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Vesseantra Jataka, bottom lintel, North Torana, Stupa I, Sancha; 150BCE-50CE
continuous narrative of a charitable prince-giving up possessions to get rid of desire (living out in the jungle instead of in a palace)-renunciation of worldly items and desires, karma-Buddhist goal |
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Buddha preaching the Law in the Deer Park, Gupta; 5th century CE
Mudra position of hands=teaching and setting wheel of dharma in motion, webbed fingers=superhuman, hierarchic scales with the monks below, circle behind Buddha is a symbol of enlightenment, no ear spools of royalty-renunciation of worldly items and desires, inward position and gesture-no engagement of outside world, preaching at Deer Park scene underneath the Buddha, usnnisha=man bun but also an extra head, an icon of enlightenment, huge earrings=prince, downcast eyes=otherworldly introspection |
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Stele 16, Tikal; 711
shows most successful ruler of Tikal (Hasaw Chan K'awii), eye goes to headdress, shows elaborate nature of the rulers, ceremonial armor is symbolic, green of jade=life, precious materials (tail feathers of rare birds), holding septor (ceremonial weapon), symmetry=order, permanence, lots of figures/deities=divine right to rule, looks emotionless and fierce, war god Venus displayed on headdress, looks inhuman/divine |
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Incised Bones, Burial 116, Temple I, Tikal; 735 CE
bones where used in a funery context, shows the Popul Vuh story where they have a successful navigation of Xibalba and went to the sky/heavens, paddling figures are Hero Twins who defeated those in the underworld, animals and figures in canoe symbolize death and rebirth/new corn and the navigation of perils, demons are stripped of royal regalia (ear spools, bones of sacrifice, animals represent constellations, dancing movement of some in canoe=rubbing it in the faces of those they defeated |
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Arch of Titus, Rome; 81 CE
equestrian, celebrates military victories as the victory parades would process through this arch, this arch specifically celebrated Rome putting down revolts in Jerusalem, large font was used to ensure that the message at the top (one of victory) could be read from a distance, serifs were used to catch the light-again making it an easily recognizable feature |
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Arch of Titus, Triumph of Titus relief panel; 81 CE
specifically shows the put down of revolts in Jerusalem, shows military dominance and the strength of their leader, Titus |
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Arch of Titus, Spoils from the Temple in Jerusalem; 81 CE
shows the victorious succession of Roman soldiers, carrying off their loot from the defeated Temple, shows military strength and superiority of leader, Titus; project into viewer's space to make it lifelike and transport viewers into the scene, somewhat disorderly and chaotic but definitely still impressive |
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House of Silver Wedding, Pompeii; early 1st century
example of Roman elite architecture and domestic life, few doors which allows light and air to circulate better, perfect space for the rituals of patricians in the tablina, homes were relatively public and were usually very easily accessible to the public citizens, rooms were set around large courtyards (atriums and peristyles, open plan allowed for the mixing of genders and ages, places for work, no public/private space distinction, the more money you had-->larger house and more guests, busts of ancestors in lobby upon entrance |
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Tetrarchs, porphyry; 300 CE
new system of leadership divided empire in 4 parts to be ruled by the 4 leaders shown-2 Augustae and 2 Caesars, their holding each other symbolizes interdependence and their reliance on one another, same size=equal power and balance, military armor shows military superiority and uniformity across this seemingly divided empire, vigilance=hands on swords, eagles on swords=Roman army symbol |
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Catacomb of Saints Pietro and Marcellino, Rome; 4th century CE
shows ideas of afterlife in Christianity, shows image of the Good Shepherd which represents the protective and intimate side of God, Adam and Eve at the olive tree symbolize original sin and why you need salvation, 4 vignettes of the Jonah and the Whale story shows rebirth |
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Sarcophagus of Junius Bassus; 359 CE
he was the official counsel in Christianity and he symbolized the spread of Christianity, 10 scenes displayed on sarcophagus which have typological connections, Christ is King but has simple clothing which makes him look inviting, innocent/young, references to Final Judgement, ideas of Christian finery beliefs and theology |
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Old St. Peters, Rome; 320-7 CE
represents Christian dogma and religious function, primary church of the Pope, within the church the Pope is seated at a high alter, clerestory allows for a lot of natural light to flood the space, large interior space represents the church/religion's need for congregational areas and space in which to conduct rituals |
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Dome of the Rock, Jerusalem; 692 CE
sight of Muhammed's ascension into Heaven, heavily detailed and elaborate, lots of huge windows allowing a lot of natural light, inscriptions dig at Christianity, centrally organized, also the site of many significant events in Judaism and Christianity, concentric aisles or ambulatories allow visitors to circumambulate it, ideas of Muslim faith and its relation to its other monotheistic rivals (Judaism and Christianity) |
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Great Mosque of Cordoba; 785-6
significant site because it is atop the original location of a Christian church-shows Muslim superiority over Christianity, Mihrab on Qibla focuses prayer towards Mecca, honeycomb dome (Dome of Heaven)showcases architectural skill, mostly a prayer hall for use on Fridays |
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Otto III Enthroned, Aachen Gospels of Liuthar; 1000 CE
hands touching emperor parallels Otto III's contact with God-divine right to rule, mandorla is present (halo typically found on Jesus himself), outward hands are similar to those of Jesus-makes himself appear Christlike in all ways (Christomimetes), was the bookcover for friends/family so it was not considered blasphemous |
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Doors of Bishop Bernward, Abbey Church of St. Michael, Hildesheim; 1015 CE
bronze material symbolized the antiquity of the doors and the wealth and expertise associated with the design of these doors, visual Bible including images of Adam and Eve and Cain and Abel (original sin/need for salvation) on left is read down to symbolize the fall of man, scenes from the Passion and Rebirth of Christ are read up like the ascension of Christ, juxtaposition thematically between doors-horizontally-creating a strong visual rhyme-cause and effect |
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Cathedral of St. James, Santiago de Compostela; 1078-1122 CE
St. James, for which the cathedral was named, became an apostle, and his full body relic was stored here (unusual), also relics of Mary Magdalen, the Virgin Mary and Jesus here, visual beacon for pilgrims, relics were well-displayed and the main feature of this cathedral, Romanesque with Latin Cross |
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Reliquary of St. Foy; 938-1013 CE
visual record of faith as it was built up over time with offerings and donations, window to see part of the skull (relic), stolen by monks because it was said that St. Foy came to them in a dream, tons of miracles performed by this saint-has martyr's crown, crucifixion on back connects her to Christ's sacrificial story |
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GHISLEBERTUS; Last Judgement, West Tympanum, St. Lazare, Autun; 1130-45
space is separated between the saved and the damned with the saved on Christ's right and the damned on the left, tetramorphs and angels are present, shows torment of damned juxtaposed with the salvation and ascension of saved, damned are holding their faces in grief/suffering as a reminder of the penalty of sin, stylistic differences also separate the damned and the saved |
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Ascension and Pentecost, Central Tympanum, narthex, Ste. Madeleine, Vezelay; 1130s
open/closed books of apostles celebrate the preaching (open) and the condemning (closed) jobs of these apostles, hierarchic scale, Jesus with the welcoming gesture, compressed narrative, storm clouds over condemning apostles, cruciform Christ to remind us of sacrifice, Pentecost is parallel to crusades, beasts on margins to show the far reaches of the apostle's message to all the corners of the world |
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Abbey of Notre-Dame, Fontennay; 1139-47
went with the Cisterian order-backlash against the gilded and elaborate nature of other cathedrals/religious items, no towers, plain glass (not stained), everything was simple and 1 colored |
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Life of St. Remi, Central portal, north transept, Reims Cathedral of Notre-Dame; 1211
represents Job's sacrifice, girl from Tolousse (exorcised by St. Remi) was possessed (shown by hair down) yet calm and pious as to set an example to viewers when they face hardships or want spiritual rewards, was created to prove that the money that was being spent on the chapel was worth it-St Remi was clearly an excellent example of perfect discipleship |
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