Level 3 Classical Studies (90512) 2011

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© New Zealand Qualifications Authority, 2011. All rights reserved.No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.

Level 3 Classical Studies, 201190512 Explain a work or works of classical art

2.00 pm �ednesday 2� November 2011pm �ednesday 2� November 2011 �ednesday 2� November 20112� November 2011 November 2011 Credits: Six

Check that the National Student Number (NSN) on your admission slip is the same as the number at the top of this page.

Answer T�O questions from ONE of the following topics:EITHER: Topic A: Greek Vase Painting (pages 2–10)OR: Topic B: Art of the Roman Empire (pages 11–19)

Pull out Resource Booklet 90�12R from the centre of this booklet.R from the centre of this booklet. from the centre of this booklet.

If you need more room for any answer, use the extra space provided at the back of this booklet.

Check that this booklet has pages 2 – 24 in the correct order and that none of these pages is blank.

YOU MUST HAND THIS BOOKLET TO THE SUPERVISOR AT THE END OF THE EXAMINATION.

ASSESSOR’S USE ONLY Achievement Criteria

Achievement Achievement with Merit Achievement with ExcellenceExplain features of the work or works.

Analyse, with supporting evidence, features of the work or works.

Analyse in detail, with supporting evidence, features of the work or works.

Overall level of performance

You are advised to spend one hour answering your chosen questions in this booklet.

EITHER: TOPIC A: GREEK VASE PAINTING

Answer T�O of the following three questions. �rite your answer in the space provided after each question.

EITHER: QUESTION ONE

Refer to Reproductions A(i) and A(ii) on pages 2 and � of Resource Booklet 90�12R to answer this question.

“The artist who decorated the François vase had an intricate knowledge of both myth and literature, in particular the works of the poet Homer.” (J. Campbell and K. Harrison)

Analyse in detail with supporting evidence:• the mythological subject matter of the friezes shown in Reproduction A(i), and the thematic

links between these friezes• the narrative techniques used by the artist, Kleitias, in the friezes shown in Reproduction

A(ii).

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AND / OR: QUESTION TWO

Refer to Reproductions B(i) and B(ii) on pages 4 and � of Resource Booklet 90�12R to answer this question.

Euphronios is one of the greatest of the Pioneers, a group of early red-figure painters who experimented with the portrayal of the body in motion and the depiction of facial detail.

Analyse in detail with supporting evidence:• the ways in which Euphronios experiments with the body in motion in Reproduction B(i), and

in particular his experimentation with awkward poses• the ways in which Euphronios uses the facial features and hair of the two fighters to convey

different messages about each figure.

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AND / OR: QUESTION THREE

Refer to Reproductions C(i) and C(ii) on pages 6 and 7 of Resource Booklet 90�12R to answer this question.

The upper frieze of the hydria by the Meidias Painter shows a violent scene, yet the mood is “warm and sensuous rather than menacing” (J. G. Pedley).

Analyse in detail with supporting evidence:• the mythological subject matter of the upper frieze shown in Reproductions C(i) and C(ii),

including the setting of this episode• the ways in which the mood of this frieze is at odds with the subject matter.

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OR: TOPIC B: ART OF THE ROMAN EMPIRE

Answer T�O of the following three questions. �rite your answer in the space provided after each question.

EITHER: QUESTION ONE

Refer to Reproduction D on page 8 of Resource Booklet 90�12R to answer this question.

“The origin of the Roman theatre can be traced directly back to a Greek model, although the Romans made several alterations to the traditional plan”. (J. Campbell)

Analyse in detail and with supporting evidence:• the ways in which the design of the Theatre at Lepcis Magna incorporates features of Greek

origin and Roman innovation• the ways in which the design and architectural features of this building reflect its function as

an entertainment venue.

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AND / OR: QUESTION TWO

Refer to Reproductions E(i) and E(ii) on page 9 of Resource Booklet 90�12R to answer this question.

Bathing occupied a central position in the social life of the Romans, and provincial towns like Lepcis Magna had substantial bathing complexes which were show-pieces for the community and the empire as a whole.

Analyse in detail with supporting evidence:• the ways in which the layout and design of Hadrian’s Baths reflect their function as a bathing

complex as well as a venue for exercising and socialising• the ways in which Hadrian’s Baths at Lepcis Magna provide a vehicle for Roman

propaganda.

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AND / OR: QUESTION THREE

Refer to Reproduction F on page 10 of Resource Booklet 90�12R to answer this question.

Patricians were the chief patrons of the veristic style of portraiture.

Analyse in detail with supporting evidence:• the messages that the sculptor is trying to convey about the social standing and the

character of the patrician, and the ways in which he uses the veristic style of portraiture to deliver these messages

• the messages that the sculptor is trying to convey about the patrician’s relationship with his ancestors, and the methods he uses to deliver these messages.

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QUESTION NUMBER

Extra space if required.Write the question number(s) if applicable.

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QUESTION NUMBER

Extra space if required.Write the question number(s) if applicable.

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QUESTION NUMBER

Extra space if required.Write the question number(s) if applicable.

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QUESTION NUMBER

Extra space if required.Write the question number(s) if applicable.

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Acknowledgements

Page 2 Jonathan Campbell and Kay Harrison, The Art of Greek Vase Painting (Auckland: Longman, 1996), p 18.

Page 8 John Griffiths Pedley, Greek Art and Archaeology (New Jersey: Pearson Education, 2007), p 28�.

Page 11 Jonathan Campbell, Roman Art and Architecture (Auckland: Longman, 1998), p 67.

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