# data[].attributes.attachment_caption
The Classical Tradition, Classical & Hellenistic Art

# data[].attributes.body
3rd-2nd Century BCE

Metropolitan Museum of Art, New York

Sleeping Eros represents the expansion of subject matter from the Classical to the Hellenistic period. While Classical art depicted mostly nude male sculptures and conveyed athletic idealism, Hellenistic art explored sculpture of women, children and the elderly, representing authentic human form and emotions. A characteristic of Hellenistic art is depicting content that is irrational or uncontrolled, as well as altered states of consciousness such as sleep or drunkeness, which applies to this particular piece. Eros, the Greek god of love, is depicted as a sleeping baby using naturalistic form and detailing. It represents the Hellenistic exploration of intimate, human emotion, even applied to Greek diety's and gods.

# data[].attributes.attachment_caption
The Classical Tradition, Parthenon & Marbles

# data[].attributes.body
447-432 BCE

Athens, Greece

The Parthenon is the most well-known building on the Athenian Acropolis. It is a symbol or democracy, western civilization, the glory of Athens and was dedicated to the goddess Athena. The Parthenon was designed by architects, Iktinos and Kallikrates, and sculptor Phidias. It is a peripteral temple, meaning that the inner cella is surrounded by structural columns. The overall plan, most columns and frieze with triglyphs and metopes are characteristic of Doric architecture, balanced with more decorative, Ionic elements as well. The triglyphs are the three small lines that create a pattern along the frieze, and the metopes are the spaces in between that have sculptural engravings. The Parthenon is made entirely of Pentelic marble, and its architecture is built with optical refinements, meaning that parts of the structure are not fully straight, but designed to appear straight.

# data[].attributes.headline
Amphora with Ajax and Achilles Playing a Board Game

# data[].attributes.subject
Amphora with Ajax and Achilles Playing a Board Game

# data[].attributes.body
Archaic Period, ca. 550-540 BCE

Athens, Greece

Vatican Museums, Rome

This blackfigure ceramic vase was created by Exekias, a famous Athenian potter and painter, and was found in the Etruscan tombs in Italy. The amphora depicts and labels Ajax and Achilles, both of whom were heroes in the Trojan War, in a balanced composition. They are dressed in their full armor, and are ready for battle, and their spears draw the viewer's eyes down to the game between them. Achilles, the figure on the left, appears taller than Ajax, indicating his superiority, and that he is winning the game. Great, intricate detail is shown throughout their clothing and armor. Minimal decoration on the top and bottom of the vase and along the handles works to emphasizes the imagery of Achilles and Ajax, and their contrasting black figures against the red ceramic. The vase is 24" H.

# data[].attributes.body
Citadel of Sargon II, ca. 720-705 BC

Dur Sharrukin, Iraq (Modern Khorsabad)

Musee du Louvre, Paris

This sculpture represents a lamassu, which is a mythical beast of Assyrian and Mesopotamian art. The lamassu is an apotropaic creature, with a human head, representing intelligence and wisdom, and the body of a lion or bull, conveying strength and protection. They are often in pairs, and mark important passageways in the citadel. This particular lamassu guards the entrance to the throne room. Its horned cap and wings represents divinity and power, and it's long beard has a traditional meaning of authority and strength. There are inscriptions carved into the stone that describe the lamassu's power and cultural purpose. The lamassu has five sculpted legs, so that four legs are visible from both the side and front view. It is a monumental sculpture made of limestone, and stands over 10 feet tall.

# data[].attributes.body
Chandela Period, Mid-11th Century

Central India, Madhya Pradesh

Metropolitan Museum of Art, New York

This sculpture demonstrates characteristics of art from the Hindu culture such as the elongated eyes, soft smile and thin eyebrows, as well as the cultural ornamentation that is often seen in depictions of Hindu deities. The dancer is dancing in honor of the gods, and represents the dancers that are believed to be at the mountains of Indra’s heavens. Her curvy, feminine figure emphasizes movement and beauty, and she is ornamented with intricately engraved jewelry with precious stones, traditional headwear, and beaded textiles. The fine, elaborate accessories indicate that the dancer is a heavenly being of the Hindu religion. The sculpture is made of sandstone, yet has a very organic, rather than rigid, form. Her arms and legs beyond her knee are broken off, yet the sculpture still has a sense of flow and motion because of her arched, contorted posture.

# data[].attributes.body
19th Dynasty, ca. 1275 BCE

British Museum, London

The Book of the Dead is a manual or collection of rituals, hieroglyphs and imagery that were believed to assist the deceased navigate the underworld and reach the afterlife. These painted papyrus scrolls consist of imagery and hieroglyphs to demonstrated an individual's identity, life span and journey to the afterlife. This particular Book of the Dead belongs to Hunefer, an Egyptian royal scribe, and depicts the last judgement before Osiris. The upper register shows Hunefer listing his good deeds to a line of seated gods, and the lower register illustrates Hunefer's judgement. Anubis, the god of death, weights Hunefer's heart with a feather, to determine how ethical of a life he lived, while Osiris, the ruler of the afterlife, sits in his throne on the left. The scroll is about 15" H.

# data[].attributes.body
Grave Circle A, c. 1550-1500 BCE

Mycenae, Greece

National Archaelogical Museum, Athens

Death masks were a traditional part of burial practices for the Mycenaeans. They were typically used for rulers or upper class individauls, and were tied with thread to the face of the deceased. The function of the mask was influenced by Egyptian culture, but the artistic style and elements differ. Mycenaean masks were created more specifically to the individual's facial features, and convey personality in contrast to Egypt's god-like ornamentation on their masks. The Mycenaean death masks also convey typical facial features found in other cultural art such as a slender nose, big eyes and bushy eyebrows, and a mustache and beard. This particular grave mask is one of six found in Grave Circle A in Mycenae, Greece. It is made of hammered gold, and its height is about 10.25". Regardless of the name of this death mask, it didn't actually belong to Agamemnon, as it dates to much earlier.

# data[].attributes.body
532-37 CE

Constantinople (Istanbul), Turkey

The Haga Sophia was designed by Mathematician, Anthemius of Tralles, and Physicist, Isodorus of Miletus. Its construction was funded by a major building program that worked to rebuild the city after the Nike Revolts in 532. The Haga Sophia is considered the Church of Holy Wisdom, and was initally built as an Eastern Orthodox Church. It is one of the largest vaulted structures in the world, with the main dome being 108' in diameter and about 180' tall. Pendentives are used for additional support of the dome, resting on continuous arches. The base is made up of 40 windows, as natural light is an important aspect in Byzantine churches. Its layout is a central plan basilica, and is constructed of masonry. The plain exterior is characteristic of the Byzantine style, while intricate mosaics and calligraphy line the interior walls. Unfortunately, many mosaics were destroyed during the time of Iconoclasm. In 1204, the Haga Sophia became a Roman Catholic Church, and later returned to an Eastern Orthodox Church. In 1453, it turned into a mosque, and since 1935, it has been functioning as a museum.

# data[].attributes.body
Umayyad Period, 687-692

Jerusalem, Israel

The Dome of the Rock is known as the first masterpiece of Islamic architecture. The purpose of its construction was to emphasize the power of the new faith of Islam. This structure highlights the art of calligraphy, geometric and vegetal motifs, and incorporates various indigenous styles, including Copic, Sasanian and Byzantine elements. All ornamentation is aniconic, meaning it doesn't include any human and animal figures. Decorative calligraphy and text from the Qur'an is incorporated in the detailed mosaics along the exterior. Interior mosaics are influenced by both Roman and Byzantine art styles. The Dome of the Rock is not a mosque, and its original function is unknown. However, its location is considered meaningful and holy by several religions. The architecture encloses rock that in the Christian religion, is believed to be where Abraham was asked by God to sacrifice his son Isaac. The Islam religion believes that this is the location where Muhammad ascended and experienced his night journey. The Dome of the Rock has an octagonal plan that surrounds the rock and demonstrates symmetry and balance.