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Gardner's Art Through the Ages: A Global
History, Volume I, 16th Edition, by Fred S. Kleiner,
offers a comprehensive survey of the origins and
development of art across various global cultures,
from prehistoric to early modern periods. This
volume, which serves as the first part of a two-
volume set, is organized chronologically and focuses
primarily on art from prehistoric times through the
Renaissance. Unlike previous editions, which
emphasized Western art, this edition incorporates a
more global perspective, giving a balanced view of
the diverse artistic traditions from different regions of
the world, highlighting the connections between art,
culture, religion, politics, and social structures.

Chapter 1: Art Before History: The Prehistoric Period

The opening chapter explores the earliest forms of

human artistic expression, focusing on the
prehistoric period. The art of early humans is
examined through cave paintings, sculptures, and
carvings, such as those found in the caves of
Lascaux, France, and Altamira, Spain. These
paintings, which depict animals, human figures, and
abstract symbols, are interpreted as part of early
humans' spiritual and ritual practices, likely created
to ensure fertility, successful hunts, and spiritual
protection.
The chapter also discusses the importance of stone
tools, clay figurines, and the use of natural pigments
in creating these artworks. The idea of "sympathetic
magic" is introduced, which suggests that these
artworks were not simply for decorative purposes but
had symbolic and ritual significance, perhaps
believed to invoke supernatural forces.
Further exploration is made into the art of the
Neolithic period, including the development of
megalithic structures such as Stonehenge in
England, which may have been used for ceremonial
or astronomical purposes. The chapter concludes by
emphasizing the role of art in the formation of early
human societies, setting the stage for more complex
artistic traditions in later civilizations.
Chapter 2: Art of the Ancient Near East

This chapter focuses on the art of the Ancient Near

East, which includes the regions of Mesopotamia,
Persia, and Anatolia. The art of these civilizations
was deeply intertwined with religion, politics, and the
power structures of kings and gods. The earliest
forms of writing, such as cuneiform, are explored,
showing how writing systems and visual
representation were linked in the creation of
historical and religious records.
Mesopotamian art is highlighted for its monumental
sculptures and architecture, including the famous
ziggurats and relief carvings. The use of art to glorify
kings, such as the Stele of Hammurabi, which
depicts the law code of the Babylonian king, is
discussed as a way of demonstrating the divine
authority and power of rulers.
The art of ancient Persia is also explored, especially
the monumental palaces and sculptures at sites like
Persepolis. The chapter explores how Persian art
was influenced by earlier Mesopotamian cultures but
developed its own distinctive style, characterized by
grandiosity and symbolism associated with the
imperial power of the Persian Empire.
The chapter concludes with a discussion of the art of
Anatolia and the Achaemenid Empire, particularly
the impressive reliefs and monumental gates that
displayed both military victories and the divine right
of kings.

Chapter 3: Art of Ancient Egypt

The art of ancient Egypt is explored in this chapter,

with an emphasis on its deeply religious and
symbolic nature. Egyptian art was primarily created
to serve the needs of the afterlife, as well as to
honor the gods and pharaohs. Egyptian architecture,
such as the pyramids of Giza, and monumental
sculptures, such as the Great Sphinx, are examined
as symbols of the power of the divine and the
eternal nature of the pharaoh.
The chapter also delves into the key stylistic
characteristics of Egyptian art, such as the use of
hierarchical scale to denote importance, the strict
adherence to idealized forms, and the emphasis on
permanence and order. Egyptian tomb paintings and
sculptures, such as those found in the tomb of
Tutankhamun, are discussed for their ability to
represent the deceased in a timeless and idealized
manner, ensuring their successful journey to the
afterlife.
Additionally, the chapter covers the development of
Egyptian portraiture, especially in the Old Kingdom,
with depictions of pharaohs, such as the statues of
Khafre and Menkaure, which exhibit the
conventional, idealized portrayal of royal figures.
The chapter ends by noting the influence of Egyptian
art on later Mediterranean and Middle Eastern
cultures.

Chapter 4: Art of Ancient Greece

This chapter shifts to the art of ancient Greece,

which is regarded as foundational in the
development of Western art. The Greek artistic
tradition is explored from its early beginnings in the
Geometric and Archaic periods to the Classical and
Hellenistic periods. Greek art, more than any other
civilization, sought to understand the human form
and explore the ideals of beauty, balance, and
proportion.
The chapter examines the evolution of Greek
sculpture, from the stiff, formal figures of the Archaic
period, such as the Kouros statues, to the
naturalistic, idealized forms of the Classical period,
seen in works by sculptors like Phidias, Praxiteles,
and Polykleitos. The Discobolus (Discus Thrower)
and the Doryphoros (Spear Bearer) are used as
prime examples of the Greek pursuit of the "perfect"
human form.
Greek architecture is also a major focus of the
chapter, with the Parthenon in Athens serving as the
quintessential example of Greek temple architecture.
The use of the Doric, Ionic, and Corinthian orders,
along with the innovative use of columns and the
principles of proportion and symmetry, are
examined.
The Hellenistic period is characterized by a shift
toward more emotional expression and realism in
sculpture. The Laocoön Group and the Venus de
Milo are highlighted as key works that demonstrate
the dynamic, expressive qualities of Hellenistic art.
The chapter concludes by examining the influence of
Greek art on Roman art and Western culture in
general.

Chapter 5: Art of Ancient Rome

Roman art is explored in this chapter, focusing on its

pragmatic approach to visual culture. Roman artists,
while influenced by Greek art, adapted their
techniques and styles to reflect the needs and
values of Roman society. Roman art is marked by its
emphasis on portraiture, the representation of
historical events, and the grandeur of imperial
architecture.
The chapter explores the development of Roman
portraiture, particularly the tradition of verism, which
aimed to depict subjects with remarkable realism,
flaws and all. The busts of Roman leaders such as
Julius Caesar and Augustus are discussed in
relation to the political and propagandistic purposes
of portraiture, as these images were meant to
reinforce the divine right of rulers and their
connection to the gods.
Roman architecture is another key focus of this
chapter, with an emphasis on the innovation of the
arch, the dome, and the vault. Iconic structures such
as the Colosseum, the Pantheon, and the Roman
aqueducts are explored as monumental
achievements that demonstrate Roman engineering
prowess. Roman art is also discussed in terms of the
frescoes, mosaics, and sculptures found in Roman
villas, which depicted mythological, historical, and
everyday scenes.
The chapter concludes by noting the lasting
influence of Roman art on later Western artistic
traditions, particularly in the Renaissance and
neoclassical movements.

Chapter 6: Early Christian and Byzantine Art

The chapter on Early Christian and Byzantine art

focuses on the transformation of the Roman Empire
and the rise of Christianity. Early Christian art
developed in response to the challenges of depicting
Christian symbols in a context that was hostile to the
new religion. The chapter begins by discussing the
art of the catacombs, where Christians created
frescoes and symbols such as the fish and the Good
Shepherd to represent Christ in a veiled, symbolic
manner.
With the establishment of Christianity as the state
religion under Emperor Constantine, Christian art
became more formalized, and large basilicas were
constructed to house the growing Christian
community. The chapter explores the development
of early Christian iconography and the construction
of churches, such as the Old Saint Peter’s Basilica
in Rome, which was adorned with mosaics and
frescoes depicting biblical scenes.
Byzantine art, which emerged after the fall of the
Western Roman Empire, is also discussed. The
Byzantine style is characterized by its use of icons,
which were believed to act as windows into the
divine. The chapter explores the role of the church in
commissioning and displaying religious art,
particularly through the use of mosaics, such as
those in the Hagia Sophia in Constantinople.
The chapter concludes with an exploration of the
iconoclastic controversy in Byzantine art, where
debates over the use of religious images led to a
temporary ban on icons. The chapter emphasizes
the ways in which art in the Byzantine Empire
became deeply entwined with religious practice and
the authority of the church.

Chapter 7: Art of India, China, and Japan

This chapter covers the rich and diverse artistic

traditions of India, China, and Japan. Each culture
developed unique artistic practices that reflected
their distinct religious, philosophical, and cultural
traditions.
Indian art is examined in the context of Hinduism,
Buddhism, and Jainism. The chapter explores the
evolution of Buddhist art, with an emphasis on the
depiction of the Buddha and the development of
Buddhist architecture, such as the stupas and rock-
cut temples at Ajanta and Ellora. Hindu art,
particularly the intricate sculptures and temple
architecture, is also highlighted, focusing on the
depiction of gods and goddesses and the complex
iconography associated with these deities.
Chinese art is discussed in terms of its long-standing
traditions of painting, calligraphy, and ceramics. The
chapter covers the importance of Confucianism and
Taoism in shaping Chinese visual culture and how
landscape painting became a central genre in
Chinese art. The development of Chinese porcelain
and the significance of imperial patronage in the arts
are also explored.
Japanese art is examined in terms of its Shinto and
Buddhist roots, with a focus on the evolution of
Japanese woodblock prints, sculpture, and painting.
The chapter highlights the role of the samurai class
in commissioning works of art and the development
of distinct artistic traditions such as ukiyo-e prints
and Zen garden design.

Gardner's Art Through the Ages: A Global History,

Volume I, 16th Edition provides a comprehensive
overview of the evolution of art from prehistoric times
to the Renaissance. It offers a global perspective,
acknowledging the interconnectedness of artistic
traditions across various regions and cultures. The
book emphasizes how art has always been a
reflection of human experiences, serving both
aesthetic and functional purposes across different
periods of history. This volume sets the stage for a
deeper understanding of art's role in shaping human
civilization and its ability to transcend time and
place.

Find the Full Original Textbook (PDF) in the link

below:

CLICK HERE