b premonies designed tnenaurea — | ayea sparing tm the cand sucoesstul passage tothe aftertife, | that they fad in werroe Rahotop30 TOMB SCULPTURE wre Figures 66 cleat by Twas struck dumb with azemont, and wien Lore Camarven . inquired a neck. sth white fen, and! an @labaive, brigkuly enabled git body, The hieroglyph to tha Old Kingdon, and the ‘Notret wears full: pxicusly, ‘Gan you sua iyuhing?’, it was all] couk dato get out the words, a flower 1 ‘Yes. wonderful things’ att Howard Carter ae oat umaangrsd in 99 es y Beat ead eau eee a raved, rallied neck eyes, achieved hod erunrts: Despite th of thee 23, they wate not intended sceniale par trayin go muck ft A580 wh jontntsons made in the act ding amber Les.ane af nd Inrgest of Rare scx) at Abu 20 year tov pains epictina Rel his thinm ecidition to: stat thooe found in the epwetaculae tamb 01822 ees, KingPREHISTORIC AND ANCIENT ART 31 Ancient Egyptian tomb painting Images frequently adarned the Walls of tombe in ancient Egypt, from carved stone rwliefe that wero sithar left undscmated o: enloured with paint, to seanas painted onto the bare wall. They often dopicted the body of the deceased being prepared for the afterlife by gods auch 5. ‘Anubis, the jackal-headed diety of mummification. and were inlanded to erusure a smooth passage ta the nest word, It was in chese tomb ‘paintings thet the poss typically azsociated wich ‘Egyptian art — with head and Jos mn profile but torso facing front —war estantished. Is the latter part of the Dynastic period, the “Book of the Dead”, & guide to the afterlife in the form of spalls and Instructions, would also be buried in the tomb. One bf the spalls illustrated in the Heol is the “weighing of the heart” the deceased's heart is weighed againet che feather of goddess of truth. Ifthe ewe balance, the soul will rep foraver: if they do not balance, the deceased fe condemned to nan-existance and devoured by the “swallowing manster’, ‘The Anavysos Kouros ffir, which rae oat j eouten Gnleia Fan outer statues ~ often Yepres ‘of which mia ees BRONZEWARE IN CHINA RECORDS THE SPIRITUAL CORE OF CHINESE CIVILIZATION (CHINESE BRONZE RITUAL VESSEL (c.1046-171 see) nese Bronze Agy Fouinioidad aimuled by i pees at to make IN CONTEXT FOCUS Bronze casting BEFORE 6.3500 ace Bronao artefacts e North ‘lloy of copper ara aamenic ¢,3200 ece The Indus Valley ing ionize, using 6 wax model 01200-1000 ace Lange sale bronze maske and sculptures appest in Sichuan, made passthle by the adelition of lead toeoppat hi inakes the matalstionger and pasier to cutand cast. APTER €.650-480 wee Ar aitis techniques, « produce life-size sculptures, onaPREHISTORIC AND ANCIENT ART 33 Se SSS! weonrer pochs ' Jade carving BERORE — 4000-3900 nce The bang culture of the Yangtze River Deis carves jade ents and implements. CHINESE JADE ORNAMENT eee ee Hongshan culture of north (899-400 ace) China carves distinctive birds, turties, cicadas, and (Chshaped dragons in jade an ¢.960-1279 Jade carving \s considered af art form in the Song Dynasty: a fash: eyeing for crasting econ (ttt urcrhaic styles Of Lhe Shang and Zhou parioda 6.1800 Vessels made froma vivid green, Plurmedse jackaite ars” jaca) ane ‘Qing Dynasty. lied.art of jade | tock th sod back | with 8 was typically «a4 A CHANNEL FOR THE i=. UNIVERSAL SOUL eee ASSYRIAN LION HUNT RELIEFS (c,645 sce) King Nacme to dep AFTER Early tst century ce i high tliat iden ancl vayRelief styles Evolving from images that ‘were scratcherl onte tock surfaces about 40,000 years ago, reliefs in the ancient world developed distinative styles, tending to become more thiee-cimensional over time, veith the forma or figures standing out higher from their background. The Assyrians favoured a low relief, a bas-relief, with the forms » | projecting just stightly from the background, The ancient Egyptians used a sunk relief, in vehich the carving was sunk below the background that surrounded it. But in the bight reliefs of classical Greece. forms stood out simificantiy from the backarownd. High relief remained popular in Roman and eaily Christian times, and was also a feature of sculptures adorning Hindu and Buddhist temples in southein Ais, ate : Austen Henry Layard Dincoverien ameng the Ruins af Ninwowd and Babylon, 1849CERTAIN IDEAL BEAUTIES EXIST ONLY IN THE RIACE BRONZES (c.450 sce)38) THE IDEAL HUMAN FIGURE | Spe nthe reistively nittaf perio IN CONTEXT betwoun 510 and 223: ace ae se area risen sont Sie enna eete the stunciard for what hae BEFORE honn considerod "eiass rule, and phileaophhy dlaurlahed in this period, but ft was in the visual C.2570 nce In his tursrary statue, tho Egyptian pharaah hifi la shown In typically Bayptian seated pose Ouh-Oth century ver Greek | statues of standing youths and draped young women, he Aowo! and hort aye mace. 480 sce The contrappasta prise of tHe Kritics Boy;.a rice Sigure found in Athens, Greace, marks the beginning aa mote realistic atyle in sdulpliure jouldy —thnt classical ical wore most strikingly exemplified. ‘A trorl ition of sculpture | already been established in Greece | during the Archair period frem 700 Once Inspired by Egyptian ancl onerwark, Greek forma ars tie kouros [plural ken) AFTER | standing male nude, the kore-(phral Ags aca Greckeniiocer in femala clothed 1m Phidias complatesacaloesal = | statue of Zens on his threme pros abt se eagrsrae Jot the temple at Clympia 2nd century sce Artists in hug of the time, The powerful le figuies were unashamedty @6 ‘The chief fats of beauty are order and symmetry and definiteness, which the mathematical sclgnose demonstrate ina special degree Aristotle Metaphpsicn,<:350 xe 99 ra, were prayed with emphastie the form than on fae ‘and the Archaic conventions: Phe Jooeect, wish chair st bodies, were not only portrayala of ‘he idealized vane, ut the Greek city of Pergamon nude, modelled on the athletes who | also-cmt [Bergama. in pessent-ciay compated naked in the Gomes st Turkey) develop the exptessive | religious festivals By contrast, the ‘young women in the statues, unlike tho voluptusus and fertile figurse of ‘Hellenistic atyle of sculpture. | Materials and techniques | such as coppar or silver nipples, lips, anc tanth were often added. Eadly Greek figures were mainly | Very few eatly bronze sculpture earved inatone gr cast in bronze | have-survived, as most were lusing the loat-was technique. Jeter melted down for reuse, 20 ‘Lost-wax casting ise complex, |-many of the works are known | multi-step process in which & today only from copies Stone, __ Model is made in wax, then a clay. | the most prited variety of which | moold constrocted around it. When | was marbie from Naxos, wes | hested, the wax melts, and malten | worked with-iten chisel and | etal tually bongs —i poured | drill, The parts nf iarge Agar into the mauld. The mirface ot | were often made separately and | Greek casts was polished, and ‘then eeeambled, Many stone ‘the eyes were inlaid with glass, | eculptures were colousfully erystal, bone, or aven onyx-as in | painted, and accassorined with thé pictured bronze. Chariotser of jewellery or weapons. As with | Delphi (¢470 sce)- while extras | bronas, eyes were often inlaid,i, near-ayreeuetncal pace SAnecagtmtie Archos emie” = A we eet howto, they adopted a ferrnal, front-facing pase that emphasized the aymmetty of the body. wlhtle the Tultivn pos tone: of the head, rather trisngular torso, and lirbe yore atecmined by mathematical this Jormality — after nil a eeletratian of the ideo! human forrn ~ many of the Siver kouro? (nnd fra) were mos ore oman by the adeition af the “Archaic smile’. Although appearing slightly aloe to the modern eye, thin es intended 40 convery the wre being anc happiness of the aubsjent ‘Towards the Classical The start of the Classical pacied is unuaily dited to the emergence of « for of demactacy in the city-state of Athens, under the direction af the magistrate Cletethenes tc 570 807 me). The prontion of democray thatured under the gent stabesman See alee: ore ol Willan? 20-21 « Laomoom ane I Yung Shave Md—ab « Bapesam at Christ 62-83 « Grande 1+ Abeerom 9 dorsi fe Sond) « Mare a Au nd ec mom expec ay Pevicten (406-428 ton eubbod “the fitet citizen of Athens’ by | emmporaty historian Thacydides ‘Asound this time, Crake anmiea won daciciwe victories againnt thoi Parsian enemies, who had long-held tarrauarial ni in thearen As sreaul ofthese events, Athens prospered ond became: th “oan of the Greele vrenid a efor, anid some sculptors mowed ‘hevond Archaic traditions and atarted to portay real pespls, at ‘wall as characters from mythology ‘Through alsser chservationa of the ‘uma body they strove to malco soullptures that seemed to be “carvad from within" ~ imbued with ale farce, Thee departed — | from the static and symmetzical — | ‘poses of the Archaic style and often ‘adopted a contrepipaste pos — fliegen 2B « Give: Se PREHISTORIC AND ANCIENT ART 39 2 48 p28 i france 6 © having their Weight on one lag other jog slightly bent, and the hips. | torso, andihead turned slightiy to ane eide This innovation allowed for greater expredgion in the eddy, nplying either mavement ot a sons of relaxation, but Blso invited the viewer ta look at the figure fram iffovent angles. pot just the front Elegant simplicity Such changes represented a morfifiention of the Archas ideals of beauty ther than their entnplete abandonment. Classical sculptors still drew attention to the well proportioned, muscular take form, but they made tt more-elegant, and ‘expressive, Tho decorative details elthe Archaic style gave way to & ‘grentar simplieaty, and the Archaic | smie was replaced by featiires ~ efter a hewn — capabie of supporting | the narrative af the piece. »40° THE IDEAL HUMAN FIGURE ‘Tus Riace Bronzes ES Drapory was often usad to ©PREHISTORIC AND ANGIENT ART 41 hed his Daryphoros 440) ocr} to ermboax 1 proms ecamea sculptun sLexlaint. example m-marbla Roman copige ¢ Kaidos by Proxiteles, who worked | balance. proportion, and bh around 980 ace ved by Ube ancient, w tks ther malo ntenciedt In Praxit ft. roxinded lines th a feature of the Late dj those volupt wacholar, aince t original master’s tet loath of Aiseancter the at in S23 bck, the importance Bowowar, for tho n liek te old city-states dec 16 tha pro-orninient 0 8, for example42 THIS WORK SHOULD BE CONSIDERED SUPERIOR TO ANY OTHER LAOCOGN AND HIS SONS (42 sce—10 ce), AGESANDER, ATHENODORUS, AND POLYDORUS IN CONTEXTeae AND ANGIENTART 43 66 One antique sculpuure furnisbes us with the prototypical icon of human agony Whe arcists in the Classical style emphnsized the elements ‘afharmony, aymrnetty, proportion, fand beauty, eculptere in the Hulleniotc pericd adapted a more aturalissic fluid atylo. Rather than Ikiching fo¢ formal elegance and fissae, thay sought movement, diarne, ancl expression of thougit ful Jeeking, Lis place of idealized beauty, they choae sunsualtty — the frst Gren fornale mice stations ‘mppented! during this period: find aven the humerous or the (ietaaque And whew Classical fut bad concurred iteelf with the universal, Hellenistic sculpture nti sought to capture 8 single, particular moment. Agony and ecstasy hie largerthar-file-sige sculpture dgocoon and fis Sans epitomizes this Hellenistic style, depicts on episode in Gresk myth relatod by Vinal in hin epic. poem, the Aeraeic than the Trojan priest: Lanoat und his sons an taegiedl In the: ‘coils cf see serpents sent by the Diddess Athen The extremes of fear and guffaring ate abownin their soniniged exiessians, and thei desperate struggles ars evirlont in thee antoreed pages The cettral figite of Lanexin shown with muscies straining, head thrown back. and eyes raisnd to heawen — a pose that War used vo express both agony and ecstasy In subsequent art through the ages, His younger bom ab the Heft, neem tobe succumbing te thes bespent’s grips while the sider boy, who yeas ‘otoss at his father ant brother, may howe a chance to break fies The statue was praised by the Remaa writer and natural philosopher Piony the Bidar tn his: Natura History in ox “This work should be considered superior to any other, both (01 its painting and. for tts worth as.a status" Expressive qualities Lost fot centuries, Laosotin aad his Sons was hailed as a masterpiece after tis rediscovery in a vineyard G Venus de Mile, Apiniciy ol Mi (e100 we, a Hellen ta ow popula dasetral subjeat. Tha goddees 2 posed na spital composition Us from nes neat Rome in 1506. The statue inspired! the young Michelangelo to explote the balance betwee the High Renaissance styla~ anflusnced by Classical Ssdloao ~ and tha nasuralsem of Hielleniem, "The artist's sculptunes Dying Shae and Fisboiliows Slave (roth £1512), and the four “nonfat” figures known as the Staves 0-34), show thes dine influence of Lagcoan in their uso! the human oily ts expross emotional content ina masterly and ‘eunecttive way. ‘The expressive ‘qualities of Hollentetic sculpture continued to: be an inspiration foc later artists of the High Renaissance and the subsequent Mannetiet movement. Tis excionalism was eepecially appealing to the Baroque sculptors: of the Tih century, a Agesander, Athenodorus, and Polydorus Laocodn and his Sons was displayed at the palace of the Roman emperor Titus, but, like ‘owned by the Homan nobility of the time, lt was the work of Greek sculptors, It is credited to Agewander, Athenodorus, and Polyeiorus of Rhodes, although itis possinis that the trie were copyists and reproduced an ‘sarhor work, pethans a bronze statue of the Pergamon school. The statue may have bean amotig the lant of the Hellenistic -worka to be commissioned, as around this time amore stolid, unsentimental “Hellenintic— Roman" sculptural style began Here ae Maen Btruscan, Greek, at Ssooan men eesbacae, “sulted to the historical subjects favoured by the Ramana.44 STYLIZED FORM AND SPIRITUAL | is BEAUTY HAVE BECOME ¥ RECOGNIZED FEATURES OF THE BUDDHA-IMAGE ‘STANDING BUDDHA FROM GANDHARA (1ST-2ND CENTURY ce) IN CONTEXT FOCUS Early Buddhist art BEFORE. 3rd century cx The (comod lic shrines)lee alto: Hisee Hecivaea 36-41 » Lavewte ani dus Sane 42-49 © Mav mencets 101 Wis teropin quasdinian 79 = Shr en PREHISTORIC AND ANCIENT ART 45 Aus 44849 iva Hl 77) ‘The Caves of the Thousand Buddhas ‘The Mogan Caves located near Bunluang in China wate ret constructed in the 4th century ce ag Buddhist shrines, and evnived inte a cornplax of neatly S00 cave temples. They contain a wealth ef Buddhist paintings and sculptures spanning 3 period @faround 1,000 years, The emeinjence of a distinctive Dunhuang styio can he seen inthe thousands of sculptures fifths Buddha, ranging tron stone carvings to moulded clay statues painted in bright eolours. Aighanisten. ane noethwvesten fads brought many elements of Hidlenistic culture, in particu Pontempcrary Greck eculptural ates. addition, a cultural “infhionss was exerted hy traders fiom the Raman Eropire. A hyd Gulhure synthesizing Greco-Roman find Boddhtet artistic traditions izes emeaged inthe Gandhara fegion. an impertant croesraada qn the Silk Read, whore some of the fe depictions af the Buddha yore mode after thes fall of the Incio- Greek uuigelom, during the Kuahan Hippie fst-Sed centuries cel ‘The Gandhara style Typically, these early portrayals tak the form of m statue ot n andl ing Buccha carved in achist, ahaid Ineal store. Bach of Lhe Gandhacan Buddhas, euch ae the standing Buddha illustaaved fie, ware recognizably [edian inthstr ronsucasnoss, tnt: wrod ‘tore to Greoo-Hlomnn sexlproral conventians thant any Indian eukiral heritage. Mest immediately Apparent |r his figure is the fact | thar the | While the earliest wero in the Indo-Cteek style, the Squres soon hecame more recognizably Chinese, not omy in their facial features but alo in their mote niatuuialistic and elegant poses. The Buddha is often dopicted sitting on a throne rather than. in the lotus position, sometimes lavishly clothed and attended by followers Of note ts the Nirvana, Cave, which contains a huge reclining Buddha from the mid ‘Tang Dynesty (741-848); the walls re painted with mourning scenes. gacttient resembling a Roman taga, fared Us beawy foies of its drapery are depicted an the wart of detail Uhat might be seen ina Raman statue cf the mame period. ‘The pase, tne ss more Europea than Asian: the figure stancle rather formally on a small plinth satber than being seated a1 in an active pave that ig mare typical of native iam art. Thote isa hint of tho Ccontrappasto pase typical at Classical Gosek statues, with the ‘weighton the Fight foot and the ather leg slightly bent, although Unis is fa Jes pronounced t Greco: Raman sculpiuie, The Buddha is depicted hee fet foted Butt is tho head that trily distinguishes this Gandharan Bucittha ax prosturct a a 9» ‘0 buakithepad we et woe to the Bodiiha, ¢ soctrins eae symbols ‘aig CANvEe! abouse} Crete Led framed by a halo, whic pedi in Greek art ta denate the holiness of a figura ‘The joth the Hlealtzed torm een i Grek sculpture, atte a ¢ the profile, v7 forehead in tyr &6 Anall-pervasive moral and =p lal environment began ta take shape in Gandhara Rafi U Samad ‘The Granctour of Gandhara, 2011 99 46 EARLY BUDDHIST ART ‘Two giant, étl-contury Bixkthas in Bamiyan, Alghamzstan, wert dstoyed by the Taltbax: ip 2001 Tho Ssrgor statin, (Brn (BOR wall ie showy hens bate it ob | Sést ofa number of auch’ Gest ienown a muiciras, that grew into a lige complex system of Bude ss pee neti rege Fidos Halt hand ekg wicca towcarTek pe facing forward, representing cha: | romrsenon nl Sake Iconographic poses a dihatan stanting eee | ete 4. the fiewt-explis | iprastntations of the Budciha, | ober | differsn pooee, kr | But slay flourished in Mathura, in contrat northern India Another part af 2 ian Empita Unat roled the Gandhata seqion piongjated- sat lobes are aremindes that the Buddha was onoe wealthy niinoe who wete od aignily topknot of eurly hair bacame afeatute of Buddhist iconography kenowen asthe eashnisha, donoking enlightenment. ILie thaugh repteéent the turban ofa prines, and may reflect Greek portrayals ef the gee Apollo in which his wavy bait was similetly stylec cally Buch n iS sean in the pasitior if os. The tan common te & majority of Gandharn | slanding Buddhas, and forms the ‘The hands of this =x fan Buddha for era rac saching the harmPREHISTORIC AND ANGIENT ART 47 ‘Thee, the influence of indigenous art was stronger, and the Buddha wa often depicted as a mestnd 4fgote weating littis more than aimimpie lainedoth oa light okceh sisaped over a shoulder, yet stil aitwining the Hellenistic celts, af realism and serenity, ‘The sented Buddhins browpht dumther layer of iconography. Roughly -soetemperaneous tothe Chandharn Burdbas, theeanly Mathuran sitting diguses established a ne tadition af depicting the Buddha daring meditation, hie lege crossed in ‘the lotus position, which has sinos ‘picume the pose most anstciated atith statues of the Budchs. Ae with: themanding Buddies. the arme snd ‘unis are chown in conventional amuceew. Typically, the left hand fests palm up in his Sap, while the Tight hand touches oc pointe to the prone, a-gestire.assainted with the Buddha's enlightenment and Fis victoty ower the derion Maa. Later, tho seated Buddha was also depicted in a teaching poze ‘commen mudta associated with this was the “turnin nf the Wheel of Law’. with the right thumb and index: finger tocching, and the lef band fingars lightly tanching the fight peim. Less'commonly, the: Bucldha whe shown in a teciining pore: bying on hus ighthand sicin, reprisenting hint af the én of ha vwarthty lia, about to-onter Mirvana. Buddhist evolution ‘Tha elements of lconegraphy ‘astablished in the Kushan Erapire ‘peowided. 2 defining iaundation for ‘subsequent representations of the Buddha sernss the Buddhist werd As Buddhism spread further tom tts Inet roots, the: Indo-Crespke sylistic influence weakened over ‘time, Until about:the 7th century, foc example, the Budklha was usually portzayed in the madest gnth oa mock, but in come traction ho later came to be depidurd in ther takes an! jewsia of = prince ‘Buckdhist art eleeweher= feom Southaast: Amin ta China, Korea: and Japon, folowed the Indian preeedent ‘inte depiowone of the Buicidha bill agapted tt. Some changes ard sdiiitens te Buddtuse iesnograpihy have persisted into toodiern times Tn Bast and Southeast Asia, slender, olagant Buddha igure Je ‘often depiictad either on a throm, hislege enossed and has head thited to vest on one fsandl, ar seated! in -medditition with this hands in a “diamond figs" qeetuie, the rlaht ‘hand arosping the le thumbs, In Ruves and Japan, @ weactting ‘gupture asconiated with ating ‘Buddhas evolved, in which the ‘atsodl forefingot of a clenched lett ‘hind 15 gripper in the right tat w ‘Rectining fnioes shove th Sia woscc na conrad thc ot ER ae tn Fubose free eyelash ‘The eeoe sro: oumeerty apc seated, (ypica ot the tus poate ard star reetnating ac teaching. Hee the fegensol han Fgh ana ear atte A the gussre of caltng the ents ta wntreat ‘i ‘Thesatanding figuies mee chen pear th Baca (iosed ee hay rgb an ue Ue ane ‘arr woe pean48 es | wv conc RrocUs THE MOST MONUMENTAL Sle | AND AWE-INSPIRING a VISIBLE EXPRESSION an is carved in Athens, a OF HIS AUTHORITY 230-20 30 The cay MARCUS AURELIUS (c.176 ce) of the Perravottn Army turied with Emperor Gin Shi Huang of China am depicted sta 2 “Rampin | ‘ot the siclesol ther hot AFTER e.ard century cr A bronze equestrian statue known as the Regisole or “S! is cast in Ravenna, Ib 1 King ly 1898 An ecuastrian stanae by bologna of Cosimo Ider eregted in Florence mi rot Matcus Au‘The triumphal column ‘Roman rilets were recognized: ‘in various forma of sculpture, ‘nclading busts, statues, and ‘triumphal colsrmins. A marble scohimn (¢.180-196 co), honouring ‘Maxous50 IN CONTEXT FOCUS ‘Mesoamerican art BEFORE Pre-900 pcr The Olmec people of Moxttoo’s Gulf coast carve sinaill figurines and ‘poloesa! TEOTIHUACAN MASK (c.50—-600 ce) heads" from bagalt boulders, APTER 8th century The Maya peaple produce spectacular murais ‘at Honampak friow Chiapas) Mexico, using 6 vibrant palette to document political and was ane onty Tn Te the stone, as well poopie carve magnificent pee ge ee at Tolldn, cantral Mexico; the: nthe classic nod af ‘Mosoame cculnure, two great stoner mhtnkinaly vividi.wall paintings | OoluMns support the roof at a pyramid-topped temple Many of these ited dlopiotions at the poople’a d and the rituals that w aesociated with thiair fuding human nd. Honl-dext sasonry and: ingr. eepecially of religious and symbol Jay southern Mexiog and Ouatem from srounct The Pyramid of the Sun S010. cx. The athe A the lesser Pyenmniel af elilization was centred on the Moon in Taotihuacdn aloo | givea no indicat 28 01 city af T ean in central malhot aie ender. Such staicios — whieh ottan 20, whic a ite beight in whi religious signifi havehada | had no holes are t 1 mailer that. wenak been placed on m Teotthuacan a I, then pol laid wi soth these cultures building of magnificen es, which wich ocurred in around 880 ex 8, abate, er, tare ‘Tho ritinnd city was radiscevrred and shall. The staring face, with fe Mth century, mond-shaped ‘eho identified it ky the quality of J ite rt 22 te origin of there aver 100 = ule iving tt tho Naha: rocihuaedn of thePREHISTORIC AND ANCIENT ART 51 A NEW TYPE OF FIGURAL COMPOSITION SARCOPHAGUS OF JUNIUS BASSUS (c.359 ce) goad to Emparor Ci 2 Bilset of Milan in 313 ce | Chicistian pete magery, of Chi ented jot Like nl nthe bottom IN CONTEXT Foc Early Christian iconography Late 2nd century cz The atacambe of Rome are decorated with frescoes andl sculpiue in-tie Roman sty with references to Chitatiantty €:330-340 er Tha “Dogmat saroophagqua, carved with high-felie illustrations of the dogmas of the Christian (Councit of Nicswa in 925 rx 4 placed in the Basilica di Ban Paolo Fuori by Mura, Rome AFTER Late dth century cr ivory panels carved with Images of the scrsptures adorn a wooden bow, probably made in Milan, known as the "Heescin Casieet" Sth eentury ox The Basilio di Santa Maria Maggiore is builtin Rome, an uraliatic peas, areps exgnifica with long has becomeso fasniliar fin Christian arDRESSED T0 ESTABLISH THEIR ETERNAL PRESENCE AMONG THE DIVINE MOSAICS OF EMPEROR JUSTINIAN AND EMPRESS THEODORA (c.547)IN CONTEXT Pocus Byzantine asthetics EFORE €430 ce The interior of the (/Roman-styie mausoiesum of ) Gas Piscicha in Ravenna i ‘Gecomted with a Byzantine Tosni depicting the scars in [fie sky around a golden cross 1882.00 the ondess of Emparne Patinian, work begins on the [rebuilding ot Hagia Saphin, Messtantincpie, the new ‘hurch ts nchly decorated! Jwith mosaics, _ARTER “Tith century The tactitin [et ivory sculpture ts revived under the Macedonian dynasty Pefthe Byeantine Empire “ith century Atte: tho Hestcration of Constantinople tp Byzantine rule frescos in to Hoplaee mosaics a Weehurch decoration, Church became established around the Maditertanean basin and pring that Bit that dewesloped —of cate: fiesmes and sculptures allegotically antler than directly wee PREHISTORIC AND ANCIENT ART 63 hades 80-2 Shirtzes Ci tude to Chhriatianity 1 Canatantine fe 200 Constantine attributed i to his'conversion to Clurist art, wisi estate, the was daliberat Unbikes wasly Christie Emperor Milan, which arntad freedom ot worship, setting the soane for the A nt of pacpanise iru gold or tichty solouyed moksics that inipetted Anew capital al palace, Constantine unified the Wat id Bae setabtishad hia esp in Beare ‘decasation and jaen tal in Byzan (presoneday [ntanbul) — renamed Constantinople i his honear 300-¢ 1 pert of eclined. tha ‘given. pride of place on the vv and celine of chu | eaciq uate shri Church relocated w Const ihe af a tsaral and at would develop of Rame and eventually teal u ‘hla tr parately fon th an and Groots artists andl ww Te idiewn to the tre of Empire and Church at | Constantinople Posmoned at t54 BYZANTINE AESTHETICS ‘The San Vitale mosaics Dud byPREHISTORIC AND ANCIENT ART 55 of the mind. ‘Theodulf of Orleans ‘Libel Curolal, 780PORTFOLIO PAINTED LIMESTONE BUST OF QUEEN NEFERTITI (6.1359 eee) eriiian wichaackogists Amara, capi ih Akonaten, tet his wits, Chasen somnbsinvatson of nc eagqnist= bears, abe portinst has since ancwiott gme one of the mea! bust consists of a ved with lave NcED. ANCE wan created sculptor Thutmeac, Fount apt br 4 studio 1 pat ACHILLES AND AJAX GAMIN {6.590 oct), EXEKIAS “black figure technique—inwi pintadt ina cle ick ater fring warriors of the T n board game te ian (nective in saitity sil And exponents of his ant, renow 6 Parthanoss one of the tury, was 180 m (S24 \yrith 378 Fggares aed 245 einmals (Carved from marble and originally ‘edouted paint-and etal detatling euch ae weapons. ite expressive ‘gure, he stilfee eal srnalp Phidias ‘The Greek soulptor Phiddiaa was the most famous artist of ‘antiquity and his reputation bai ‘endured to the prasent day, even though rio worka from his oven hand have survived. A highly renowned architect, sculptor, ‘and printer, he lived from ‘about 490 16 420 scx and worked! mainly in Athens. There, he was responsible for the sculptural decoration of the Parthenon, which teflects the grandeur ‘and dignity of his style ~ sean ‘most notably in his colossal cult SCULPTURES, MAUSOLEUM OF HALIGARNASSUS (4TH CENTURY ses), SCOPAS: TERRACOTTA ARMY (6.240210 nee) lis 1974, « farmer el Wall fu province, Chine, uneowersd statue of the goddene Athena, ‘which is known from the several ‘Roman copies that curvive, In his ovrn lifetime, hie most colebrated statue was the huge oated Squre of Zeus (one of the Seven Wanders of the Ancient ‘World) in the god's temple at Olympia, The building and statue were destroyed in the Bch cuntury ox. Other kay works 2.60 bex Leinnian Athena 446-438 nex Athena Parthenos 6438-430 ace Glympian Zeus(pit to be cne of the most spectacular Grchacoloyieu! discoveries ever marie — on army of about 8,000 ite lnre terracotta (boked cisy) figures Eiccompanying the tomb of Cin Shi Huang (260-210 nee), the frat Sapert of a united China The goWlins, courtofficials, enterzsinors pd horse comprised tna ‘btiauo to guard The eMpeenr In the afterlife. Made fram moulds on A production-hine system, wach one Was incividualieed by banc Tha rcect vr begun son atte Cin Sberarns iting in 248 scx: (acd 13) dasa rains St guryive from the ancient world, His wins dlacovered in TH (nthe: ‘House of the Faun, Pompell, wars it seryed ay a floor decoration. It epics Alexander the Great in battle agninaz che Persian lang ‘Darnus Itt forcunatnly the heads bf these tvro main figutes are well pilzsersredl — Alesxsitideer hercically jwdent, Darius with fear in his eyes The mosaic is probably based on (tion Greek painting and show the nnturalistic details for which Corsica) Greek art veas renowned The Faiyum region, south of Caso, Epyrt, becams tho santse of & diatinotive tradition of portraiture in the first three centuries cx. Fayum potutite: were ifewise aie painted ia encaustic (pigmont mined with id) or tamper on osnvas ar wood. then attanhod! to mummy serarpinese ‘Areund a thousand portraits are PREHISTORIC AND ANGIENT ART 57 atk of the partmasts ts thre eller realism due to the Classical ‘Graal styte of painting that was used, in which Sowing beuslwarke sroates depth and vivid intensity TRAJAN'S COLUMN (DEDICATED 113 ec) ‘Althouah the Romans had tong uate columns! as ages for states Trajan's Gahimn in Roma: criginial both in its great size is about: 38m (125 ft) tall ~-and in Ne elecorstion, A continuous spiral ‘of narrative eculptuce rises up the marbie column in celebration of the ‘emperor Trajan's military successes: in Dacia (now i Remanial. ‘The teliet depicts the Roman military Machine at kes most efficiee rel well otganived, bite scenes are kept toa pethaos to -anhanoe the empire's ueli-image ‘of peaceful esrpangion. ‘Tenjan's Gojumn bas inapired various suibeesaors in later tins, fot maample, the Becnveard Column at Hildashseim (e- 1000) and the ‘Ventkdme Column in Fats (1805-20), WALL PAINTINGS FROM DURA EUROPOS (¢,240 ce) In the ancient world, the city of Chutes Eurnpos (in present-day Syria} wee one nf the essternmost ausposta {the Roman Empire until i. wait destroyed by the Siesaninns in 257 ce, Red incovened in the 19th Century, it wae excavated fren the 1821s on, The kulldinge uncovmred included ons of the eatliest known synagagues, which was extensively ceconted with wall paintings ina significant in being the eariese sur'vivieg cysio af beblical [mages ARGH OF CONSTANTINE (DEDICATED 315 c3} ‘Tho earliest triumphal atches were temporary etruntures in the Roman Republic tee celebratory parade Penmnuitent materiales were usec from the fst cantury ace, and thers ave afound Bf examples surviving today: The largest.and mort richly adorned is the Areh of Constantines in Rome, built to mark the firet decade of Constantine's reign aiid his victory over hie rival Mamontius Much of the sculptural deceration Wart taigen from exiscing- momma The new amulptures have somewhat stocky proportions in comparison to the move Claes forrn of the roused elements, Ap such, the arch la gometimee exen ax marking the ond of the aiaseical warid, she earliest surviving substantial tostiated biblical text, although oniy 4 out af ssound 190 pada in the original veo uri Tiere ‘product, the texct—in Greek ~is vecitoee in. tvet om purphe-dgied parchment. Generally accupying Uhe hnottonn half of every page: the ilhastrstiens are detailed and richly coluured, with expiessive figures ‘The manuscript was probably nisde in Syria or Paiestine, although noshing ts known for certain about its origins, I ie fant speared tn the ith century, m ¥emios