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| Line is a form-usually drawn or painted-the length of which is so much greater than the width that we perceive it as having only length. Line can be actual, as when the line is visible, or it can be implied, as when the movement of the viewer's eyes over the surface of a work follows a path determined by the artist. |
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| Is the two-dimensional, or flat, area defined by the boders of an enclosure outline, or contour. Shape can be geometric, biomorphic, closed, or open. |
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| is the tactile quality of a surface. It is described by words such as smooth, polished, rough, grainy, or oily. Texture takes two forms: the actual surface of the work and the implied (illusionistically depicted) surface of the object that the work represents. |
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| is what contains the object. It may be actual and 3D, as it is with sculpture and architecture, or is may be represented illusionistically in 2D, as when artists represent recession into the distance on a wall or canvase. |
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| is matter- whether sculpture or architecture-that takes up space. |
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| Is the enclosed or defined space, and may be either solid or hollow. |
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| Creates convincing illusions of recession into space. |
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| Aspect of composition in which the 3D world is represented in 2D on a flat surface or picture plane. |
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| Content may comprise the social, political, religious, and economic contexts in which a work was created. |
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| Includes the study of symbols and symbolism- the process of representing one thing by another through association, resemblance, or convention. |
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| is the attempt to depict objects accurately and objectively. |
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| Strive to realize an image of physical perfection according to the prevailingv values of a culture. |
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| refers to styles in which the artist uses exaggeration of forms to appeal to the beholder's subjective response or to project the artist's own subjective feelings. |
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| is subtractive in the sense that the image has been created by taking away material. Wood, stone, and ivory are common materials used to create carved scultptures. |
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| Is considered additive, meaning that the object is built up from a material, such as clay, that is soft enough to be molded and shaped. |
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| usually metal sculpture, or is assembled by welding or a similar means of permanent joining. |
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| Is 3D, highly spatial, functional, and closley bound with developments in technology and materials. |
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| Projects from the background surface of which it is a part. |
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| depart from literal realism to capture the essence of a form. Artist may work from nature or from a memory image of nature's forms and colors, which are simplified, stylized, distorted, or otherwise transformed to achieve a desired expressive effect. |
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| A convention in art in which every aspect of a body or object is represented from its most characteristic viewpoint |
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| is additive, meaing that the object is built up from a material, such as clay, soft enough to be molded and shaped. |
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| An early roofing and arching technique in which each course of stone projects slightly beyond the previous layer, until the upper most corbels meet. |
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| a vault made by projecting courses of stone |
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| built from large stones (Stonehenge) used in prehistoric architecture |
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| A general term covering all types of wares made from fired clay |
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| An early form of writing with wedge-shaped marks impressed into wet clay with a stylus, primarily used by ancient Mesopotamians |
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| In Mesopotamia, a tall stepped tower of earthen materials, often supporting a shrine |
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| A device used in systems of spatial definition. In painting, a register indicates the use of differing groundlines to differentiate layers of space within an image. In sculpture, the placement of self-contained bands of reliefs in a vertical arrangement. |
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| An image created as a devotional offering to a god or other deity |
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| A stone slab placed vertically and decorated with inscriptions or reliefs. Used as a grave marker or memorial. |
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| The use of different sizes for significant or holy figures and those of the everyday word to indicate importance. The larger the figure, the greater the importance. |
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| Alternating high and low sections of a wall, giving a notched appearance and creating permanent defesnsive shields in the wall of fortified buildings. |
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| A group of buildings used for living and governing by a ruler and his or her supporters, usually fortified |
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| A fortress or defended city, if possible placed in a high commanding location |
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| A system of regularly spaced horizontally and vertically crossed lines that gives regularity to an architectural plan. |
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| designating or pertaining to a pictographic script, particularly that of the ancient Egyptians, in which many of the symbols are conventionalized, recognizable pictures of the things represented. |
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| A set of ideal mathematical rations in art based on the human body. |
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| A flat-topped, one-story structure with slanted walls over an ancient Egyptian underground tomb. |
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| A stone coffin, often rectangular and decorated with relief sculpture. |
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| A large cemetary or burial area. literally a "city of the dead." |
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| In the egyptian religion a spiritual entity, an aspect of the individual, believed to live within the body during life and to survive it after death. |
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| A looped cross signifying life, used by ancient Egyptians. |
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| A massive gateway formed by a pair of tapering walls of oblong shape. Erected by ancient Egyptians to mark the entrance to a temple compelx. |
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| Is an open colonnade courtyard, often having a pool or garden. |
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| A large interior room characterized by many closely spaced columns that support its roof. |
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| The topmost zone of a wall with windows in a basilica extending above the aisle roofs. Provides direct light into the central interior space or nave. |
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| When the image is carved below the original surface of the background, which is not cut away and highest part is the flat surface that wasn't cut away. |
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| The royal headdress of Egypt |
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| A mixture of clay and water applied to a ceramic object as a final decorative coat. A solution that binds different parts of a vessel together, such as the handle and main body. |
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| An ancient Greek vessel for mixing wine and water |
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| A style or technique of ancient Greek pottery in which black figures are painted on a red clay background. |
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| A style and technique of ancient Greek vase painting characterized by red clay-colored figures on a black background. |
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| A type of ancient Greek pottery in which the background color of the object is painted with a slip that turns white in the firing process. White-ground wares were popular in the Classical Period as funerary objects. |
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| An oven designed to produce enough heat for the baking or firing of clay. |
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| An ancient Greek jar for storing oil or wine, with an egg-shaped body and 2 curved handles. |
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| A type of Greek vase or goblet with two large handles and a wide mouth. |
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| A triangular gable found over major archutectural elements such as Classical Greek windows or doors. Formed by an etablature and the ends of a sloping roof or raking cornice. |
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| The face or front wall of a building. |
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| The principle interior room at the center of a Greek or Roman tempmple, with in which cult statue was usually housed. |
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| In the Classical orders, tje horizontal elements above the columns and capitals. The entablature consists of, from the bottom to top, an architrave, a frieze, and a cornice. |
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| The bottom element in an entablature, beneath the frieze and the cornice. |
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The middle element of an entablature, between the architrave and the cornice. Usually decorated with sculpture, painting, ot moldings.
Any continuous flat band with relief sculpture or painted decorations. |
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| The carved or painted rectangular panel between the triglphs or a Doric frieze. |
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| Rectangular block between the metopes of a Doric frieze. Identified by the three carved vertical grooves, which approximate the appearance of the end of a wooden beam. |
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- Fluted column shaft
- no base
- capital consists of an undecorated echinus and abacus
- the entablature has a plain architrave, a frieze with metopes and triglyphs, and a simple cornice
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- the column has a base, flutes shaft, and a capital with volutes
- the entablature consists of an architrave of three panels and moldings
- a frieze usually containing sculpted relief ornament and a cornice with details
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- The most ornate of the orders
- includes a base, a fluted column shaft with the capital elaboratley decorated with acanthus leaf carvings
- Its entablature consists of an architrave decorated with moldings, a frieze often containg sculptures reliefs, and a cornice with details
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| An architectural element used for support and/or decoration. Consists of a rounded or polygonal vertical shaft placed on a base and topped by a decorative capital. |
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| The main vertical section of a column between the capital and the base. |
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| In architecture, evenly spaced, rounded parallel vertical gooves incised on shafts of columns. |
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| The sculpted block that tops a column. |
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| A spiral scroll, as seen on an Ionic capital. |
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| an architectural ornament, as in the Corinthian capital, resembling the leaves of this plant. |
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| In Classical architecture, the stone foundation on which a temple colonnade stands |
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| A foundation upon which a Classical temple stands. |
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| The uppermost section if a Classical entablature. More generally, a horizontally projecting element found at the top of a building wall or pedestal. |
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| is formed by the junction of two slanted cornices, most often found in pediments. |
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| A sculpture of a drapped female figure acting as a column supporting an entablature. |
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| A mounted building used as a tomb. |
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| A sacred or holy enclosure used for worship. on ancient Greece and Rome, consisted of one or more temples and in alter. |
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| An Archaic Greek statue of a young woman/ Archaic Greek statue of a young man or boy |
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| the curved lips of an ancient Greek statue, usually interpreted as an attempt to animate the features. |
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| A loose outer garment worn by women of ancient Greece. A cloth rectangle fastened on the shoulders and belted below the bust or at the waist. |
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| In ancient Greece, a female devotee of the wine god Dionysos who participated in orgiastic rituals. She is often depicted with swirling drapery to indicate wild movement or dance. |
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| The illusion created on a flat surface in which figures and objects appear to recede or project sharply into space. |
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An Italian term meaning "set against" used to describe the twisted pose resulting from parts of the body set in opposition to eachother around a central axis
is an entirely possible position of the body, in which the weight has shifted onto one leg, leaving the other relaxed, and the opposite arms are engaged and relaxed. Contrapposto animates the figure, making it seem more natural and more capable of movement. |
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| Sculpture that projects far from its background |
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| Found mainly in Egyptian art, is carved into the surface, with the highest part of the relief being the flat surface. |
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