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History of art > HoA Week 1 > Flashcards

HoA Week 1 Flashcards

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1
Q

Gregorian Calendar

A

Modern calendar based on Christ’s birth.

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2
Q

CE

A

Common Era

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3
Q

Pascal Table

A

Calendar for determining Easter dates.

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4
Q

Eastern Roman Empire

A

Greek-speaking Christian empire post-Rome’s fall.

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5
Q

Middle Ages

A

Period from 500 to 1500 AD.

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6
Q

Humanism

A

Cultural movement emphasizing human potential.

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7
Q

Isidore of Seville

A

Bishop known for encyclopedic work

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8
Q

OT Maps

A

Maps centered around Christ’s crucifixion.

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9
Q

Michelangelo

A

Renaissance artist known for realism.

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10
Q

Gumbrecht

A

Writer with narrow definition of art.

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11
Q

Art as Luxury

A

Debate on art’s necessity versus expendability.

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12
Q

Stylisation

A

Artistic expression through creative styling.

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13
Q

Brian Eno

A

Artist emphasizing art’s role in perception.

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14
Q

Flavia Julia Constantia

A

Daughter of Constantine

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15
Q

Bishop Eusebius

A

Wrote about Christ’s dual nature.

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16
Q

Hildegard Von Bingen

A

12th-century mystic with intense visions.

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17
Q

Good Shepherd

A

Early Christian symbol representing Christ.

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18
Q

Imperial Portraiture

A

Idealized representations of rulers in art.

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19
Q

Alexander the Great

A

Historical figure influencing political imagery.

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20
Q

Book of Kells

A

Illuminated manuscript depicting Christ’s death.

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21
Q

Celtic Warrior Imagery

A

Art depicting Christ as a warrior figure.

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22
Q

Pictish Symbols

A

Abstract designs from ancient Scottish culture.

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23
Q

Victory Wreath

A

Symbol of triumph associated with Christ.

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24
Q

Art and Belief

A

Interconnection between artistic expression and faith.

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25
Q

Stylistic Breaks

A

Artistic shifts noted by the 1600s.

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26
Q

European Geographic Hubris

A

Overconfidence in European cultural superiority.

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27
Q

Cultural Definition

A

Culture defined as creative arts and practices.

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28
Q

Grabar’s Theory

A

Proposed that the absence of crucifixion iconography in early Christian art was due to a lack of Roman artistic models and a focus on Christ’s glory rather than suffering.

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29
Q

Iconographic Mechanics

A

The idea that the representation of suffering in Christian art required a shift in perception from viewing the victim as dehumanized to recognizing them as sacred and victorious.

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30
Q

André Grabar

A

A scholar who analyzed the paradoxes of Christian borrowing in art and proposed theories regarding the representation of Christ’s suffering and the use of imperial iconography.

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31
Q

Early Christian Art Development

A

The period following Jesus’ death where Christian art began to emerge

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32
Q

Roman Victory Iconography

A

The use of imagery from Roman art to depict triumph

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33
Q

Transformation of Suffering

A

The shift in how suffering was depicted in art

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34
Q

Judgment and Execution

A

The representation of judicial scenes in both Roman and Christian art

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35
Q

Early Christian iconography of the crucifixion

A

Was virtually absent for nearly 200 years after Jesus’ death.

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36
Q

Crucifixion in early Christian art

A

Was not commonly depicted

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37
Q

Beheading in Roman culture

A

Was considered a more civilized form of execution compared to crucifixion.

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38
Q

Roman trophy (tropaeum)

A

Was a structure symbolizing victory

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39
Q

Tertullian’s treatise against Marcion

A

Highlights early Christian perspectives on suffering and resurrection.

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40
Q

Gemma Augustea

A

Is a significant Roman artifact depicting the emperor’s triumph over captives.

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41
Q

Tropaeum Traini (Trophy of Trajan)

A

Commemorates Trajan’s victory over the Dacians and features bound captives.

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42
Q

Cause of lack of crucifixion iconography

A

Early Christian authors focused on resurrection

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43
Q

Influence of Roman art

A

Depicted violence and triumph

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44
Q

Absence of crucifixion models

A

In Roman art led to a reliance on alternative representations of Christ’s victory over death.

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45
Q

Use of decollation in Christian art

A

Allowed for a visual connection between the suffering of martyrs and the glory of Christ.

46
Q

Depiction of Suffering in Christian Art

A

Focused on resurrection and salvation

47
Q

Execution Methods in Christian Art

A

Preferred to depict beheading as a civilized form of execution.

48
Q

Iconography Purpose in Roman Art

A

Intended to reinforce the power and triumph of the emperor and the empire.

49
Q

Justin Martyr

A

Early Christian apologist who drew parallels between the Roman tropaeum and the Christian cross

50
Q

Tertullian

A

Early Christian writer who also referenced the cross as a trophy

51
Q

Eusebius

A

Historian who transformed the Christian cross into a symbol of imperial victory and protection for the empire.

52
Q

Iconography of Suffering

A

The adaptation of Roman imperial iconography to depict Christian martyrdom

53
Q

Christian Appropriation of Roman Art

A

The process by which early Christian artists adapted Roman artistic conventions to convey Christian themes

54
Q

Legalization of Christianity (4th Century)

A

Allowed for the incorporation of traditional Roman iconography into Christian art

55
Q

Emergence of Christian Martyrdom Imagery (3rd-6th Century)

A

The gradual introduction of explicit depictions of martyrdom in Christian art

56
Q

Original Iconography

A

Depiction of vanquished figures beneath trophies.

57
Q

Christian Adaptation of Original Iconography

A

Omission or transformation of figures to Roman soldiers.

58
Q

Emphasis on the power of the victor

A

Focus on the suffering and victory of Christ and martyrs.

59
Q

Justin Martyr’s Apology

A

References the cross as a trophy.

60
Q

Eusebius’s reference to the cross

A

Refers to the cross as a ‘saving sign’ and a talisman for the empire.

61
Q

Transformation of trophy iconography

A

Occurred in the fourth century with the legalization of Christianity.

62
Q

Tropaeum

A

Refers to a Roman trophy symbolizing victory.

63
Q

Crux invicta

A

Translates to ‘unconquered cross

64
Q

Significance of the cross

A

Evolved from a symbol of execution to one of victory and resurrection.

65
Q

Justin Martyr’s writings on the cross as a trophy

A

Established a precedent for viewing the cross as a symbol of victory in Christian iconography.

66
Q

Legalization of Christianity in the fourth century

A

Allowed for the adaptation of Roman victory imagery into Christian art

67
Q

The absence of vanquished figures in Christian art

A

Shifted the focus from subjugation to resurrection and victory in Christian narratives.

68
Q

The adaptation of Roman martyrdom imagery

A

Created a new genre of Christian art that emphasized suffering as a form of victory.

69
Q

Roman Trophy Iconography

A

Depicts the vanquished to emphasize victory.

70
Q

Christian Cross Iconography

A

Omits or transforms the vanquished figures.

71
Q

Annewies van den Hoek

A

A scholar who has contributed to the understanding of early Christian art and iconography.

72
Q

John Herrmann

A

An academic known for his work on ancient pottery and its cultural implications.

73
Q

Transformation of Victim Imagery

A

The shift from depicting victims as passive and vulnerable to portraying them as triumphant and heroic

74
Q

Celebration of Martyrdom

A

The use of martyr imagery not just for commemoration but as a celebration of victory over death and suffering.

75
Q

Development of Christian Martyr Iconography

A

The evolution of how martyrs were depicted in art

76
Q

Emergence of ARS Ware

A

The production and popularity of African Red Slip ware during the third and fourth centuries

77
Q

Bowl in Mainz

A

Features a scene with a human figure enthroned

78
Q

Depiction of Thecla

A

Shows Thecla flanked by lions

79
Q

damnatio ad bestias

A

Refers to the punishment of being thrown to wild beasts in ancient Rome.

80
Q

African Red Slip ware (ARS)

A

A type of pottery produced in North Africa during the third and fourth centuries CE.

81
Q

Thecla

A

A significant Christian martyr whose iconography evolved from traditional violent imagery to represent her as a heroine.

82
Q

titulus

A

Refers to an inscription or label that often indicated the nature of a crime in ancient Rome.

83
Q

The popularity of violent imagery in arenas

A

Influenced the depiction of Christian martyrs

84
Q

The adaptation of traditional combat scenes

A

Led to the portrayal of martyrs like Thecla as victors rather than victims.

85
Q

The use of ARS ware for everyday objects

A

Allowed for the celebration of martyrdom in daily life

86
Q

Traditional Combat Imagery

A

Victims depicted as vulnerable and passive.

87
Q

Christian Martyr Imagery

A

Martyrs depicted as victorious and empowered.

88
Q

Pyis of Menas

A

Celebrates Christian saints’ humility and strength.

89
Q

Bentham’s Box

A

Contained an ancient manuscript

90
Q

Colonial Attitude

A

Disrespectful to native traditions regarding artifacts.

91
Q

Saint Columba

A

Possibly authored one of the oldest Christian manuscripts.

92
Q

Writing’s Purpose

A

Replaces human body; facilitates self-effacement.

93
Q

Augustine of Hippo

A

Criticized ornate writing; valued clarity and grammar.

94
Q

Block Capitals

A

Clear

95
Q

Illuminated Initial

A

Decorative letter blending word and image in manuscripts.

96
Q

Lindisfarne Gospels

A

Showcases artistic evolution in early medieval manuscripts.

97
Q

Runic Alphabet

A

Used in early manuscripts

98
Q

Greek Letters

A

Incorporated into Latin text for stylistic purposes.

99
Q

Self-Effacement in Writing

A

Writing preserves thoughts when speaker is absent.

100
Q

Visual Assignment

A

Writing captures and preserves human ideas visually.

101
Q

Authoritative Word

A

Written word often considered more reliable than images.

102
Q

Flatness of Surfaces

A

Emphasizes the relationship between words and images.

103
Q

Globalization of Church

A

Spread of teachings and gospels worldwide.

104
Q

Symbolism of Peacocks

A

Represent resurrection; meat preservation in manuscripts.

105
Q

Celtic Flourishing

A

Period from 350-100 AD marked by cultural growth.

106
Q

Travel in Medieval Times

A

Facilitated cultural exchange and manuscript creation.

107
Q

Elite Status Objects

A

Inspired the creation of illuminated manuscripts.

108
Q

Divine Manuscripts

A

Religious texts emphasizing spiritual significance.

109
Q

Gospel of John

A

Philosophical text emphasizing the Word (Logos).

110
Q

Materials in Manuscripts

A

Various materials used in the creation of texts.

111
Q

Materiality and Forms

A

Explores the physical aspects of manuscripts.

History of art (10 decks)

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