Unit One The Beginnings of Civilization

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Unit OneThe Beginnings of Civilization
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Primitive Art/Paleontology
Timeline of Human Events
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Hominid Species Timeline The chronological chart
below shows the main Hominid species (apes in
blue, human species in red) and their approximate
relationships in time, based on currently
available evidence. Click timeline for more
information.


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Venus of Willendorf c. 24,000-22,000 BCE
Oolitic limestone 43/8 inches (11.1 cm) high
(Naturhistorisches Museum, Vienna)

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Laugerie Basse Venus, 'Impudique' (Immodest
Venus)Discovered in 1864 by the Marquis Paul de
Vibraye. It was the first Venus figure found in
France. The Marquis was playfully reversing the
appellation of "Venus pudica" ("modest Venus")
that is used to describe a statue type of the
Classical Venus which shows, in many statues the
goddess attempting to conceal her breasts and
pubic area from view. The inference the Marquis
makes is that this prehistoric Venus makes no
attempt to hide her sexuality. This ivory venus
is 8 cm high, and has lost the head. The stomach
is flat, and could be of a young girl.


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Femme a la Corne. This low relief venus is from
Laussel, Dordogne. 44 cm (17.5 inches) high.
Musee d'Aquitane, Bordeaux. The body swells out
towards the viewer from this convex block of
limestone. It formed one of a set, a frieze which
included other female figures and a male figure.
It probably dates to 27 000 - 22 000 b.p.
Although now detached, it should be classed as
parietal (non portable, in place) rock art since
it was originally carved on a block of 4 cubic
metres (140 cubic feet). The horn and the series
of lines on it have often been linked with the
moon or menstruation.


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23,000-21,000 BC Limestone H 10.2 cm Kostenky
settlement This figurine represents the
Palaeolithic 'Venus', with overlarge breasts and
belly. The faceless head bends towards the chest
while the arms are pressed to the body with hands
on the belly. Covering the surface of the head
are rows of incisions indicating a hair style or
cap. Relief work in the form of a tight plait
convey a breast ornament tied up at the back.
There are bracelets on the arms.
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Four small venuses about 15 cm high from the open
air Avdeevo site in Russia, dating to 20 000
years B.P.
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The western edges of the Massif Central and the
northern slopes of the Pyrenees are noted for an
exceptional concentration of Palaeolithic caves.
In fact, there are no fewer than one hundred and
thirty sanctuaries, the most renowned of which is
Lascaux.
Located on the left bank of the river Vézère,
Lascaux is set a little apart from the
traditional prehistoric sites further downstream,
between Moustier and Bugue. The excellent state
of conservation of our prehistoric heritage is
due to the numerous rock-shelters and natural
caves in limestone, which dot the landscape.
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The research carried out during the past decades
has placed the iconography of Lascaux at the
beginning of the Magdalenian Age, that is, 17,000
years before today. However, certain indications,
both thematic and graphic, suggest that certain
figures could belong to a more recent period.
This is borne out by dating with Carbon 14
(around 15,000 years old)
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Cave Paintings at Lascaux, France


Map of the cave
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Great Hall of the Bulls

The wall decorations in the Great Hall of the
Bulls are the most impressive of all Palaeolithic
art. they extend on both sides of the vaulted
walls of a sloping floored rotunda. The vast
fresco, covering some twenty metres, is composed
of three groups of animals  horses, bulls and
stags. In fact these themes recur repeatedly in
the different areas of this underground
sanctuary...
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...This composition is introduced by a strange
figure, the ...
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... which seems to be chasing a herd of horses
linked with a large, partially drawn bull
towards the back of the Hall...
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...In the opposite direction, a similar
illustration made up of three more large aurochs
balances this composition...
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...The meeting point of these two groupings is a
group of small stags painted in ochre...
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...The few signs are limited to isolated or
grouped dots, often black, and to variously
coloured dashes...
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...The colour black dominates the figurative
works only the group of stags, three bovines and
four horses, of which three are incomplete, are
coloured red.
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The Painted Gallery

The Painted Gallery is justifiably considered to
be the pinnacle of Palaeolithic cave art. The
figures cover the entire upper reaches of the
walls as well as, in the first third of the
Gallery, the surface of the vault...
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...The iconography of this prehistoric "Sistine
Chapel" is based on classical prehistoric animal
themes  aurochs, horses, ibexes, a reminder of
the stag at the entrance to this gallery and at
the back, the bison.
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...This is a continuous series of important works
among which we note the Chinese Horses...
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... a triad surrounded by large red cows...
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...Further along, two panels face each other.The
one on the left is dominated by the Great Black
Bull which partially hides two red cows. At the
back a horse seems to be dashing towards the
inmost depths of the gallery...
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The Lateral Passage
This corridor, which is still relatively low, was
subsequently lowered during the early development
of the site to enable visitors to circulate more
easily. Only a few painted or engraved traces of
the iconography of this gallery survive today. Of
these, the engravings are more numerous...
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The Chamber of Engravings


The Chamber of Engravings, a rotunda which is
smaller than the Great Hall of the Bulls, stands
out because of the extremely high number of
painted and, especially, engraved figures, more
than 600 in all...
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...They cover the walls and ceiling and are in
three, tiered, sections each with its own
specific theme aurochs in the lower frieze,
then deer, then, covering the entire dome, the
horses...
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...Here there is maximum overlapping of subjects.
Superimposition, scraping, and obliteration, the
many traces of activities make it particularly
difficult to interpret the figures.
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Main Gallery


Adjacent to the Chamber of Engravings, the Main
Gallery is larger. It is made up of a series of
adjoining chambers which gradually become
smaller. The walls on either side of the axis are
perfectly symmetrical. Five panels, each with its
own characteristics, and unequally distributed on
either side distinguish this space...
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...The Panel of the Imprint is composed of
horses, bison and quadrangular signs...
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...The Black Cow Panel, more fragmented than the
Panel of the Imprint which is composed of horses,
bison and quadrangular signs, is placed after the
linear composition of seven ibexes...
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...This hieratic figure, whose lines have been
redrawn a great many times is looking towards the
back of the cave and seems to be dominating a
group of horses most of which are facing in the
opposite direction...
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...We note, at the base of the centre of this
panel, three polychromatic quadrangular signs, or
"blazons" each divided into geometric units...
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...The panel of the Back-to Back Bison completes
the panels on the left wall. It is certainly the
most typical example of the rendering of three
dimensions in this sanctuary. Reserves around the
limbs in the background, distortion of shapes,
choice of surface, symmetrical composition, are
all used to create a three dimensional effect...
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...The opposite wall features only one group of
figures, made up of stags' heads and shoulders
reflecting the preceding iconography. They have
been described by some as five stags crossing a
river, whence the name, the "Swimming Stags" for
this panel.Nevertheless, this type of
composition is not unique to the stags, several
other groups with different themes, ibex or
bulls, are similarly constructed without a
similar interpretation being proposed.
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The Chamber of Felines


At the far end of the Main Gallery a long,
straight corridor which is at times very narrow,
opens up. This is the Chamber of Felines, the
furthest recess of this site. Here, in
comparison to the big compositions in the
preceding galleries, the graphic treatment on
walls which were more difficult to access, is
more modestly proportioned...
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...The animals here are somewhat different from
what has already been described, we see horses
and bison side by side, but we also note on the
one hand the presence of six felines, and, on the
other hand, the absence of aurochs...
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...Due to the extreme fragility of the rock face
the figures are poorly preserved. As in the
Chamber of Engravings and the Main Gallery,
engraving has been used effectively for most of
the works, however, some are also painted. As in
the rest of the sanctuary, horses are the
dominant feature...
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... The decorative work ends in a double line
consisting of three sets of two red dots. On
seeing this motif we cannot help but remember the
one in black in the Scene of the Dead Man. This
graphic analogy suggests a topographical boundary
marking the extremities of the sanctuary.
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The Shaft of the Dead Man


At the back of the Chamber of Engravings the
ground falls away, giving access to the Shaft of
the Dead Man on the lower level. A descent of a
few metres is enough to reach the foot of one of
the most outstanding works of cave art The
Scene of the Dead Man. This panel's originality
lies in its narrative possibilities, expressed
just as much by the liveliness of the different
players as by the distribution of the figures and
principal themes expressed man bison,
rhinoceros...
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...This triptych centred on anthropomorphic
representation portrays the confrontation between
the man and the bison with a fleeing rhinoceros
on the left...
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...We should note the stick crowned with the
profile of a bird whose head resembles the human
silhouette a strange comparison. There are
several other secondary elements in this
composition, in particular, the hook sign, which
perhaps represents a spear-thrower, as well as a
long spear, drawn obliquely and situated level
with what has been identified as the entrails of
the disembowelled bison...
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...This animal's aggressiveness is portrayed by
the lowered head, as if it were ready to gore its
adversary, and the stiff tail.
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Stonehenge


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Timetable Time 2
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Gods of Sun, Sky, Earth, and Procreation Gods of
Life, Death, and Resurrection (Other Egyptian
Gods)

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Ankh seated with hands claspedThird Dynasty,
reign of DjoserGray porphyroid graniteHeight
62.5 cm (24 5/8 in)Width 20.5 cm (8 1/8
in)Depth 32.5 cm (12 7/8 in)Musee du Louvre,
Paris
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Relief of Hesi-reThird Dynasty, reign of
DjoserAcacia woodHeight 86 cm (33 7/8
in)Width 41 cm (16 1/8 in)Egyptian Museum,
Cairo
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Stela of King QahedjetThird DynastyFine-grained
limestoneHeight 50.5 cm (19 7/8 in)Width 31
cm (12 1/4 in)Depth 2.8 cm (1 1/8 in)Musee du
Louvre, Paris
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Relief block with the figure of Aa-akhtiLate
Third DynastyFine-grained limestone with traces
of paintHeight 184 cm (72 1/2 in)Width 83 cm
(32 3/4 in)Depth 18 cm (7 1/8 in)Musee du
Louvre, Paris
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Saqqara


The Step Pyramid of King Djoser of the Old
Kingdom
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As you enter the pyramid complex you approach the
south side of the pyramid across a great
courtyard. This courtyard used to serve as a
running field for the King's Sed Festival during
which the king would demonstrate to the people
his continuing physical prowess and ability.
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As you round the right side of the pyramid you
face its east side. In later pyramids this side
would contain the Mortuary temple. In this
prototype pyramid complex there is no Mortuary
temple.
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The north side contains the opening of the
pyramid. Throughout the pyramid age, most
pyramids would continue this pattern of an
opening on the north side. 
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At the far north of the enclosure wall are
several structures. Pictured here is the remains
of an altar.
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Here is the pyramid as it appears from the west
side.
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Standing manEarly Fourth DynastyPainted
quartziteHeight 89.5 cm (35 1/4 in)The
Metropolitan Museum of Art, New York
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Head of King DjedefreFourth Dynasty, reign of
DjedefreRed quartzite with remains of
paintHeight 26.5 cm (10 3/8 in)Width 28,8 cm
(11 3/8 in)Depth 38.5 cm (15 1/4 in)Musee du
Louvre, Paris
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The Pyramids at Giza Necropolis from a Golden Age
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Khufu
The Great Pyramid of Khufu The Great Pyramid of
the 4th Dynasty King, Khufu, was the first
pyramid constructed on the plateau and many
consider that it represents the pinnacle of the
pyramid age. This pyramid contains ascending
chambers and passageways not found in any other
pyramids. This is how it appears from the south
face.
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The Pyramid of Khafre Khafre was a son of Khufu
and his is the second largest known pyramid in
Egypt, only approximately 10 meters shorter that
the Great Pyramid. This is how the pyramid
appears from its eastern face with several tombs
in the foreground. Remnants of its original
casing are still apparent at the top of the
structure.
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The Great Sphinx The most popular and current
theory of the builder of the Sphinx holds that it
was commissioned by the 4th Dynasty King, Khafre
(2558-2532 BCE). Khafre was one of the sons of
Khufu (AKA Cheops). The Sphinx lines up with the
Pyramid of Khafre at the foot of its causeway. As
one rounds the northeast corner to the front of
the Sphinx, the alignment of the two structures
becomes more apparent.
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From the north side the profile of the Sphinx
reveals the proportion of the body to the head.
It would appear as though the head is small in
proportion to the body. Because of the changing
desert terrain, the body of the Sphinx has been
buried several times over the past several
thousand years. Most recently in 1905, the sand
has been cleared away to expose the magnitude and
beauty of the entirety of the Sphinx. The paws
themselves are 50 feet long (15m) while the
entire length is 150 feet (45m). The head is 30
(10m) feet long and 14 feet (4m) wide. Because
certain layers of the stone are softer than
others, there is a high degree of erosion that
has claimed the original detail of the carved
figure.
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The Pyramid of Menkaure Menkaure was the son of
Khafre. Although much smaller than the other two
pyramids on the plateau, the lower courses were
originally encased in granite. It has three
subsidiary pyramids and some of its Mortuary
temple remains intact.
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King Menkaure and a QueenFourth Dynasty, reign
of MenkaureGraywacke with faint remains of
paintHeight 139 cm (54 3/4 in)Width 57 cm (22
1/2 in)Depth 54 cm (21 1/4 in)Museum of Fine
Arts, Boston

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Relief of ItushFifth Dynasty, reign of
Djedkare-IsesiLimestoneHeight 42.6 cm (16 7/8
in)Width 74.4 cm (29 3/8 in)Depth 9.5 cm (3
3/4 in)Brooklyn Museum of Art
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Ni-ka-re, his wife, and their daughterFifth
Dynasty, reign of Nuiserre or laterPainted
limestoneHeight 57 cm (22 1/2 in)Width 22.5
cm (8 7/8 in)Depth 32.5 cm (12 3/4 in)The
Metropolitan Museum of Art, New York

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ScribeFifth DynastyPainted limestoneHeight 49
cm (19 3/8 in)Egyptian Museum, Cairo
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Tomb Relief -- Farming Scene Middle Era2181BC to
1782BC
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East Wall of Khumhotep Funerary ChapelDynasty 12
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Queen HatshepsutDynasty 18, c.1473-1458
B.C.Painted indurated limestoneHeight 76 3/4
in. (194.9 cm)Metropolitan Museum of Art, New
York
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Hatshepsut's Temple
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Nefertiti, Akhenten's wife.


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Tutankhamun's Solid Gold Funerary Mask1334BC to
1325BC Dynasty 18


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RobertsTemple at Abu Simbel
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Mesopotamian Art and Architecture


Mesopotamian Gods, Goddesses, Demons, and Monsters
Cuniform Writing
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Mesopotamian Art and Architecture


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Mesopotamian Art and Architecture


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Mesopotamian Art and Architecture


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Early Dynastic Sumer(2900-2370 B.C.)


Limestone and shale mosaic frieze framed in
copper from the Ninhursag temple facade
al-Ubaid. To right of farm shed temple staff
milks a cow, and to the left it strains and
stores the milk or makes butter. Ca. 2500 B.C.
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The Ziggurat of Ur Around 2100 B.C. king Ur-Nammu
built a ziggurat in honour of the god Sin(moon
god) in the city of Ur. It was called
'Etemennigur', which means 'House whose
foundation creates terror'.
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A lyre detail from the royal cemetery at Ur, ca.
2600 B.C. showing a bull's head of gold and lapis
lazuli. Partially restored (London British
Museum).
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A support in the form of a ram made of gold,
lapis lazuli, etc. on a wooden core. From the
royal tomb at Ur. Ca. 2600 B.C. It symbolizes
fertility. 50 cm. (London British Museum).

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The so-called "Standard of Ur," which was an
inlaid work found crushed in a royal tomb at Ur.
Ca. 2600 B.C. The original shape and purpose of
this object is unknown, but depicted a victory
celebration at court. Drinking wine with musical
accompaniment bringing food and booty to court
(London British Museum).
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A detail from the "Standard of Ur" showing a
fisherman


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Inlaid decoration of restored Sumerian lyre from
Ur, 2600 B.C. British Museum. The two deer
mirrored on either side of a sacred tree is a
common theme.


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During the Akkad period, cuneiform matured and
ended its use of pictographs, and also it
developed a grammar and individual perspective.
Here is such a tablet with a message signed,
"Your loving wife who has had a child."
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Classical Akkad (2370-c. 2004)

Life-size bronze or copper head of an Akkadian
king, perhaps Sargon of Akkad (2370-2316), found
as loot at Ishtar Temple in Nineveh. 30 cm.
(Baghdad Iraq Museum). Sargon I (Sharrukin),
king of Semitic Agade, created a fully developed
absolute monarchy with hegemony over surrounding
peoples.
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Impression from the cylinder seal of Secretary
Kalki. The king's brother is followed by two
officials and led by two figures, including a
soldier, which suggests a foreign expedition c.
2300 B.C. British Museum, UK.
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Fragment of an Akkadian relief showing prisoners
of war. No provenance. Iraq Museum, Baghdad.
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The Guti and rise of Girsu dynasty in Sumer (end
of 3rd millenium) Diorite statue found hear
Telloh, probably of King Gudea of Lagash. 105 cm.
tall. Le Louvre, Paris. The Sargonid era
experienced deepening contradictions associated
with the ethnogenesis of a pastoral people known
as the Guti, but then, starting with King Gudea
of Lagash, there was a Neo-Sumerian revival that
culminated in the Third Dynasty of Ur.


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Third Dynasty of Ur (c. 2112-2004 B.C.) Detail of
a reconstructed relief on the Stela of Ur-Nammu,
Ur. King instructed by seated gods to build a
temple or ziggurat. 304 cm. tall. The Sumerian
revival owed much to this king. University
Museum, Univ. of Pennsylvania, US.
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Old Babylonian period (c. 2004 - 1595 B.C.)


Old Babylonia Stele of Hammurabi bearing the Code
of King Hammurabi of Babylon. The code inscribed
on it recognized social classes and sought to
regulate private life. At the top, Hammurabi
approaches the seated sun god, Shamash, who was
also the god of justice
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One of two large guardian lions that flanked the
entrace to the main temple at Tell Harmal. Now at
the Iraq Museum, Baghdad.


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Clay plaque of a musician. About 12 cm. tall.
From the Diyala excavations of the Oriental
Institute, Chicago. The Amorites were West
Semitic Pastoralists who interacted with
Mesopotamian agriculturalists until absorbed into
the culture of Mesopotamia about mid millenium.


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Kassite Dynasty of Bablylon (c. 1720-1157 B.C.)
Boundry stones (kudurru) such as this are the
most characteristic survival of Kassite era
Babylonia. This one records a 12th century land
grant by a father to his son. In the top register
are the divinities of Sin (moon), Ishtar (planet
Venus), Shamash (sun), and horned crowns
representing Anu and Enlil and the goat-fish of
Ea. In the third register are the dragon and
spade of Marduk.
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Mesopotamian Art and Architecture


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Assyria (14th c. to 612 B.C.)

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Assyria (14th c. to 612 B.C.)


Altar of Tukulti-Ninurta I (1244-1208 B.C.), in
Ashur. The god, Nusku, is represented here on the
altar as a symbol rather than in anthropomorphic
form, which is considered an important feature of
emerging Assyrian culture
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Human-headed winged bull and winged lion
(lamassu), 883859 B.C. Neo-Assyrian period,
reign of Ashurnasirpal II Excavated at Nimrud
(ancient Kalhu), northern MesopotamiaAlabaster
(gypsum) H. 10 ft. 3 1/2 in. (313.7 cm)Gift of
John D. Rockefeller, Jr., 1932 (32.143.1-.2)

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Relief of winged god receiving jpgt-bearers. From
Palace of Sargon II (d. 705) at Khorsabad. 3 m.
tall. Reliefs are a major Assryian art form. This
example shows an aesthic movement toward
hierarchical formality. Sargon built a new
capital, Khorsabad, just north of Ninevah, but it
was abandoned after his death.
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One of a pair of monolithic hybrid collosi
lamassu guardian figures typically found at
Assyrian gateways and palaces, at citadel gate,
Khorsabad. Iraq Museum, Baghdad.
Hypernaturalistic fifth leg gives the figures two
aspects.
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Sandstone stele commemorating Assurbanipal's
rebuilding of Esaglila temple, Babylon. Ca. 672.
The king carries the materials for ritual
moulding of first brick. 37 cm. tall. British
Museum, UK. Babylon was the Assyrian base of
power and foreign expeditions.


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Map showing the expansion of the Assyrian Empire
in 7-6th century. After Seton Lloyd, The
Archaeology of Mesopotamia (Thames and Hudson,
1984).
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Neo-Babylonian Empire


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Neo-Babylonian Empire


The world seen from Babylon. Babylon is the
central rectangle through which runs the
Euphrates River, which originates in the
mountains at the top and flows into the marshes
below. This land is surrounded by the circle of
salty sea, beyond which is the land in which the
sun never sets. 12.2 cm tall. British Museum.
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Glazed brick frieze from the reconstructed Ishtar
Gate, Babylon. Lion detail. Ca. 575 B.C.
Vorderasiatisches Museum, Berlin.
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The Tower of Babel Description A Model of the
Tower with the Esagila temple and Euphrates
river.Created by unknownFound at unknown
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The Hanging Gardens An interpretation of Hanging
Gardens overlooking a classical looking Tower of
Babel.
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Persian Empire


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Aegean Art


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Cycladic Pottery


Pottery collared jar with sea-urchin-shaped body
and incised berringbone decoration. 3200-2800 BC.
Found on Antiparos
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Pottery 'sauceboat' of the Keros-Syros culture.
2700-2200 BC. From Chalandriani, Syros.
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Pottery 'hedgehog' from Chalandriani, Syros.
2700-2200 BC.
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The Lady of Phylakopi, Melos.
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Early Cycladic tomb types  Top Cist grave of the
Gotta-Pelos culture.Middle Two-storeyed grave
of the Keros-Syros culture.Bottom Corbelled
grave of the Keros-Syros culture, of the type
found on Syros.

Cycladic Sculpture
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Bone figurine of Cycladic type. 3rd millennium BC.


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Early cycladic figure types    Top types of the
Gotta-Pelos culture.Middle types of the
Keros-Syros culture.Bottom types of the
Phylakopi I culture.
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Harpist and double-flute player found together in
a single grave on Keros. 2700-2500 BC.
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Female figurine of the Folded-arms type. White
marble, 2700-2500 BC.


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Cycladic Painting


Flying Fish fresco. Phylakopi. Melos, 16th cent.
BC.
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Minoan Art


128


Spherical vase from Dimini, Late Neolithic. The
combination of spirals, curved lines, and
polygons decorating the vase are characteristic
of Late Neolithic pottery.
129
Jug from Ayios Onoufrios. Early Minoan I or
beginning of Early Minoan II, c. 2500. Clay. 


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A beaker jug in Kamares style Middle Minoan IIA,
1800 BC.


131

Snake Goddess. Crete. 1600-1580 BC. Faience. 

132


A Sphinx from Mallia. Molded clay. 2000-1550 BC. 
133

Late Minoan I or II bull's head rhyton from the
Little Palace at Knossos. c. 1500-1450 BC.
Steatite and Limestone with Rock Crystal. 

134


THE PALACE OF KNOSSOS AT CRETE
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THE PALACE OF KNOSSOS AT CRETE
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Crete. Knossos. Palace of Minos, Antechamber of
Throne Room. 16th cent. BC. 
137


"La Parisienne" on a fragment of wall-painting
from the palace at Knossos. Late Minoan IIIA,
c.1400 or later. 
138


The famous bull-leaping fresco ("Toreador
fresco") at Knossos. Restored panel, one of a
series. Probably Late Minoan II, c. 1450.
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Mycenaen Art
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The Citadel, Mycenae,1250 BC


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Reconstruction of the megaron


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Lion Gate,1300-1250 BC  front view


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Lion Gate

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back view


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Tiryns1400-1200 BC  Mycenaen citadel at
Tirynsview from the air


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MYCENAEAN TOMBS

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Treasury of Atreus  Facade of the doorway


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Mask of AgamemnonMycenae. Gold. 1550-1500 BC


149
Two gold cupsfound in a tomb at Vapheio, 15th
cent. BC.


The first cup shows escaping bull trampling his
captors
The second one shows a bull being caught
peasfully by means of a decoy cow.
150
Hexagonal gold-plated wooden box from Shaft Grave
V, Mycenaescenes of lions attacking their prey


151
Gold-hilted daggers of bronze inlaid with gold,
silver and niello. Mycenae, 16th cent. BC.


detail
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