Sunday, November 29, 2015

Illuminated tughra

Who- Ottoman architect Sinan
What- Illuminated tughra
When- ca 1555-1560
Where- Constantinople, Istanbul, Turkey
Why- for Suleyman the Magnificent
How- Ink, paint, and gold on paper

Palace of the Lions

Who- Nasrids
What- Muqarnas dome, Hall of the Abencerrajes, Palace of the lions
When- 1354-1391
Where- Alhambra, Granada, Spain
How- octagonal drum, carved stucco muqarnas, rose colored stone


Dome of the Rock

Who- Abd al-Malik
What- Aerial view of the dome of the Rock
When- 687-692
Where- Jerusalem
Why- here Muhammad began his miraculous journey to heaven marks the triumph of islam
How- domed octagon 
 
Who- Muslim scribes
What- Folio from the Blue Koran with 15 lines of Sura 2,
When- 9th to mid 10th century
Where- Kairouan, Tunisia
Why- calligraphy held place of honor
How- Ink, gold, and silver on blue-dyed vellum

Christ as Pantokrator

Christ as Pantokrator, dome
mosaic in the Church of the Dormition,
Daphni, Greece, ca. 1090–1100. The image
of Christ as Pantokrator refers to his role
as the last judge of humankind

Throne of Maximianus


Throne of Maximianus, ca. 546–556. Ivory and wood, 4’ 11” X 1’ 11 1/2". Museo Arcivescovile, Ravenna.

Christ as Savior of Souls

Christ as Savior of Souls, icon from
the church of Saint Clement, Ohrid, Macedonia,
early 14th century. Late Byzantine Tempera, linen,
and silver on wood, 3’ 1/4” X 2’ 2 1/2”. Icon
Gallery of Saint Clement, Ohrid

Christ before Pilate

Christ before Pilate,
folio 8 verso of the Rossano Gospels,
early sixth century. Tempera on
purple vellum, 11” X 10 1/4”.
Museo Diocesano d’Arte Sacra,
Rossano. Vienna Genesis

Theodora and attendants

Theodora and attendants, mosaic on the south wall of the apse, San Vitale, Ravenna, Italy, ca. 547 Early Byzantine.

Annunciation, reverse of two-sided

Annunciation, reverse of two-sided
icon from Saint Clement, Ohrid, Macedonia, early
14th century. Tempera and linen on wood, 3’
1/4” X 2’ 2 3/4”. Icon gallery of Saint Clement,
Ohrid.

Saint

Saint
Apollinaris amid sheep,
apse mosaic,
Sant’Apollinare in Classe,
Ravenna, Italy

Archangel Michael

Archangel Michael, icon, from Constantinople, late 10th or early 11th century. Gold, silver gilt, and cloisonné enamel, 1’
7” X 1’ 2”. Tesoro di San Marco, Venice. from Saint Mark’s Cathedral.

Virgin (Theotokos) and Child between

Virgin (Theotokos) and Child between
Saints Theodore and George.

Katholikon

Katholikon, Hosios Loukas, Greece, first quarter of 11th century.

Micheal the Archangle

Saint Michael the Archangel, right leaf of a diptych,
early sixth century. Ivory, 1’ 5” X 5 1/2”. British Museum,
London. The model for the Archangel Michael was a winged
Victory.

Hagia Sophia

ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS, aerial view of Hagia Sophia, Constantinople
(Istanbul), Turkey, 532–537.

Friday, November 13, 2015

Chapter 8

Who- Greco Romans 
What- Christ Seated
When- 350-375
Where-from Civita Latina, Italy, ca 
Why- retain traditional greco-roman values
How- Marble




Who- Romans
What- Interior of Santa Sabina Looking northeast
Where- Rome, Italy
When- 422-432
Why- Constantine reign
How-Timber-roofed illuminated by clerestory windows corinthian columns





What- Sarcophagus of Junius Bassus 
Where- from Rome, Italy, 
When- 359
Why- Junius Bassus was baptized into Christianity just before his death 
How- Marble 





Who- Romans
What- Miracle of the loaves and fishes, 
 Where- from the top register of the nave wall (above the clerestory windows) of Sant'Apollinare Nuovo, Ravenna, Italy, 
When- ca. 504
why- tell story
How- mosaic



Who- Romans
What- Christ as Sol Invictus,
                                           where- detail of the mosaic Vatican Necropolis, Rome, Italy,
                                                           when- late third century
Why- tell story
How- mosaic









Who- Romans
what- The Old farmer Corycus, folio 7 verso 
where- of the Vatican Vergil,
when- ca 400-420
how- Tempera on parchment codex's gradual replacement of the scroll-the dominant book form in the ancient world- has been called the most important advance in book making before the invention of printing