Caves to Cathedrals

The section in Gardners’ on Predynastic and Early Dynastic Egyptian art has six figures, but two of those have multiple parts. I found that the sequence of works in Gardners’ worked well. Nevertheless, I would suggest the following improvements on the accompanying figures.

Figure 1: Plan of Hierakonpolis with Tomb 100 and the Temple of Narmer, the findspot of the Palette of Narmer, highlighted

Figure 2: Photograph of Tomb 100 in situ

Figure 3: Watercolor copy of Tomb 100 juxtaposed with a photograph of Tomb 100 in its current condition in the Egyptian Museum in Cairo

Figure 4: Palette of Narmer

Figure 5: Plan of Temple of Djoser

Figure 6: View of the Serdab relative to Stepped Pyramid

Figure 7: Seated Statue of Djoser from the Serdab

I consider Figure 3-4 – the section, plan, and restored view of a generic mastaba – out of place in this section. Also, the restored view of the mortuary precinct in Figure 3-6 adds little to actual views, and I would eliminate it. Finally, the view of the facade of the north palace certainly offers a less interesting view than that of the serdab.

Gardner’s has seven figures in its Neolithic section, not including the map. The Paleolithic section has thirteen. I would aim to create more balance between the Paleolithic and the Neolithic. A global approach to the Neolithic would also necessitate additional images. I offer this plan with all humility, as I do not specialize in prehistoric art. I welcome comments. I also wrestle with the term prehistoric and its only partial application to Bronze and Iron age civilizations. Any and all insight is welcome.

Figure 1 Plan of Ain Ghazal showing findspot of statues

Figure 2 Statue from earlier cache at Ain Ghazal, with front and side view

Figure 3 Statue holding breasts from later cache at Ain Ghazal

Figure 4 Plan of Catal Hoyuk showing locations of selected wall paintings

Figure 5 Photo of Landscape Wall Painting in situ or in museum

Figure 6 Watercolor Copy of Landscape Painting

Figure 7 Second Wall Painting in situ

Global

Figure 7 Neolithic Jade from China

Figure 8 Olmec Jade Celt (understanding the Olmec as a prehistoric Mesoamerican Civilization)

Plus Bronze Age, Prehistoric

Figure 9 Cycladic Figure shown bare and then with paint, either reconstructed or under special lighting

Plus Iron Age, Prehistoric

Figure 10 An object from the La Tene period

After describing the lesson plan for each period, I will compile a list of the works and figures that would structure my ideal survey text on that particular period.  In most cases, I do not specialize in the field and offer my choices humbly.  Please feel free to comment!

Gardner’s chapter on prehistoric art has 12 images and 1 map in the paleolithic section.  I will adhere to this quantity of material.  Since prehistoric art  is not my speciality, I will be rather generic for material with which I have insufficient familiarity.

World Map of Sites with Prehistoric Rock Painting

Figure 1      Plan of the Chauvet Cave (30th-28th C. BCE)

Figure 2      North Wall of Hillaire Chamber of the Chauvet Cave

Figure 3      Panel of the Horses in the Hillaire Chamber

Figure 4      Reconstruction of the phases of the creation of the Panel of the Horses

Figure 5     The Lion Man (30-28th millennium BCE)

Figure 6     Venus of Willendorf (28-25th millennium BCE) from front, back, side (such as in Art Across Time)

Figure 7     Rhinoceros, Wounded Man, and Disemboweled Bison from the Cave at Lascaux (15-13th mil. BCE)

Figure 8     Contextualizing view of image in Figure 7

Figure 9     An example of Saharan Rock Art (5-4th millennium BCE)

Figure 10    Rock art from Tassili n’Ajjer, Algeria (6-4th millennium BCE)

Figure 11    An example of the earliest Australian Rock Art

Figure 12    An example of prehistoric rock art in the Americas