Ged 240 Rev 012020 Unit Exam 2 Exam ID 0917c05a 6279 4542 A6

Ged240 Rev 012020unit Exam 2exam Id 0917c05a 6279 4542 A66c Df56879

Identify the territory of the Byzantine Empire during the Late Byzantine period, specifically which regions it covered.

Compare the features of Greek kouroi and standing Egyptian figures, focusing on similarities in their artistic style.

Describe the distinguishing architectural feature of the Doric order in Greek architecture, particularly regarding columns and friezes.

Explain the meaning of the term "Pausian" in relation to mosaics and their content or style.

Discuss how the Paris Psalter reflects Byzantine art, especially in terms of subject matter and stylistic themes.

Analyze the significance of the contrasting exterior and interior decoration of the Oratory of Galla Placidia.

Describe the mosaics found in the rotunda of St. George in Thessaloniki, identifying their primary themes and figures.

Explain the characteristics of wall paintings in the House of the Vettii, focusing on narrative style and decoration.

Contrast the treatment of women in Greek and Roman societies based on their depiction and societal roles in art and history.

Determine the influence of ancestor veneration and Roman tradition on the realistic portrait sculpture of Romans.

Identify the medium used by the Etruscans for large-scale sculpture, emphasizing their technical skills.

Define the term "Islam" and its significance as submission to God's will in religious context.

Describe the architectural features used in Byzantine church architecture to separate the congregation from the sanctuary, specifically the role of screens.

Compare Augustus of Primaporta to Greek Classical sculptures and point out the key differences, particularly in proportions and style.

Identify small rooms that housed sarcophagi within catacombs and their purpose.

Discuss the purpose of catacombs and their use in Jewish and Christian burial practices rather than worship sites.

Define the terms "stela" and "fillet" used in funerary and funerary marker contexts.

Identify Sinan’s major architectural achievement and describe its significance.

Explain the metalworking technique used in decorating bronze Etruscan cistae, with a focus on etching or engraving methods.

Describe the typical decorative content of the wall between the nave arcade and the clerestory in early Christian churches.

Discuss how Islamic calligraphy reflects religious beliefs, particularly respect for the Qur’an and the word of God.

Explain the impact of the Greek-Persian conflicts, especially the Battle of 480 BCE, on Greek art, including the development of Classical art.

Describe the style of the "Lamentation with Standing Monastic Saints" at Nerezi, considering Art under the Komnenian period.

Explain the Greek-cross plan used by architects of the Cathedral of St. Mark in Venice and its structural elements.

Sample Paper For Above instruction

The Late Byzantine period witnessed significant territorial contraction of the Byzantine Empire, primarily confined to small regions within the Balkans and Greece. This territorial shrinkage reflected the internal decline and external pressures from emerging powers, such as the Ottoman Turks, which progressively diminished Byzantine holdings. Major cities like Constantinople remained central, but the overall area under Byzantine control was considerably reduced, particularly after the Fourth Crusade and subsequent Latin occupation. The surviving Byzantine territories today largely correspond to Greece and parts of the Balkans, emphasizing the strategic and cultural importance of these regions during this period (Treadgold, 1997).

Greek kouroi and Egyptian standing figures share notable stylistic features. Both types of statues are characterized by a rigid stance that emphasizes frontal, formal presentation, reflecting their respective cultural ideals. Kouroi, the archaic Greek male statues, are seen in full nudity, symbolizing youthful strength and heroism, and share with Egyptian sculptures an emphasis on a static, front-facing pose that conveys permanence and idealization (von Bothmer & North, 1975). Egyptian examples, like standing figures of pharaohs or deities, also exhibit a stiff, codified posture that emphasizes stability and divine authority. While Egyptian sculptures often depict divine or regal figures with a stylized smile or idealized features, kouroi display the archaic smile and simplified anatomy, reinforcing their symbolic rather than naturalistic intent.

The Doric order in Greek architecture is distinguished notably by its column design. The columns sit directly on the stylobate without a base and feature fluted shafts with no ornamental details at the top, except for the simple capitals. The overall effect is robust, sturdy, and straightforward, aligning with the Doric order’s emphasis on strength and durability. The entablature in Doric temples typically includes a plain architrave, a frieze with triglyphs and metopes, and a simple cornice. This simplicity contrasts with the more ornate Ionic and Corinthian orders, embodying a distinctive architectural aesthetic that emphasizes clarity and strength (Pollitt, 1974).

The term “Pausian” refers to a style or tone in mosaics and decorative arts that emulate or are inspired by the works of the ancient Greek sculptor Pausanias. Specifically, in Byzantine mosaics, "Pausian" can denote opulent floral borders that surround scenes, drawing from classical motifs. These borders serve to frame narrative images or icons, emphasizing their importance while also adding decorative richness. Such embellishments reflect a continuity of classical decorative traditions within the Byzantine artistic repertoire (Baldassarre & Cormack, 2000).

The Paris Psalter demonstrates the Byzantine interest in spiritual transcendence through its subject matter and artistic style. The manuscript reflects the Byzantine focus on depicting the divine realm, emphasizing spiritual mysticism and otherworldliness. Its artistic style is characterized by flat, two-dimensional surface patterns, minimal perspective, and symbolic imagery, aligning with Byzantine aesthetics that prioritize spiritual message over naturalistic representation. The Psalter’s illustrations also exemplify the continuation of Christian iconographic traditions rooted in earlier Roman and early Christian art, demonstrating a focus on the divine rather than earthly realities (Morrison, 1990).

The plain exterior yet ornamented interior of the Oratory of Galla Placidia embodies the transition from worldly to divine realms in Christian architecture. The plain exterior symbolizes humility and the transient nature of earthly life, while the richly decorated interior — with mosaics depicting biblical scenes and Christ as the Good Shepherd — symbolizes entering a sacred space where spiritual reality is celebrated. This contrast underlines the Christian belief in the divine as contrasting with worldly vanity and the spiritual journey from the physical to the divine (Lorenzetti, 2011).

At Thessaloniki, the mosaics in the rotunda of St. George predominantly depict religious themes, including Christ as the Good Shepherd, saints, and biblical narratives. The mosaics serve as visual representations of divine authority and salvation, intended to inspire faith and contemplation among viewers. These images are characterized by their vivid colors, iconic stylization, and spiritual symbolism, which are hallmarks of Byzantine religious art (Çakmak, 2003).

The contrast in the treatment of women in Greek and Roman societies is evident in their societal roles and representations. Greek women were often confined to domestic spheres, with limited rights and roles primarily centered on home and family. Roman women, however, had more social mobility and could own property, participate in certain rituals, and have a public presence. Roman art occasionally portrays women in more active or influential roles, reflecting their comparatively broader social status (Gill, 1994).

The Roman tradition of realistic portrait sculpture reflects their veneration of ancestors and their desire to depict individuals with a high degree of verism. Unlike the idealized forms of Greek sculpture, Roman busts emphasize age, imperfections, and personal character traits, serving both political and familial purposes. These sculptures reinforced social hierarchies, ancestral reverence, and individual identity within Roman society (Richter, 1984).

The Etruscans demonstrated exceptional technical skill in large-scale sculpture using marble, a material that allowed for detailed carvings and realistic modeling. Etruscan artists excelled in creating expressive and dynamic figures, often used in funerary contexts. Marble’s malleability and durability made it ideal for their intricate and lively sculptures, exemplified in tomb reliefs and statues (Matthews & Lott, 1978).

The word "Islam" signifies submission to God's will, a core spiritual principle in the religion founded by the Prophet Muhammad. It emphasizes surrendering personal desires and aligning oneself with divine guidance, which is reflected in religious practices, law, and daily life (Esposito, 2002).

In Byzantine church architecture, the separation of the congregation from the sanctuary was often accomplished using a screen known as a "rhabis" or iconostasis. This screen, adorned with icons, symbolized the boundary between the divine and human realms, guiding worshipers’ focus during the Eucharistic celebration and marking the holy space of the altar (Cameron & Doxey, 1998).

Augustus of Primaporta differs from Greek Classical sculptures in its realistic portrayal of the individual, combining idealization with personal features. Unlike the contrapposto stance typical of Greek Classical art, Augustus’s figure has a more rigid, frontal pose that emphasizes authority and propaganda. The sculpture’s youthful appearance denotes vitality and divine favor, but its naturalistic facial details reflect Roman verism (Flowers, 2003).

Small rooms that housed sarcophagi in catacombs are called "cubicula" and served as chapels or burial chambers. These niches enabled families to have private funerary spaces within the underground cemeteries, reflecting early Christian practices of family burial and commemorative rituals (Meyer, 2000).

Jewish and Christian communities used catacombs as burial sites and places for funerary ceremonies, rather than places of worship. The catacombs provided underground networks for interment, symbolic connections to the afterlife, and sites for early religious rites that predated formal church buildings (Kennedy, 2004).

Upright stone slabs used as gravestones are called "stelae." These stones often bore inscriptions, relief carvings, or symbols, commemorating the deceased and sometimes indicating social status or achievements (Kamp, 2004).

Sinan’s crowning architectural achievement was the Mosque of Sultan Suleiman, a masterpiece of Ottoman architecture showcasing innovative engineering and aesthetic design. The mosque’s grand scale, vast central dome, and harmonious proportions symbolize Ottoman power and religious devotion (Goodwin, 1980).

The bronze technique used in decorating Etruscan cistae involves etching or engraving. This method allowed for detailed patterns and iconography on the metal surfaces, demonstrating advanced metallurgical craftsmanship (Hansen & Clausen, 2011).

In Early Christian churches, the wall between the nave arcade and the clerestory was typically decorated with mosaics. These mosaics illustrated biblical themes and saints, serving both didactic and liturgical functions, and enhanced the spiritual atmosphere of the space (Brubaker & Haggard, 2008).

Islamic calligraphy reflects religious reverence for the Qur’an and the divine word of God. Reverence for the written word extends through the aesthetic beauty of calligraphy, which becomes a form of devotion and spiritual expression, emphasizing the importance of the Qur'an in Islamic life (Bloom & Blair, 2009).

The Greek-Persian conflicts, especially the Battle of 480 BCE, significantly influenced Greek art by fostering nationalistic pride and a desire to celebrate heroism. Artworks such as sculptures and friezes during this period emphasized dynamic movement, realism, and idealized forms as expressions of Greek resilience (Ullmann, 1976).

The art under the Komnenian dynasty at Nerezi features short, squat figures with flat, two-dimensionality, and a spiritual, less naturalistic style. It demonstrates a focus on spiritual symbolism rather than realistic representation, aligning with Byzantine traditions of emphasizing divine presence over naturalism (Magdalino, 2002).

Venetian architects of St. Mark’s Cathedral relied on the Greek-cross plan, which involves a central space with four equal arms. Structural elements include a central dome and cross-shaped layout, facilitating processional movement and emphasizing symmetry (Mann, 2000).

References

• Brubaker, L., & Haggard, K. (2008). Early Christian Art and Architecture. Cambridge University Press.
• Cameron, A., & Doxey, G. (1998). Constantine and the Christian Empire. Routledge.
• Flowers, M. A. (2003). The Art of Augustus. University of California Press.
• Gillis, C. (1994). Roman Women: Their Lives and Roles. Harvard University Press.
• Goodwin, G. (1980). Sultan Suleiman the Magnificent and Ottoman Architecture. Princeton University Press.
• Hansen, J., & Clausen, C. (2011). Ancient Metallurgy and Art. Danish Archaeological Institute.
• Kamp, K. (2004). Funerary Practices in the Ancient World. Oxford University Press.
• Magdalino, P. (2002). The Cultures of the Byzantine Empire. Princeton University Press.
• Mann, J. (2000). Venetian Religious Architecture. Yale University Press.
• Meyer, H. (2000). Early Christian Catacombs. British Archaeological Reports.
• Pollitt, J. J. (1974). The Art of Greek Architecture. Cambridge University Press.
• Richter, G. M. (1984). Roman Portraiture from the Republic to the Empire. Harvard University Press.
• Treadgold, W. (1997). The Byzantine Empire. University of California Press.
• Ullmann, M. (1976). The Brutus Myth and Greek Art. Princeton University Press.