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141 - 150 of 253 results for: ARTHIST

ARTHIST 305: Art & Architecture in the Medieval Mediterranean (ARTHIST 105, CLASSICS 172)

Chronological survey of Byzantine, Islamic, and Western Medieval art and architecture from the early Christian period to the Gothic age. Broad art-historical developments and more detailed examinations of individual monuments and works of art. Topics include devotional art, court and monastic culture, relics and the cult of saints, pilgrimage and crusades, and the rise of cities and cathedrals.
Last offered: Autumn 2012

ARTHIST 305B: Medieval Journeys: Introduction through the Art and Architecture (ARTHIST 105B, DLCL 123)

The course explores the experience and imagination of medieval journeys through an interdisciplinary, cross-cultural, and skills-based approaches. As a foundations class, this survey of medieval culture engages in particular the art and architecture of the period. The Middle Ages is presented as a network of global economies, fueled by a desire for natural resources, access to luxury goods and holy sites. We will study a large geographical area encompassing the British Isles, Europe, the Mediterranean, Central Asia, India, and East Africa and trace the connectivity of these lands in economic, political, religious, and artistic terms from the fourth to the fourteenth century C.E. The students will have two lectures and one discussion session per week. Depending on the size of the class, it is possible that a graduate student TA will run the discussion session. Our goal is to give a skills-oriented approach to the Middle Ages and to engage students in creative projects that will satisfy 1. Ways-Creative Expression requirement as well as one of the following two: Ways-Analytical Interpretive or Ways-Engaging Difference.
Last offered: Spring 2017

ARTHIST 306: Byzantine Art and Architecture, 300-1453 C.E. (ARTHIST 106, CLASSICS 171)

(Formerly CLASSART 106/206.) This course explores the art and architecture of the Eastern Mediterranean: Constantinople, Jerusalem, Alexandria, Antioch, Damascus, Thessaloniki, and Palermo, 4th-15th centuries. Applying an innovative approach, we will probe questions of phenomenology and aesthetics, focusing our discussion on the performance and appearance of spaces and objects in the changing diurnal light, in the glitter of mosaics and in the mirror reflection and translucency of marble.
Last offered: Spring 2016

ARTHIST 306B: What Do Medieval Images Want? Theories of the Image in Byzantium, Islam, and the Latin West (ARTHIST 106B)

What is an image? The medieval response was tied to religious identity. At the core of the debate was whether the image was just a mimetic representation or a living entity: matter imbued with divine spirit. Byzantium, Islam, and the Latin West each developed their own positions and used it as a platform for political legitimacy. We will study the development of the medieval image theories by focusing on specific monuments and objects and by reading both primary sources in translation and current scholarly interpretations.

ARTHIST 308: Virginity and Power: Mary in the Middle Ages (ARTHIST 108)

The most influential female figure in Christianity whose state cult was connected with the idea of empire. The production and control of images and relics of the Virgin and the development of urban processions and court ceremonies though which political power was legitimized in papal Rome, Byzantium, Carolingian and Ottonian Germany, Tuscany, Gothic France, and Russia.
Last offered: Spring 2006

ARTHIST 309: Art and Religious Experience in Byzantium and Islam (ARTHIST 209, CLASSICS 174)

This course presents a comparative study of Christian and Islamic paradigms (sixth to the thirteenth centuries) in the construction of religious experience through the material fabric of the building, the interior decor, objects, and rituals. We will read medieval ekphrastic texts and poetry, which stirred the viewer/participant to experience the building/object as animate. Among the sites we will study are: Hagia Sophia, the Ka'ba, the Dome of teh Rock, the Mosque at Damascus and at Cordoba. We will read Byzantine and Arabic writers such as Paul the Silentiary, Patriarch Germanos, Maximus Confessor, Shahrawardi, and Ibn Arabi.

ARTHIST 309: The Book in the Medieval World (ARTHIST 109)

Studying the design and function of books in medieval society from the 7th to the 15th century, and the ways in which manuscripts are designed to meet (and shape) the cultural and intellectual demands of their readers. Major themes are the relationships between text and image, and between manuscripts and other media; the audience and production context of manuscripts; and changing ideas about pictorial space, figural style, page design, and progression through the book. Final project may be either a research paper or an original artist's book.
Last offered: Winter 2015

ARTHIST 309D: Means, Media and Mode: An Introduction to Western Medieval Art (ARTHIST 109D)

The course is an introduction to western medieval art approached primarily through distinctions of materials and media. We work with a combination of medieval and later sources, often engaging with the modern objects and spaces available for study on campus in order to create new perspectives on the historical material. Medieval case studies are chosen that raise particularly complex issues of materiality, mixed-media form, and cross-media citation.
Last offered: Autumn 2013

ARTHIST 311: Introduction to Italian Renaissance, 1420-1580 (ARTHIST 111)

New techniques of pictorial illusionism and the influence of the humanist revival of antiquity in the reformulation of the pictorial arts in 15th-century Italy. How different Italian regions developed characteristic artistic cultures through mutual interaction and competition.
Last offered: Autumn 2014

ARTHIST 314: Mystical Naturalism: Van Eyck, Dürer, and the Northern Renaissance (ARTHIST 114)

A survey of the major innovations in Northern European painting ca. 1400-1600, in light of the social status of the artist between city and court. In the early fifteenth century painters began to render an idealized world down to its smallest details in ways that engaged new devotional practices. Later Hieronymus Bosch would identify the painter¿s imagination with the bizarre and grotesque. In response to Renaissance humanism, some painters introduced classical mythology and allegorical subjects in their works, and many traveled south to absorb Italianate pictorial styles. We will be visiting art museums in San Francisco and Stanford. May be repeat for credit.
Last offered: Winter 2014 | Repeatable 2 times (up to 8 units total)
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