Ancient Art Podcast, Ancient Worlds

http://ancientartpodcast.org/91 In this excerpt from my lecture on the Art Institute's recent special exhibition Painting the Floating World: Ukiyo-e Masterpieces from the Weston Collection, I set the stage for what was Japan's Floating World culture during the Edo Period of the Tokugawa Shogunate, 1615-1868. We touch on the origin of the term, the cultural climate in which it rose the popularity, and how the floating world psyche was expressed in Japan's visual arts at the time. Image: Hishikawa Moronobu Flower-Viewing Party with Crest-Bearing Curtain, from the series Flower Viewing at Ueno Japanese, 1676–1689 Art Institute of Chicago, 1925.1689 Connect: Donate to the Ancient Art Podcast http://itunes.com/podcast?id=205535627 http://ancientartpodcast.org/feedback info@ancientartpodcast.org http://facebook.com/ancientartpodcast http://youtube.com/SCARABsolutions http://twitter.com/lucaslivingston

http://ancientartpodcast.org/89 In this excerpt from a recent tour, I explore some of the highlights from Homer's Odyssey in a 15th century Florentine painting and learn a little about Italian Renaissance marriage and fidelity. Names and terms dropped: Homer, Odysseus, Penelope, Nausica, cyclops, Polyphemus, the Sirens, Hermes, moly, Circe, Calypso, Argos, Apollonio di Giovanni, James Joyce, Trojan War, Tuscan, gilding; important terms not dropped: cassone. For images of the featured work of art, visit http://ancientartpodcast.org/89. Featured Work of Art: Apollonio di Giovanni Italian, 1415/17-1465 The Adventures of Ulysses, 1435/45 42 x 131.7 cm (16 3/4 x 51 7/8 in.) Art Institute of Chicago, 1933.1006 Connect: Donate to the Ancient Art Podcast http://itunes.com/podcast?id=205535627 http://ancientartpodcast.org/feedback info@ancientartpodcast.org http://facebook.com/ancientartpodcast http://youtube.com/SCARABsolutions http://twitter.com/lucaslivingston

http://ancientartpodcast.org/88 In this short excerpt from my lecture on Tibetan Buddhist art, we skim the surface of the spiritual meaning, function, and structure of Tibetan mandalas. For images of the featured works of art, visit http://ancientartpodcast.org/88. Featured Works of Art: Drepung Gomang Monastery Mandala of World Peace September 21, 2014 Miller Beach, Indiana Photo by Lucas Livingston, ancientartpodcast.org/88 Arjia Rinpoche Architectural Model of the Kalachakra Mandala researchdtmack.com/mandalas.html Tibet Mandala 18th/19th century Opaque watercolor and gold on cotton and wood 35.2 x 35.2 x 5.4 cm The James W. and Marilynn Alsdorf Collection (151.1996) From Pal, Pratapaditya, A Collecting Odyssey, 1997, fig. 210. Tibet Mandala 18th/19th century Opaque watercolor and gold on wood 26.7 x 26.7 x 12.8 cm (10 1/2 x 10 1/2 x 5 in) The James W. and Marilynn Alsdorf Collection (150.1996) Gallery label: Mandala, literally meaning "circle," is a diagram of the spiritual universe that is

http://ancientartpodcast.org/87 This is a short excerpt from my lecture "Things That Go Bump: A Visual Survey of Witches, Demons, and Ghosts." Herein we explore the ancient Greek tradition of witchcraft and metamorphosis in two images — one ancient and one modern — of Circe, the definitive witch of Grecian lore and seductive sorceress of Odyssean fame. Waterhouse masterfully betrays her jealous cruelty in those cold, dark, uncaring eyes. Vying for the affection of a handsome lover, the hateful witch Circe poisons the placid pool where the her rival Scylla bathed. Circe's potion of polymorphism transforms the beautiful nymph Scylla to the proverbial "hard place," the loathsome multi-mawed many-tentacled monster, who'd dash the hopes (...and heads) of Odysseus's men sailing "between Scylla and Charybdis." And in the Grecian cup in the MFA, we see a magical elixir similarly perched in wicked Circe's hands while Odysseus's men are in the midst of metamorphosis from her arcane magicks. For images of the featur

http://ancientartpodcast.org/86 Happy Halloween! In this very brief excerpt from my lecture "Things That Go Bump: A Visual Survey of Witches, Demons, and Ghosts," we introduce Goya's 1797/99 published volume The Caprices (Los Caprichos). This tome of nightmares, witches, and devils satirizes human vice and intolerance of late 18th century Spanish society through the demons born of religion and power. We conclude with a brief glimpse at our modern icon of the Wicked Witch through the lens of art history and tradition. For greater depth, background, and context, watch episode 59, A Witches' Sabbath. For images of the featured works of art, visit http://ancientartpodcast.org/86. Featured Work of Art: Francisco José de Goya y Lucientes (Spanish, 1746-1828) "The Sleep of Reason Produces Monsters," plate 43 "When Day Breaks We Will Be Off," plate 71 "Pretty Teacher!" Plate 68 From Los Caprichos, 1797/99 (Museo Nacional del Prado) Connect: Donate to the Ancient Art Podcast http://itunes.com/podcast?id=20553

http://ancientartpodcast.org/85 A very brief excerpt from my lecture "Things That Go Bump: A Visual Survey of Witches, Demons, and Ghosts!" Odysseus Journeys to the Underworld and holds a seance with the souls of Hades through necromantic blood magic so the countless shades of the dead and the gone would surge around him. Featured Work of Art: Jar (pelike) with Odysseus and Elpenor in the Underworld Greece, Athens, Classical, about 440 BC The Lykaon Painter Museum of Fine Arts, Boston (34.79) Connect: Donate to the Ancient Art Podcast http://itunes.com/podcast?id=205535627 http://ancientartpodcast.org/feedback info@ancientartpodcast.org http://facebook.com/ancientartpodcast http://youtube.com/SCARABsolutions http://twitter.com/lucaslivingston

http://ancientartpodcast.org/84 Diving head first into the many myths of the celebrated god of wine, ecstasy, theater, and madness, episode 84 of the Ancient Art Podcast's Ancient Worlds series explores The Birth of Dionysus. Drawing inspiration from the famed sculpture Hermes and the Infant Dionysus, we explore the wine god's parentage, his mother Semele's tragic fate, and the curious case of the twice-born god. Names dropped: Zeus, Semele, Hera, Hermes, Cadmus, Harmonia, Europa, Ovid, Hyginus, Pseudo-Apollodorus, Diodorus Siculus, Pausanias, Praxiteles, Rhys Carpenter Features Work of Art: Hermes and the Infant Dionysus Roman-era, 2nd century after an original by Praxiteles, 4th century BC, Greece Archaeological Museum of Olympia Music: Colocate by Podington Bear Nova by Go Ask Alice from the album Perfection is Terrible The Shout by Go Ask Alice from the album Perfection is Terrible Lightfeet by Podington Bear Connect: http://itunes.com/podcast?id=205535627 http://ancientartpodcast.org/feedbac

http://ancientartpodcast.org/83 In this excerpt from one of my museum tours, we walk through two starkly contrasting Japanese folding screens celebrating the time-honored, iconic subjects of dragons and tigers with exceptional energy and dynamism. Features Works of Art: Kishi Ganku (1749-1838) Dragon and Tiger, 1835 Pair of six panel screens; ink and gold on paper Art Institute of Chicago, 2016.314a-b Morita Shiryu (1912-1998) Dragon (Ryu), 1965 Four-panel screen; aluminum-flake pigment in polyvinyl acetate medium, and yellow alkyd varnish, on paper Art Institute of Chicago, 1971.873 Connect: http://itunes.com/podcast?id=205535627 http://ancientartpodcast.org/feedback info@ancientartpodcast.org http://facebook.com/ancientartpodcast http://youtube.com/SCARABsolutions http://twitter.com/lucaslivingston

http://ancientartpodcast.org/82 How do artists' choices of materials assign identity and meaning to works of art? How does meaning assign material? In this excerpt from one of my museum tours, I explore the meaningful material of the semi-precious blue stone lapis lazuli in a Tibetan painted banner (thangka) of the Buddha of medicine and healing, Bhaishajyaguru. Features Works of Art: Painted Banner (Thangka) with the Medicine Buddha (Bhaishajyaguru) Central Tibet, 14th century Pigment and gold on cotton 104 x 82.7 cm (41 x 32 1/2 in.) Art Institute of Chicago, 1996.29 Connect: http://itunes.com/podcast?id=205535627 http://ancientartpodcast.org/feedback info@ancientartpodcast.org http://facebook.com/ancientartpodcast http://youtube.com/SCARABsolutions http://twitter.com/lucaslivingston

http://ancientartpodcast.org/81 How do artists' choices of materials assign identity and meaning to works of art? How does meaning assign material? In this excerpt from one of my museum tours, I explore the meaningful material of Chinese jade — its symbolic and medicinal value, function, materiality, artistry, and poetic inspiration. Features Works of Art: Dragon Pendants Jade China, Eastern Zhou dynasty Warring States period (c.480-221 BC) c. 4th/3rd century B.C. 9.2 x 16.8 x 0.7 cm (3 3/5 x 6 3/5 x 3/10 in.) 8.6 x 16.5 x 0.6 cm. (6-1/2 x 3-3/8 x 1/4 in.) Art Institute of Chicago, 1950.640 Art Institute of Chicago, 1950.641 Connect: http://itunes.com/podcast?id=205535627 http://ancientartpodcast.org/feedback info@ancientartpodcast.org http://facebook.com/ancientartpodcast http://youtube.com/SCARABsolutions http://twitter.com/lucaslivingston

http://ancientartpodcast.org/80 How do artists' choices of materials assign identity and meaning to works of art? How does meaning assign material? In this excerpt from one of my museum tours, I explore the meaningful material of gold in Incan art and culture. We also discuss the traditional Andean corn beer called "chicha." Features Works of Art: Beaker Inca, Ica Valley, south coast, Peru Late 15th/early 16th century Gold 16.5 x 6.4 cm (6 1/2 x 2 1/2 in.) Art Institute of Chicago, Kate S. Buckingham Endowment, 1955.2587 Pair of Beakers Depicting Birds in a Cornfield Inca, Ica Valley, south coast, Peru A.D. 1100/1438 Gold Each 7 x 7.3 cm (2 3/4 x 2 7/8 in.) Art Institute of Chicago, Kate S. Buckingham Endowment, 1955.2589 a-b Ceremonial Vessel (Aryballos) Inca, Probably vicinity of Cuzco, Peru 1400/1532 Ceramic and pigment 78 x 49 cm (30 3/4 x 19 1/4 in.) (max.) Art Institute of Chicago, Kate S. Buckingham Endowment, 1955.2214 Ritual Vessel Representing a Woman Carrying a Vessel (Aryballos) and Nur

ancientartpodcast.org/79 How do artists' choices of materials assign identity and meaning to works of art? How does meaning assign material? In this excerpt from one of my museum tours, I explore the meaningful materials in a Boli Ritual Object of the Bamana people in Mali, Africa. This recording comes complete with all the juicy, unscripted, live-action museum gallery accents including background chatter and beeping proximity alarms. Permanent collection label: Bamana sculpture often functions as a mediating force between the spirit and human realms. Ritual objects, such as this amorphously shaped boli, are commissioned and cared for by age-grade associations. A boli has a wood core wrapped with cotton cloth, into which spiritually charged packets are bound. Sacrificial materials, including animal blood and grains, are applied to its surface, giving it a crusty exterior. These sacrifices symbolize the layering of secret knowledge, imbuing the boli with nyama (life force). A boli is stored with other sacr

ancientartpodcast.org/78 How do artists' choices of materials assign identity and meaning to works of art? How does meaning assign material? In this excerpt from one of my museum tours, I explore the meaningful materials in a Nkisi Nkondi Power Figure of the Vili people in central Africa. This recording comes complete with all the juicy, unscripted, live-action museum gallery accents including background chatter and beeping proximity alarms. Image: Power Figure (Nkisi Nkondi) Vili, Republic of the Congo or Democratic Republic of the Congo Early/mid-19th century Wood, metal, glass, fabric, fiber, cowrie shell, bone, leather, gourd, and feather Art Institute of Chicago, 1998.502 Connect: http://itunes.com/podcast?id=205535627 http://ancientartpodcast.org/feedback info@ancientartpodcast.org http://facebook.com/ancientartpodcast http://youtube.com/SCARABsolutions http://twitter.com/lucaslivingston

ancientartpodcast.org/77 How do artists' choices of materials assign identity and meaning to works of art? How does meaning assign material? In this excerpt from one of my museum tours, I explore the meaningful materials in an African Congolese ceremonial mask of the Kuba Kingdom. This recording comes complete with all the juicy, unscripted, live-action museum gallery accents including background chatter and beeping proximity alarms. Image: Mask (Mukenga) Kuba, Western Kasai region, Democratic Republic of the Congo Late 19th/mid-20th century Wood, glass beads, cowrie shells, feathers, raffia, fur, fabric, thread, and bells Art Institute of Chicago, 1982.1504 Connect: http://itunes.com/podcast?id=205535627 http://ancientartpodcast.org/feedback info@ancientartpodcast.org http://facebook.com/ancientartpodcast http://youtube.com/SCARABsolutions http://twitter.com/lucaslivingston

ancientartpodcast.org/76 In this excerpt from one of my museum tours, I discuss the techniques of Greek vase painting and the differences between the black-figure and red-figure styles. We also dip a toe into some Greek history, talk about the names of Greek vase painters, artists signing their works, and compare Greek vase painters to the French Impressionists. This recording comes complete with all the juicy, unscripted, live-action museum gallery accents including background chatter, construction noises, and beeping proximity alarms. Images: Black-figure Belly-Amphora (Storage Jar) Showing Herakles Wrestling the Nemean Lion Attributed to the Painter of Berlin 1686 or the Painter of Tarquinia RC 3984 Greek, Athens c. 550-540 B.C. Art Institute of Chicago, 1978.114 Hydria (Water Jar) Attributed to The Leningrad Painter Greek, Athens c. 470/460 B.C. Art Institute of Chicago, 1911.456 Connect: http://itunes.com/podcast?id=205535627 http://ancientartpodcast.org/feedback info@ancientartpodcast.org htt

ancientartpodcast.org/75 Why are the heads, crowns, and hands of magnificent Tang Dynasty Chinese tomb figurines so startlingly bare compared to their brilliantly colored bodies? This is an excerpt from my gallery talk "Coloring the Past" in the Art Institute of Chicago from March 9, 2017. This recording comes complete with all the juicy, unscripted, live-action museum gallery accents of background chatter, beeping proximity alarms, and echoing reverb. Please forgive the poor sound quality. Terms: sancai, glaze, funerary, earthenware, ceramic, polychromy, pigment, paint, sculpture, Buddhism, Taoism, Confucianism. Gallery Talk: Coloring the Past (American Sign Language-interpreted) Art Institute of Chicago March 9, 2017 "How does our modern lens shape the way we see ancient works of art? Explore the use, meaning, and manufacture of color in ancient art with museum educator Lucas Livingston. This gallery talk will be interpreted in American Sign Language." Image: Armored Guardian King (Tianwang) Trampling

ancientartpodcast.org/74 We examine the use of color in ancient art to designate role, status, nature, and more, and discuss causes for the disappearance of polychromy in ancient art. Side note: Why does the Egyptian God Osiris sometimes appear with black skin and sometimes with green skin? Names dropped: Zeus, Athena, Olympians, Giants, Gaia, Osiris. This is an excerpt from my gallery talk "Coloring the Past" in the Art Institute of Chicago from March 9, 2017. This recording comes complete with all the juicy, unscripted, live-action museum gallery accents of noisy kids, beeping proximity alarms, and echoing reverb. Please forgive the poor sound quality. Gallery Talk: Coloring the Past (American Sign Language-interpreted) Art Institute of Chicago March 9, 2017 "How does our modern lens shape the way we see ancient works of art? Explore the use, meaning, and manufacture of color in ancient art with museum educator Lucas Livingston. This gallery talk will be interpreted in American Sign Language." Image:

ancientartpodcast.org/73 Pliny the Elder shares with us the tale of dueling artists Zeuxis and Parrhasius as they battled for the title of who could paint a more beguilingly realistic trompe-l'oeil ("fools the eye") masterpiece. We also hear another short story of Zeuxis's dashed pride. This is an excerpt from my gallery talk "Coloring the Past" in the Art Institute of Chicago from March 9, 2017. This recording comes complete with all the juicy, unscripted, live-action museum gallery accents of noisy kids, beeping proximity alarms, and echoing reverb. Please forgive the poor sound quality. Gallery Talk: Coloring the Past (American Sign Language-interpreted) Art Institute of Chicago March 9, 2017 "How does our modern lens shape the way we see ancient works of art? Explore the use, meaning, and manufacture of color in ancient art with museum educator Lucas Livingston. This gallery talk will be interpreted in American Sign Language." Image: Adriaen van der Spelt (Dutch, 1630-1673) and Frans van Mieris (Dutc

ancientartpodcast.org/72 Many sculptural works from the ancient world were once beautifully colored. This is an excerpt of my gallery talk "Coloring the Past" in the Art Institute of Chicago from March 9, 2017. Here we discuss the original polychromy of the famous Aphrodite of Knidos by Praxiteles and the 1862 Tinted Venus by English sculptor John Gibson. This recording comes complete with all the juicy, unscripted, live-action museum gallery accents of noisy kids, beeping proximity alarms, and echoing reverb. Please forgive the poor sound quality. Gallery Talk: Coloring the Past (American Sign Language-interpreted) Art Institute of Chicago March 9, 2017 "How does our modern lens shape the way we see ancient works of art? Explore the use, meaning, and manufacture of color in ancient art with museum educator Lucas Livingston. This gallery talk will be interpreted in American Sign Language." Image: John Gibson (1790-1866) The Tinted Venus, 1862 Walker Art Gallery, Liverpool Photo by ketrin1407, 19 July 2

ancientartpodcast.org/71 Many sculptural works from the ancient world were once beautifully colored. This is an excerpt of my gallery talk "Coloring the Past" in the Art Institute of Chicago from March 9, 2017. Here we explore the use of color on a Cycladic Statuette of a Female Figure from the Early Bronze Age, 2600-2400 B.C. Please forgive the poor sound quality. Gallery Talk: Coloring the Past (American Sign Language-interpreted) Art Institute of Chicago March 9, 2017 "How does our modern lens shape the way we see ancient works of art? Explore the use, meaning, and manufacture of color in ancient art with museum educator Lucas Livingston. This gallery talk will be interpreted in American Sign Language." Image: Statuette of a Female Figure Early Bronze Age, 2600-2400 B.C. Cycladic; probably from the island of Keros Marble 39.9 x 11.6 x 4.9 cm (15 11/16 x 4 9/16 x 1 15/16 in.) Art Institute of Chicago, 1978.115 Connect: itunes.com/podcast?id=205535627 ancientartpodcast.org/feedback info@ancientartp