visuele kunste graad 10
TRANSCRIPT
Jhg
Ontwikkel jou eie kreatiewe interpretasie van ‘n portret met ‘n simbool. Jy
gaan ‘n portret van iemand wat jy ken vat om ‘n selfportret te maak. Met
ander woorde, jy gaan jouself in die bestaande kunswerk plaas.
AFDELING A: BRONBOEK
• Soek portrette uit verskeie eras uit. Plak afdrukke van enige VYF
portrette in jou bronboek. Skryf neer wat jy interessant oor hulle vind,
bv. hoe die figuur staan, hulle uitdrukkings, klere, ens.
• Besluit op ‘n foto van jou wat jy in die portret wil gebruik. Teken ‘n paar
vinnige oefensketse om jouself met die onderwerp vertroud te maak.
• Maak ‘n breinkaart om te besluit watter dele van die bestaande kunswerke
jy wil insluit.
• Maak ‘n finale skets om jou komposisie te finaliseer.
AFDELING B: KUNSWERK
• Grootte: A3
• Medium:
• Inhandigingsdatum:
Hoërskool Roodepoort
VISUELE KUNSTE
GRAAD 10
PAT 3
Selfportret met Simbool
VOORBEELD
RUBRIEK: AFDELING A
Gedoen Taak Sperdatum Moontlike punt
Finale punt
Navorsing 10
Duimnaelsketse 10
Breinkaart 10
Komposisie A3 20
TOTAAL 50
RUBRIEK: AFDELING B
Kriteria Moontlike punt
Finale punt
Interpretasie van projek en simbool gebruik 10
Tegniek en medium is van pas en is aan aandag gegee.
10
Formele elemente en ontwerpbeginsels is toegepas.
10
Die finale stuk is betyds, netjies en gepas vir die hoeveelheid tyd wat aan die leerders gegee word.
10
Die finaal stem ooreen met die proses in die boek, die algehele indruk van die werk.
10
TOTAAL 50
Jhg
Develop your own creative interpretation of a portrait with a symbol. In
this task you are going to take a portrait of a well-known artist and
integrate it with your own self portrait. In other words, you are going to
place yourself in an existing portrait.
SECTION A: SOURCE BOOK
• Do research on portraits from different time periods. Paste any FIVE of
these portraits into your source book. Write down what you find
interesting or appealing about these works, for example the techniques,
the clothes, etc.
• Decide on a photo of yourself that you want to paint. Draw a few
thumbnail sketches to make yourself familiar with the subject material.
• Make a mind map to decide on the elements you want to include in your
portrait.
• Make a sketch of your final composition.
SECTION B: ARTWORK
• Size: A3
• Medium:
• Due date:
Hoërskool Roodepoort
VISUAL ART
GRADE 10
PAT 3
Self portrait with a Symbol
EXAMPLES
RUBRIC: SECTION A
Done Tasks Due date Possible Mark Final Mark
Research 10
Thumbnails 10
Mind Map 10
Composition A3 20
TOTAAL 50
RUBRIC: SECTION B
Criteria Possible Mark Final Mark
Interpretation of task and use of symbol 10
Technique and medium have been given attention 10
Formal elements and design principles have been adhered to
10
Final is on time, neat and appropriate for the time allocated 10
The final relates to the process in the book; overall impression of the work
10
TOTAAL 50
EGYPT- THE CULT OF THE DEAD
Chapter 4
Life and death were the central point of Egyptian religion. This remained unchanged for at least 3000 years
They believed they would continue a life on earth after death without the suffering
Life was spent in preparation of the next stage
Tombs and all the decorations were created to protect the deceased and were seen as more important than the house that one builds while living
In the afterlife there would be interaction between 3 emanations of spirit.
The life force of the universe that accompanied the body in life is the KA
After death the ka goes back to the creator. In order to live again the deceased has to rejoin the ka.
This spirit is sustained with food and drink (food offerings in tomb)
The BA is the personality of the person and is the link between life and afterlife.
This spirit would rejoin the mummy every day- like a daily cycle of rebirth.
When the KA and the BA rejoins, it becomes ANKH- This is like a living being.
This daily cycle of rebirth is only available to those whose lives justify it- the BA would be judged by Osiris, by balancing it on a scale against a feather, if the two did not balance there would be a second process of dying.
The book of the dead had to be taken along on the journey. Person was provided with a set of spells to recite while being judged and weighed to ensure successful outcome. It also contained odes to the god RA and how to deal with different dangers
THE ROSETTA STONE
The Rosetta Stone was a black basalt slab with the same piece of writing carved in three different languages
Scholars were able to make sense of the hieroglyphic version by comparing it with the Greek which they already understood
THE GODS
Anubis
a jackal.
guided the spirits of the dead
Horus
A falcon.
sky, light and
goodness
Thoth
an ibis
wisdom, writing, numbers, the arts, astronomy and magic
Apis
a bull.
strength and fertility
Sobek
a crocodile.
god of the Nile
Seth
strange composite creature- giraffe, camel, ant eater or okapi
storms and chaos
Bastet
Cat/lion.
joy, music and dancing
Khnum
A ram.
water and
creation
EGYPTIAN ART- MATERIALS AND TECHNIQUES
Egyptian artists used a wide array of materials, both local and imported, from very early in their history
There were numerous native stones used for statuary, including the ubiquitous soft limestone of the desert cliffs that line most of the Nile valley, as well as sandstone, calcite, and schist.
Most statuary was painted; even stones selected for the symbolism of their colour were often painted.
artists also used a variety of woods in their work, including the native acacia, tamarisk, and sycamore fig as well as fir, cedar, and other conifers imported from Syria. Artisans excelled at puzzling together small, irregular pieces of wood and pegged them into place to create statuary, coffins, boxes, and furniture.
They also executed pieces in various metals, including copper, copper alloys (such as bronze), gold, and silver. Cult statues of gods were made in gold and silver—materials identified by myth as their skin and bones—and were often quite small.
Jewelry work was quite sophisticated even in the Old Kingdom, as demonstrated by some highly creative pieces depicted in tomb scenes.
Relief was usually carved before being painted. The two primary classes of relief are raised relief (where the figures stand up out from the surface) and sunk relief (where the figures are cut into and below the surface).
Most pigments in Egypt were derived from local minerals. White was often made from gypsum, black from carbon, reds and yellows from iron oxides, blue and green from azurite and malachite, and bright yellow (representing gold) from orpiment.
THE FUNCTION OF EGYPTIAN ART
These images, were designed to benefit a divine or deceased recipient. Statuary provided a place for the recipient to manifest and receive the benefit of ritual action. Most statues show a formal frontality, meaning they are arranged straight ahead, because they were designed to face the ritual being performed before them. Many statues were also originally placed in recessed niches or other architectural settings—contexts that would make frontality their expected and natural mode.
Statuary, whether divine, royal, or elite, provided a kind of conduit for the spirit (or ka) of that being to interact with the terrestrial realm. Divine cult statues (few of which survive) were the subject of daily rituals of clothing, anointing, and perfuming with incense and were carried in processions for special festivals so that the people could "see" them (they were almost all entirely shrouded from view, but their 'presence' was felt).
Royal and elite statuary served as intermediaries between the people and the gods. Family chapels with the statuary of a deceased forefather could serve as a sort of 'family temple.' There were festivals in honor of the dead, where the family would come and eat in the chapel, offering food for the Afterlife, flowers (symbols of rebirth), and incense (the scent of which was considered divine). Preserved letters let us know that the deceased was actively petitioned for their assistance, both in this world and the next.
REGISTERS Scenes were ordered in parallel
lines, known as registers. These registers separate the scene as well as provide ground lines for the figures.
Scenes without registers are unusual and were generally only used to specifically evoke chaos; battle and hunting scenes will often show the prey or foreign armies without groundlines.
Registers were also used to convey information about the scenes—the higher up in the scene, the higher the status; overlapping figures imply that the ones underneath are further away, as are those elements that are higher within the register.
HIERARCHY OF SCALE
Difference in scale was the most commonly used method for
conveying hierarchy—the larger the scale of the figures, the more
important they were.
Kings were often shown at the same scale as deities, but both are
shown larger than the elite and far larger than the average Egyptian.
TEXT AND IMAGE
Text accompanied almost all images. In statuary, identifying text will appear on the back pillar or base, and relief usually has captions or longer texts that complete and elaborate on the scenes
Hieroglyphs were often rendered as tiny works of art in themselves, even though these small pictures do not always stand for what they depict; many are instead phonetic sounds.
Some, however, are logographic, meaning they stand for an object or concept.
The lines blur between text and image in many cases. For instance, the name of a figure in the text on a statue will regularly omit the determinative (an unspoken sign at the end of a word that aids identification–for example, verbs of motion are followed by a pair of walking legs, names of men end with the image of a man, names of gods with the image of a seated god, etc.) at the end of the name. In these instances, the representation itself serves this function.
PAINTING IN EGYPT- PAINTING RULES
Frontality
Proportion
Stylization
Formula
PAINTING IN EGYPT
Less prestigious works in tombs, temples and palaces were just painted on a flat
surface.
Stone surfaces were prepared by whitewash, or if rough, a layer of coarse mud
plaster, with a smoother gesso layer above; some finer limestones could take
paint directly.
Pigments were mostly mineral, chosen to withstand strong sunlight without
fading. The binding medium used in painting remains unclear: egg tempera and
various gums and resins have been suggested.
Many ancient Egyptian paintings have survived due to Egypt's extremely dry
climate. The paintings were often made with the intent of making a pleasant
afterlife for the deceased.
The themes included journey through the afterworld or protective deities
introducing the deceased to the gods of the underworld (such as Osiris). Some
tomb paintings show activities that the deceased were involved in when they
were alive and wished to carry on doing for eternity.
In the New Kingdom and later, the Book of the Dead was buried with the
entombed person. It was considered important for an introduction to the
afterlife.
Egyptian paintings are painted in such a way to show a profile view and a side
view of the animal or person at the same time. For example, the painting shows
the head from a profile view and the body from a frontal view. Their main colors
were red, blue, green, gold, black and yellow.
SCULPTURE IN EGYPT
The monumental sculptures are world-famous, but refined and delicate small works exist in much greater numbers
Other conventions make statues of males darker than females ones
The famous row of four colossal statues outside the main temple at Abu Simbel each show Rameses II, a typical scheme, though here exceptionally large.
Early tombs also contained small models of the slaves, animals, buildings and objects such as boats necessary for the deceased to continue his lifestyle in the afterworld
However the great majority of wooden sculpture has been lost to decay, or probably used as fuel. Small figures of deities, or their animal personifications, are very common, and found in popular materials such as pottery. There were also large numbers of small carved objects, from figures of the gods to toys and carved utensils
Very strict conventions were followed while crafting statues and specific rules governed appearance of every Egyptian god.
Artistic works were ranked according to their compliance with these conventions, and the conventions were followed so strictly that, over three thousand years, the appearance of statues changed very little
PHARAOH MYCERINUS AND HIS WIFE KHAMERERNEBTY
The sculpture as a group is strengthened by various rhythmic elements- both are upright, emphasising the verticality of the whole sculpture.
Vertical lines of arms, legs and torso are contrasted by horizontal lines of bodily features like king’s belt and queens arm.
Figures are very rigid and upright.
They are shown with relative simple regalia- the king has a linen headdress, a false beard (symbolising divinity), and is dressed in a royal quilt. The queen has a thin robe with thick stylised hair.
In spite of lack of decoration, their bearing is aristocratic.
Divinity is emphasised by air of “untouchability”.
ARCHITECTURE
Ancient Egyptian architects used sun-dried and kiln-baked bricks, fine sandstone, limestone and granite.
Architects carefully planned all their work. The stones had to fit precisely together, since there was no mud or mortar.
When creating the pyramids, ramps were used to allow workmen to move up as the height of the construction grew.
When the top of the structure was completed, the artists decorated from the top down, removing ramp sand as they went down.
Exterior walls of structures like the pyramids contained only a few small openings.
Hieroglyphic and pictorial carvings in brilliant colors were abundantly used to decorate Egyptian structures, including many motifs, like the scarab, sacred beetle, the solar disk, and the vulture. They described the changes the Pharaoh would go through to become a god
THE GREAT PYRAMID OF GIZA The Great Pyramid of Giza is the most substantial ancient structure in the world - and
the most mysterious- the three pyramids on the Giza plateau are funerary structures of three kings of the fourth dynasty
The Great Pyramid, attributed to Khufu (Cheops) is on the right of the photograph, the pyramid attributed to Khafra (Chephren) next to it, and that of Menkaura (Mycerinus) the smallest of the three.
The Great Pyramid was originally encased in highly polished, smooth white limestone and capped.
According to our present knowledge the Great Pyramid of Giza is mostly solid mass, it’s only known interior spaces being the Descending passage (the original entrance), the Ascending passage, the Grand Gallery and the two main chambers
These two chambers, called the King's Chamber and the Queen's Chamber, It is an Arab custom to bury men in tombs with a flat roof and women in rooms with a gabled roof;
Egyptologists assume that this was the final resting place of Khufu, yet not the slightest evidence suggests that a corpse had ever been in this coffer or chamber.
the passageway leading from the Grand Gallery to the main chamber is too narrow to admit the movement of the coffer; the coffer must have been placed in the chamber as the pyramid was being built,
The mathematical complexity, engineering requirements, and sheer size of the Giza plateau pyramids represent an enormous, seemingly impossible leap in abilities over the third dynasty buildings
Chapter 4/Hoofstuk 4
Cuneiform Clay Tablet, Mesopotamia, 5000 years old
The Greeks gave the name as a description to the area between the Tigris and Euphrates by joining the words “mesos” meaning middle, and “potamos” meaning river.
It is known today as Iraq.
It was the beginning of “civilisation” because people started cultivating food instead of gathering.
This civilization originated mainly because of the fact that farmers produced a surplus of food. This fertile stretch of land was also called the Fertile Crescent.
The communities became larger. The new “civilised” way of living gave the people time to do other things.
People started to divide themselves into groups relating to important aspects of their society, such as religion, leadership and labour.
Government, laws and formal religion also contributed to the development of writing, measuring instruments, metal work and ceramics.
Money replaced the traditional system of exchange.
The SUMERIANS are also known for their development of a system of gods whereby the relationship between mortal humans and gods were defined. Important events were recorded through cuneiform writing.
Kings were not seen as gods but rather as representatives of the gods. Any form of human power was subjected to the power of spirituality and the gods, and this had to be acknowledged by the ruling monarch.
They believed in a large variety or pantheon of gods. Each god represented one of the creative and destructive forces of nature. Each community served a different god (and that god alone), and the protection of the city was under the said god. The city was owned by this god, the holy ruler.
The priests assisted the kings in the control of the city. The hierarchy was first the god, then the king, then the priest that assists the king.
In ancient civilisations art was always influenced by religion, and made in service of it. The main idea was that art had magico-religious-properties. Art was created to honour the gods and to protect the faithful.
Art was also made to honour the kings who were the representatives of the gods on earth.
The Sumerians believed that a sculpture was not only a copy of something but had life of its own. The god that was represented by the sculpture was present in it. These representations were used to obtain the favour of the gods.
Kunsvorme word beperk deur wat beskikbaar was- hout was skaars en steenwas die tweede keuse.
Steen was ook nie in oorvloed beskikbaar nie, die doel van baie van die militere ekspidisies was om ‘n verskeidenheid stene te vind wat gebruik konword vir kunswerke.
Verskillende stene wat gebruik was: DIORIET- donker, kristalagtige rots met graniet tekstuur. Vanag Persiese Golf
ingevoer. KALK EN SANDSTEEN- vrylik beskikbaar in Mesopotamië. GIPS ALBASTER- ingevoer vanaf Assirië.
Verskillende edelstene wat gebruik was: LAPIS LAZULI- ‘n half edelsteen met ‘n helder blou kleur AGAAT- KARNEOOL-
Edelstene is gebruik om klein voorwerpe soos silinderseëls te skep en moesingevoer word van verder oos- Afganistan, India, Siberia.
Group of twelve 3D statues- consists of human figures in varying heights.
Carved out of Gypsum: a very soft mineral that is found in alabaster, used as a decorative stone in Egypt and Mesopotamia.
Largest figure: 76cm. This figure and the female figure (slightly shorter), are thought to represent gods.
The larger figures represent priests and the smaller figures represent worshippers.
The size of the statues correspond with the hierarchy in Mesopotamia.
These figures were found in the temple of Abu, the god of vegetation, and were used as special votive statues during rituals to honour the gods.
As statues were thought to have their own lives- these figures appear to be CONSTANTLY praying for the community.
The statues of Tell Asmar- physically
All the figures are rigid, up straight, looking to the front with hands clasped in front of their bodies. Poses signify praying.
Figures are motionless. One foot is slightly in front of the other. Unrealistic proportions, more attention to the heads. This is done
intentionally. The body is seen as unimportant, only there to support large head.
Faces are varied and individual, but they all seem naive. No physical distinction between male and female- difference is
identified through clothing. Men: bare chest, skirt with long fringes. Woman: larger draping covering left shoulder. Exposed areas of bodies have little detail. Large goggle eyes- attention on the gods while praying. Eye cavities: white shells+lapis lazuli or black limestone (pupils). Prominence/colour of eyes draw attention, looks alive. Hair and beards are stylised, used to be covered in bitumen. Above eyes there is a line that forms continuous eyebrow. Was
most likely filled with bitumen.
Two sets of wooden frames held mosaics together. Set in Bitumen Found in a large grave (royalty?), next to the right
shoulder of a man. The fragmented pieces was reconstructed into a box,
purpose unknown. The box is unusual. Consists of 2 large panels with
the end pieces forming triangles. Mosaic: shell from the Gulf, lapis lazuli, red
limestone, set in bitumen. Evidence of the prosperity of the community. (import and skilled craftsmen)
The two sides, dubbed the “War Side” and the “Peace Side,” tell a story read from bottom to top.
The top register on each side depicts a king, who is larger in scale than the other figures.
The Standard shows the two most important roles of an early Mesopotamian ruler: the warrior who protected the people and secured access to water and natural resources and the leader who served as an intermediary between the people and the gods.
War side Shows the defeat of some unknown enemy. At the bottom, war carts, drawn by donkeys, race with
increasing speed from left to right, trampling naked enemy soldiers.
The second register shows a phalanx of armed soldiers to the left, while on the right soldiers in a variety of poses dispatch some captives and lead others away.
The top register shows the ruler, his height exceeding the border of the field, facing right. Behind him, his cart is drawn by four donkeys alongside his attendants. In front of him, soldiers parade nude and bound prisoners.
Sources provide evidence of peaceful cooperation among city-states, they equally record conflicts, both local disputes and more wide-ranging conquests
Peace side Peace side has a completely different theme from the War side. Its two lower registers illustrate the bounty of the land. The bottom one
depicts men carrying produce in bags on their shoulders and in backpacks supported by headbands, as well as men leading donkeys by ropes.
The second register shows men leading bulls and caprids (sheep and goats) and carrying fish, presumably the produce of the pastures, rivers, and swamps.
The upper register depicts a royal banquet. The ruler, wearing a kilt composed of tufts of wool, is shown larger in scale than the others—the center of attention.
The other banqueters, who wear plain-fringed kilts, face him and raise their cups together while attendants provide food and drink.
Banqueting in early Mesopotamia usually involved music. A lyre player and a singer, distinguished by their long black hair, stand to the right of the scene.
In addition to being a warrior, the city-state’s ruler was an intermediary between the gods and the people. One of his major responsibilities was to build and maintain the temples of the city’s gods and goddesses, a responsibility that included provisioning their cults. In doing so he guaranteed the fertility of the land, which the Standard’s Peace side so vividly illustrates.
Azaria Mbatha: “The Revelation of St. John”
John MuafangejoA man is hunting an eland in forest and skinning it 1979
The Classical World-
Greece ART
Verskillende Tipes Potte
Diiferent types vases• 1. Hydra: water beker met handvatsel/ Water container with handle
• 2. Lekythos: Olie vles met lang nek aangepas vir skink/ Oil container with long neck to pour
• 3. Krater: ‘n bak vir die meng van water en wyn/ bowl to mix water and wine
• 4. Amphora: vir die stoor van items soos meel/ to store flour
• 5. Kylix: ‘n drinkbeker/ a drinking cup
• 6. Oenochoe: n water beker/ a water container
Dyplon Vase
• Up until these periods all sculptures were made of wood and nothing survived.
• The main aim of the Greek sculptors were to make images that would be permanent. (Stone and Marble)
• There are 3 main periods with a transitional period in between.
The periods: • Archaic Period (700-500 BC)• Pre Classical Period (500-480 BC)• Classical Period (450-400 BC)• Pre Hellenistic Period (400-325 BC)• Hellenistic Period (3rd century- Christian era)
ANCIENT GREECE Sculptures
The Archaic period
• Images of animals and men were subjected to sculptural re-ordering.
• Many Archaic scultptureswere similar to those of the Egyptians.
• Early figures were the Kouros and the Kore.
• (Kouros= Male youth. Kore= Maiden)
• The Kore were always clothed.
The Kouros from Tenea
(570 BC- Marble)
• Recalls Egyptian Sculpture• Frontal pose left foot advanced • Broad angular shoulders• Arms held closely and stiffly to the body, hands
clenched• No turn in the body or head (no movement)• Block like, geometric character• Shoulders, torso and knees boldly carved- shows
the Greek’s interest in anatomical structure• Head and face conform to deliberate geometric
laws and stylisation• Eyes are large and bulging• Stylised ears accentuate the more naturalistic
modelling of the nose• The mouth, which forms ‘an archaic smile’, and
the wig-like hair are decoratively treated and conform to convention
The Classical Period
• Freedom of movement in freestanding sculpture was far more difficult to achieve
• Once the cotrapposto had been perfected, the solution to the technical problems of balance and self-sufficiency were easily found
• Large freestanding figures in motion are the most important development of this period
Discobolos (450 BC- Marble)
• The problem the sculptor was confronted with was how to condense a sequence of movements into a single pose
• There is a violent twist in the torso
• The action of the arms is brought into the same place as the legs
• The movement of the athlete has been limited to one plane
• Only two distinct views are possible
• The force is concentrated between two intersecting arcs; the arms and the left leg, and the other form the one by the head, torso and the right leg
Hellenistic Period
• Greek sculptures are now being produced through a vast territory
• Many of the works of this period cannot be securely identified as to the date and the place of origin
• The sculptures show extreme movement
• The sculptures all have exaggerated facial expressions
• Theatrical quality has replaced classical calm and control
• There is a feeling that the sculptor overdid the display of his technical proficiency
Laocoon
(175-150 BC- Marble)
• There is a clear over exaggeration in the movement in the sculpture.
• There is also an exaggerated facial expression
• Theatrical characteristics takes the place of the cool and calm used in the classical period.
• There is the feeling that the artist wanted to showcase his technical skills.
THE CLASSICAL WORLD
Greece
Architecture
Architecture
Greek Orders• Refer to the entire set of form that makes up
the principal elevation of a temple. • Composed of a base, an upright column or
support with its capital, and the horizontal entablature.
• All the parts of an order are proportionally derived from the size of the base of the column.
• It determines all aspects of the elevation of a building including its shape and the arrangement and proportion of its parts
• Each order had its own conventions about the design of the entablature
• The entablature is divided into three sections; the cornices, the frieze and the architrave
• According the rules of classical architecture, the entablature should always be divisible into these three zones
THE ORDERS/STYLES
• Doric Style
• Ionic Style
• Corinthian Style
1- Doric Order• The Doric order was the earliest to be developed
• By the 6th century, a set of universal proportions for the Doric temple had been developed.
• The Doric order is made up of three elements; stylobate, Column and entablature
• The stylobate is a podium raised three steps on which the temple sits
• The Doric column is further divided into the shaft and a square capital
• It had a height of between 5 and 6 times its diameter.
• The shaft is tapered and made to bulge slightly to provide correction for optical illusion.
• The shaft is usually divided into 20 shallow flutes.
• The entablature is divided into an architrave, a frieze and the cornice.
• The Doric column represents the proportions of a man’s body, its strength and beauty.
2- Ionic Order• The Ionic order had a
capital developed from a pair of volute about two-thirds the diameter of the column in height
• Ornaments are used to decorate the area between the capital and the volute
• The Ionic column has a base
• One of the limitations of the Ionic order is that it is designed to be seen from the front only
3- Corinthian Order• The Corinthian order takes its name from
the city of Corinth in Greece• It however appeared to have been
developed in Athens in the 5th century BC• This order is similar in its proportions to
the Ionic order but has a different capital• The core of the capital is shaped like an
inverted bel. • The bell-like capital is decorated with
rows of carved acanthus leaves• The rich decorative effect of the
Corinthian capital made it attractive.• Because of its symmetry, the Corinthian
capital unlike the ionic capital is designed to be seen from all directions
• The Corinthian column, the most beautifully ornate of the three orders represents the figure of a maiden
• This order was not extensively used during the Greek period
• It became popular during the ancient Roman period
Temple Architecture• The most important Greek building
was the temple• The temple had the finest building
materials and the richest decoration. • It was also the most complex of
architectural form. • It was designed not to hold
worshippers, but as symbolic dwelling of the gods
• The temple is usually rectangular in plan
• It is lifted on a podium, and in plan has colonnades on all its external sides
The temple always faced east so that the rising sun would light the statues inside
Temples were designed to be admired from the outside rather than used
The Greek temple is believed to originate from the Mycenaean megaron
A Typical Greek Temple
A row of columns
Surrounding the temple =
Peripteral Temple
Temple placed on a
Raised surface =
Stylobate & Stereobate
Entrance to the temple only
on East or West sides
Double columns on inside to raise the roof
Pediment
Greek Architecture in Athens
The Parthenon The Parthenon was the most prominent building on the Athenian Acropolis
It was designed by Ictinus and Callicrates in 447 BC
The Parthenon is the most perfect Doric temple ever built.
It was lighter and more graceful than previous temples
It also embodies the perfection of the Greek system of proportioning
The proportions of the Parthenon are based on the proportions of a man, which is seven to one
The ideal human body was seven heads tall
Greek Architecture in Athens The Parthenon
The Parthenon is an octastyle temple with 8 columns in front and 17 columns by its side
In the Parthenon we also find the best example of the application of entasis
The Parthenon had two rooms in plan; the treasury, which is most often empty and the naos or inner sanctuary
An ivory gold statue of Athena, 11 meters tall carved by Phidas once stood in the noas or inner sanctuary of the Parthenon
The statue reached the wooden roof of the temple
Parts of the inside and outside of the Parthenon were once painted
The inside of the temple was often not used
Processions and ceremonies were held outside
The temple’s alter was placed on the Eastern side
During the Christian period, the Parthenon was used as a church
Romeinse kultuur is direk geerf van die Griekse
Hellenistiese kultuur.
Daar is baie kopiee gemaak van Griekse
beelde- dit was nie gesien as vervalsings nie.
Later het die Griekse invloed verminder en
teen die derde eeu na Christus het die Romeine
hulle eie kuns ontwikkel.
In die standbeeld van Augustus sien ons ‘n man
geklee in militere drag met ‘n manter oor een
arm gedrapeer. Die arm wat dan ook ‘n lans
vashou.
Hy staan ontspanne met sy gewig op sy
regterbeen.
Teen sy been rus daar ‘n klein naakte figuur.
Sy regter arm is gelig wat daarop dui dat hy na
iets wys.
Sy gesigsuidrukking is ontspanne en neutraal.
Dit is ‘n duidelik geinspireer deur die Griekse
beeld “Spear Carrier” (klassieke periode)
Augustus van Primaporta
20n.C
1. ENTRANCE PORCH2. VESTIBULE3. ROTUNDA
the porch retains the traditional deep columned approach of Roman temples.
as the temple was approached from the front the wide porch helped to obscure the large rotunda and make the front look like a normal temple.
the porch is more deeper than it is high (13m : 12m) and is 33.5m wide.
the front row had eightgranite columns with marble Corinthian capitals.
behind are two more rows of four columns. This creates three aisles with only one leading to the central doorway.
the other aisles lead to large niches which held statues of Augustus and Agrippa.
the central doors are bronze. the pediment of the porch
possibly contained an eagle.
the vestibule solved the problem of how to join the porch to the rotunda.
it was structurally important because it acted as a buttress (support) for the rotunda.
the back of the rotunda was buttressed by a wall of the nearby Basilica of Neptune.
focal point of the design. 44m high and about 56m wide. very deep foundations:
4.5m deep and about 7m thick. the rotunda walls are 6m thick
and help support the dome. originally the exterior walls
were stuccoed but now the walls are brick-faced concrete.
there are windows above the second cornice let light into a passage way within the wall at this level.
THE INTERIOR
THE OCULUS
THE CEILING
as the dome rose it became lighter and thinner (6m to 1m at top) to take weight off the roof.
the ceiling is coffered with five rows of recessed coffers which also decrease in size as it approaches the oculus.
the coffers are essentially decorative but have the added feature of catching the light that comes in through the oculus.
the oculus was 9m in diameter and helps lighten the weight of the dome.
THE FLOOR
there was a geometric decoration on the floor with its coloured marble circles and squares.
rain that came in through the oculus was drained off via small holes in the centre of the marble floor.
INLEIDING/INTRODUCTION
Hoofstuk/Chapter 2
Pre-historiese Kuns-Gr 10Prehistoric Art- Gr 10
Prehistoric Art• William V. Ganis, PhD
Prehistories verwys na ‘n tyd in die ontwikkeling van
die mens voor daar ‘n geskrewe taal was.
Prehistoric refers to a time in the development of
humans before there was a written language.
Dating Conventions and Abbreviations
B.C.=before Christ
B.C.E.=before the Common Era
A.D.=Anno Domini (the year of our Lord)
C.E.=Common Era
c. or ca.= circa C.=century
Pre-Historic Art in EuropeSUMMARY
Paleolithic Art - Nomadic Society.
Cave Paintings of Altamira and Lascaux.
Human & Animal Figurines (Venus of Willendorf).
Mesolithic Art – Settled Society.
A more stable, communal existence gradually supplanted the nomadic life of the
Paleolithc era.
Neolithic Art – Agrarian Society.
Introduction of Architecture.
Megaliths – Dolmens & Mehirs.
Cromlechs: Stonehenge.
The development of humans…
Steentydperk/ Stone age
Paleolitiese periode/Paleolithic period- 40 000-10 000 BC
•Die mens is ‘n swerwer wat jag en skuil in grotte/ Man is a nomad that hunts and finds shelter in
caves
• Graverings is op steen, been en ivoor. Hulle verf ook op hierdie voorwerpe./ Engraved and
painted on stone, bone and ivory.
• Eenvoudige gereedskap en primitiewe graverings./ Simple tools and primitive carvings.
• Hulle het diere velle as bedekking gedra.
Venus of Willendorf
from Willendorf, Austria
ca. 28,000-25,000 B.C.E.
Limestone, 4 1/4 in. high
Venus of Willendorf
Discuss:
•Out of what is the sculpture made?
•Where was it found?
•Why is it an important sculpture?
•Shape.
•Body.
•Face.
•Symbolic meaning.
Bespreek:
•Hoe is die beeldhouwerk gemaak?
•Waar was dit gevind?
•Hoekom is dit ‘n belangrike beeld?
•Vorm
•Lyf
•Gesig
•Simboliese betekenis
Various European “Venus” figures
What is the similarities between these “Venus” figures and
the Venus of Willendorf ?
Similarities
The head, thighs and torso are over emphasized in the oval shapes in the body. The
figures small under developed hands rests on its breasts with barely no neck and facial
features. The lines are organic. The tools used are crude and primitive. The tools were
used to cut away the stone. Could be an example of a fertility figure.
Lascaux Cave paintings- Hall of
Bulls
Lascaux, Dordogne, France
ca. 15,000-13,000 B.C.E.
pigment on stone
Great Hall of Bulls
Discuss:
•How was it made?
•Where was it found?
•Discuss common themes.
Bespreek:
•Hoe was dit gemaak?
•Waar was dit gevind?
•Bespreek die algemene temas.
Neolitiese periode/ Neolithic Period 3500- 1700 BC
•Dorpies het ontwikkel naby gekultiveerde velde./Villages developed with nearby cultivated fields.
•Die Neolitiese periode is spesifiek bekend vir sy argitektuur in die vorm van monumentele grafte
en altare wat gemaak is van groot stene wat as megaliete bekend staan./The Neolithic Period is
especially notable for its architecture in the form of monumental graves and altars made of large
stones known as megaliths.
Examples/Voorbeelde:➢Dolmen: consists of a large flat horizontal stone supported on upright
stones/ bestaan uit ‘n groot plat horisontale steen wat deur regop steneondersteun word.
➢ Menhir: a tall single stone/ ‘n lang, enkelsteen.
Neolithic Architecture: Stone henge
Stonehenge
Salisury Plain, Wiltshire, England
ca. 2,550-1,600 B.C.E.
sarsen and bluestone
Stonehenge:
•Stonehenge is a CROMLECH (circular stone construction).
•The construction of Stonehenge consists of four concentric circles of stone and a central altar.
•The outside ring consists of pairs of large monoliths with a stone lintel.
•The second ring consists of smaller Sarasin stones.
•The third ring is horse-shoe shaped and consisted of five pairs of monoliths with lintels.
•The fourth ring is also horse-shoe shaped and consists of smaller stones.
•In the middle a large horizontal rock is balanced like an altar.
•The construction displays order, symmetry and harmony .
•Stonehenge is a CROMLECH (sirkulêre steenkonstruksie).
•Die konstruksie bestaan uit vier konsentriese sirkels van steen en ‘n sentrale altar.
• Die buitenste ring bestaan uit pare groot monoliete met ‘n steenlatei
•Die tweede ring bestaan uit kleiner Sarasienstene.
•Die derde ring is in die vorm van ‘n perdeskoen en bestaan uit vyf pare monoliete met lateie.
•Die vierde ring is ook in die vorm van ‘n perdeskoen en bestaan uit kleiner stene.
•In die middel word ‘n groot horisontale rots soos ‘n altaar gebalanseer.
•Die konstuksie is ‘n uitdrukking van orde, simmetrie en harmonie.
TRADITIONAL AFRICAN ART
TRADISIONELE AFRIKA KUNS
DIE SAN/BOESMAN
Hoofstuk/Chapter 2
Die Boesman/San was die oorspronklike inwoners can Suider-Afrika en
was jagter-versamelaars wat met pyl en boog gejag, klein diertjies in
wippe gevang, en eetbare wortels en bessies geëet het. Hulle het in
rotsskuilings, in die oop veld of in ruwe skuilings van takkies en gras of
dierevelle gewoon. Hulle het geen erdewerk gemaak nie en eerder
volstruiseierdoppe of dele van diere gebruik om vloeistof in te hou.
Aangesien die Boesman heeltemal van die grond afhanklik was, moes
hulle nomadies wees. Die groepe het egter nie doelloos of sonder genade
rond geswerf opsoek na troppe bokke nie. Hulle het eerder ‘n noukeurige-
beplande jaarlikse roete gevolg wat hulle na verskillende areas van
plantkos geneem het, soos hierdie kossoorte volgens die seisoene ryp
geword het.
The Bushmen/San were the original inhabitants of Southern Africa and
were hunter-gatherers, hunting with bows and arrows, trapping small
animals and eating edible roots and berries. They lived in rock shelters, in
open or crude shelters of twigs and grass or animal skins. They made no
pottery, rather using ostrich eggshells or animal parts for storing and
holding liquids.
Because the Bushmen lived entirely off the land, they had to be nomadic.
The groups, however did not wander aimlessly or relentlessly to pursue
herds of antelope. Instead they followed a carefully planned annual route
that took them to different areas of plant food, as season by season these
food ripened.
ROTS KUNS/ ROCK ART
Important areas where this art can be found is:
Belanrike areas waar die kuns gevind kan word:
Kalahari, Cape Province, Drakensberge and Lesotho.
Egalitarian society- every one is equal. In hulle gemeenskap is almal gelyk.
Daily life and spiritual life is intertwined. Khoi-San se daaglikse lewe en hulle
spirituele lewe loop saam.
Rock paintings often describe ritualistic ceremonies and trance dances.
Rots kuns het gewoonlik rituele uitgebeeld sowel as die ‘trance’ dans.
Rock paintings is to secure a hunt, animals is asked for in paintings.
Hulle het geglo dat rots kuns ‘n jag verseker, en diere is in die kuns voor gevra.
African Rock Art
Rock art in the Sahara goes back to
about 6000 BC. This scene, dating from
2000-1000 BC, is an example of rock
painting of the Cattle period, in which
images of men with cattle are
predominant, probably reflecting the
gradual abandonment of a hunting
lifestyle for one in which domesticated
plants and animals played a more
significant part.
Afrika Rots Kuns
Die rotskuns in die Sahara dateer terug
tot en met omtrent 6000 VC. Hierdie
prent dateer terug van omtrent 2000-
1000 VC, en is ‘n voorbeeld van die Vee
periode waarin prente van mans met
beeste die prentvlak oorheers. Dit kan
dui op die geleidelike wegbreek van die
jag kultuur waar gedomestikeerde plante
en diere ‘n belanriker rol gespeel het.
Paint/ Verf•Ysteroksides wat hulle gekry het
in klippe (rooi & okergeel).
•Houtskool (swart).
•Kleigrond en voëltjiemis (wit)
•Gemeng met dievolstruiseiergeel
•Pigment in klein horinkies
verpak en om sy lyf gedra.
•Iron oxides which they found in
rocks(red and Yellow ocre)
•Charcoal
•Clay soil and bird poop
•Mixed with the yellow of an
ostrich egg
•Pigment was stored in small
buck horns and carried around
his middle.
Brushes/ Kwassies•Vere is vas geheg aan riethandvatsels
•Buigbare been- paletmesse
•Hulle het stokkies gekou (en nie stokkies gedraai!!)
•Feathers fastened to bamboo
•Bones that can easily bend was used as pallet
knives
•They chewed small sticks
Depth/DiepteThemes/Tonele
Movement/Beweging•In order to create depth they painted images over
each other.
•They showed scenes from every day life- hunting,
dance, religion, .
•Created movement in their drawings and showed
people that walks, runs men shooting arrows.
•Om diepte te verseker het hulle verskillende prente
oor mekaar geverf.
•Hulle wys tonele uit hul daaglikse lewe soos jag,
dans, godsdiens.
•Skep beweging in hulle kuns deur mense te wys wat
loop, hardloop, en pyle skiet.
WAT IS DIE FUNKSIE VAN ROTS KUNS?Die funksie van rotskuns word nou baie verbind met die
lewenstyl en oortuigings van hierdie mense. Kenners beskou
dit nie as bloot versierings nie. Hierdie jagters het respek
gehad vir hulle prooi en in sekere skildere wil dit voorkom of
hulle hulself gedeeltelik in diere verander het en selfs die
bloed van diere, soos die eland, in hulle verf gebruik het, om
mag aan hulle beelde tegee.
Daar word ook geglo dat die sjamaan rituele sou opvoer en
in ‘n beswyming voor die skilderye sou gaan. (vir reen.
Suksesvolle jag, genesing ens.)
In sekere beskuttings is daar merke of pyle naby die dier wat
aandui dat hulle jag naboots. In ander lyk dit of daar
bloedlyne is wat die diere en die mans verbind.
In ‘n voorbeeld van ‘n beswymingsdans word die figure in
kamoeflasie uitgebeeld met dierekoppe en dierevelle. Merke
soos druppels simboliseer moontlik die sweet van die danser
of die bloed (neus) van die sjamaan in beswyming.
Energielyne verbind die mens en dier. Twee stokke word ook
gebruik om aan te dui dat ‘n dier met 4 bene nader kom. Dit
kon ‘n tegniek wees wat gedurende jagtog gebruik is of kan
die transformasie tussen mens en dier weerspieel.
WHAT IS THE FUNCTION OF ROCK ART?
The function /purpose of rock art is closely tied up with the
lifestyle and beliefs of these people. Experts do not consider
them to have been mere decorations. These hunters respected
their prey and in some paintings they seem to transform
themselves partly into animals and even used blood of animals
like the eland in their paint to bring power to their images.
It is also thought that the shaman would perform rituals and go
into a trance in front of the paintings to ensure a successful hunt,
rain, healing etc. In some shelters there are marks or arrows
near the animal that suggest that they simulated the hunt. In
other paintings there seem to be “blood lines” connecting the
animals and the men.
In some examples of a trance dance, the figures are seen
camouflaged with animal heads and skins. Marks like droplets
suggest the seat of a dancer and the blood from the nose of
someone like the shaman in a trance.
Energy lines connect man and animal. Two sticks are also used
to suggest an animal with four legs. This could have been a
technique used in a hunt or the transformation between man and
animal.
DIE VERSKIL TUSSEN EUROPEENSE EN AFRIKA ROTSKUNS
THE DIFFERENCE BETWEEN EUROPEAN AND AFRICAN- ROCK ART
Subject matter–
Bison, horses, reindeer
Little evidence of
human figures
Lateral view favoured
Animals mostly
outlined
Overlapping images
Subject matter –
Eland, smaller buck,
lions, elephants,
humans, abstract
designs
Animals in natural
positions, dynamic
movement for humans
Group compositions
Palimpsests
Europe Africa
TRADITIONAL AFRICAN ART
TRIBAL ART
TRADISIONELE AFRIKA KUNS
STAMKUNS
Chapter 2/ Hoofstuk 2
Colonisation/Kolonisasie
It is important in the history of Africa. Colonisation was intensified during the Industrial Revolution in the 19th century when European countries were looking for raw materials. Africa was divided by the European countries into countries as we know them today, without considering the indigenous people. Since the 1960s African countries have declared their independence
Dit is belangrik in die geskiedenis van Africa. Kolonisasie het gedurendedie industriele revolusie in die 19de eeuplaasgevind toe Europeselande op soek was na roumateriale. Afrika is deurdie Europese landeverdeel in die lande watons vandag ken, sonderom die inheemse mense in ag te neem. Vanaf die 1960s het Afrika landehulle onafhanklikheidverklaar.
Belief systems/Geloofstelsels
Constant interaction between the spiritual
and the physical world.
The spirits need constant appeasement
and attention- ancestors play an important
role, and are worshipped in various ways.
It is believed that ancestors have the
power to influence lives.
Initiation of young boys take place away
from the villiage in secret bush camps
where the older men (wearing masks)
would instruct the boys in tribal history,
moral behaviour, traditions, skills etc.
Fertility in women and the earth was an
important factor celebrated in festivals and
carved images. The woman was honoured
for bearing the next generation of the tribe.
In recent centuries, world religions have
entered Africa (Christianity/Islam)
Konstante wisselwerking tussen die spirituele en die fisiese wêreld.
Die geeste het konstante aandag en gerusstelling nodig- voorvaders speel ‘n belangrike rol en word op verskeie maniereaanbid. Daar word geglo dat die voorvadersoor magte beskik om ons lewens tebeinvloed.
Inisiasie van seuns vind plaas in boskampeplaas, weg van die dorpie. Ouer mans dramaskers en leer die seuns oor die stam se geskiedenis, tradisies, morele gedrag, vaardighede, ens.
Vrugbaarheid van vroue en die aarde was ‘n belangrike faktor wat gevier is tydens feesteen gekerfde beelde. Die vrou word vereeromdat sy lewe gegee het aan die volgendegenerasie van die stam.
Onlangse eeue het godsdienste soosChristianity/Islam Africa binnegekom.
Afrika Beskawings/ African Civilisations
• Baie van die konstruksies, maskers en figure wat oor die afgelope duisende jare in
Afrika geskep is, het nie behoue gebly nie aangesien dit uit materiale gemaak is wat
nie duursaam is nie.
•Daar is ook nie aantekeninge gemaak nie omdat mondelingse stories gebruik is om
die geskiendenis te vertel.
•Historici was in staat om sekere sub-Sahara beskawings te identifiseer.
•Many of the constructions, masks and figures that were created during the past
thousand years in Africa have not survived because they were made of materials that
do not last.
•There were also no written records as histories were told in story form orally.
•Historians have been able to identify some sub- Saharan civilisations.
THE OLDEST OF THESE CIVILISATIONS SEEMS TO BE THE NOK CIVILISATION WHICH DEVELOPED NEAR THE NIGER RIVER, IS ESTIMATED TO BE 2500 YEARS OLD AND THOUGHT TO HAVE EXTENDED FROM 500 BC TO THE 2ND
CENTURY AD. THIS WAS ALSO THE TIME OF THE ANCIENT EGYPTIAN CILVILISATION.
THIS CIVILISATION DEVELOPED IN THE SAME NORTH
WESTERN AREA OF AFRICA FROM ABOUT THE 7TH TO
THE 11TH CENTURIES AD. THIS WAS DURING PART OF
THE MIDDLE AGES IN EUROPE.
IN SOUTHERN AFRICA A
CIVILASATION ALSO DEVELOPED
NEAR ZIMBABWE FROM THE 11TH
CENTURY TO THE 16TH CENTURY.
THE DATING OF THE LYDENBURG
HEADS IN SOUTH AFRICA INDICATES
THAT THERE WAS A CIVILISATION IN
THAT AREA DURING THE 6TH
CENTURY AD.
The largest settlement from what has been dubbed the Leopard’s Kopje culture is known as K2 CULTURE and was the immediate predecessor to the settlement of Mapungubwe. The people fromK2 culture, probably derived from the ancestral eastern Bantu or Urewe culture, were attracted to the Shashi-Limpopo area, likely because it provided mixed agricultural possibilities. The area was also prime elephant country, providing access to valuable ivory. The control of the gold and ivory trade greatly increased the political power of the K2 culture. By 1075, the population of K2 had outgrown the area and relocated to Mapungubwe Hill.
Mapungubwean society was "the most complex in southern Africa". It is thought by archaeologists to be the first class-based social system in southern Africa; that is, its leaders were separated from and higher in rank than its inhabitants. Mapungubwe’sarchitecture and spatial arrangement also provide "the earliest evidence for sacred leadership in southern Africa".
Life in Mapungubwe was centered around family and farming. Special sites were created for initiation ceremonies, household activities, and other social functions. Cattle lived in “kraals” located close to the residents' houses, signifying their value.
Most speculation about society continues to be based upon the remains of buildings, since the Mapungubweans left no written record.
The kingdom was likely divided into a three-tiered hierarchy with the commoners inhabiting low-lying sites, district leaders occupying small hilltops and the capital at Mapungubwe hill as the supreme authority. Elites within the kingdom were buried in hills. Royal wives lived in their own area away from the king. Important men maintained prestigious homes on the outskirts of the capital. This type of spatial division occurred first at Mapungubwe but would be replicated in later Butua and Rozwistates. The growth in population at Mapungubwe may have led to full-time specialists in ceramics, specifically pottery. Gold objects were uncovered in elite burials on the royal hill.
Mapungubwe
Burials at Mapungubwe Hill...
At least twenty four skeletons were unearthed on Mapungubwe hill but only eleven were
available for analysis, with the rest disintegrating upon touch or as soon as they were
exposed to light and air. Most of the skeletal remains were buried with few or no accessories
with most adults buried with glass beads. Two adult burials (labeled numbers 10 and 14 by
the early excavators) as well as one unlabeled skeleton (referred to as the original gold
burial) were associated with gold artifacts and were unearthed from the so called grave area
upon Mapungubwe hill. The remains were all buried in the traditional Bantu burial position
(sitting with legs drawn to the chest, arms folded round the front of the knees) and they were
facing west. The Skeleton numbered 10, a male, was buried with his hand grasping the
golden Scepter.
The skeleton labeled number 14 (female) was buried with at least 100 gold wire bangles
around her ankles and there were at least one thousand gold beads in her grave. The last
gold burial (male), who was most probably the King,was buried with a headrest and three
objects made of gold foil tacked on to a wooden core-a bowl, scepter and rhino. At least two
more rhino were in the sample, but their association with a specific grave is unknown.
Mapun
gubw
e-
GO
LDEN
RH
INO
The Gold Rhino from a burial site on Mapungubwe hill
AFRICAN MASKS/ AFRIKA MASKERS
“Dogon Animal Masks”
“Human Masks”
Maskers is geskep om ‘n belangrike rol in ‘n ritureel of ‘n seremonie te vervul. Hulle is
ook gebruik om mense af te skrik van belangrike vergaderings.
They could represent special ancestors or spirits in a festival or ritual. When worn, the
person wearing it transforms into the personality concerned and that is why the figure is
usually completely covered.
In die westerse wereld is mense geneig om ‘n masker as versiering te gebruik, maar dit
is altyd deur die stamme tydens ‘n multi-media vertoning gebruik wat klanke, reuke,f
beweging en kostuums in sluit.
We have seen masks made of bronze and terracotta but most masks were carved out
of wood and decorated by engraving, burning, oiling and adding beads, shells, horns
and fibers.
D’Mba masks represent an ideal image of a woman at
the height of her power. The mask represents
goodness and light and when the mask is used in a
dance, it encourages mothers to have the strength to
bear children and raise them to adulthood. For this
reason, the mask was used at weddings and
thanksgiving ceremonies.
The strong male dancers wore this heavy structure
high on their heads and shoulders aided by four
supports. Hidden by a full costume of raffia and
textiles that emphasized hips, the dancers looked
through two holes between the breasts.D’Mba masks
Kunstenaars beinvloed deur Afrika-kuns
South African
European
Cecil Skotnes:
Pablo Picasso:
Pablo Picasso: