13. • a) mãos estampadas em negativo;
• b)”Macaronis”, linhas mais ou menos complicadas feitas em
argila, feitas com instrumentos pectíneos;
• c) Animais de contornos simples (dedo na argila ou pincel
amarelo, vermelho, ou preto) e sinais tectiformes;
• d)Traço grosso e impreciso, mas com grave tom realístico.
• e) Começa-se a pintar o interior dos animais e no contraste
entre ausência e presença de cor surge sensações de volume;
• f)Fase final: bicrômia
Ciclo Aurignaco- Perigordense
30000 a 10000 aC
14. • Afirma-se que a arte deste período tinha
função ritualística, mágica do homem caçador.
• As pinturas eram feitas em lugares distantes.
• O material utilizado era pigmentos naturais e
qualquer aglutinante.
15. Ciclo Solutreo- Madalenense 15000 a
10000 aC
• Há, em seu início, um declínio da pintura,
resgatada posteriormente para alcançar o seu
apogeu com a policromia
23. • Pinturas normalmente monocromáticas e
vermelhas, Obermeier acredita que sejam
pós- glaciais. A propósito nada aparece da
vegetação franco- cantábrica. Ricas em
narrativas de combate, uma violência
interpessoal coletiva entre duas ou mais
comunidades políticas distintas,e ainda: caça,
colheita, ordenha, pesca .
24. • Depois na fase mais voltada à cerâmica,
quando há uma gradual decadência do
figuratismo e passamos a ver o
esquematismo, pois o homem tende agora a
simplificar, esquematizar, geometrizar,
substituindo, muitas vezes, as imagens visuais
por símbolos e signos.
29. ESCRITA
• Escrita pictórica: caça, colheita.
• Escrita ideográfica (caracteres e sinais) Sol = a
calor, dia. Casa = lar, clã, família.
• Escrita fonética – silábica (sinais se relacionam
com os sons emitidos).
• Escrita – civilização (impérios agrários cerca
de 3000 a.C.)
30. PERGUNTA-SE
• Suponha que o universo tenha 15 bilhões de anos de idade e
que toda a sua história seja distribuída ao longo de 1 ano — o
calendário cósmico —, de modo que cada segundo
corresponda a 475 anos reais e, assim, 24 dias do calendário
cósmico equivaleriam a cerca de 1 bilhão de anos reais.
Suponha, ainda, que o universo comece em 1.º de janeiro a
zero hora no calendário cósmico e o tempo presente esteja
em 31 de dezembro às 23 h 59 min 59,99 s. A escala abaixo
traz o período em que ocorreram alguns eventos importantes
nesse calendário
31.
32. • Se a arte rupestre representada ao lado fosse
• inserida na escala, de acordo com o período em
• que foi produzida, ela deveria ser colocada na
• posição indicada pela seta de número
• A 1.
• B 2.
• C 3.
• D 4.
• E 5.
34. ARQUITETURA
Estava ao serviço do Faraó, das divindades e dos
mortos:
• Mastabas;
• Pirâmides;
• Hipogeu;
• Templos:
» Culto aos mortos
» Consagrados aos Deuses.
35.
36. Tomb of Perneb (mastaba)
from Saqqara, Egypt
ca. 2,350-2,323 B.C.E.
limestone
approximately 16 ft. high
39. PIRÂMIDE DE ZOZER
Construída por volta de 2685 a.C.
ESTRUTURA:
•Amontoado de seis mastabas, de
60 metros de altura.
•No Interior, uma pequena
câmara selada e divisões imitando
o palácio real, com portas e
janelas
44. PIRÂMIDE DE DAHSHUR
romboidal
Dedicada ao Faraó Snofru da IV
dinastia do Império Antigo.
ESTRUTURA
• A meia altura muda a inclinação
das suas arestas, a metade de
cima parece esmagar a debaixo.
• Altura total 97 metros e de base
188 metros.
45. PIRÂMIDE
• A mastaba deu origem a construções tumulares
mais complexas.
• A partir do terceiro milênio do Império Antigo,
surgiram as pirâmides:
– Pirâmide de degraus formada por sucessões escalonadas
de mastabas, a mais conhecida é a de Zozer, construída
em Sacará por Imhotep.
• A pirâmide de degraus conheceu outra variante a
Romboidal.
• Todas estas construções evoluíram até à Pirâmide
de faces lisas, dita “perfeita”.
46. PIRÂMIDE DE QUÉOPS antigo império
ESTRUTURA
• Base quadrada, de 52.900 m2
faces com um ângulo de
inclinação de 52º graus.
• 146,6 metros de altura, as
paredes eram lisas, revestidas a
calcário branco ou granito.
• Superfícies laterais orientadas
para os pontos cardeais.
• Entrada a 16 m do solo, virada
para norte.
47. Grandes Pirâmides
Gizeh, Egypt
Pyramids of Menkaure, ca. 3,000-2,920 B.C.E.; Khafre, ca. 2520-2494 B.C.E.;
Khufu ca. 2551-2528 B.C.E.
limestone
largest (Khufu) approximately 450 ft. high
48.
49.
50. Sesheps, a esfinge de Gizé
Gizeh, Egypt
ca. 2520-2494 B.C.E.
sandstone
approximately 65 ft. high
65. HIPOGEU
• A partir do Império Novo, a corte Faraônica
mudou-se para o Alto Egito, os túmulos dos reis,
rainhas e príncipes passaram a localizar-se nos
flancos rochosos das estreitas margens do Nilo.
• A mais bela sepultura deste tipo pertence à
rainha Nofertari.
• Estas obras para a vida “post mortem” foram
criadas segundo projetos que obedeciam a
rigorosas concepções astronômicas e estéticas.
66. PLANTA E CORTE DO HIPOGEU DA RAINHA
NOFERTARI
ESTRUTURA.
a) Escadaria com 18 degraus, talhada no calcário
da montanha.
b) Antecâmara com 5.30m de lado que servia para
colocar os objectos e mobiliário.
c) Anexo
d) Sala rectangular de 5 por 3m.
e) Rampa de 7 m com 18 degraus e um desnível de
3.50m.
f) Pequenas divisões anexas.
g) Divisão para o sarcófago ou sala dos pilares.
h) Pequeno nicho.
72. TEMPLOS
• Os templos para culto aos mortos (templos
funerários)
– eram capelas mortuárias construídas na proximidade
dos túmulos dos Faraós. Erguidos na margem poente do
Nilo, abrigavam o Deus Rá, serviam para “a ascensão”
pessoal do soberano e para lhe prestar culto.
• Os templos consagrados aos deuses.
– Eram erguidos do lado nascente do rio e no dia do
aniversário do deus a quem era dedicado o templo a sua
estátua saia da cella e mostrava-se ao povo, numa
procissão.
73. PLANOS DE UM TEMPLO
• INTERIOR
– GRANDE PÁTIO – rodeado por colunas, Peristilo
que se destinava ao povo.
– SALA HIPÓSTILA – o teto era sustentado por um
grande número de colunas, estas salas eram
reservadas ao sacerdotes.
– SANTUÁRIO – continha a estátua do Deus, onde o
sumo-sacerdote ou o Faraó entravam.
74. Templo de Ramses II
from Abu Simbel, Egypt
ca. 1290-1224 B.C.E.
colossi approximately 65 ft. high
75. Templo de Ramses II
from Abu Simbel, Egypt
ca. 1290-1224 B.C.E.
colossi approximately 65 ft. high
85. Cena Caça
from the tomb of Nebamun, Thebes, Egypt
ca. 1,400-1,350 B.C.E.
fresco secco
32 in. high
86.
87. • A arte egípcia era muito sintética no desenho
e no colorido; não utilizava o claro e o escuro,
impedindo de transmitir a ilusão de volume e
perspectiva impedindo a sensação de espaço
e profundidade. De excepcional habilidade
técnica e de criação os egípcios foram os
primeiros a utilizarem as flores e afrescos.
88. • A pintura egípcia teve seu apogeu durante o império novo, uma das
etapas históricas mais brilhantes dessa cultura. Entretanto, é preciso
esclarecer que, devido à função religiosa dessa arte, os princípios
pictóricos evoluíram muito pouco de um período para outro, pois
mantiveram sempre dentro o mesmo naturalismo original. Os temas eram
normalmente representação da vida cotidiana e de batalhas, quando não
de lendas religiosas ou de motivos de natureza escatológica.
• As figuras típicas dos muros egípcios, de perfil mas com os braços e o
corpo de frente são produtos da utilização da perspectiva da aparência.
Os egípcios não representaram as partes no real, mas sim levando em
consideração a posição de onde melhor se observasse cada uma das
partes: nariz e o toucado aparecem de perfil, que é a posição em que eles
mais se destacavam, os olhos , braços e tronco são mostrados de frente.
Essa estética manteve-se até meados do império novo, manifestando-se
depois a preferencia pela representação frontal.
89.
90. Death Mask of Tutankhamen
from Thebes, Egypt
ca. 1,323 B.C.E.
gold with semiprecious stones
21 1/4 in. high
91. Innermost coffin of Tutankhamen
from Thebes, Egypt
ca. 1,323 B.C.E.
gold with semiprecious stones
73 in. high
96. 2.Observe as imagens e associe:
I.
II.
III.
a) – Menir, II – Piramide e III – Cromlech
b) I – Dolmen, II – Mastaba e III – Menir
c) I – Cromlech, II – Zigurate e III – Mastaba
d) I – Mastaba, II – Piramide e III – Dolmen
e ) I – Dolmen, II – Zigurate e III – Mastaba
97. • Os Estados Teocráticos da Mesopotâmia e do Egito
evoluíram acumulando características comuns e
peculiaridades culturais. Os Egípcios desenvolveram a
prática de embalsamar o corpo humano porque:
• a) se opunham ao politeísmo dominante na época.
• b) os seus deuses, sempre prontos para castigar os
pecadores, desencadearam o dilúvio.
• c) depois da morte a alma podia voltar ao corpo
mumificado.
• d) construíram túmulos, em forma de pirâmides
truncadas, erigidos para a eternidade.
• e) os camponeses constituíam categoria social inferior.
98. • Em relação à arte do Egito Antigo, assinale a
alternativa correta.
• a) Visava à valorização individual do artista.
• b) Manifestava as idéias estéticas com representações
da natureza, evitando a representação
• da figura humana.
• c) Estava destinada à glorificação do faraó e à
representação da vida de além-túmulo.
• d) Aproveitava os hieróglifos como ornamentação.
• e) Era um arte abstrata de difícil interpretação.
110. Suposta 'Máscara de Agamémnon'.
Descoberta por Heinrich Schliemann
em 1876 em Micenas.
111. Periodização
• Período Pré-arcaico 1200 a 700 a.C.
• Período Arcaico 700 a 480 a.C.
• Período Clássico Severo 480 a 450 a.C.
• Período Clássico de Ouro 450 a 323 a.C.
• Período Helenístico 323 à Época Cristã.
112.
113. Templo de Hera I em
Poseidonia
("Basílica"), c. -550.
Modelo do heraion de
Argos, -680.
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