1. APAH
Get the papers you need from the front of the room and get out some notebook paper.
Glenna 16) Kathryn 31) Tyler
Arnav 17) Eddie 32) Gannan
Leticia 18) Nicole
Ashlee 19) Tyler
Rachel 20) Krishone Table:
Justin 21) Chelsea Darrian
Alice 22) Christopher
Sarah 23) Kayla
Whitney 24) Joseph
Lauren 25) Phaedra
Skylor 26) Logan
Gaines 27) Marylynne
Chasitie 28) Cameron
Saul 29) Ricky
Taylor 30) Eric

2. Agenda Announcements/Discussion/Homework in Box Opener: Class work:
Reading quiz
Class work:
Sketchbook Introduction
Power and Mesopotamian Art
Closure
The questions historians ask

3. Sketchbook Assignment

4. Sketchbook Assignment: Mind Mapping
Mind mapping is a non- linear, graphic way of organizing information.
It allows you to focus on the relationships between ideas. It may also be something you have never tried before
It is the pictorial brainstorm for your required essays

5. Sketchbook Assignment: Mind Mapping- How To
1) Identify the Central Concept
Requires you to analyze the connection between Ancient, Western, Non-Western, and Contemporary art through a theme (i.e., view of women, power and art, etc.)
2) Write down the main points
Identify ideas and issues that you think could be important to the central concept through summarizing.
3) Make Connections
Once you have identified how each piece illustrates the theme, analyze the similar/different elements in each piece and its interpretation of the theme
4) Be creative- add visual interest
Draw your reader in to your sketchbook through the use of pop-ups, color, layering, etc. Make your argument interactive
It is ok to draw on the image (use both printed and sketched images)

6. Sketchbook Examples
Distribute rubric

7. Sketchbook topics for this unit:
The Ancient Near East
Egypt
In art, war is often the subject of a work. Discuss how The Standard of Ur and Picasso’s Guernica depict war citing all symbolic representations and interpretations of war and society.
Cultures often create sculptures that illustrate the values and beliefs of their society. Discuss how the Seated Scribe, from Saqqara, Egypt, Fourth Dynasty and an image of the meditating Buddha depict the human body in art citing all symbolic body representations.

8. The Ancient Near East

9. The Ancient Near East Mesopotamia:
Region that gave birth to three modern faiths- Judaism, Christianity, and Islam
First Neolithic Revolution:
Hunter and gatherer to farmer and herder

10. Mesopotamian Culture and History
Sumerians BCE
Akkadians
Neo-Sumerian and Babylonians BCE
Assyrian
Took their name from Assur (city) named for Ashur (King of Assyrian gods). At height, their empire extended from the Tigris River to the Nile and from the Persian Gulf to Asia Minor
Empire was never secure- began to disintegrate with Ashurbanipal’s reign, Medes onslaught from the east, and resurgent Babylonians from the south
Neo-Babylonian and Persia
Neo-Babylonians conquered the Assyrian empire.
Most important king, Nebuchadnezzar’s restoration of Babylon can be seen in the construction of two of the Seven Wonders of the world
Persians were conquered by Alexander the Great in 330 BCE.

11. Power and Art
What is the relationship between power and art?

12. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Sumerian Art
The first city states, city planning, and organized religion are attributed to Sumer. Explore how the art – and architecture – are effected.

13. * City-states under the protection of individual deity
Sumerians BCE
* Transformed the Tigris and Euphrates valleys into the Fertile Crescent
* City-states under the protection of individual deity
* Innovations: specialization of labor, city-states, cuneiform, ziggurats
* Area conquered by Sargon of Akkad
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Sumerian Art
The first city states, city planning, and organized religion are attributed to Sumer. Explore how the art – and architecture – are effected.

14. White Temple and ziggurat, Uruk (modern Warka), Iraq, ca. 3200–3000 BCE.

15. White Temple of Uruk
Ziggurat: In Mesopotamian architecture, a monumental platform for a temple
temple closer to the heavens; to connect heaven and earth
“House of the Platform between Heaven and Earth”
Sacred architecture

16. Reconstruction drawing of the White Temple and ziggurat, Uruk (modern Warka), Iraq, ca. 3200–3000 BCE.

17. White Temple and ziggurat Uruk (modern Warka) Iraq
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
White Temple and ziggurat
Uruk (modern Warka) Iraq
ca. 3,200-3,000 B.C.E.
mud brick

18. White Temple and ziggurat Uruk (modern Warka) Iraq
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
White Temple and ziggurat
Uruk (modern Warka) Iraq
ca. 3,200-3,000 B.C.E.
mud brick

19. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

20. from Tomb 779, Royal Cemetery Ur (modern Tell Muqayyar) Iraq
Standard of Ur
from Tomb 779, Royal Cemetery Ur
(modern Tell Muqayyar) Iraq
ca. 2,600 B.C.E.
wood, shell, lapis lazuli, red limestone
approximately 8 x 19 in.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

21. The Standard of Ur Original function is not understood
Current appearance is a reconstruction
Main panels- War and Peace
War- Sumerian army
Peace- good brought to a banquet
Question: Describe the war side and peace side of the Standard and discuss what stories (“narrative”) is told by them. What would have been the purpose of such a stele?
Students should be familiar with this famous tablet and be able to discuss this early example of historical narrative.

22. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Standard of Ur (war side) from Tomb 779, Royal Cemetery Ur (modern Tell Muqayyar) Iraq
ca. 2,600 B.C.E.
wood, shell, lapis lazuli, red limestone
approximately 8 x 19 in.

23. Standard of Ur (peace side)
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Standard of Ur (peace side)
from Tomb 779, Royal Cemetery Ur (modern Tell Muqayyar) Iraq
ca. 2,600 B.C.E.
wood, shell, lapis lazuli, red limestone
approximately 8 x 19 in.

24. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Akkadian Art
Explore how art is used to express political ideas of kingship and territory in the ancient Akkadian and Neo-Sumerian cultures.

25. Akkadians
* Called themselves kings of the world; leaders assumed divine attributes
* Innovations: cast hollow-life size bronze sculptures, place figures at different levels in a landscape
* The united Third Dynasty of Ur fell to the Elamites.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Akkadian Art
Explore how art is used to express political ideas of kingship and territory in the ancient Akkadian and Neo-Sumerian cultures.

26. Victory stele of Naram-Sin from Susa, Iran
ca. 2,254-2,218 B.C.E.
sandstone
79 in. high
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

27. Victory Stele of Naram-Sin
depicts the king’s defeat of the Lullubi peoples of present-day Iran
damaged at the top and the bottom
made of pink limestone
Akkadian kings ruled with absolute authority
How is the king’s victory shown in this work?
rejected traditional division of carvings in layers…

28. Victory stele of Naram-Sin from Susa, Iran
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Victory stele of Naram-Sin from Susa, Iran
ca. 2,254-2,218 B.C.E.
sandstone
79 in. high

29. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Neo-Sumerian Art

30. Neo-Sumerian and Babylonians 2150-1600 BCE
* Ruling style returned to city-states
* Largest ziggurat built at Ur, Gudea of Lagash built several temples with votive offerings of himself to the Gods, Hammurabi creates his law code
* The Elamite capital, Susa, was sacked by the Assyrians in 641 BCE.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Neo-Sumerian Art

31. at Ur (modern Tell Muqayyar) Iraq
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Ziggurat
at Ur (modern Tell Muqayyar) Iraq
ca. 2,100 B.C.E.
mud brick

32. Ziggurat at Ur Ziggurat
Built by Ur-Nammu to help rebuild the economy during the Third Dynasty of Ur
Part of temple complex that served as an administrative center for the city
also was a shrine to the moon god Nanna, the patron deity of Ur
Was restored in the Neo-Babylonian period
Only the foundation survives
lowest level is original construction; upper two levels are Babylonian restorations
1. Nanna Ziggurat at Ur (Iraq, 2100 BCE.) (Gardner FIG. 2-15)
Question: Name this type of structure. How does its design help make it a “sacred place” to the culture that built it? (5 minutes.)
Students should be able to describe the physical properties of the ziggurat and discuss how its size and shape lent itself to be a temple for worship.

33. at Ur (modern Tell Muqayyar) Iraq
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Ziggurat (restored)
at Ur (modern Tell Muqayyar) Iraq
ca. 2,100 B.C.E.
mud brick

34. Ziggurat (northeastern facade with restored stairs), Ur (modern Tell Muqayyar), Iraq, ca. 2100 BCE.

35. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Explore the Code of Hammurabi, how it is expressed in art and why it contributes to cultural understanding in the ancient Near East.
Babylonian Art

36. Stele with code of Hammurabi from Susa, Iran
ca. 1,780 B.C.E.
basalt
88 in. high
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

37. Hammurabi’s Code Stele (pl. stelae): a carved stone slab
used to mark graves/to commemorate
historical events
Hammurabi: Babylon’s greatest king( BCE)
Most complete legal document of Antiquity
Three parts:
Historical prologue: Hammurabi as the protector of the weak and oppressed
Lyrical epilogue: the work and its influence on the future
laws written simply to be understood by all
Question: “Identify this stele. What is the story being told and how did the artist portray the status and power of Hammurabi?”
Students should recognize that the goddess Ishtar is granting power to the King. This stele not only codified the laws but also cemented the supposed relationship between the King and deity.

38. Stele with code of Hammurabi from Susa, Iran
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Stele with code of Hammurabi
from Susa, Iran
ca. 1,780 B.C.E.
basalt
88 in. high

39. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Sasanian Art
Explore how the Persian art and the later Sassanian art is different from other art of Mesopotamia.

40. Palace of Shapur I from Ctesiphon, Iraq ca. 250 C.E.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Palace of Shapur I
from Ctesiphon, Iraq
ca. 250 C.E.

41. Palace of Shapur ruined today
1880 earthquake
Central figure is monumental brick audience hall covered by barrel vault that comes almost to a point
Blind arcades across the façade
is an arcade that is composed of a series of arches that has no actual openings and that is applied to the surface of a wall as a decorative element: i.e. the arches are not windows or openings but are part of the masonry face

42. Palace of Shapur I from Ctesiphon, Iraq ca. 250 C.E.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Palace of Shapur I
from Ctesiphon, Iraq
ca. 250 C.E.

43. Palace of Shapur I, Ctesiphon, Iraq, ca. 250 CE.

44. Triumph of Shapur I over Valerian, rock-cut relief, Bishapur, Iran, ca
Triumph of Shapur I over Valerian, rock-cut relief, Bishapur, Iran, ca. 260 CE.

45. Summarizing Thought:
How is art used to show power in Ancient Mesopotamia?

46. Exit Slip- Power and Art
On your own, decipher a painting/sculpture, etc., assigned to you. Explain reasoning!
How old is the work? How do you know?
Physical evidence? Documentary Evidence? Internal Evidence?
What is its style?
Period Style? Regional style? Personal style?
What is the subject?
Genre? Portraiture? Landscape? Still Life? Iconography?
Who made it?
Attribute? School?
Who paid for it?
Patron?
DO not turn in until
told to do so

47. Credits William V. Ganis, PhD
Gardner’s PowerPoint, chapter 2, 13th edition