AP Art History

Olowe of Ise, Veranda Post (Yoruba people)

-1800's -Sculpture -Made by Olewe of Ise Formal qualities: -Vertical -Frontal view -Texture -Value -Color Content: -A minted figure holding the attributes of a warrior -Represents military power -In his left hand is a spear -In his right hand he is holding a pistol -Largest figure and most important -A women is under the horse and the man riding it holding them up on a post -Represents celebration of the kings rule and shows the source of his power(his community) -The women represent spirituality -The women is nude and is wearing waist beads -She is kneeling -The nude women represents fertility -Bulging eyes -In both the woman and the king there is a gap in their front teeth that symbolizes beauty -The nude woman is flanked by two attendants who are angled out into our space -Each attendant holds a bowl or a container that has been hollowed out on their heads -On top of the kings head there is a geometric, four square post -Embellishments on the kings vest, on the horse saddle, and on the hair Historical context: -Originally a veranda post -Part of structural posts of a palace porch

Pyramid of Khufu

-2551-2528 BCE -Giza, egypt -Commissioned for Khufu: Used as a tomb -481 feet -Blocks -Built by Snefru -White Tura limestone -Red granite -Granite blocks -Cantilevered slabs -Bedrock -Core stone -Gypsum plaster -Biggest of all the three pyramids Formal qualities -Symmetry -Texture: Brick like texture -Shape: Triangular prism -Value: 3D building so sun creates value -Color: Tan bricks -Proportion: Very equal and symmetrical Content -2,300,000 blocks -Top of pyramid would have had a capstone-May have been covered in gold -Multiple air-shafts -Chambers -Structures point upwards -Shape represents sun rays -Associated with the sun god -Large scale Historical context -Largest of the main three pyramids at Giza -Included 7 large boat pits -Lion: Royal symbol and connected to the sun -Separate temple dedicated to the Sphinx cult -Not made by slaves but by workers who wanted a good place in heaven -To get in you have to crawl through a cramped ascending chamber -Boats could have been used for the Pharoaho to travel in the afterlife

"Plaque of the Ergastines"

-Athens -445-38 BCE -Phidias(?) -Frieze Formal qualities: -Would've been brightly painted -Relief sculpture -Value -Texture -Composition Content: -Shows precession of young women bringing the peplos and animals being brought for sacrifice -Shows contemporary event -Citizens are depicted as noble, heroic, and beautiful -In the fragment there are young women solemnly processing and they are interrupted by two male figures -Sense of reverence, dignity, and balance of idealism -Figures are standing in contrapposto: The women's left leg is the weight bearing leg while their right leg is moving forward and it breaking the fall of the drapery -Alternation between movement and static Historical context: -Represents pan-athenaic procession -Shows religious procession in honor of Athena -Modern cultures look back at Greece and try to achieve what had been achieved in the 5th century -Shows phidias style with intricate folds and curvilinear folds -Precise narrative of this piece is unknown -Greece also asks that the British museum and the Louvre return the marbles to Greece

Templo Mayor at Tenochtitlan, the Coyolxauhqui Stone, and an Olmec Mask:

-Aztec temple -Mexico city -1325 -Stone Formal qualities: -ninety feet high and covered in stucco. -Color -Relief -Texture -Value Content: -a finely carved stone monolith that displayed a dismembered and decapitated woman. -Templo Mayor was positioned at the center of the Mexica capital and thus the entire empire. The capital was also divided into four main quadrants, with the Templo Mayor at the center. -Two grand staircases accessed twin temples, which were dedicated to the deities Tlaloc and Huitzilopochtli. The Tlaloc Temple: -At the top center of the Tlaloc temple is a sculpture of a male figure on his back painted in blue and red. The figure holds a vessel on his abdomen likely to receive offerings.(associated with rain god) -At the base of the Tlaloc side of the temple are stone sculptures of two frogs with their heads arched upwards. Historical context: -The Templo Mayor was expanded, enlarged, and reconstructed during seven main building phases, which likely corresponded with different rulers, or tlatoani ("speaker"), taking office. -Mexica, nakedness was considered a form of humiliation and also defeat. -The monolith relates to an important myth: the birth of the Mexica patron deity, Huitzilopochtli. Apparently, Huitzilopochtli's mother, Coatlicue (Snakes-her-skirt), became pregnant one day from a piece of down that entered her skirt. Her daughter, Coyolxauhqui, became angry when she heard that her mother was pregnant, and together with her 400 brothers (called the Centzon Huitznahua) attacked their mother. -Eventually, Huitzilopochtli defeated his sister, then beheaded her and threw her body down the mountain, at which point her body broke apart. -war captives who had been painted blue were killed on the sacrificial stone and then their bodies were rolled down the staircase to fall atop the Coyolxauhqu

Apollo 11 stone

Identification -25,300 BCE -In Huns Mountains Formal Qualities -Black and brown, texture in rock, Representation Content -there's an animal it has human qualities(legs) and udders Historical Context -Found by German archaeologist -Oldest representative drawing that has been found -Made with pigmint -Dualism -Found with ostrich eggshell and ochre -We know these people traveled because pieces were found all around south africa by archaeologist and art historians

Anthropomorphic stele

Identification -3,000 BCE -Ha'il, Saudi Arabia -Grave stone(Anthropomorphic-stylized human) -Arabia -Sandstone Formal qualities -Form -Shape -Texture -Stone -Space -Value Content -It is a person with eyes very close together -They are holding a stele(Dagger) -They are associated with religion and burials -Garment with dagger -Face made up by lines and a triangle nose Historical context -Possibly was used as a grave marker -Associated with religious or burial practices -Used for dedication, commemoration, and demarcation -Anthropomorphic -One of the earliest art from Arabia -Other objects that have the similar tool

The Law Code Stele of King Hammurabi

Identification -1750 BCE -Babylon -Stele -Basalt (volcanic rock) Formal qualities -Texture -Shape -Line -Greenish color -Carving/hatching -Engravings Content -Long piece of stone -At the top there are two men one sitting in a chair and one standing -They are both wearing long gowns and hats -The man sitting is holding something stick-like -The man standing has his arms folded -On all sides of the stone there is inscribed cuneiform(first form of writing) -Written in Akkidian (language of the babylonians) -Giving the king a staff and a ring (power of law and administration) -Twisted perspective -Hammurabi-King -Shamash-Sun god -Shamash has his feet on a ziggurat Historical context -King Hammurabi is facing Shamash the god of the sun and justice -The god is giving the king power -The script under around the stone are laws (300+ laws) -The rules are listed from judgements that have already been meted out -Annonces actions and consequences -They believed that the law themselves come from the gods -An eye for an eye -Laws reflect culture, issues, agriculture, family, and justice -Responsible for peace and prosperity -Most people could not read cuneiform but understood he sculpture at the top -Rope, ring, kingship

Terracotta fragments

Identification -1000 BCE -Santa Cruz Islands -Blended clay and sand (Terracotta) -Made by Lapita people Formal qualities -Lines -Circles -Color -Shape Content -Fragments -The fragments have lines and circles -On one of the fragments there is a face(Anthropomorphic) Historical context -These people moved because they found several fragments over thousands of miles -Shaped by hand -The pottery was mostly used for food and storage -These plated showed that they liked to move and dealt with lots of trade -Free hand the drawings with a sharp tool and then they applied a white coral paste -Similar Fragments have been found all over the pacific islands -They had boats

Lascaux

Identification -14,000 B.C.E. -The cave of Lascaux, France (350 similar sites) -Charcoal -Ochre Formal qualities -Pigmentation made of different earthen materials and liquids and charcoal -The stone is made up of white calcite and non porous rock -Contour line drawing -Red and yellow ochre -Twisted perspective Content -Drawings of bulls, lions, bears, bison, elk, rhinos, deers, and horses (The areas large prehistoric wildlife) -Abstract dots, marks, and lines -Drawings of people with and without bird heads -Overlapped drawings because they were made over years -Charcoal and ochre is mixed with animal fat Historical context -Researchers believe that artist had been enlisted to mix pigments -Redrawing held significance to the artist -Researches believed they painted these because the artist thought it would help them catch prey(hunting rituals) -Interpreters believe that the images on the stone were things that actually happened -Image shows action and reaction -Tells us about prehistoric people -People did not live in the cave but would be there for a bit and then leave -Could be shamanistic to practice worship -It was very cold and people did not survive long

Ambum stone

Identification -1500 BCE -New Guinea -Greywacke(Hard sediment stone) Formal qualities -Stone carving -Texture -Representation -Smooth -Brown Content -Anteater type face -Holes on the side of head -Stomach dips in to some type of pit -Long arms -Brown color Historical context -Shattered -Repaired -Carved -only used stone tools -Entangled with personal and political intrigue, colonization, and evolving structures of power -People used the fat from anteaters -Communicated to ancestors through these sculptures -Bought for not a lot money by a British man and sold for lots of money to a British museum

Stonehenge

Identification -1600 BCE -England -Neolithic Formal qualities -Huge -Texture -Old -Bluestone Content -24 feet tall -56 pits were dug(1st step) -Set up wooden posts(2nd step) -Set up wooden posts in a circle and add the stones(3rd step) -7 feet wide, 25 tons each Historical context -Millions of people come to see it -Has endured millennium -adult males, 20-40, in good health were buried at stonehenge -Being buried there was an elite status -They used methods that we see in modern woodworking for fitting the stones in and on top -Outer rings were widened at the top to make there mass look bigger from the top -Proof of sophisticated society with organized leadership -The stonehenge aligns with the solar and lunar calendar

Jade Cong

Identification -2,200 BCE -China -Made of Jade Formal qualities -Short -Lines -Circles(Faces) -Stacks -Color -Texture -Made of jade and nephrite -symbolic -Cube -Green Content -Square hollow tubes -Decorated with lines and circles that represent faces -Animal, human, and monster faces Historical context -Found in graves -They also found round discs with holes in the center -This culture has no traces of writing -All things surrounding these objects are theories -They meant something but were not sure what -They did not have tools harder than nephrite so they couldn't have carved it -Could be a symbol of power or earth or maybe both -Made by rubbing sand -Jade were a symbol of status -The circle shapes at the top could symbolize the universe

Running Horned Woman

Identification -4,000 BCE -Tassili n'Ajjer -Pigment on rock -Found in northern africa(In a cave in the mountains) Formal qualities -Black and white -Texture -Shapes -Representation -Dots on the women -Pattern in sky -Ochre color -Size Content -There is a woman running with her arms out and tinier people standing around her. The woman running has two horns sticking out of her head. -Bands on knees -Garments -Wearing bracelets -Women is in profile -Horns are in twisted perspective Historical context -The horned woman is thought to be a goddess -The caves could not be used as shelter -Because the woman has horns and dots on her body they think it's scarification -The region holds special status due to its elevation and unique topology(Ritual, rite, or ceremony) -More than 15,000 paintings in the cave -Hunting gathers -People stayed for long because of agriculture -Might have something to do with shamanism -She is bigger than everyone and with the horns she could be seen as a goddess (Agriculture goddess) -Dots in back may be rain

Camelid sacrum

Identification -7,000 B.C.E -Tequixquiac, Mexico -Made of bone Formal qualities -Sculpture, smooth, texture -Value made by carvings -Color:Bone Content -Made from remains of the sacrum of an extinct camelid -Bone -Holes were cut at bottom to represent nostrils -Bone is engraved -Shaped as a dog or pig -Bone carved to look like an animal Historical context -The sacrum is seen as sacred in some Mesoamerican indigenous groups (Resurrection and fire) -Found in 1870 -Underground 40 feet -Made from human hands(possibly) -Fossilized remains -One of the oldest sculptures -Ritual object

Bushel with Ibex motifs

Identification -9,000 BCE -Iran (dug up) -Fired clay (terracotta) Formal qualities -Texture -Color (Ochre and terracotta white) -Hand painted -Shape -Representation -Hand made (May have used slow moving wheel) -Geometric shapes -Register -Repetition (Lines, bands, Shapes, and geometric shapes) -Handmade -Clay -Thin Content -Elongated dogs running -Birds with elongated necks -Ibex with big horns -Stylized Historical context -Buried the dead in pots underground -Piece was made before writing -Geometric shapes complement the shape of the object -Archaeologist was looking for the tomb of David but fell upon these pots -Invented a pottery wheel and made this pot -Frieze(register) -Circle with arrow lines could be a family symbol -Susa, Iran -Made before writing was developed

Capital of a column from the audience hall of the palace of Darius

Identification -Iran -150 BCE -Stone -Made by persians -25-30 feet -520 BCE-Iran(Audience hall) -Mud brick and stone face Formal qualities -Shape -Pattern (Repeating dots) -Texture -Line (Vertical and horizontal) -Symmetry Content -It is a column with two bulls head on top -Swirls are around the bulls body to act as hair -Post and lintel construction -Capital (Bulls on column) -Ionic (Swirls) -Wooden roof -Low relief sculpture -People have different clothing, hats, and shields Historical context -Huge columns placed in audience hall -Expression of power -Everything in the palace was made to impress -Audience hall: The place where people would come to see the king -Greeks destroyed almost everything -Multiple cultures came to help build the audience hall -Persians let people practice their own religion and did not force religion onto them

Lamassa

Identification -Made by Assyrians -700-500 BCE -Sculpture -Carved out of monolithic stone -Limestone Formal qualities -Line -Form -Shape -Texture -Wavy hair -Dotted pattern -Symmetrical -Visual movement(Walking) Content -Guardian figures that were ringed bulls with heads of men -The sculptures have the face of a man, wings, a crown, and the body of a hoarse -Cuneiform -Decorative but functional for arch -Always on guard watching you (front view) -Ward away bad spirits -Side view they look they're just walking by -5 legs Historical context -At each gate there were guardian sculptures -They could represent power of the Assyrian king -13 feet, 9 inches -Other status depicted hunting and royal power -Cuneiform surrounds the base talking about the kings power and the consequences of threatening it

Tlatilco figurines

Identification -Mexico city -600 BCE -Clay(Ceramics) Formal qualities -Texture -Form -Value -Color Content -Figures with two faces or two heads -Narrow waist -Wide hips -Duality Historical context -Represent life and death together -They believed in rebirth -People were buried with these figurines -Animal like -Male figures are rare -Made by hand -Represents dualism and ancestry (shamanism)

Tassili n'Ajjer

Identification -Thin passageways, large arches, high-pillard rocks -South east africa -12,000 years ago Formal qualities -Human figures with clothing accessories, and weapons -Painted -Engravings -Moroccan rock engravings Content -Drawings of people -Drawings of animals like cattle and large animals like giraffes and elephants -Erosion caused the thin passageways -Cliff bases created rock shelters with smooth walls ideal for painting and engraving Historical context -Gives idea of what early humans looked and dressed like -Rock art is hard to find in the Sahra because of the harsh conditions -Some of the largest paintings found in the African continent

The Standard of Ur

Identification -Ur (present day Iraq) -Lapis lazuli -Red limestone -Shells -Wooden -2400 BCE Formal qualities -Shape -Line -Texture -Pattern -Geometric design -Value Content -The people at the top are the wealthy and the middle and bottom are commoners. -The bottom people are holding heavy bags and being led somewhere and then in the middle column there are animals that may be used for sacrifices and then at the top column there is one man bigger than the rest (the king) and all the other wealthy people are sitting and facing towards him. -The king (Sumerian king) wheres different clothing to different himself -Shows hierarchy -The other side shows warfare -At the bottom of the second side there are the kings prisoners being held captive -The king and all the other wealthy people are celebrating the victory of defeating the enemy -Hierarchy of scale -Chariots are running over dead people and prisoners are going to the king nude to embarrass them -The king is celebrating his victory -People are playing music Historical context -Found in royal graveyards with instruments -Dedicated to moon god Nanna -Burial pits contained very rich materials -It had been crushed by soil so the one in the museum is a restoration of how it might of looked -Main panels were known as "War" and "Peace" -Trading crops for material -Wheel technology -weaponry -Clothing

White Temple and ziggurat

Identification -Urak (modern Warka in Iraq) -4th millennium BCE -Ziggurat (Raised platform with four sloping sides, made of mud bricks, 3358 BCE) Formal qualities -Texture -Value -Line -Shape Content -Sides of ziggurat are broad and sloping and broken up by recessed bands from top to bottom -The white temple is a rectangle measuring 17.5 x 22.3 meters and its conners are oriented to the cardinal points Historical content -White temple is dedicated to sky god Anu -The ziggurat is the heart of the theocratic political system and is towered above the city as a visual connection to the god or goddess there -The temple gets its name from the from the white that was washed inside and out that would have given it dazzling brightness in strong sunlight -Archeologist found 19 tablets of gypsum on the floor of the temple and they found bones of a leopard and a lion in the eastern corner of the temple possibly used for a ritual or burial -Towards north of the temple archaeologists found a broad flat terrace and in the center a huge pit and a loop cut from a boulder. Then a system of shallow bitumen-coated conduits were discovered. They entered the temple through the southeast and southwest doors. Archaeologist figure that liquids would flow from the terrace and into the pit in the center hall of the temple

Imperial fora and market:

Identification: -112 CE -Built of stone and brick Formal qualities: -Paved in white marble -Constructed by groin vaults -Capitals were corinthian -Innovative architecture Content: -5 forums -First forum was Caesar -Centerpiece was dedicated to Temple of Venus Genetrix -Second forum was Agustates -Temple was sacred to Mars Ultor -Key part in public art -Symbol of continuity and stability -Sculpture depicts Augustus with the gods Venus, Cupid, and Mars, as well as Caesar, Romulus and and Aeneas, thus connecting Augustus to these celebrated figures of Roman history -Templum Pacis/Forum of Vespasian -Celebrates the military victory of Vespasian and his son, Titus, after their sacking of Jerusalem -Had a temple dedicated to Peace (Pax) -Housed the spoils of Jerusalem, ancient pieces of Greek art -Forum Transitorium -Was begun by Domitian, the youngest son of Vespasian, in 96 CE -The forum's temple was sacred to Minerva, architectural sculpture featured imagery connected to Minerva and scenes from the private lives of women -Forum of Trajan -Final Imperial fora, both the largest and most lavish, built around 112 CE -Relied on imposing architecture and sculpture to glorify the accomplishments of the emperor Trajan Historical context: -Civic, Juridical, and social heart of ancient Rome -Contained civic and sacred buildings and monuments -The Imperial Fora was buried beneath the medieval and modern city of Rome, was excavated in the 20th century under the orders of Mussolini -The Templum Pacis was commissioned by Vespasian following the suppression of the Great Jewish Revolt that lasted from 66 to 73 CE

Market of Trajan

Identification: -112 CE -Trajan -Rome -Concrete Formal qualities: -Value -Texture -Shape -Form Content: -Offices and store fronts -Apartments -Lots of light -Weightbearing walls Historical context: -Shopping complex -After Trajen many emperors built public spaces for the people -Groin vaults

Patheon

Identification: -118 CE -Marble -Bronze -Rome -Concrete -Brick -Commissioned by Haiden Formal qualities: -Pediment -Friezes -Massive columns -Geometric shapes -Colored marble -Value -Movement Content: -Originally had bronze fittings that were ripped off -The columns have corinthian capitals -Columns were not cut and were imported from Egypt -Massive bronze doors -Circular space -Radial building -Outside surrounded by a colonnade(A row of columns on each side) -The building accommodates a perfect sphere -Frieze of false windows -The windows in the frieze do not align with the coffers in the dome -The barrel the dome sits on seems independent from the dome and makes it feel like the dome could rotate -Vast and open space -Originally held sculptures of the gods and defied emperors -Earthly sphere meets the heavenly sphere -Oculus in the center of the dome -Oculus is the only light that goes into the Pantheon -The sun moves across the floor of the building because of the Oculus -Building could function as a sundial Historical context: -Best preserved roman monument -Dedicated to a god than became a church -Used concrete and wood to shape buildings to get away from post and lintel architecture -Most influential architecture in the renaissance and the modern era -Represents Earth to the heavens -marble was taken all over the Roman empire -Was turned into a catholic church after the fall of the roman empire. Which is why it's still here today -Math was very important to the Romans and Greeks

Great Zimbabwe National Monument

Identification: -11th century -Zimbabwe -Shona people founded the kingdom -Rocks -Granite -Mud brick houses Formal qualities: -Texture -Value Content: -Surrounded by very large rocks -Royal residents for the king -The furnace and floor remain -Contains ritual sites and cemeteries -A town is at the bottom of the hill -Town had six thousand houses -Circular monument made with stone bricks -Either queens residents or a temple -Cone shaped structure represents power of the king Historical context: -Zimbabwe: House of stone -Trading stop over -Became wealthy with gold mining -People still live in this kingdom but it is not as wealthy as it used to be

Column of Trajan

Identification: -13 CE Formal qualities: -Base -Shaft -Capitol -Composition -Value -Texture -Color Content: -Shaft has a ribbon of carving -Base is filled with carvings -Garlens are sculpted at each corner with an eagle perched -There are carved Nike's of victory -Carved representation of armor and booty -Center of base is carved plaque and famous for letter quality -Above the base at the start of the shaft is a carved victory wreath -On the shaft their is a relief sculpture that winds around it, telling stories of the Dacian campaigns: lower part of shaft is the first dacian war, top half is second dacian war -Carving shows military marching, constructing garrisons, building bridges, and day to day work required for a successful military adventure -Column used to be painted in the primary colors and black -Staircase inside shaft -St peter is on top -Stairs lead to the viewing point Historical context: -Framed by two churches -Trajens ashes used to be inside of the base

Mesa Verda cliff dwellings

Identification: -1300 CE -Colorado -Cliff -Anasazi -Stone -Mortar -Plaster -Wooden beams -Mesa Verda(Green table top) Formal qualities: -Texture -Value -Geometric shapes Content: -Structures built into the side of a cliff -Ladders to get around -150 rooms, 20 circular rooms -Ranged from one to four stories -Units were organized around Kivas(Circular, subterranean rooms) -Kivas had wood-beamed roofs and were helped up by six supporting columns -These units also include a fireplace, ventilation shaft, a deflector, and a sipapu -Wall murals that display geometric designs, landscape, animals, or plants Historical context: -There are traces of people who made the building such as: fingerprints and handprints -Only around 125 people lived in the cliff dwellings -Units were residential and used for ceremonies -Paint was used from clay, organic materials, and minerals -Goods were imported

Akhenaten, Nefertiti, and Three Daughters

Identification: -1350 BCE -Stone -Egypt Formal qualities -Texture -Shape -Form -Sunken relief -Composite of the body -Curvilinear forms -Frontal view of eye Content -Stone plaque that has been carved into -Akhenaten and his wife are in the center and they are both holding two children and the sun is gleaming down on them -Would've been an alter -The third daughter is on Nefertit's shoulder playing with her earring -The other two daughters are pointing at each other -Anatomy was very off: they thought there might be something medically wrong with Akenaten(Also could by stylized) -Twisted perspective -Aten is giving life to them Sun with cobra -Hands going out of the sun rays are holding Ankhs(Egyption sign of life coming from the sun disc) Historical context -Akhenaten changes the religion -Makes people angry because he and his wife are the only ones who have access to the new god, the sun god -After his death egypt returned to their original religion -More informal -Demanded a new style -Akenaten was monotheistic -Akenaten and Nefertiti ruled Egypt together -Moved capital from Luxor to Amarna -Changed Egyption art style

Nan Madol

Identification: -13th-17th century -Island of Pohnpei -Basalt and coral rock structures Formal qualities: -Lots of plants -Megalithic-forms made with large stones -Tall, stacked layers -7 square miles -small and large rocks and coral used to make buildings Content: -Nan Madol is a complex of close to 100 artificial rectilinear islets (unnamed land) spread over 200 acres that have housed up to 1000 people. -people of Pohnpei moved an average of 1,850 tons of basalt per year over four centuries, no one knows how they did it. -Walls were 25 feet high and estimated to weigh 50 tons. Historical context: -Once the political and ceremonial center for the ruling chiefs of the Saudeleur dynasty -Oral histories of Nan Madol describe great birds or giants moving the basalt rocks into place, others describe the magic used by the twin sorcerer's Olosohpa and Olosihpa to create a place to worship their gods. -the first monumental burial took place when a chief was placed in a stone and coral tomb -Artifacts found here include stone and shell tools, necklaces, arm rings, quartz crystals, disc-shaped bead necklaces, and pottery. -had fertile soil and lots of plants -92 artificial cities connected by canals -Taking advantage of win and trading -Hierarchy

Machu Picchu

Identification: -1450 -Peru -Inkas Formal Qualities: -3,000 feet lower in elevation (7,972 feet / 2,430 meters), with a pleasant climate. Content: -was chosen and situated for its relationship to the andean landscape, including sight lines to other mountain peaks, called apus, which have long been considered ancestral deities throughout the Andes. The site contains housing for elites, retainers, and maintenance staff, religious shrines, fountains, and terraces, as well as carved rock outcrops, a signature element of Inka art. -carefully fitting individual stones against each other. -increased the arable land surface and reduced erosion by creating walled steps down the sides of steep mountains. Each step could then be planted with crops. -a system of stone channels drains water from rainfall and from a spring near the site. Some of the water was channeled to stone fountains. -Each stone had some sides that protruded slightly, and some with slight concave faces, socketing the stones so that they held together, but allowed for earthquake-damping movement in this seismically active region. Outward faces were then worked smooth, so that the walls resemble an intricate mosaic. Most structures were roofed with wood and thatch. Entryways were in the unique Inka shape of a trapezoid, rather than a rectangle. -The observatory was adjacent to the royal residence, emphasizing the relationship between the elites, religious ritual, and astronomical observation, including Pachacuti's claim as both a descendant of the sun (whom the Inka called Inti) and the sun himself. -Temple of the Sun, this building's purpose is echoed in its unique shape. It is composed of two main parts: an upper curved stone enclosure with windows and niches placed in it, and a cave beneath this structure with masonry additions that hold more niches. -The

Mortuary Temple of Hatshepsut and Large Kneeling Statue

Identification: -1497-1458 BCE -Made of red granite -Brightly painted -1 of 200 of the statues in the temple -Made on site -Luxor, Egypt Formal qualities -Texture -Shape -Symmetry -Across from valley of kings Content -Statue of Hatshepsut kneeling -She has her hands out holding two tiny vases in each hand -Wearing an artificial royal beard -She's wearing a headdress -Temple is built up against a cliff face -Lots of statues of Hatshepsut -Broad shoulders -No chest -She is making an offering -Inscription saying she giving plants to the sun god -White crown of lower egypt -Looks like the ideal Pharoah Historical context -Hatshepsut was the pharaoh even though she was a women -Ruled egypt for more than two decades -11 other statues -Could be a symbol of a sphinx -The head cloth represents the king -The temple is vertical to the face of the mountain -First temple or art piece dedicated to a real women -"In Situ": What is being sculptured is being sculpted on site -There is no word for queen in the egyptian language -Instead of queen they use "King's wife" or "King's mother" -The sculpture shows her as masculine while the hieroglyphs show her as feminine -Thutmose 111 destroyed every statue and art that showed Hatshepsut -Fragments were found and her sculptures were put back together

Sika dwa kofi(Golden Stool)

Identification: -1700 C -Asante people -Wood -Gold Formal qualities: -Texture -Value Content: -A wood stool made out of wood and casted into gold -The stool sits next to the king because it is more important than the king himself -Supported by curved legs -Geometric patterns Historical context: -The golden stool fell from the sky and landed in the lap of the king -Made from the heavens -Soul of the Asante nation -A man or woman's stool can take the essence of a person -The stool is more important than any king -The golden stool is always given its own stool or chair to sit in -Gold symbolizes royalty -Eurpeans wanted the stool, but the Asante people hid it -You were not allowed to sit on the golden stool and people were very offended that a foreigner would even suggest it for himself -The mother queen found all the soldiers she could and went up against Britain -Even though they lost the golden stool was still hidden -Men and women are gifted their own stool when they become of age -The golden stool is always tipped onto its side so people know not to sit on it

Lukasa (memory board) (Luba peoples)

Identification: -1800's -Luba people -Democratic Republic of Congo -Wood -Beads -Metal Formal qualities: -Geometric shapes on sides and back -Color -Texture Content: -Memory bored contains beads, shells, and pegs -Small enough to hold in your left hand -Narrow piece of wood -You read it by touching the surface with right forefinger -Large beads surrounded by smaller beads Historical context: -History is orally passed down -Only men with extensive religious training can recount history -Serves as a memory aid that describes the myths surrounding the origins of the Luba empire

Olowe of Ise, veranda post (Yoruba peoples)

Identification: -1800's -Made by Olewe of Ise -Sculpture -Wood Formal qualities: -Vertical -Frontal view -Texture -Value -Color -5 feet -Hierarchy of scale Content: -The crowned king, his senior wife, and three smaller attendants (one now missing) in the royal household. Portrayals of rulers and their privileged power of earthly and divine authority unite the many global art traditions across time and space -Heads project at a diagonal angle and forward bending necks -The head that holds ase, or the inner spiritual power, dignity, strength, and sacredness of one's destiny -His feet are not allowed to touch the earth, a symbol of his transcendent position. His eyes are downcast, introspective, and attentive to the world beyond. He wears a conical beaded crown, signifying the legitimacy of his reign. The crown is decorated with four carved ancestral faces or 'heads' with open eyes, a reference to the divine line of descent and spiritual wisdom (ase) it contains. -a female who kneels in a gesture of humility and reverence; a standing court messenger identified by his half-shaved head playing a flute announcing the king's presence; and a third, now missing, standing while holding a large circular fan, emblem of royalty and Osun, the river deity -Scarifications on her back -They are wearing beads Historical context: -Part of structural posts of a palace porch

Bandolier Bags

Identification: -1850 -Beads, trade cloth, and cotton -Kansas or Oklahoma Formal qualities: -Primary colors -Bead work -Patterns -Symmetrical -Fringe/tassels Content: -Patterns were based on tribes and who was designing it and the symbols that were important to them -If something have beads it is post contact with the Europeans -Beadwork on cloth -Shows duality in the beadwork -Bells at the end of the tassels -bandolier bags did not have a pocket, but were intended to complement men's ceremonial outfits. -Truly indigenous in the motifs on the bag Historical context: -The beads were from Europe -The design takes reference from military gun powder bags -Beads and other things were traded for land -Made by many tribes -Made by women and intended to be worn by men

Feather cape

Identification: -1850 CE -Hawaii Formal qualities: -Colored feathers -Fiber netting -Texture Content: -The most common color scheme for Hawaiian ceremonial feather cloaks uses a red background with yellow geometric motifs and lower border -early half a million small feathers -A semi-circular cape is considered a later development from the trapezoidal shape. -Each piece of netting was made separately, accompanied by the recitation of protective prayers. Such a cloak provided its important wearer with sacred protection when worn in dangerous situations. -Tiny bundles of feathers were attached to the netting in overlapping rows starting at the lower edge. The exterior of this example is covered with red feathers Historical context: -It was used for ceremonies and battled -The color red was associated with both gods and chiefs -These cloaks were passed down as generation heirlooms -Large numbers of feathered cloaks and capes were given as gifts to the sea captains and their crews who were the earliest European visitors to Hawaii. -attractive items would then have passed into the hands of the wealthy patrons who financed their voyages. -yellow feathers became equally valuable, due to their scarcity. They consisted of olonä (Touchardia latifolia) fibre netting made in straight rows, with pieces joined and cut to form the desired shape.

Tamati Waka Nene:

Identification: -1890 -Gottfried Lindauer -Paint on canvas Formal qualities: -Value -Composition -Naturalism -Color Content: -In his portrait, Nene wears a kahu kiwi, a fine cloak covered in kiwi feathers, and an earring of greenstone or pounamu. -He is holding a hand weapon known as a tewhatewha, which has feathers adorning its blade and a finely carved hand grip with an abalone or paua eye. -The most striking feature for an international audience is his intricate facial tattoo, called moko. Historical Content: -They record likenesses and bring ancestral presence into the world of the living. -an important war leader.

Winged Victory of Samothrace

Identification: -190 BCE -Sculpture -Samothrace -Parian marble -Hellenistic period Formal qualities: -Composition -Value -Line -Shape -Texture -Visual movement -Repetition -Naturalism Content: -18 feet tall including the ship that she is standing on -Sense of energy, drama, and power -Drapery clings to parts of her body like the stomach and there are complex folds in the body -Drapery seems to be whipped by the air -Tension between upper and the lower body -She is landing on the ship -Sense of naturalism -Egyption blue color was found on the wings -Goddess of victory -Originally in a fountain Historical context: -Found in pieces and reconstructed -Could have been part of an open or closed sanctuary -Her head and arms have been lost -In the louver -Egyptian blue on the wings -Offering to the gods -Sculpture to commemorate a naval victory -Functions without expression

Power Figure, Nkisi Nkondi, Kongo peoples

Identification: -1900's -Democratic Republic of Congo -Wood and metal Formal qualities: -Craved -Value -Texture -Niski is a spirit Content: -Pottery containing medical herbs or other elements -Wooden figures that represent people or animals -The medical combinations are usually stored in the stomach and shielded by a piece of glass, mirror, or other reflective substance -The glass represents the "other world" inhabited by spirits of the dead and can see potential enemies -Vessel for spirits and vessel for things that would be inside him Historical context: -Represents ability to contain and release spiritual forces -They bring positive and negative consequences on the community -Specialists activates these these figures through chants and prayers -Clients will lick the the blades or nails to seal the function: Their saliva acts as an oath -If the seal is broken evil befalls on them -Sits in front of the community and you go in front of it if you have done something wrong -Nails represent disputes -The bigger the shard the bigger crime -Can cause death or give life

Navigation Chart

Identification: -19th century -Varied from handheld sizes to arm length Formal qualities: -Composition -Geometric patterns -Relative positions and shapes Content: -Made with natural materials including shells, fibers -Portable and compact -Minimalist design -More particle than aesthetic -The emphasis was on conveying navigational knowledge through clear and comprehensible visual representations. Historical context: -These charts were integral to the navigation techniques employed by Pacific Island navigators for centuries. Skilled navigators used these charts in conjunction with their extensive knowledge of ocean currents, wave patterns, celestial navigation, and oral traditions passed down through generations. -The creation and use of these charts were part of an oral tradition, where navigational techniques and knowledge were transmitted orally from experienced navigators to younger generations. This ensured the preservation and continuity of navigational skills and cultural heritage.

Staff-God

Identification: -19th century -Wood -Paper -Bark -Cook Islands Formal qualities: -texture -Form -Value -Color Content: -It is made of ironwood wrapped with lengths of barkcloth. -The upper part of the staff consists of a carved head above smaller carved figures. The lower end is a carved phallus. -The barkcloth contained red feathers and pieces of pearl shell, known as the manava or spirit of the god. -The shaft is in the form of an elongated body, with a head and small figures at one end. The other end, composed of small figures and a naturalistic penis, is missing. A feathered pendant is bound in one ear. -The wooden core, made by male carvers, has a large head at one end and originally terminated in a phallus. Smaller figures in profile appear to be prominently male. Historical context: -Cook Islanders before their conversion to Christianity included wooden images in human form, slab carvings and staffs such as this, known as "god sticks." -Some missionaries removed and destroyed phalluses from carvings, considering them obscene. -They also have an explicit sexual aspect, thus embodying male and female productive and reproductive qualities.

Owie Kimou, Portrait Mask (Mblo) of Moya Yanso (Baule peoples)

Identification: -20th century -Wood -Brass -Owie Kimou Formal qualities: -Color -Texture -Value -Patterns -Abstract Content: -Sculpted masks of human forms that would be used in personal shrines and masquerade performances -Masks are used for entertainment -They are used to communicate with ancestors and spirits -The masks allow resident to socialize, mourn, celebrate, feast, and court -Portrait mask -Oval face, elongated nose, small, open mouth, downcast slit eyes, and animal horns -Sacrafation patterns at the temple -These features suggest that honorable, respected, good, and beautiful -The slit eyes and big forehead mean wisdom, and modesty -Lines and the bass triangles represent age and health -Mask shows idealized beauty -Crown is abstract -A crown with six tubes Historical context: -To perform in a Mblo mask, a maker is in a clot costume and conceals his face in a small wooden mask and dances for an audience -When the masks aren't being used they are out of sight -Part of a secular masquerade -Masks are not commissioned by a single person but a group of people who admired the woman and then made a dance about her -Woman would've been giving the mask after it was done being performed as a gift

King Menkaure and queen

Identification: -2490-2472 BCE -Dark stone -Greywacke -Found in valley temple -Giza, Egypt Formal qualities -Smooth -Value -Brightly painted -Life-size -Shiny Content -Life size statue of the pharaoh Menkaure and his queen -Figures stand side by side and they share a poll -They stand on a squared base -They both face the front -The king is wearing a short pleated skirt -Stripped headdress -artificial royal beard -In his hands he is holding rolled ritual cloths -Eternally youthful -Prominent eyes, a fleshy nose, rounded cheeks, and full mouth with protruding lower lip -Queen wears a loose cloth -Ideal mature feminine beauty -They are both striding forward -Power -The Pharaoh facing front with one leg out -Ideal way to represent pharoah Historical context -Images of the king were put into the temple to serve for worship -They also found enthroned statue of Khafre with the horus falcon wrapped around his headdress -His carved granite sarcophagus was lost at sea -color on sculpture faded away over time -The king has no protected cobra -The queen may have been the central figure in this sculpture rather than the king -the women may be the kings queen mother rather than one of his wives -This sculpture was made to ensure rebirth for the king -No inscription -Women were important -Depicted the same for 3,000 years

Seated scribe

Identification: -2500 BCE -Old Kingdom, Egypt -Life-like sculpture -Painted limestone -Nipples:wooden dowels -Eyes:Crystal with organic backing and carved indentation for pupil Formal qualities -Frontal -Symmetry -Momentary -Skin is a reddish-brown -Hair and rims of eyes are black -High cheekbones Content -Non idealized figure, sitting relaxed and holding a papyrus -Meant for a tomb -The base has been cut -Rolls to look more human -Body symmetry -Only wearing a quilt -Meant to be seen from the front Historical context -Sculpture depicts a scribe:High-ranking Egyptian official -Good pigment -Found buried -Not much is known about the sculpture -Meant for a tomb -The base of the sculpture was cut off -His hand is supposed to be holding something but it is lost -Not ideal to the way pharaohs are sculpted

Pyramid of Khafre and the Great Sphinx

Identification: -2520-2494 BCE -Built by Khafre -Giza, Egypt -Core stone -Gypsum plaster -Lime stone -Giza, Egypt -2500 BCE Formal qualities -Shape -Texture -Value -Color -Proportion -Value -Shapes -Color -Texture Content -Singal burial chamber -One subsidiary chamber -Two passageways -Used to send the pharaoh to the afterlife Historical context -Slightly smaller than Pyramid of Khufu -Over 52 life sized or larger images filled the structure -Massive depiction of a lion with the head of a king -Single burial chamber -Kings head is smaller than the body because of a defect in the stone

Palette of King Narmer

Identification: -3000-2920 BCE -Carved palette -Smooth grayish-green siltstone -Old kingdom, Egypt -Siltstone -held in egyptian museum in Cairo, Egypt -Found in upper egypt Formal qualities -Decorated on both sides with detailed low relief -palettes were generally flat, minimally decorated stone objects used for grinding and mixing minerals for cosmetics -Twisted perspective -Organized in register -Smooth -Greyish-green color -Hierarchical scale Content -Scene shows a king -Difficult to interpret-Many theories -Some palettes display animals: some real some fantasy -Some focus on human actions -Used in temple ceremonies -Some palettes likely indicate an early incarnation of this process(elaborate daily ceremonies) -King is represented on both sides as human and as a bull -Leopards with long necks that are twisted -Dead foes -Bull heads that are connected to the sky goddess Bat-Heaven and the horizon -The king is about to kill someone with a mace -King Narmer is wearing the white crown of upper egypt -On the other side King Narmer is wearing the red crown of lower egypt -10 corpses decapitated and their severed part are placed between their legs -Bull (representation of King Narmer) is trampling a man and knocking down the city Historical context -So valuable it can't leave the country -Ritually buried -Ritual object dedicated to god -Used to grind up makeup -Found with other objects that were ritually buried -Wealthy people donated to the temples to increase their connection to deity -It is authentic -Gives us visuals of the old egyptian clothing, appearance, hierarchy scale, etc -Significant to our understanding of egyptian culture -Could be a record of King Narmer unifying lower and upper egypt

Grave Stele of Hegeso

Identification: -410 BCE -Relief Sculpture -Athens -Pentelic marble Formal qualities: -Composition -Value -Line -Shape -Color -Textured drapery -Side profile -Seated women Content: -A women named Hesego who is seated and looking through a jewelry box presented to her by her servant and she is examining a necklace -Plasters on both sides and a pediment at the top -At the top there is an inscription that says "Hegeso daughter of Proxenos" -Quiet reference -Her foot is sitting on top of a footrest -Her foot is foreshortened and she is wearing a sandal -There is a vail on her shoulder Historical context: -Grave marker -The jewel that is no longer there would have been brightly painted -Women were not allowed to be citizens in Athens -Women had lives that were defined by their relationships with men -Women were not important in Greece history which i why this sculpture is important -Private sculpture -Sculpted by a man -Hegeso was very important because she had a servant -Shows that there was an upper class -Dowry: Box of things that would be given from your father to your husband: You became the property of husband -Classical Greece

Parthenon

Identification: -44-438 BCE -Gold -Ivory -Athens -Marble Temple Formal qualities: -Composition -Texture -Value -Shape -Line -Doric order with some ionic elements -Space: columns bulge -Mass Content: -A temple that had a giant sculpture of Athena in it -Temple was decorated with marble sculptures from Athenian cult and mythology - The frieze (carved in low relief) ran high up around all four sides of the building inside the colonnades. -The metopes (carved in high relief) were placed at the same level as the frieze above the architrave surmounting the columns on the outside of the temple(92). -The pediment sculptures (carved in the round) filled the triangular gables at each end. -On one of the metopes it shows a fight between Lapiths and centaurs when the centaurs got too drunk and tried to steal the Lapith women. The Lapiths won. -The west frieze features horsemen getting ready for the cavalcade proper, shown on the long north and south sides of the temple. -The east pediment of the Parthenon showed the birth of goddess Athena from the head of her father Zeus. -Entasis -No alter so people believe it was not a Temple but a treasury Historical context: -Stayed intact until the seventeenth century -The christians took it over and made it a church: they defaced the Metopes and the sculptures of Athena's birth were removed -The Athens conquered the Ottoman Turks and it became a mosque -The turks also used the Temple for gunpowder and a bomb hit it so the Temple was destroyed -Many of the sculptures that were destroyed we know from drawings -Birth place of democracy -Stood for almost 2,000 years

Polykleitos, Doryphoros (Spear Bearer)

Identification: -450 BCE -Greece -Sculpture -Artist: Polykleitos -Classical period -Marble -A palestra in Pompeii -Roman marble copy of a Greek bronze sculpture Formal qualities: -Composition -Value -Line -Form -Texture in hair -Mathematical proportions to make the human body perfect -Contrapposto: counterbalancing and harmony in the composition of body Content: -A sculpture of a man who would have been holding a bronze spear -Nude -Not a portrait of an individual -Sculpture represents perfection in the human form -He stands on his right foot(Weight bearing foot) while his left foot is behind him relaxing -Left hand would've been weight bearing with the spear while the right arm is relaxed -Sense of counterbalance and harmony in the composition -Hips are parallel to the knees -Right side is compressed -Head is turned slightly to the right Historical context: -Greeks thought that the human body was perfect -Canon: Ment for study and replications -Rome copies off of the Greek's art -Mirror image of what the ideal man looks like -Similar statues are missing pieces because they were buried for centuries

Temple of Minerva and the sculpture of Apollo

Identification: -510-600 BCE -Stone foundation -Wood(roof) -Mud-brick -Terracotta sculpture -Tufa-block foundations -Veii Italy Formal qualities: -Composition -Line -Form -Value -Shape -Texture Content: -Column bases are found -Divided into two parts -Deep front porch with wide tuscan columns -Back portion divided into three rooms -High off the ground with one entrance -Tuscan capitals(spin on doric columns) -Pediment -Statues sat on top of the pediment -Foot is striding forward but he is stable -Archaic smile -Similar eyes to the kouros -Painted -Copying Greek archaic sculpture -Sense of movement and liveliness Historical context: -Ritual spaces were in groves and and enclosures open to the sky -This three room configuration seems to reflect a divine triad associated with the temple -3 triple cella -Used rational math -No Estruscan architecture exist -Meant to be seen from above -Estruscan adapted their gods and goddess off of the Greeks -Cross connection to Kouros -Shows scene from Greek mythology -Not a naturalistic way to show the body

Sarcophagus of the Spouses

Identification: -520 BCE -Ceramic container -Terracotta -Commissioned by a member of the Caeretan elite(Had to be rich to commission one of these) Formal Qualities: -Composition -Value -Shape -Form -Elongated proportions Content: -A life-like couple -Figures move out into our space(Extending their arms) -Sense of intimacy -Cut in half -Could've been holding something for the banquet like perfume or a pomegranate -Sense of sociability -Features and hair are stylized -Disc of pupils are hollow(Could've been something there) -Archaic smile -Focus was on upper body and not on legs(flat mass) -Reclining woman and man on the lid of a sarcophagus -The women wears a hat and pointed shoes Historical Context; -Monumental tombs -When clay was drying they Burnished the sculpture -Could've been fired in four pieces -Contained cremated human remains -Women and men ate and reclined together -Women were allowed at banquets unlike women in Greece -Found broken into 400 pieces and then rebuilt -Cross connection could be the Kouros because they were made around the same time, similar proportions, and stylized

Anavysos Kouros

Identification: -530 BCE -Athens -Sculpture from archaic period -Marble Formal qualities: -Value -Composition -Texture in hair -Color -Balanced and mostly symmetrical -Form: Organic form that shows youth in the sculpture Content: -Life sized -Ideal male youth/warrior -Can be used as grave markers, offering to a god, or the statute could represent a god -Older Kouros are more seen as a symbol -Left leg is extended and all the weight is back on the right foot -As time goes on the statues become more natural, life-like, rounded, and less blocky -Archaic smile: well being half smile -Inscriptions in base -Not a portrait but reference to the person -Wearing a headband -Traces of original paint on eyes and hair -Hair is knotted Historical context: -Some inspiration from Egypt -Was used as a grave marker for someone's son that died at war -Inscription on base: Stay and mourn at the monument of dead Kroisos who raging Ares slew as he fought in the front ranks -Kroisos is the name of the figure, and Ares is the god of war -Dying in war is the most noble way to die -Recovered by the Greek police in Paris and brought back

Peplos Kore

Identification: -530 BCE -Athens -Small sculpture Formal qualities: -Value -Composition -Texture in hair -Color -Peplos: linen cloth -White stone Content: -Offering to the goddess Athena -May be a sculpture of a goddess -Clothed in an unusual way -She could be wearing a peplos or a chiton -Could be Artimes or Athena -Artemis carries a bow and this sculpture was holding something but it has since been gone -Her other hand was in a fist which could have carried an arrow -Holes crowning her head for a crown -Holes for bronze earrings -Black and red color -Sense of movement -Archaic smile -Decorative patterns and animals would have been embroidered into her skirt(Sphinx, horses, and representations of goats) Historical context: -Represents ideal femininity -Dumped into a pit apart of the Persion destruction of Acropolis -She is wearing a peplos which aristocrats wore

Colosseum

Identification: -70 BCE -100,000 blocks of travertine -Commissioned by vespasian -Stone -Wood Formal qualities: -Texture -Value -Line Content: -Artificial lake -Massive statue of the sun god was put next to the colosseum and the reason they started calling the colosseum the colosseum in the middle ages - first two top columns are Corinthnian, then Ionic, then the last order is tuscan -Entrance is an archway -80 arches were numbered -The main entrances did not have numbers -Corridors to get in were very low and dark -Complex interior structure -Marble seats were inscribed to let people know who was allowed to sit there -The colosseum was a double theater and had a stage -Arena floor was made up of wood planks that had trap doors that were caps to elevators -Elevators were operated by slaves -Elevators were used to bring animals up to the floor for the animal hunts -Awning went on top of colosseum -Netting protected the lower seats -Gets atheistically lighter as you look up Historical context: -Lots of brutality and death -People of rome called the colosseum the Flavian amphitheater -Romans started to use the stone from the colosseum for their houses -Mony to build the colosseum came from the Jewish war and the roman empire taking from the Jews -50,000 spectators could fit into the colosseum -Seating worked where emperors were at the bottom closest, then the senators, then the business men, then the plebians, and then lastly the slaves, foreigners, and women were at the top-the farthest away -The colosseum hosted animal hunts in the morning where they brought animals from Africa and slaughtered them, In the afternoon it was the gladiator combats, but before the gladiator fight if there was time they had the execution of prisoners -Executions took place midday during lunch hours -Some Christians were murdered in the colo

Portrait of King Mishe miShyaang maMbul (Kuba peoples)

Identification: -7060-80 -Wood sculpture -Commissioned by King Mishe -By Kuba artists Formal qualities: -Texture -Value -Representation -Form -3D form -Geometric shapes -Smooth -Repetition Content: -Idealized portrait-statue called an ndop -Rounded contours that create forms such as the head, the stomach, and the shoulders -Defined collarbone -Meant to represent the ideal king and not sculpted from observation -Each statue follows a convention of facial features -Emphasized head because it was seen as the seat of intelligence -Geometric motif served an identifying symbols of which leader it was(The drum) -the arms extend vertically at either side of the torso, the left hand is holding a ceremonial knife and the right hand is resting on his knee -Carving representation of clothing -Carved objects that correspond to objects -Sits on a post cross legged -Face seems uninvolved -Some have names on them Historical context: -Bought by the British in early 1900's -Kuba artists are sculptures, blacksmiths, and weavers -There are 7 ndop statues of historical significance in western museums -Oral narrative -Kuba leaders commissioned these sculptures to preserve their accomplishments -Represents kings spirit after going to the afterlife -Peaceful king -Ideal

Head of a Roman Patrician

Identification: -75-50 BCE -Marble -Wealthy person -Ancient Otricoli Formal qualities: -Value -Texture -Shape -Line -Form Content: -Powerful male aristocrat -Expressionless face -Conveys seriousness and virtue -Aged face representing wisdom -Sculpture in the round -Wrinkles -Toothless -Strong cheekbones -Hooked nose -Deep wrinkles and furrowed brows -Sagging skin -Frontal view -Veristic portrait -Sagging jowls -Features are exaggerated Historical context: -Death mask -They casted faces for these masks were used for funerals to portray deceased ancestors -Head of a Roman partition

Ludovisi Battle Sarcophagus

Identification: -AD 250-260 Formal qualities: -Frontal view -High relief -Marble -No space or background -Emotional expression -Accurate military detail -Crowded composition Content: -Depicts fight between Romans and barbarians -Ramons have smooth features and are calm while the barbarians are seen as rough and have wild expressions -People, horses, and shields -3-4 layers of forms -On the top in the middle of the tomb you can see the hero and he looks calm and is extending his right arm -Looking down the tomb the figures get smaller at the bottom rather than bigger -Shields act like a canopy and frame the individual figures -Light and darks animate the surface Historical context: -Considered to be actual roman soldiers -Came from a tomb near porta -Large tomb -The sarcophagus belonged to someone wealthy but were not sure who

Parthenon Frieze

Identification: -Athens -438 BCE -Olivewood statue -Stone -Phidias(The artist) Formal qualities: -Relief sculpture -Representation of Greeks of their own day -Idealized image of the Athenians -Texture -Value -Would've been brightly painted(Background would've been a bright blue) Content: -Statue of Athena -On the West point of the frieze you see to figures on horseback and preparations of processions -the figure on the right is pulling his horse back and leaning back and the figure on the left turns back to look at him as his horse moves forward -Naturalism in movement -There were also metal attachments and there are three holes in the horse which would have held a bridal -Bodies are ideal and athletic -There are 60 horses on the North and South side which create variety and rhythm(Overlapping) -The men on these horses look very calm and noble -Faces are in perfect profile(Greeks thought it was the most noble way to represent a face) -Mouths are closed to representing their sense of calm and control -Expression of Greeks ability to control nature and powerful animals -The next group that is shown are charioteers -With the chariots are also animals being brought for sacrifice -On the East side there is a series of women who walk forward -There are also large figures that are seated gods and goddesses of Mount Olympus -These gods and goddesses are interspersed with smaller representations of standing humans -There are two figures: An older figure and a younger figure who are folding a peplos which is a woman's garment woven for the olivewood sculpture of Athena -The figure to the right of the people folding the cloth is Athena turned away from them -shows religious procession in honor of Athena Historical Context: -Not entirely certain what the frieze represents -General consensus that it represents Panathenaic processi

Parthenon Metopes

Identification: -Athens -438 BCE -Stone -Phidias(The artist) Formal qualities: -Value -Composition -Form -Texture Content: -Bands of Metopes and Triglyphs -On all four sides there are four mythic battles -East Metopes: Gods vs giants -North Metopes: Greeks vs Trojens -West Metopes: Greeks vs Amazons -South Metopes: Lapiths vs Centaurs: -the centaurus had too much to drink -They took off with the Lapith women -Another metope show a centaur killing a Lapith and the centaur is on its hindlegs celebrating his victory as the lapith lies there deceased -In another metope there is a victorious lapith that has grabbed the centaur by the neck pulling him back -Figures frame the empty center by creating arcs that pull against one another -Free standing sculpture Historical Context: -Sculpture shows nobility of the greeks -Creates diagonal forms -Sculpture represents beauty of the body

Parthenon pediment

Identification: -Athens -438 BCE -Stone -Phidias(The artist) Formal qualities: -Value -Composition -Form -Texture Content: -Fight between Athena and Poseidon on the West pediment -The East pediment shows the birth of Athena -At the center and highest point of the pediment would have been zeus giving birth to Athena -The people on the side are people reacting to her birth -Meant to be seen left to right -The sculpture begins with the god Helios with his chariot representing the rising sun -Then we have god and goddesses on Mount olympics for the birth of Athena -On the right side of this sculpture we see the three goddesses are lounging and they look without worry -At the extreme right corner there's a horses head which represents the goddess of the moon(Going from sunrise to sunset) Historical Context: -The city Athens is named after Athena because she won the fight -Athena was born at sunrise -Athena was born full grown from zeus's head

Athenian Agora:

Identification: -Athens -5th millennium BCE -The sacred way -Athenian Agora -450 BCE -Limestone and terracotta Formal qualities: Open space Content: -Was a market for buying and selling -Then became a place of government -Some scared spots -Procession used to take place through the Agora -Temple of Hephaestus -Stoa of zeus eleutherios was made in zeus honor -Poikile Stoa was a place for philosophers -South Stoa consisted of large rooms that were used at shops and dining rooms -The Mint: The place where Athen copper coins were minted -Stoa Basileios kept the engraved lows of the state -Fountain house that provided people with freshwater -Tholos: Dining room or elected officials -Monument Of the Eponymous Heroes: Ten bronze statues representing the ten Athenian tribes -Older and newer Bouleuterion: house of a senate group of 500 citizens selected to run the daily affairs of Agora Historical context: -Athens had just become a direct democracy -In order to become part of the government you had to be a wealthy male Athens citizen -later made it equality before the law -Government was limited and short-lived -Foundation of Democracy -Used for debates, worship, and shopping/trade -Birth of Democracy and debate -Originally used as a burial place during Neolithic times -The Panathenaic way is road that goes through Athens and the Agora and was sacred serving as the travel route for the Panathenaic festival held in honor of the goddess Athena

Victory (Nike) Adjusting Her Sandal

Identification: -Athens -Sculpture -427-25 BCE -Temple of Athena Nike -420 BCE -Ionic columns Formal qualities: -Composition -Value -Line Content: -Sculpture of a Nike(god or goddess) -The sculpture inside this temple did not survive -Parapet(a railing) with sculptures around it -High relief -In this sculpture we see Nike is adjusting her sandal -She could be taking off her sandal because she's walking on sacred ground -She's off balance -She is lifting one foot up to untie her sandal and her other leg is bent and she is leaning over -She has to wings that are helping her keep balance -She is wearing a drapery that could be seen as transparent to see the nude body -Revealing -Chain folds in drapery -Sense of movement -Classical time period -Wet drapery: No nude allowed in classical period -Temple consisted of Cella -Columns are in Ionic order -Decorated with Frieze and sculptures -Sculptures dedicated to Athena Historical context: -Used for the railing of a temple -Entrance to the Acropolis underscores -Symbolizes assurance of victory and protection -Entrance of Acropolis -Symbolizes protection -Sense of watchfulness and readiness for potential threats

Seated boxer

Identification: -Bronze -Hellenistic Greece Sculpture -100 BCE -Found in Rome Formal qualities: -Color -Value -Composition -Line -Shape -Texture Content: -Sculpture is hollow -The eyes are missing -Sense of presence -He is sitting on a pedestal with his hands together and he is looking to the right like he is talking to somebody -Not young and not beautiful in the traditional sense -Muscular and powerful but defeated -Inlaid copper for wounds -He is bleeding -He is a boxer -His hands are wrapped in leather -His torso is collapsing and his head is down -He is looking up and is exhausted -He has a broken nose and a swollen ear -Realistic boxer -Realism becomes ideal -Depicted in nude -Different metals used for scarring and blood -Realism and agony -Idealism -Inlays of other metals Historical context: -An original Greek sculpture -Emotionally engaging -In Greek boxing the mostly aimed for the head and the face -Most Greek sculptures are standing and noble but this one is not -Sculpture would have been used to rub and would give boxers good luck -Boxing became an olympic sport in Greece

Elephant mask:

Identification: -Cameroon -1800's -Beads -Wood Formal qualities: -Colorful cloth and beads -Round eyes -Shells for patterns Content: -Intended to worship the elephant -Beads are imported -Black beads represent relationship between living and the dead -White beads represent ancestors -Beads show leopard pattern Historical context: -Only important people in society could own and wear the elephant masks -Used at royal court -All the bead work takes hours and days -Represents the powerful -Elephants mean strength and power -Performance art -Dualism(Person of power they are going in between the spirit of an elephant)

Transformation mask

Identification: -Mask -Wood -Canada -1800 -String -Paint Formal qualities: -Color -Form -Texture -Symmetrical Content: -transformation masks manifest transformation, usually an animal changing into a mythical being or one animal becoming another. -There is a string and it opens the mask -Representation of an eagle -When the cords are pulled, the eagle's face and beak split down the center, and the bottom of the beak opens downwards, giving the impression of a bird spreading its wings -The mask reveals the face of an ancestor -masks were only one part of a costume that also included a cloak made of red cedar bark. -Dualism Historical context: -The masks are worn by dancers during ceremonies -worn during a potlatch, a ceremony where the host displayed his status, in part by giving away gifts to those in attendance. -Mask conveyed social position -Masks are passed down in the family -Potlatches were banned in 1885 until the 1950s because they were considered immoral by Christian missionaries who believed cannibalism occurred

Wooden sculptures from Nukuoro

Identification: -Caroline Islands -Oral tradition -Wood -18th-19th Century Formal Qualities: -Smooth -Value -Color -Form -30cm to 217cm Content: -Surfaces of the carved figures were smoothed with pumice. -Ovoid head tapering slightly at the chin and a columnar neck. -The eyes and nose are either discretely shown as slits or not at all. -The shoulders slope downwards and the chest is indicated by a simple line. Some female figures have breasts. -sketchy indication of hands and feet. The buttocks are always flattened and set on a flexed pair of legs. Historical Context: -Nukuoro has been inhabited since the eighth century -The new Polynesian settlers brought hierarchy, rank, and aesthetic principles like that carving of stylized human figures. New inhabitants also incorporated Micronesian aspects such as the art of navigation, canoe-building and loom-weaving with banana fiber. -By 1913 Nukuoran the sacred ground an temple were taken over by pre-Christian traditions such the dancing, songs, and stories were lost -Each of the figurines bore the name of a specific male or female deity which was associated with a particular extended family group, a priest and a specific temple. -The sculptures were placed in temples and decorated with loom-woven bands, fine mats, feathers, paint or headdresses. -Tino Aitu is an important religious ceremony. The rituals marked the beginning of the harvesting of two kinds of taro, breadfruit, arrowroot, banana, sugar cane, pandanus and coconuts. During the festivities food offerings were brought to the wooden sculptures, male and female dances were performed and women were tattooed. Any weathered and rotten statues were also replaced during the ceremony. -These sculptures were considered the resting place of a god or a defied ancestor's spirit.

Fang Reliquary Figure

Identification: -Carved by fang people -Wood Formal qualities: -Tubular nature of the limbs -Abstract -Depicting an actual person -Childlike proportions -Oiled to keep insects off but also makes the figures shiny Content: -Elongated torso, rounded head, closed mouth, arms are collapsed together -Sense of calm -Somber pose represents death -Genitalia represents life -Shows power and strength -Made female and male figures -also used as puppets for mens initiation -Rounded limbs Historical context: -Contains bones of community members -Figure is a talisman -Warded off evil

Male figure, Ikenga (Igbo Peoples)

Identification: -Carved wooden figure -Nigeria -1800's Formal qualities: -Value -Texture Content: -Has a human face with animal attributes -They can be small and abstract or naturalistic -Likely made for a warrior -Seated on a stool an expression of honor -In his right hand he is holding a sword an expression of power -In his left hand he is holding a human head an expression of his warrior status -Ikenga stand for power of the right hand -personal spirit of human achievements, one's ability, and it holds items that helps the owner's get stuff done -The left hand can hold a number of things like a head or a tusk -Long ram horns that curl at the top -Vertical and horizontal abstract forms -the head is the power, the aggression, and the strength -Pod shaped forms with dots and lines -Decorative patterns have been cut into the body (Scarification) -Patterns show that this person was high ranking Historical context: -Personal objects that suggested the achievements of their owner and they could relate to that person's occupation -Was put into a shrine in the owners home

Black-on-black ceramic vessel

Identification: -Clay -Maria Martinez -1950 Formal qualities: -Value -Color -Smooth Content: -Design was based on pottery sherds found on an Ancestral Pueblo dig site dating from the 12th-17th centuries at what is now known as Bandelier National Monument (which was where the Martinezes worked to help archeologists at the dig) -The areas on the pot that were burnished had a shiny black surface and the areas painted with guaco were matte designs based on natural phenomena such as Rain clouds, bird feathers, rows of planted corn, and the flow of rivers -Abstract elements suggest a bird in flight with rain clouds above → represents a prayer for rain that could be flown up to the sky; these shapes are exaggerated due to the low rounded shapes of the pot Historical context: -This vase reminded me of Niobid Krater from Ancient Greece because like the Black-on-Black Ceramic Vessel it has two friezes of geometric design and its designs are made with a similar technique (Black Figure painting); as well, both vases use negative space and form although in different ways -Also, the two vases each have a history of being used and/or designed to have utilitary function, but are now regarded for their aesthetics rather than purpose Niobid Krater was used to mix wine and water but is valued today for its formal qualities and content; Black-on-Black Ceramic Vessels were originally meant to be used for food storage, cooking, and ceremonies before they began to be known as fine art pieces and bought for their

City of Cusco

Identification: -Cusco -Inkas Formal Qualities: -11,200 feet Content: -Center of of existence and symbol of Incan power -The city was divided into two sections, hanan (upper or high) and hurin (lower), which paralleled the social organization of Inka society into upper and lower moieties (social divisions). Cusco was further divided into quarters that reflected the four divisions of the empire, and people from those sections inhabited their respective quarters of the city. -Shaped like a puma -stones as being like people, in that many different ones may fit together if they are properly organized. -At the heart of hurin Cusco was the Qorikancha ("Golden House"), the most sacred shrine of the Inka, dedicated to the worship of the sun. -each stone together as an individual shape, creating an irregular-looking surface, here they were shaped into even courses of rectangular blocks, and polished to a smooth finish. The walls were then covered in sheets of gold to signify the shrine's dedication to Inti, and would have reflected the sun's rays with a blinding brilliance. -Inside, a reproduction of the world in miniature took the shape of a garden made from gold, silver and jewels, with people, animals, and plants. Historical Context: -Girls and young women were drawn from across the empire to the capital to serve as cloistered acllas ("chosen women"): to weave fine cloth for gods and nobles and to make corn beer (chicha) for religious rituals, to serve gods in shrines, and in some cases to be given to Inka favorites in marriage. Young men were also brought to Cusco to be educated and raised in the Inka culture. -Inka had many gods, they claimed descent from the sun, whom they called Inti, and held the sun's worship above all others. -It is possible that it was never finished, or that parts of it were left incom

Feathered Headdress

Identification: -Mexico -Aztecs -1520 Formal qualities: -Color -Texture Content: -More than 450 quetzal tail feathers -Used in dances -Beadeing Historical context: -Cortes and his Spanish army conquered the Aztecs and sent a lot of the Headdresses back to spain -Feathers show long distance trade -Part of an entire costume -there were highly regarded feather makers -Quetzals only produce 2 tail feathers -People were being blended into the spanish and were converted to be catholic -You have to earn the Headdress

Hiapo (Tapa)

Identification: -December 17th, 1953 -Fiji -Queen Elizabeth II -Prince Philip -Artist is unknown Formal qualities: -Geometric -Symmetrical -Pattern -Repetition Content: -Hiapo also known as tapa were textiles made for decoration for people of rank. -They were most commonly used to make clothes, bedding, and wall hangings, and put on display at special occasions, like birthdays or weddings. -These textiles were made of bark. Women would harvest the bark of a flowering tree and pound it flat using a wooden beater. -The terminology, decorations, dyes, and designs vary throughout the Pacific. - bark cloth was created with a felting technique and designs were pounded into the cloth with a carved beater. In Samoa, designs were sometimes stained or rubbed on with wooden or fiber design tablets. In Hawaiʻi patterns could be applied with stamps made out of bamboo, whereas stencils of banana leaves or other suitable materials were used in Fiji. Historical context: -The Queen and her husband were touring the Pacific in 1953-1954. They stopped in Fiji for three days and stayed with an American colony. -During the duration of her visit the islanders gave her a number of gifts and presented her with a ceremony, where they showed their respects to her and gave her the Fijian Mats and tapa clothes. -Polynesian cultures value genealogical depth, tracing one's lineage back to the gods. Oral traditions recorded the importance of genealogical distinction, or recollections of the accomplishments of the ancestors.

Tomb of the Triclinium

Identification: -Etruscan chamber tomb -470 BCE -Monterozzi necropolis of Tarquinia, Italy -Rock Formal Qualities: -Texture -Color -Composition -Shape -Pattern -Form Content: -Rock cut chambers -Composed of one chamber -The chamber contains wall paintings that are painted in fresco(A form of mural painting) -On the back wall of the chamber the painting shows a scene of banqueters enjoying a dinner party -Between that scene there are figures reclining on dining couches -Two attendants(One male, one female) attend to the diners that are dressed in bright robes that presumed their elite status -Under the couches there is a large cat, a large rooster, and another bird -On the left wall scene there are dancers(three female and one male) and there is a male musician playing a barbiton -Females skin is painted very light while males skin is painted a darker tone of orange-brown -The entrance of the tomb you can see kids painted playing games and dismounting horses -The ceiling of the tomb is painted in a checkered scheme of different colors that could be to evoke the temporary fabric tents that were near the tomb for for the actual celebration of the funeral banquet Historical Context; -These tombs show abundant archaeological evidence for Etruscan civilization -They show important information about Etruscan funeral culture as well as their society of the living -The tombs contain the remains of the deceased and there are various gave goods or offerings deposited along with the deceased -Funerals were often accompanied by games -The tone for Etruscan funerals was more festive than sad with dancing, music, games, and food -This funeral banquet marked the transition of the deceased from the world of the living to the world of dead -A portion of the meal including the right dishes and utensils to eat and drink were placed into t

Last judgment of Hunefur

Identification: -Fragment of a scroll -Thebes, Egypt -1275 BCE -Papyrus -Book of the dead Formal qualities -Shape -Value -Line -Representation -Animals -People -Writing -Color -Papyrus -Hieroglyphs Content -Written text from the book of the dead -Ancient text that had spells and prayers and things that people needed in the afterlife -Found in the tomb of Hunefer -There are representations of the man who died on the scroll -at the top of the scroll you can see him crouching and talking with a line of gods -The scene at the bottom in the judgment process where you see if you get to go to the afterlife or not -Spells -Prayers -Incantations -Hunefur's heart is being weighed against the feather: His heart is lighter so he gets to meet with a very high status god Historical context -Writing on walls, tombs, and scrolls that provide information on what to do with the deceased -Originally for kings but than became for people with high status also -Shows old kingdom style of art in the new kingdom -Ritualistic -Kneeling Hunefur speaking to deities -Being led by Anubis -Ammit: Head of a crocodile, body of a lion, hindquarters, will eat you if you had an unethical life -Ma'at: Divine order/ ethical life -Thoth: recording what happens to Hunefur -Anubis: Associated with mummification -Harvest papyrus, cut stalks into thin strips, gently pound stalks, soak, press, and burnish

Maize Cobs

Identification: -Gold -Silver -Alloy -Qorikancha -Copper -Cusco Formal Qualities: -Texture -Value -Sculpture -Naturalistic Content: -mimics the appearance of a ripe ear of corn breaking through its husk, still on the stalk but ready to be harvested. -Hollow and delicate, the ears of corn on the stalk are life-sized. Historical Context: -The silver corncob and stalk were likely part of the spoils captured in this raid. -The life-size garden was a significant offering within the Qorikancha where it became part of a compact version of the cosmos controlled by the Inka state. It also represented the vast range of ecosystems encompassed by the empire and the most important agricultural products cultivated in them. -The Inka commonly deployed small-scale naturalistic metallic offerings, like the silver alloy corncobs, in ritual practices that supported state religion and government

Pyramid of Menkaure

Identification: -Granite blocks -Made by Menkaure -2500 BCE -Commissioned for Menkaure -Made from the same things as the first two pyramids Formal qualities -Shape -Texture -Symmetry -Value Content -Most complex chambers -Decorative panels -Six large niches Historical context -Smallest of the three pyramids -Some of the most stunning examples of sculpture to survive from egyptian history -His sarcophagus was lost at sea in 1838 -This temple was an active place for the cult

Templo Mayor

Identification: -Mexico city -Aztecs -1325 Formal qualities: -Color -Value -Texture Content: -7 building campaigns. Undertaken my successful rulers -Temple was filled over with dirt, rubble, and stone, then encased in a stone structure -The outside structure would be surfaced with stucco and then brightly painted -It would then be decorated with a number of structural forms -Double staircase that rose deeply up -At the top there is a platform with the two temples on top -Going up you passed a stone altar and a chacmool Historical context: -Destroyed and buried(Intentionally) by the Spaniards with conquest -Twin temple devoted to the Aztecs two man deities, the sun and war god and the god of agriculture and rain -Temple was surrounded by other temples that were devoted to other deities -The temple is still now under buildings that are still standing -Buildings now used stone that had been apart of the Aztec city

Female (pwo) mask (Chokwe pepblos):

Identification: -Made by the Chokwe people. -Democratic republic of Congo. -20th century -Wood -Plant fibers Formal qualities: -Color -Texture -Her face is symmetrical. -Mask is carved into creating value. Content: -Mask would've been danced by a male dancer. -Mask represents the ideal woman. -This mask honored women and honored the founding female ancestor of the Chokwe lineage. -The wood the mask is made out of is very thin and hard to carve. -There is fiber and the mask has an elaborate hairstyle. -The dancer wore a tight-fitted bodystocking covered in raffia cloth and the dancer's groin area would've been covered in a loincloth. -The dancer would have also been wearing wooden breast's. -The dancer walked in a very graceful and stately way. -The mask shows a sense of calm. -The mask's eyes and mouth are closed. -It is a deep dark red mixed from red earth and oil. There is also white kaolin(clay) around her eyes -The whiteness is connected to the spiritual realm. -Eyes are the most important part of the face and they are abstractly big and draw attention to her spirituality and her second sight. -Her chin is very narrow. -The broadest part of her face is by the eyes and her ears. She also has a wide forehead that is accentuated by the hairstyle. -Constant circles are bisected by the lines of the mouth of the eye. -She is also wearing circular earrings. -There is a repair on the side of the face so that they could continue to use the mask. -There are pounded dots around the eyes which emphasizes the cynical nature. -Women also had tattoos that had special references and meanings. -Her hairstyle was very fashionable at the time so the Chokwe people could really see themselves in the mask when the dance was being performed. Historical context: -The man who made this mask and the masker who is also a man made thi

Great Mosque of Djenné:

Identification: -Mali -800 CE -Plaster -Mudbrick -Religious center Formal qualities: -Texture from mud brick -Value -Local materials Content: -Two towers -Building is surrounded by two walls -Exterior would melt in the rainy season and would have to be replastered -Second construction was much bigger -Featured low minaret towers and equidistant pillar supports -Earthen roof covers the structure -Supported by monumental pillars -Holes in roof are covered by terracotta lids -Includes three minarets and a series of engaged columns that create a rhythmic effect -Top of the pillars are conical extensions with ostrich eggs placed on the top as a symbol of fertility and purity -Timber beams are seen throughout the exterior that are decorative and structural -Special court reserved for women -Earthen pillars that signal the graves of two local religious leaders -Sand floor Historical context: -Religious building -Largest mud-built structure in the world -Became a political symbol for local civilians and colonial power like the French -French took control of Mali in 1892 -Place of Muslim worship -The third reconstruction was brought on by the french and were made by french slaves - During the annual festival of the Crépissage de la Grand Mosquée, the entire city contributes to the re-plastering of the mosque's exterior by kneading into it a mud plaster made from a mixture of butter and fine clay from the alluvial soil of the nearby Niger and Bani Rivers.

Rabu Nui

Identification: -Maori people -1000 CE -Stone, Basalt, coral(Eyes) -Moai means statue Formal qualities: -Hand are low relief -Curved lines -3-dimensional -Surface texture is hard -Idealistic Content: -887 Moai -14 are made from basalt, the rest out of softer volcanic tuff -Basalt is hard to carve which could explain why there are only 14, also could've been commissioned by someone of high status -Size and complexity increased over time -Heavy eyebrow ridge, elongated ears, oval nostrils, elongated nose, protruding mouth -The arms are thin and lie tightly against the body; the hands are hardly indicated -A pukao of red scoria stone would sometimes be placed on the head of the statue to represent the long hair the deceased had, a sign of mana - a kind of mental power Historical context: -Carved to commemorate important ancestors, which was an important part of the Rapa Nui peoples culture -Past of en-slavery, deforestation, and colonization -Around 1500 C.E. the practice of constructing moai peaked -When they are standing, they are talking with the ancestors through ritual and ceremony -The men created a human ladder to reach the moai's eyes to put the coral back into the eyes, it was believed that this made them come back to life -They were not allowed to do this ceremony for a long period of time due to colonization -The removal of eyes is connected to them going to sleep, essentially disempowering them -According to oral tradition, the moai statues walked to their destination -Maori people were traders with other regions and traveled -In the 1800s, the remaining standing moai were toppled due to the rise of Christianity -Caused by the changes in the island's ecosystem -Theory of rats on the island causing famine and conflict -Today some are toppled over, some are standing up, others are half-submerged and part o

Augustus of Primaporta

Identification: -Marble -First Roman emperor -27 BCE -Rome Formal qualities: -Composition -Value -Texture -Color Content: -Life-sized -Naturalistic -Muscular and good bone structure -Looks as if he is moving forward -Fringe and drapes in his clothing -Sculpture was once painted -He is raising his right hand as if he is addressing his troops -Weight on his right leg and his left leg is bent(Contrapposto) -In a relaxed position -Sense of being alive -cupid is at the bottom of the sculpture -Cupid is riding a dolphin -Agustus believed that he was descended from the gods and traces his lineage back to Venus(Cupids mom) -Face is youthful and beautiful -High cheekbones -Slightly raised eyebrows -Face shows seriousness and nobility -He is wearing an armored breastplate -The breastplate shows Augutus and his achievements -In the breastplate there are representations of rome, gods, the sun and the moon, captives of other wars, and the sky -He is seen as young and athletic but he was actually older Historical context: -Could be a copy of an original bronze sculpture -Sculpture represented Augustus victory over the Parthians -Sculpture is about political ideology of the new era -Artist idealized Agustus to make him seem more youthful and athletic -Communicates his power and ideology -He reformed roman taxation, made roads, and established a standing army, police, and firefighters which led the roman empire to be expanded

Veristic male portrait

Identification: -Marble -Vatican -1st century BCE Formal qualities: -Strong cheekbones -Deep wrinkles -Thin lips pressed together -Frontal view -Veristic portrait Content: -Aristocratic old man -Wears a toga -Serious of mind and virtue -Lack of emotion -Real sense of age and experience and wisdom -Republican ideal -Concern is expressed in the eyes Historical context: -Shows age, wisdom, and experience -Used as death mask -Wearing a toga which may mean he was participating in religious ritual -Elderly are seen as valuable to sculpt -Before Rome had emperors they had a republic with a senate -The people ruling Rome where old rich men -Older men were given primary power

Alexander Mosaic

Identification: -Mosaic -Pompeii -Tiny pieces of stone and glass 100-120 BCE Formal qualities: -Color -Value -Composition -Line -Shape -Texture Content: -Shows an important battle where the Ruler of Persia runs away from Alexander the Great -Darius is telling his troops to retreat -Momentum -The Oersian spears are still facing the greeks but the chariot is being spun around -Tension and torsion -On the ground there is the wounded and the dying -One of the horses pulling the chariot has all four hooves off the ground -Frenetic quality -Sense of confidence when looking at the Greeks -Darius looks fearful and surprised -Empty at the top -Weighted towards the bottom -Overlapping and depth of field -Foreshortened perspective -3 quarter view point -Controlling visual movement Historical context: -Shows an important battle in Greek history -Alexander had compassion and was known for compassion towards Darius family -Alexander moves Greece into Egypt, Persia, and the Valleys -There are not many Greek wall paintings even though they were thought to be the best thing the Greeks could make -Found between two peristyles -Made of 1.5 million cubed pieces of glass/stones -Greek battle scene between Alexander and Darius -We know what alexander looked like, what their armor looked like, their horses, and their weapons -Record of history -Original Greek painting -Made by Roman

Great Serpent Mound

Identification: -Ohio -1848 -1070 CE Formal qualities: -1,300 feet in length -One to three feet high Content: -Mounds that were fertile valleys -The valleys made maize, beans, and squash -The serpent is slightly crescent-shaped and oriented such that the head is at the east and the tail at the west, with seven winding coils in between. -The head of the serpent aligns with the summer solstice sunset, and the tail points to the winter solstice sunrise. Historical context: -the work as being designed, built, and/or refurbished over an extended period of time by several indigenous groups. The leading theory is that the Fort Ancient Culture (1000-1650 C.E.) is principally responsible for the mound, having erected it in c. 1070 C.E. -The mound contains no artifacts, and both the Fort Ancient and Adena groups typically buried objects inside their mounds -provide tangible insights into the cosmology and rituals of the ancient Americas.

Eastern Shoshone: Hide Painting of the Sun Dance

Identification: -Paint on animal hides -Cadzi Formal qualities: -Color: Red Ochre and chalk -Geometric shapes Content: -displays elements of several different dances, including the important and sacred Sun Dance and non-religious Wolf Dance (tdsayuge or tásayùge). The Sun Dance surrounds a not-yet-raised buffalo head between two poles (or a split tree), with an eagle above it. Men dressed in feather bustles and headdresses—not to be confused with feathered war bonnets—dance around the poles, which represents the Grass Dance. With their arms akimbo and their bodies bent -The hide painting also shows activities of daily life. Surrounding the Sun Dance, women rest near a fire and more men on horses hunt buffaloes. Warriors on horses are also shown returning to camp, which was celebrated with the Wolf Dance. Two tipis represent the camp, with the warriors appearing between them. Some of the warriors wear feathered war bonnets made of eagle feathers. These headdresses communicated that a warrior acted bravely in battle, and so they functioned as symbols of honor and power. -Some scenes display individuals skinning buffaloes and separating the animals' body parts into piles. Historical context: -Men and women both painted on hides -oral tradition -Later Native Americans started doing subject matter on "affirmed Native identity" and appealed to tourists -Lots of these paintings from men depicted tepees and battle scenes -Cadzi, the artist, was placed in a reservation in central, western Wyoming -The Sun Dance was intended to honor the Creator Deity for the earth's bounty and to ensure this bounty continued. It was a sacred ceremony that tourists and anthropologists often witnessed. -The U.S. government outlawed the Sun Dance until 1935, in an effort to compel Native Americans to abandon their traditional ways. -

Great Altar of Zeus and Athena at Pergamon

Identification: -Pergamon -Second century BCE -Sculpture -282-133 BCE -Marble -Hellenistic Formal qualities: -Composition -Value -Line -Shape -Texture -High relief sculpture -Sense of movement -Contrast -Drapery technique Content: -One has Athena in the middle while the other has zeus in the middle -Expression -Battle between god and goddess from mount Olimpys against giants -Athena is seen as beautiful and graceful -Athena is fighting a giant and winning -And the giants mother is on the other side of Athena unable to help him and worried -One of Athena's snakes is biting the giant on his right side -As all of this happens Athena is being crowned by a winged Nike -Athena also has a shield that shows her protective power -Figures are coming from above and below -Full of diangels and deep carvings -Once was painted -On the other panel zeus seems composed and in control -It is obvious that zeus is going to be the victor -Exposed chest and abdomen with drapery -He is taking on three giants -There are also eagles and thunderbolts around him fighting off the giants -Sense of heroism and balance -Figures seem to spill out of the wall -Some of the sculptures enter our space by having their knees resting on the steps -Some giants represent greece destroying their enemies -Some giants have animalistic features -Purposeful attempt to seem like the this program was speaking to the parthenon sculptures Historical context: -Hellenistic the last phase of Greek art -Greeks culture was very wide spread -After Alexander the great's father died Greece was separated by his four generals -Sculpture is a metaphor for victory of Greek culture against the unknown -Also represents military victories -An alter -Monument was built for the first kings victory over the Gauls

Coyolxauhqui Stone

Identification: -Temple Mayor -Aztecs -Volcanic Stone -1500 Formal qualities: -Texture -Value -Color -Shape Content: -Decapitated and dismembered woman -There are bells on her cheeks to tell us who she is(Coyolxauhqui: Bells her cheeks) -she has on a feathered headdress, ear spools, and she is highly decorated -would've been horizontal at the base of the stairs -There is a skull next to her, she has a snake belt around her waist, she has rolls of flesh, and she has breasts that hang down representing she was a mother or an older woman -She has monster faced joints Historical context: -found at the base of the god warfare and sun's side at the bottom of the steps -As they built the temple bigger they would bury things and build them bigger on top -Coyolxauhqui is mad because her mother is pregnant so she gathers her four brothers to kill her but her other brother defends their mother and decapitates her and throws her off snake mountain where her body gets broken into pieces -Monthly festival (Raising the banners) where captives are rolled down the stairs of temple Mayor and landed on the stone(a reenactment of the myth) -Nakedness id considered humiliation -Woman tries to overthrow the mother and then get dismembered and thrown off a cliff and this shows to the people not to mess with the new empire because there will be repercussions

Chavín de Huántar

Identification: -Peru -Stone -Incas Formal Qualities: -Carved -Value -Texture Content: -At 10,330 feet (3150 meters) in elevation, it sits between the eastern (Cordillera Negra—snowless) and western (Cordillera Blanca—snowy) ranges of the Andes, near two of the few mountain passes that allow passage between the desert coast to the west and the Amazon jungle to the east. -The temple complex that stands today consists of two building phases: the U-shaped Old Temple, built around 900 B.C.E., and the New Temple (built approximately 500 B.C.E.), which expanded the Old Temple and added a rectangular sunken court. The majority of the structures used roughly-shaped stones in many sizes to compose walls and floors. Finer smoothed stone was used for carved elements. From its first construction, the interior of the temple was riddled with a multitude of tunnels, called galleries. While some of the maze-like galleries are connected with each other, some are separate. The galleries all existed in darkness—there are no windows in them, although there are many smaller tunnels that allow for air to pass throughout the structure. Archaeologists are still studying the meaning and use of these galleries and vents -over 15 feet tall, carved with the image of a supernatural being, and located deep within the Old Temple, intersecting several galleries. -The Lanzón depicts a standing figure with large round eyes looking upward. Its mouth is also large, with bared teeth and protruding fangs. The figure's left hand rests pointing down, while the right is raised upward, encompassing the heavens and the earth. Both hands have long, talon-like fingernails. A carved channel runs from the top of the Lanzón to the figure's forehead, perhaps to receive liquid offerings poured from one of the intersecting galleries. -Two key elements chara

House of Vettii

Identification: -Pompeii -Vettii:They were brothers -2,000 square meters -70 BCE -Stone -Fresco Formal qualities: -Symmetrical -Displays various themes -Repetition -Peristyle: Rectangular garden Content: -Frescos show scenes from Roman mythology -Housed lots of sculptures -Landscape with many gardens and fountains -Innovation: collected rain water inside the house -Incorporated outside in -Very open -First portion of the house was a shop -Roman town house -Some houses had two stories the top one being used for extra room or storage Historical context: -In rome there is a social system -Petrisians: Upper class people -Rich people would receive patrons from lower class citizens into their home to do work -The lower class citizens would could go to the patrons house and would get an eyeful of the patrons household wealth -Clients would seek support and and favors for the patron while the patron gave them protection, support, and beneficiation -Homes of upper class people were always decorated -Was drawn into a book so we know what it looks like -Hierarchy -Provides important evidence for trends in domestic decorations

Benin Plaques:

Identification: -Present day Nigeria -Year 900 -Coral -Brass -Bronze Formal qualities: -Frontal view -Bodies are symmetrical -Not naturalistic -Sculpture is carved into making texture -Low and high relief sculptures that create value Content: -The Oba(The king) is dressed in regalia and is holding leopards which are symbols of power. -We know this is the Oba because he is wearing a phenomenal crown made of coral beads and it has a tall basketry projection(Oro projection), which is a sign of leadership. -He wears a tunic made of coral and an imported damask skirt. -He has coral on his ankles, his arms, and he is wearing the bead of rule on his chest. -Around his waist are mudfish. -His hands are inlined with his torso -A river leaf motif in the background which shows that the king is controlling wealth. -The plaques had a narrow size and a wide size. And they worked together to sheath a column. -A lot of Benin plaques had Triadic symmetry, where you had a central figure, and then figures on either side that were symmetrical. -On another plaque we see the triadic symmetry and it is a figure playing a drum that is a warrior. -He is wearing a warrior's bell on his chest and he's wearing a leopard tooth necklace, saying he's in the Oba's militia. -There are also bells dangling from his belt. The bells are attached with a leopard skin leather, which shows his relationship to the Oba. -He is larger than the figures on either side of him. -Later you see artists move away from making the other two figures smaller because it makes them harder to see from a distance. -More movement -On the last plaque there are three figures who are all the same size, but they are not in the same hierarchy. -The figure with the helmet is part of a more important court than the two figures with the crown and the feathers, because the one with

Bundu / Sowei Helmet Mask (Mende peoples)

Identification: -Sande society -Wood -19-20th century Formal qualities: -Dark color -Carved into -Texture -Idealized Content: -Would've been worn on the top of the head -Was used for girls to go through their initiation -Deep black sheen -Surface is smooth -Eyes are large and closed -Small mouth and petite ears -Downcasted eyes suggest that she should be reserved -The small mouth suggests that she should keep her mouth closed and not gossip -Small ears represent not to listen to gossip -Elaborate hairstyle -Rolls of fat under the chin -Large forehead -The body fat represents that she has enough fat to bear children -The Sowie mask is thought to be a spirit. And she comes from the bottom of the rivers and lakes but only when the mask was being worn -below the eyes there are 4 lines on either side that are scarification marks and they are apart of the ideal aesthetic -Made by male carver Historical context: -Women wore the mask -Made by a male carver -All girls were initiated into a secret society and taken into the woods to learn how to be a good women etc -The girls skin would have white clay on it to make them dry, pasty, and attractive to represent that they were not girls but that they weren't women yet -The mask shows the inner morality that girls should have -After the initiation the women are expected to get married and have children -When they are not seen as girls but they are not yet women they are referred to as chrysalis, which means not quite the butterfly but no longer the caterpillar -The mask teaches girls different dance movements and stories to those dances -It also tells them practical information like how to clean, cook, and raise kids, but also spiritual knowledge and information about their belief system -Only masquerade where women would wear the mask -Matriarchal society

Olmec mask

Identification: -Temple Mayor, Mexico -Greenstone'Sculpture -Olmec -1200 BCE -Jadeite Formal qualities: -Color -Value -Polished Content: -Sculpture of a human face -About the size of the palm of someone's hand -Traditional mask -Shows lots of Olmec features such as upturned lips, baby face, almond eyes, and there is a cleft in the head Historical context: -Aztecs found and buried the masks as an offering at Temple Mayor -Older than the Aztecs -Aztecs thought historically -Micratory: Art you can travel with(Trade)

Temple of Amun-Re and the Hypostyle Hall

Identification: -Thebes in the new kingdom -Karnak and Luxor, Egypt -Columns: sandstone, mudbrick, and paint -1550-1070 BCE Formal qualities 134 sandstone columns -69 feet -Brightly painted(If the paint still existed) -Clerestory lighting(A section of the wall that allowed light and air to enter into a dark hall) -Ceiling was decorated with birds and stars -Columns were designed with plants Content -Temple had additional buildings including sacred lake, kitchens, and workshops for the production of religious accouterments -The main temple had two axes. One went north-south and the other went east-west.the southern axis continued towards to the Luxor temple and was connected by a hallway of ram- headed sphinxes -The temple floor raises until you get to the sanctuary of god(Impression of rising mound) -The temple roof represented the sky and had birds and stars decorated on it -The columns were designed with lotus, papyrus, and palm plants to represent the the marsh-like environment -The temple was near the Nile river and it would flood during the annual inundation-enhanced the temples symbolism Historical context -Remains one of the largest religious complexes in the world -Dedicated to god Amun-Re (Mostly) -Dedicated to Mot and Montu -Gives scholars information about egyptian religion and art -Earliest evidence for clerestory lighting comes from egypt -Not many egyptians had access to this hall so the more you went in the more restricted access became -Sunk and relief

Tutankhamun's tomb

Identification: -Thebes, Egypt -Wood -Gold -Lapis -Turquoise -Rubys -1323 BCE Formal qualities -Form -Texture -Shape -Symmetry -Colorful -Organic and inorganic lines -Value Content The coffin was gold and held three coffins which held the king -Inner coffin was made of solid gold -Black liquid was poured over the coffin during a burial ritual -In the coffin he was wearing a mask made out of two sheets of gold and he had on the striped nemes headdress. He also wore a false beard -On the back of the mask there was a spell from the book of the dead that would protect him while he goes to the afterlife: Protects him as he goes through the afterlife -He's holding a crook and flail- symbol for osiris Historical context -Became king at 9 -After his fathers death he changes the religion back to the god Amun and changes the capital back to Luxor from the influence of the priests -Died at 18 -The tomb was found in1922 -In the tomb there was gold, strange animals, and statues -How he died is still unknown -Gold tombs were made for kings -Unknown cause of death

Niobid Krater

Identification: -Vase -460 BCE -Greece -Painted clay(red and black glaze-scratch out glaze to create line and details) -Artist: Niobid painter Formal qualities: -Color -Composition -Shape -Value -Foreshortened perspective -Three quarter view point -No sense of scale but heads are aligned -Attempt to align all heads to control composition Content: -On the vase we can see that artemis and apollo have bow and arrows and they are taking revenge for their mother -Artemis and apollo kill all 14 of Niobe's children -Figures or on the floor with arrows in them -Red figure painting -Artemis and apollo are seen in perfect profile while Niobe's children are seen by a frontal or 3 quarters view -Stiffness: not a lot of sense of movement -Figures on older pieces used to be on a ground but now they are on different levels -Illusion of space -No scale -On the back of the vase in the middle there is Herakles: He is holding a club and lion skin -Wall painting on a vase -Herakles is surrounded by warriors -Athena is to the left of him -Could be a painting of a sculpture of Herakles and the warriors are coming to honor him and asking for protection Historical context: -Used to mix wine and water -The mortal Niobe had 14 kids and claimed that they were all more beautiful than the children of the goddess Leto -Leto's sons are artemis and apollo -Greeks defeated the Persian army -Could have been influenced by Greek wall paintings: non survived today -Red figure paintings made it easier to draw in details

The Sun Stone (The Calendar Stone)

Identification: -Volcanic Stone -Mexico -1502 Formal qualities: -Color -Relief sculpture -Value -Pattern -Repetition Content: -Sun rays shooting out -In the center there is a face with deep-set eyes, wide mouth, and ear ornaments on either side. He is wearing ear spools and he is sticking out his tongue which is a sacrificial blade. -On the side you can see that the man has clawed hands and is holding human hearts -Around the man there are for squares which are ollines(Movement) -There are also four circles that mean four movement(the title of the 5th sun) -Inside the squares we see the names of the previous suns(4 Jaguar, 4 Wind, 4 Rain, 4 Water) -The face in the center is a symbol of scarification -Around the triangles are 20 glyphs which is the days in the Aztec calendar -Outside of that are the sun rays radiating -In the outside bend there are two serpents whose heads meet at the bottom center and from their mouths emerges two faces -The fire serpents move the sun and make time happen -Not completed Historical context: -Originally would've been placed horizontally on the ground -Ear spools are something elite Aztects would wear -Believed to be the sun god -The sun stone records the origin of Aztec cosmos and the creation of the five suns -Each era means death by that particular thing( 4 wind: Death by heavy winds) -Since gods sacrificed themselves for us it is our duty to give them offerings -Denotes coordinate directions

Maya: The Yaxchilán Lintels

Identification: -Yaxchilan, Mexico -250-900 CE -Limestone -Commissioned by king Formal qualities: -High Relief sculptures -Some lintel panels have traces of Maya blue, turquoise, and red pigment. -Value -Geometric shapes -Profile view Content: -Lintels 23, 24, 25, and 26 depict a series of rituals performed by Shield Jaguar II and his wife. Structures 21 housed lintels 15, 16, and 17. -Some scenes on the lintels also show representation of the public display of captives, the capture of sacrificial captives that was an essential aspect of Maya warfare and were necessary for many rituals. -In one of the series of lintels panels from structure 23, it shows the bloodletting ritual performed by the king of Yaxchilán, Shield Jaguar the Great (681-742), and his wife, Lady K'ab'al Xook (Itzamnaaj Bahlen III). -On the panel the king's wife is seen in a woven huipil and she pulls a thorned rope through her tongue allowing blood to flow out as a ritual communication between the god's and spirits. -The glyphs on this lintel tell us that this event occurred on October 28, 709CE. -Lintel 25 also shows a bloodletting ritual and the effects of bloodletting -Loss of blood and the incense cause hallucinations, which were desired in certain rituals to access other realms -In this lintel, lady Xooc is kneeling before a vision of a serpent and in its mouth emerges a figure. -In her left hand she holds a bowl and she wears a patterned huipil, a headdress, elaborate earrings, bracelets, and necklaces made out of jade. -In the bowl is a piece of paper stained with her blood and she has burned the paper to allow the blood to ascend to the gods and bring the vision of the serpent. -The figure emerging from the serpent's mouth is armed with a shield, spear, and war helmet. He wears a headdress, breastplate, and earspools. -The lintel dates(ba

Malangan

Identification: -malanga mask -Malanga figure -1880 CE -North coast of New Ireland, Papua New Guinea -Wood, vegetable fiber, pigment, shells, and operculum Formal qualities: -Texture -Form -Color -Shape Content: -Malanga are Symbolic of many important subjects including identity, kinship, gender, death, and the spirit world -They often include representations of the fish/birds of identifiable species, alluding both to specific myths and the animals natural characteristics(Figures) -The mask can represent a variety of things, including dead ancestors, ges, or the various bush spirits associated with the area(Mask) Historical context: -This figure was designed for Malangan, which was a cycle of rituals of the people of the north coast of New Ireland -Malagan express many complex religious/philosophical ideas & they are principally concerned with honoring/dismissing the dead Malangan also act as affirmation of the identity of clan groups & negotiate the transmission of rights to land Malangan sculptures were meant to be used on a single occasion & then destroyed -This figure in particular was 1 of a group of carvings made to be displayed at a specific Malangan ritual and they were originally (before they were taken) standing in a carved canoe -Malangan masks are commonly used at funeral rites, which both say goodbye to the dead & celebrate the vibrancy of the living -Ownership of Malangan objects is similar to the modern notion of copyright -When a piece is bought, the seller surrenders the right to use that particular Malangan style, the form in which it is made & even the accompanying rights → stimulates production, as more elaborate variations are made to replace the ones that have been sold -Malangan ceremonies were very expensive affairs taking into account the costs of the accompanying feasting→ so funeral rites

Standing Man Worshipper

Standing Man Worshipper Identification -Tell Amsar (Modern day Iraq) -2600 BCE -Found in the town Eshnunna -Pupils of the statue are limestone -Group of ancient sumerians made the standing man -21cm-72cm height for each sculpture -Housed at the Met -Made out of gypsum Formal qualities -Shape -Line -Texture -Geometric pattern -Carved figure Content -A statue of a man -Intricate detail -Wide eyes -Holding hands together -parted hair (wavy) flows into a beard -Wearing a skirt -Tied belt around the skirt -Shoulders are a sense of frontality Historical context -Buried with 11 other figures -Early dynastic, sumerian -Temple could have been dedicated to god Abu -Sculpture of a man embodied to be a god -Offers prayers -A naturalistic statue could have given the sense that someone was just passing through or visiting -12 other sculptures -Commissioned by people to look like them so they could pray for you -Humility-eyes are open constantly