Term
|
Definition
| cutting into a material, such as stone or wood, to create a sculpture |
|
|
Term
|
Definition
| building a sculpture on an armature or framework; casting (e.g. in bronze) or using plastics, clay, or other flexible material. |
|
|
Term
|
Definition
| a temple tower in the form of a truncated pyramid built in diminishing stages, each stage being reached by ramps. |
|
|
Term
|
Definition
| the incline or sloped sides of a wall |
|
|
Term
|
Definition
| notched or indented, usually with respect to the tops of walls(such as battlements) |
|
|
Term
|
Definition
| belief in many ( not all) gods |
|
|
Term
|
Definition
| a group of persons organized according to rank, capacity, or authority, or a body of entities arranged in a graded series |
|
|
Term
|
Definition
| an upright, carved stone slab used as a grave marker and to commemorate historical events |
|
|
Term
|
Definition
| in sculpture, figures or designs projecting from a background of which they are a part; the degree of carving or modeling may vary from low to high; there are 3 types |
|
|
Term
|
Definition
| shallow(low) carving where the design barely projects from its background |
|
|
Term
|
Definition
| (also known as intaglio or hollow-relief) when the artist cuts the design into the surface so that the image's highest projecting parts are no higher than the surface itself; often the elements of the composition sink beneath the plane; notably associated with inscriptions in ancient cultures |
|
|
Term
|
Definition
| deep carving in which the design projects quite far from its background |
|
|
Term
|
Definition
| a device for suggesting depth by representing a figure or object at an angle, rather than frontally or in profile(e.g. an angel flying, or a figure lying on the ground); the reduction in the size of figures or objects in direct ratio to their distance from the picture plane |
|
|
Term
| hieroglyphs(hieroglyphics) |
|
Definition
| a system of writing/ commmunicatin using pictures and/ or sounds; could be used horizontally or vertically; meant to communicate with the gods |
|
|
Term
|
Definition
| system for determining the sizes of figures and/ or objects in a work of art, relative to the sizes of figures and objects in the real world |
|
|
Term
|
Definition
| one system for determining the sizes of figures and/or objects in a work of art used consistently throughout-e.g. if a one foot figure in the work of art stands for a six-foot man in the real world, this size relationship in consistently applied throughout the work (thus, all objects and/or figures "make sense" in comparison to one another) |
|
|
Term
|
Definition
| more than one system for determining the sizes of figures/ objects in an artwork, often based on the importance of certain figures; some will appear unnaturally smaller or larger than others |
|
|
Term
|
Definition
| a part considered in relation to whole |
|
|
Term
|
Definition
| a set of rules that governed the relationship of all body parts |
|
|
Term
|
Definition
|
|
Term
|
Definition
| the immortal human "substance;" the "other feld" that was present since birth; this concept is similar to the Western idea of the spirit |
|
|
Term
|
Definition
| the open or empty space enclosed by positive mass; most associated with sculpture |
|
|
Term
|
Definition
| things as they "should be;" perfection according to the standards of a given time period |
|
|
Term
|
Definition
| things as they really are; when an artist tries to capture, to the best of his ability, what something actually looks like, including its flaws and imperfections |
|
|
Term
|
Definition
| rendering something something in a believable or life-like way |
|
|
Term
|
Definition
| a mural painting technique involving permanent (limeproof) pigments on a freshly dried lime paster wall |
|
|
Term
|
Definition
| a two-handled jar used for general storage purposes, usually for wine or oil |
|
|
Term
|
Definition
| involves the technique/style of decorating Greek ceramic vases where the design was painted in black glaze directly on the clay, which was usually reddish-brown in color; inner details were drawn by scratching (incising) through the black glaze |
|
|
Term
|
Definition
| refers to the technique/ style of Greek vase painting developed after black-figure vase painting where black glaze was painted around the forms and figures of the reddish-brown clay, with inner details painted in; characteristic of the finest Greek vases |
|
|
Term
| bilingual pottery(singular =bilingual vase) |
|
Definition
| describes a type of terracotta pottery that uses a dual "language" or technique where one side features the old black-figure painting style and the other side features the new red-rigure style sometimes showing the same scene. |
|
|
Term
|
Definition
|
|
Term
|
Definition
| "sculpture in the round," carved or modeled in three dimension so that, if desired, it can be a viewed from all sides. |
|
|
Term
|
Definition
| mixing pigments with wax, applied hot for binding strength |
|
|
Term
|
Definition
| often called weight shift because the weight of the body tends to be thrown to one foot, creating tension on one side of the body and relaxation on the other; the disposition of the human figure in which one part(e.g. hips and legs one way, shoulders and chest another), creating a counter positioning of the body about its central axis |
|
|
Term
|
Definition
| often called weight shift because the weight of the body tends to be thrown to one foot, creating tension on one side of the body and relaxation on the other; the disposition of the human figure in which one part(e.g. hips and legs one way, shoulders and chest another), creating a counter positioning of the body about its central axis |
|
|
Term
|
Definition
| the ancient Greeks considered beauty to be a matter of correct proportions(or parts of the body related to the whole); Polkyleitos wrote a system of rules for this (now lost), the most noted rule of which was a head-to-body ration of 1:7 |
|
|
Term
|
Definition
| a single row of columns surrounding a building |
|
|
Term
|
Definition
| refers to a portico with eight columns across the front |
|
|
Term
|
Definition
| a relationship of building parts though to be the most beautiful 2x+1/x |
|
|
Term
|
Definition
| the covered entrance to a building, containing columns and a pediment (as in a temple front) |
|
|
Term
|
Definition
| the main body of a classical temple (containing the cult image), as distinct from the portico, etc. |
|
|
Term
|
Definition
| an upright member, circular in plan and usually tapering slightly; in classical architecture it consists of base,shaft, and capital; it is usually designed to carry an entablature |
|
|
Term
|
Definition
| the trunk of a column, between the base and capital |
|
|
Term
|
Definition
| the trunk of a column, between the base and capital |
|
|
Term
|
Definition
| shallow concave grooves, running vertically, usually on the shaft of a column or pilaster |
|
|
Term
|
Definition
| the head or crowning feature of a column |
|
|
Term
|
Definition
| characterized by unadorned capitals, columns without bases, and a frieze of trigylphs and metopes |
|
|
Term
|
Definition
| features crowning volutes 9scroll-like shapes), columns with bases, and an uninterrupted frieze |
|
|
Term
|
Definition
| consists of a double row of acanthus leaves from which tendrils and flowers grow around a bell-shaped crown; strictly speaking there is no Corinthian order; rather, this style of capital can be used on the Ionic order |
|
|
Term
|
Definition
| the part of a building above the columns and below the roof; it contains three parts: architrave, frieze, and cornice |
|
|
Term
|
Definition
| the part of a building above the columns and below the roof; it contains three parts: architrave, frieze, and cornice |
|
|
Term
|
Definition
| the lintel or lowest of the three main parts of the entablature |
|
|
Term
|
Definition
| the part of the entablature between the architrave and the cornice; may also refer to any sculpted or ornamented band in a building or on furniture |
|
|
Term
|
Definition
| contains alternating triglyphs(vertical grooves) &metopes (block, plain or sculpted) |
|
|
Term
|
Definition
| contains a continuous (uninterrupted) block of stonework that may be plain or sculpted |
|
|
Term
|
Definition
| the projecting, crowning member framing the pediment; also any crowning projection |
|
|
Term
|
Definition
| in classical architecture, the triangular space (gable) at the end of a building , formed by the ends of the sloping roof above the colonnade; also an ornamental feature having this shape |
|
|
Term
|
Definition
| very subtle curves and spacing differences used to make the Parthenon (and some subsequent structures) look perfect: the stylobate and entablature are convex; and the columns tilt inward, are not uniformly spaced (closer at the corners), are not the same diameter (slightly larger at the corners), and they have entasis |
|
|
Term
|
Definition
| a slight convex tapering (an apparent swelling) in the shaft of a column; used on Greek and later columns to correct the correct the optical illusion of concavity which would result if the sides were straight |
|
|
Term
|
Definition
| a real event which took place every four years, where Athenians gathered in the agora (market place) and, among other things, carried a robe to the statue of Athena |
|
|
Term
|
Definition
| a technique of sculpting where the drapery almost appears to be wet and clings to reveal the various shapes of the body underneath |
|
|
Term
|
Definition
| an exaggerated version of weight shift (contrapposto) where the curve or sway of the body resembles an "S" from the frontal view |
|
|
Term
|
Definition
| (means "venus of modesty" or modest venus) the figure stands with one arm slightly flexed with her hand covering her pubic area, while her other arm is bent covering her breasts |
|
|
Term
|
Definition
| a temple with a front portico of freestanding columsn, and a series of engaged columns or pilasters surrounding the sides and back to give the appearance of a peripteral colonnade |
|
|
Term
|
Definition
| a flat , rectangular, or semi-circular vertical member projecting from a wall of which it forms a part (it usually has a base and capital, and is often fluted); a half-round column attached to a wall; it is decorative rather than structural |
|
|
Term
|
Definition
| in drawing and painting , the treatment of the use of light and dark, especially dealing with the graduations of light and dark to produce the effect of modeling |
|
|
Term
|
Definition
| belief in and worship of all gods |
|
|
Term
|
Definition
| when the horizontal arragnement of the parts of a building (as in the floor plan) radiate from a central point, often the building is round or polygonal, and domed |
|
|
Term
|
Definition
| a circular building or hall, often surrounded by a colonnade, and usually domed |
|
|
Term
|
Definition
| a hemispheric vault; theoretically, an arch rotated on its axis 360 degrees |
|
|
Term
|
Definition
| a vertical wall supporting a dome or cupola; it may be circular, square, or polygonal in plan |
|
|
Term
|
Definition
| a round window or opening |
|
|
Term
|
Definition
| a sunken panel, often ornamental, in a vault, dome, or ceiling |
|
|
Term
|
Definition
| a recess in a wall usually used for holding a statue or ornament |
|
|
Term
|
Definition
| a curved construction for spanning an opening such as a doorway, window, or portal; the shape of the curve may take many forms; a masonry arch is formed of wedge-shaped voussoirs locked in place by a center voussoir called a keystone |
|
|
Term
|
Definition
| originating in Rome, these freestanding monumental gateways were erected to commemorate victorious generals; sometimes serving as city gates, these arches were often merely decorative and richly adorned with sculptural elements [the two main types include one with a single archway and another flanked with smaller arches to each side] |
|
|
Term
|
Definition
| a low wall or storey above the main entablature of a building |
|
|
Term
|
Definition
| materials taken form an earlier monument and re-used on a new one |
|
|
