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| system of social organization in which descent and inheritance are traced through the female line |
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| figure or image to be offered or dedicated in accordance with a vow, embodies actual magical properties |
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| material in which an artist works |
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| a descriptive approach to a visual world that seeks to imitate natural appearance |
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| having many or various colors |
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| simplest form of architectural construction, consisting or vertical members and supporting horizontals |
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| stone tomb formed by two posts capped by a lintel; deceased and objects that were prized are placed in a room |
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| large, roughly shaped stone, often used in architectural construction |
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| tall, four sided pillar that tapers to a pyramidal apex (where hieroglyphics were written |
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| religion and nobility were matriarchal |
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| a set of rules or standards used to establish proportion; ideal image of an Egyptian; all looked the same |
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| figures or forms are carved either to project from the background surface (raised relief) or cut away below the background level (sunken relief) |
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| a hall with a roof supported by columns; bigger than necessary |
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| sun god imposed upon Egypt as the one and only god by the monotheist Akhenaten |
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| epic Mesopotamian poem in which Gilgamesh, king of Uruk, quests for the secret to eternal life |
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| Babylonian code of laws dating to the late 11th century BCE; created law and social order; an eye for an eye |
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| carved stone slab on only one side used to mark graves or commemorate historical events |
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| used for government (civic) and religion |
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| decorative inlaid of gold pattern in a surface, especially a mosaic worked in wood |
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| babylonian mother goddess, whose murder and resurrection of her lover is a symbol of death and regeneration; each year when Ishtar descends into the underworld to retrieve him, the fertility of Earth is suspended, but with the return of the goddess and her lover, is restored |
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| period of human culture characterized by the melting of iron and its use in industry beginning somewhat before 1000 BCE |
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| palace constructed of or full of intricate passageways and blind alleys; like a maze |
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| in Mycenaean architecture; the triangular opening above the lintel that serves to lighten the weight to be carried by the lintel itself |
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| theory that holds that things in the material world are manifestations of an independent realm of unchanging, immaterial ideas of forms |
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| The Olympian Gods and Goddesses |
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| all have human names and take human forms; immortal and perfect; Gods were like humans and the humans were like Gods |
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| 4 Artistic Styles of Hellenic Greece |
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1. Archaic
2. Early Classical (Severe)
3. Classical
4. Late Classical (4th century) |
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| a youthful male figure, usually depicted nude in ancient Greek sculpture; archaic style |
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| female counterpart to the Kouros; females always dressed; archaic style |
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| a position assumed by the human body in which one part is turned in opposition to another part (more weight on one side of the body than the other); way to make figure look more NATURAL |
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| a bronze-casting method in which a figure is modeled in wax and covered with clay; the whole is fired, melting away the wax and hardening the clay, which then becomes a mold for the metal |
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| did not use a grid to map out the human body; made use of symmetry to determine proportion; classical style |
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| vase that contained water |
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| vase used for mixing wine and water |
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| pitcher for dipping mixture of wine and water |
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| drinking cup decorated inside and outside; passed around the table |
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| contained expensive ceremonial oils and perfumes |
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| characterized by capitals, columns without bases, and a frieze of triglyphs and metopes; symmetrical and simple in its lines |
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| more decorated and complicated; had a scroll at the top of the columns and a base at the bottom of the column |
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| architectural order characterized by a bell-shaped capital having carved ornaments based on acanthus leaves; even more decorative than ionic |
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| uppermost part of a column |
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| consisted of a base, shaft and capital; vertical member |
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| any crowning projection; part of the entablature |
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| part of a building above the columns and below the roof |
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| a sculptured or ornamented band |
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| square panel between the triglyphs in a doric frieze, often sculpted in relief |
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| triangular space forming the gable of a two=pitched roof in classical architecture |
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| uppermost course of the platform of a Greek temple |
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| triple projecting, grooved member of a doric frieze that alternates with the metopes |
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| spiral, scroll-like form characteristic of the ancient Greek ionic |
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| dedicated to Athena; made by Iktinos and Kallikrates; both doric and ionic order |
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| East Pediment of Parthenon |
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| depicts the birth of Athena; Zeus ate a pregnant woman and then gave birth to Athena from his head |
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| West Pediment of Parthenon |
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| depicts a competition between Athena and Poseidon for honor of being official deity of Athens; Athena won |
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| way of showing nudity without showing the naked body |
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| a female figure that functions as a supporting column |
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| the stage of an ancient Greek or Roman theatre; where the curtain is |
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| structure facing the audience and forming the background before which performances were given |
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| 7 themes of Hellenistic Era Art |
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1. individualism
2. naturalism
3. movement
4. eroticism
5. emotion
6. exoticism
7. humor |
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| pursuit of pleasure is the ultimate goal of life |
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| goal of life is to rise above pain and pleasure; endure pain for the greater good |
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| best life is a simple life, free from pain, requiring restraint and escape from struggle; accept pleasure in a balanced way |
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| quality that evokes pity or sadness; makes the audience think and feel |
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| a piece of ground surrounding or adjacent to a temple; a sacred enclosure or precinct; shape of an altar with an opening in the top for the burnt smoke of animal sacrifices to be released |
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| patterns or pictures made by embedding small pieces of stone or glass in cement on surfaces such as walls or floors |
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| tiny stones or pieces of glass cut to the desired shape and size to form a mosaic |
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| representation of exact reality; making things look as realistic as possible |
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| use of perspective to represent in art the apparent visual contraction of an object that extends back in space at an angle to the perpendicular plane of sight; shows depth |
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| gradations of light and dark within a picture, especially one in which the forms are largely determined, not by sharp outlines, but by meeting of darker and lighter areas; 3D looking object; shows depth |
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| everything has a function |
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| city layout based on a grid system |
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| a city block used in grid plan |
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| a curved structural member that spans an opening and is generally composed of wedge-shaped blocks that transmit the downward pressure laterally |
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| weddge-shaped block used in construction of a true arch |
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| central voussoir that sets the arch |
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| a deep, uninterrupted series of arches, one behind the other, in an oblong space |
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| formed at the point at which two tunnel vaults intersect at right angles |
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| developed by the Romans; they put marble on top of it |
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| an artificial channel carrying a waterway over a valley or other gap |
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| hot baths used for public bathing |
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| tepid pool bath (room temperature water) |
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| a Roman building type resembling two Greek theatres put together. The Roman amphitheater featured a continuous elliptical cavea around a central arena; Colleseum |
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| public square of an ancient Roman city; shopping, libraries, temple, basilica (law court), restaurants |
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| round central opening of a dome (in Pantheon) |
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| a sunken panel in a vault or a ceiling |
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| depiction of a person on horseback |
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| male head of a family or household |
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| court of a Roman house that is partially open to the sky |
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| a row of columns surrounding a court or internal garden |
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| tries to convince the viewer that the image is real and not painted |
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