APAH Unit 7:

Title: Chavín de Huántar Culture/Location: Northern highlands, Peru. Chavín Date: 900-200 B.C.E. Medium: Stone (architectural complex); granite (Lanzón and sculpture); hammered gold alloy (jewelry) Theme: Man and the Natural World

F: Stone, and is very rigid. This city is highly organized functional and very stable. 10,330 ft elevation Maze F:Used for religious center for ceramics and events. Function changed over time. C:Granite square was likely used for religious purposes for the temple. Interpreted as a symbolizing fertility based on the similarity of its form to an argriculural AND conduit between heaven and earth because of its length and position The flat-topped roof of the temples and the sunken plazas suggest the builders comes from a distant region with different topographical terrain Sits between mountains and amazon. Powerful phenomenon 2 building phazes Always dark, tunnels voice of god? Constructed for God lanzon (ensure successful planting and harvest) offerings were made to god deep in the temple C:capital of the Chavin civilization The Chavin controlled a large portion of the Andes but had only bronze tools, which explains the low relief. The Chavin were the first known civilization in the region before the Inka. The Chavin style was spread through transporting by the goods by worshippers. Nose ornaments were a common display of wealth in Chavin culture and valued for its reflectiveness. It represented Heaven/hell because of its location.

Title: Las Meninas Culture/Location: Diego Velázquez Date: 1656 C.E. Medium: Oil on canvas Theme: Investigating Identity

F:-125 1/4 x 108 5/8 in. (318 x 276 cm) - Located currently in Museo Nacional del Prado, Madrid -Used to be housed in the royal palace(Royal Alcazar of Madrid), the king's study -Extremely large painting, and inside the painting we can see a very large painting of the same size of the painting itself, being painted -Uses very loose brushstrokes, but still comes together compositionally to create a clear, detailed, realistic image that also has a sense of life -Utilizes scientific, but also aerial perspective - Multiplication of the light sources F:- Velazquez gives us informal glimpse, something we, as commoners could never see -Made for the King and Queen to privately view -at a most basic level it demonstrates the art of painting by showing an artist at work, trying to give idea that artists were intellectuals -The characters stare beyond the frame, at us -a self portrait that shows status, he is seen in the same room with the royals, holds a paintbrush because his ability to render these figures gives him his on power, this interp. fits with his obsession at the end of his life to become a gentleman, wanted to be a knight a the order of Santiago C:-Paintings of Ovid's The Metamorphisis that hang in the background, both stories of gods wrestling with mortals, very applicable to the themes of Las Meninas -These paintings on the were done by Rubens who was his hero, and their choice in the painting is a reference to his own title of art installer -Utilizes Illusions of space, depth and perspective -Surface of his canvas is hidden to us, could be a portrait of the little princess, could be a portrait of the King and Queen, who are seen reflected in the mirror -The people in the center are the princess, maids of honor,palace official, chaperone, dog, dwarf (often hired to keep children company), and other attendants -The figures in the painting look at us in a very real way, the glances tell a story -The painting is set in his studio -he paints a pallet which is very mind-blowing because it is shown housing raw paint, the very stuff Velasquez actually created this work with - He was inducted into the Catholic organization the Order of Santiago posthumously by the king, so in the painting, after he died the insignia of the group was painted onto his figure, it is even rumored that the king painted it on himself -groups of two's all male/female pairs highlighting the princess, also use of groups of three on same horizontal plane C:Influenced by Van Eyck's Arnolfini Portrait -To fight the unattractive qualities from the royal family's inbreeding he compensated by painting them in elaborate clothes, demonstrating wealth and distracting from flaws - Velazquez was the court artist, "the first painter to the king" he was responsible for art instillation in the palace, and he also was commissioned to do several portraits of the royal family -Not a typical portrait, which demonstrated ethereal perfection, wealth, and command, this scene is more chaotic/informal, making commentary on the false nature of portraiture of royalty -Combines genre scene with royal portrait - Specific names of figures: King Philip IV of Spain, princess- the Infanta Margaret Theresa, attendants-María Agustina Sarmiento de Sotomayor, doña Isabel de Velasco, dwarves- Maria Barbola and Nicolas Pertusato

Title: City of Cusco, including Qorikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman) Culture/Location: Central highlands, Peru. Inca Date: 1440 C.E; convent added 1550-1650 C.E. Medium: Andesite Theme: Images of Power

F:11,200 ft in elevation City Walls = Rocks placements Temple > Walls > Convent Higher = Power F:Reflecting Inka Power Activities with in city both secular and religious Not only the Inca rulers and their nobles resided but local leaders from all sections of the empire C:Oncec housing great quantities of gold, the Coricancha was associated with the Inka god of sun as well as the emperor. Layout is in a shape of a puma (link to royal power) Small part of Temple of the Sun survives Single from effort: Ashlar Blocks Divided into 2 sections = Hanan (upper) and hurin (lower) Further divided into quarters to reflect Map of city at entrance and way ruler ruled Masonry = stones like people, but fit together and organized. Each stone was filled to the next. Famous 12 slides stones in walls of Hatun Rumyoq street Girls and young women "chosen women" weave fine cloth for gods and nobles C:Spanish conquistadors largely destroyed the Inka Capital Cuzco resident still refer to the River area as "the Pumas tail" city (modern city) is below animals stomach Smallpox A violent earthquakes in 1950

Title: Black-on-black ceramic vessel Culture/Location: Maria Martínez and Julian Martínez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico Date: . mid-20th century C.E. Medium: Blackware ceramic Theme: Investigating Identity

F:Areas that with a shiny black surface and areas painted with guaco were matte designs based on natural phenomenon, like rain clouds, bird feathers, rows of planted corn, and the flow of rivers. Blackware ceramic Geometric shapes Shiny and matte clay F:Storing purposes Show tradition of the natives Before the railroad, in the 1880s, these pots were used in the Pueblos for food storage, cooking, and ceremonies. By the 1910s, these pots were being sold to a non-Native audience to be purchases as something beautiful to look at. C:Designs on the ceramics were based on the Pueblo cultures in the Southwest. The designs on the Martinez's pottery was often based on the natural designs of Pueblo culture as well as the 20th century art movement known as the Art Deco movement which featured abstract designs. The act of creating these works of pottery was often an event featuring multiple people and Maria Martinez worked with multiple members of her family including her husband to create these ceramics. C:This ceramic as well as Maria Martinez's other pottery works were popular among both Natives and non-Natives. The popularity of Maria's pottery helped to elevate Native American pottery from just a simple tool to fine art in the eyes of many Americans. Maria created these ceramics near Santa Fe, New Mexico, which is closeby to the Pueblo ancestral homes. To create a smooth surface, the artist rubs the pottery with a smooth stone Artist are rediscovering traditional firing techniques practiced by previous generations

Title: Yaxchilán Culture/Location: Chiapas, Mexico. Maya Date: 725 C.E. Medium: Limestone (architectural complex) Theme: Images of Power

F:Central complex of buildings (called the Central Acropolis) The contour and incised lines of the lintels possess a calligraphic quality lintels: provide a lengthy dynastic record in both text and image. Detail Carved stone lintels above their doorways Hieroglyphic writing F:Relief sculptures: (Lintel 45 on Structure 44) show Shield Jaguar II with war captives to commemorate his victory in battles against rival city-states Reinforce the reign of the ruler and his dynastic ties and wife Focus on Lady Xook: the ruler wanted to promote his lineage and power through his most important wife (who had more prestige than his other wives) Showing Shield Jaguar II's power Important role of royal women in Maya culture C:Lintel 25: from the central doorway also bloodletting ritual carried out by Lady Xoc (shock) kneels before a vision serpent, from whose mouth emerges a figure. She holds bowl in her left hand as she looks up towards rising serpent addition, she has on headdress, elaborate bracelets, earrings, and a necklace (jade) In the bowl are pieces of paper stained with her blood. Figure emerging from the vision serpent's mouth has a shield, spear and a war helmet; (like Lady Xoc) has elaborate headdress, a breastplate and ear spools A glyphic inscription (written backwards) in the upper left corner: the date of Shield Jaguar II's ascension to the throne in October 681 All scenes are carved with great precision and detail decorating the raised surfaces Believed to depict a Maya ruler Lady Xoc (shock) witness the appearance of a warrior emerging from the head of a vision serpent AND the figure is a royal ancestor to ensure continuity in the succession of king. Lady Xoc burned the paper to allow the blood to ascend to the gods attract the vision serpent. C:Refecet Maya traditions by combining writing about and images of elites The site is host to an impressive number of structures and monuments (over 100) Famous for its high-quality relief carvings. Carved lintels (the beam at the top of a doorway) Stairs have hieroglyphic writing and stele (upright wood or stone slab monuments) Yaxchilán's dynasty 4th century C.E: Lord Shield Jaguar II who ruled for 60 years beginning in 681 He commissioned famous sculptural works at the site Bird Jaguar IV (heir) followed his father: built buildings and sculptures were created before the city-state collapsed in the 9th century Bloodletting was a common ritual among elites Very common in depiction of Mayan art Ruler, elites (including women): would let blood to honor and feed the gods= ceremony of a building, children were born, or special occasions Rulers needed to shed blood in order to maintain order in the cosmos The loss of blood and the burning of incense produced hallucinations: to access other realms.

Title: Mesa Verde cliff dwellings Culture/Location: Montezuma County, Colorado. Ancestral Puebloan (Anasazi) Date: 450-1300 C.E. Medium: Sandstone Theme: Man and the Natural World

F:Cubicle geometric structure manmade structure within natural one F:living quarters, storage space, and ceremonial grounds for the Anasazi. C:Kivas were subterraneans chambers used here as space utilized for shelter, wearmth, and sacred rituals buildings stack on one another and connected by ladders murals and pottery have variety of pigments geometric and depict natural scenes. The largest of these cave dwellings was The Cliff Palace and had 150 rooms and 20 circular rooms. C:most well preserved cliff dwelling to date, abandon less than 100 years after construction for unknown reasons The Ancestral Puebloans were one of the four major prehistoric cultures in southwest america. They were farmers who grew beans, squash and corn. It is thought that the Puebloans originated from the Oshara tradition and Picosa culture. The Puebloans were best known for their cave dwellings built into cave walls. The Puebloans were also well known for their pottery.

Title: Tlatilco female figurine Culture/Location: Central Mexico, site of Tlatilco Date: 1200-900 B.C.E. Medium: Ceramic Theme: Man and the Natural World

F:Curved, rounded Faces blended into one another "Tally mark" lines indicating texture and shape of hair (possibly alludes to race/ethnicity) Somewhat discolored by time and wear Balance through symmetry Heavy bottom F:The figurines were found in graves, signifying their use as mortuary idols. Depicts physical and cultural values of the region. C:Emphasis on wide hips, spherical upper thighs, and a pinched waist. Great detail in hairstyle/hair shows the value of har and styling to the Tlatilco people. Some figurines were depicted with two heads, hypothesized as possibly expressing the idea of duality. The body forms were unrealistic, but had a striking/effective specific proportion. These figurines were made by hand, depicting the consistent mastery of Tlatilco artists. C:Tlatilco figurines such as this one were discovered throughout central mexico in the area where the aztec would soon come to power The era in which the figurines were made in flourished 2000-3000 years before the Aztecs rose to power Tlatilco figurines were in part discovered by clay miners digging up graves. Archeologists would later dig up more graves to find mass quantities of these idols along with many other items of wealth and nobility. The early preclassic period in mesoamerica is remembered as the beginning of agriculture in the region; agriculture sustained a population large enough to mass produce the idols

Title: Great Serpent Mound Culture/Location: Adams County, southern Ohio. Mississippian (Eastern Woodlands) Date: 1070 C.E. Medium: Earthwork/effigy mound Theme: Man and the Natural World

F:Dirt Snake effigy mound, the largest one in the world, over 1300 feet long. An average height of 4-5 feet and an average width of 20-25 feet. Thought to possibly be a rattlesnake Depicts a snake with three curves and a tail ending in a spiral that appears to b swallowing a circular shape. The mound conforms to the natural topography of the area The head faces east and the tail faces west Head aligns with summer solstice sunset Tail points to the winter solstice sunrise. Erected c. 1070, although the construction date is entirely speculation and no one, is completely certain of it Is a national historic landmark F: While there isn't any certain function, it was definetley beleived to be a site of sacred and supernatural power. temporal significance-the head of the serpent aligns with the summer solstice sunset while the tail points to the winter solstice sunrise. As such, ancient peoples may have used the structure to mark time or seasons. C:Created by Native American tribes (primarily the Fort Ancient culture) who lived in the valleys of the Ohio, Missouri, Mississippi, and Illinois rivers before settlers of European descent came to the region in the 19th century. The people who made this mound lived in settled agrarian communities; farmed squash, maize, and beans (the "three sister" crops); had a stratified social hierarchy with a large labor force, and did not leave behind written records. Effigy mounds of animal figures were common creations of the tribes of the Upper Midwest; however, many of these mounds were destroyed by the plows of European settlers. Many of these cultures believed snakes to have supernatural powers; tribes of the Middle Ohio Valley frequently made copper serpentine figures as well. Geography: the mound follows the topography of a high plateau over Ohio Brush Creek—the serpent's head points to a cliff overlooking the creek. It's speculated that the plateau's lizard like shape evoked (and inspired?) the creation of the serpent. Geology: a meteor struck the site 250-300 mya, creating folded bedrock. The Fort Ancient peoples lived in densely populated agrarian villages of 100-500 residents, composed of circular or rectangular houses surrounding an open plaza. In addition to agriculture, some members seasonally lived and traveled in hunting groups, supplementing their diet with deer, elk, turkey, bear, small game, nuts, fruits, and berries. During this period (after 1000 A.D.), the culture shifted from making burial mounds to cemeteries surrounded by trash and storage pits. The Fort Ancient culture lived contemporaneously alongside the Mississippian culture, which built Cahokia and heavily emphasized the theme of the rattlesnake. It's possible that this serpent mound is a testament to the influence of the Mississippian rattlesnake-worshipping practices. Some scholars consider the Fort Ancient culture just to be an offshoot of the Mississippian culture. Perhaps the mound is just a restoration/refurbishment of an earlier mound made by the Adena culture (c.1100 B.C.E.-200 C.E.) or the Hopewell culture (c. 100 B.C.E.-550 C.E.). C:A snake, slightly crescent-shaped With the snake's head to the east and the tail to the west The ovoid shape at the eastern end of the serpent is thought to be its head, eye, or possibly an egg or even the sun that the snake is swallowing (representing a solar eclipse?) Depicts a large snake, possibly a rattlesnake Many Native American cultures east of the Mississippi believed the snake to be a powerful deity of the underworld.

Title: All-T'oqapu tunic Culture/Location: Inca Date: 1450-1540 C.E. Medium: Camelid fiber and cotton Theme: Images of Power

F:Geometric shapes 90.2 x 77.15cm Slit, so it can be worn Dyed Camelid wool and cotton weft Earthly shades with white and black F:Depicts power and status of wearer. To be worn. Used as gifts that tied recipients to givers in a sort of feudal fashion C:Created on a backstrap loom. T'oqapu are the square geometric motifs that make up tunic. Each T'oqapu design relates to different people, places, and social roles Black and white checkerboard motif only worn by individuals in the Inca army. C:The Inca empire was located in the Andean region of South America. They flourished from the early 15th century to mid 16th century. Highly advanced but had no written language. The Inca empire came to an end after the execution of the last free reigning emperor by the Spanish.

Title: City of Machu Picchu Culture/Location: Central highlands, Peru. Inca Date: 1450-1540 C.E. Medium: Granite (architectural complex) Theme: Images of Power

F:Inca Arch = stones 5 miles 2 ½ high and low 3,000 stone steps Temple of the sun F:Built for Inca Ruler Sacred place C:The highest point has great significance since it appear to be the location of a carved stone or boulder with the sun Cut large stones to reperaten the mountains Stones withstand earthquakes Aline with cosmic? 100 years after built, it was abandoned C:Found in 1911 by scholars who dedicated their studies to this site No written language was found Dedicated to the sun Gods 50 miles north of City of Cuzco ( 3 days walk) Pop of the cit around 1,000 people Spanish Conquistadors never found the site

Title: Angel with Arquebus, Asiel Timor Dei Culture/Location: Master of Calamarca (La Paz School) Date: 17th century C.E. Medium: Oil on canvas Theme: Images of Power

F:Intricate clothing, adorned with gold, shimmering quality, royal esque, 3/4 profile view, not looking at viewer, intricate feathered angel wings, delicate features, unrealistic proportions, massive clothing, diagonal gun, elaborate garments showing wealth F:Depict an archangel with a gun (arquebus) C:Indigenous people must have reacted to these images as supernatural manifestation of godlike power because of the vast quantity of the paintings. Asiel Timor Dei= name of the gngel Asiel, and a particular quality (Fears God) Period clothing of Spanish aristocrazy Since the angel is wearing spanish clothing, it conveys how the spaniards influenced culture in S. America Guns, Angles, and Fashion Gun was created by Spanish Remind Indigenous people of the catholicism C:Produced in Peru, showing exploration of the American in the 17 century Governed from capital of Lima Enforce catholicism

Title: Bandolier bag Culture/Location: Lenape (Delaware tribe, Eastern Woodlands) Date: 1850 C.E. Medium: Beadwork on leather. Theme: Converging Cultures and Traditions

F:Large bag Covered in small beads Thick strap covering one's torso Rests on hip White beads outline shapes Traded European cloth Subtle asymmetry Bright colored tassels (silk ribbons) Red wool fringe complex designs F:Based off bags of European soldiers' ammunition bags Male ceremonial purposes, often wore multiple bags and dressed themselves in rainbow colors Bags specifically NOT used to hold objects C:Reflects interaction between Native Americans and European traders in its use of beadwork to create articles of clothing Contrasting colors (orange, green, blue, red) represent the sky and underground realms Abstracted designs on slash may be related to cosmos Branch into four directions (cardinal directions) Also symbolizes division of terrestrial (earthly) realm into four quadrants Silk ribbons flow in the motion of wind Glass beads shine in the sun Used a wooden loom and porcupine needles to stitch Women created that bags C:Earlier bags were pocketless due to the fact that they were solely for decoration purposes Produced from 19th century CE to present day Floral patterns designated for Native American tribes near the Great Lakes Currently popular in modern day Canada

Title: Transformation mask Culture/Location: Kwakwaka'wakw, Northwest coast of Canada Date: Late 19th century C.E. Medium: Wood, paint, and string Theme: Investigating Identity

F:Large, exaggerated bird head Large beak Opens to show a human face Multiple bright colors Hair made of string F:Creates a powerful effect during ceremonies Worn during potlatch where the host displays his status Conveyed a high social status Portrayed family genealogy-- could contain family crests Passed between family members of a clan C:In the shape of an eagle Pull chords and the mask opens The open form seems like a bird spreading its wings The human face is of an ancestor Uses elements of formline style Bilaterally symmetrical when opened Uses wavy, calligraphic lines The eyes and other forms are ovoid (oval) shaped S and U shapes are frequent C:Mask worn during dance ceremonies Dancers open the mask while dancing Masks takes months to years to make Carving techniques changed after tools introduced by Europeans etc. and brighter synthetic colors were also introduced Transformation masks were an integral part of the culture and existed in multiple forms Masks were worn with a cloak made of red cedar bark Kwakiutl Native name: Kwakwaka'wakw → group of people who speak the Kwakwaka'wakw language They do not identify as a single nation Pacific Northwest Coast indigenous people Community is based on fishing Men hunt and women gather fruits and berries Weaving and woodwork Wealth is defined by slaves and material goods Potlatch → ceremony in which wealth is displayed Wealth is seen as how much you can give away → wealth is given away during Potlatch Potlatch was eventually banned by the United States government Society is organized into communities, which are then organized into family units (loosely patriarchal ancestry) called na'mima ("of one kind") But are bilineal → ancestry could also be traced through mother's side Primogeniture political structure Four classes: nobility, aristocracy, commoners, and slaves Largely barter and trade economy → later became loosely currency based with wool blankets as the currency Masks are very important in Kwakiutl culture → used in ceremonies and rituals Religious beliefs have commonalities across Kwakwaka'wakw society Thunderbird (important deity/creature/spirit across many indigenous peoples) Polytheistic with several deities/spirits Believe deceased ancestors are present around them

Title: Ruler's feather headdress (probably of Motecuhzoma II) Culture/Location: Mexica (Aztec) Date: 1428-1520 C.E. Medium: Feathers (quetzal and cotinga) and gold Theme: Images of Power

F:Paper and gold ornaments, as well as beading -Headdress and chalice-like crown below the feathers. -Made from lovely cotinga and quetzal feathers, but only from male quetzals, that are colored a blue-green. -Large, symbolic of power, yet naturalistic, showing a connection to the surrounding landscape F:Ceremonial and ritual purpose Part of a costume Propaganda (show power, wealth and status) C:made by amanteca, feather workers -also called Penacho of Moctezuma II. Moctezuma II's headdress was first mentioned in a European inventory in 1596 -features water glyphs, a ray of fire, and other unknown symbols in the chalice -most likely made from tributes given to the Aztec Empire by surrounding city-states. C:Moctezuma II, or Motecuhzoma Xocoyotzin, was the ninth ruler of Tenochtitlan from 1502-1520 -During his reign the Aztec Empire reached its greatest size. Moctezuma expanded the territory as far south as Xoconosco in Chiapas and the Isthmus of Tehuantepec. He changed the previous system of social hierarchy and widened the divide between pipiltin (nobles) and macehualtin (commoners) by prohibiting commoners from working in the royal palaces - Ahuitzotl was Moctezuma's predecessor. The empire went through stages of expansion, and Ahuitzotl was the emperor in charge of the most recent one. He more than doubled the area of dominance. Moctezuma was his main general, and therefore retains the credit for doubling the empire -By the time the Spaniards arrived, the Aztec empire was already on the brink of civil war. The Empire was made of several different city states, all ruled by an emperor. The powerful city-state of Tlaxcala was one of these. Many of their own had been sacrificed, and in the end they joined the Spaniards to fight the Aztecs.

Title: Spaniard and Indian Produce a Mestizo Culture/Location: Attributed to Juan Rodríguez Juárez Date: 1715 C.E. Medium: Oil on canvas Theme: Investigating Identity

F:Realistic, highly detailed Clothing traditional to culture Simple composition Traditional casta painting; mother on left, father on right, & two children in between them Skin tone is emphasized Dull coloring Racial taxonomy F:Part of the caste painting series; documents the increased mixing of different races, some of the labels used became derogatory. Shows a native mexican with a european and their children. Discourage race mixing Casta paintings: reflect increasing social anxieties about inter-ethnic mixing Influences that if mixed with european blood one is superior, the family will live in harmony, and ¨perfection¨ as seen in the work. C:First painting of a larger series Family appears calm and harmonious Become more tattered, torn, and set in unglamorous settings as the series progresses Husband wears traditional European clothing w/ powdered wig Wife dressed in a huipil w/ lace sleeves and jewelry Huipil: traditional woman's garment worn by indigenous women from central Mexico to parts of Central America Mestizo: person of European and Indigenous parents appear darker as they become more mixed, less attractive and dirty C:Produced during Spanish colonial Mexico, or New Spain, during the second half of the eighteenth century Part of pinturas de castas that captured the caste system in colonial spanish, emphasizing on the organization of race and status Families are assumed to be modeled after Mary, Saint Joseph, and Christ Attempt to label the likeness of European descent to a higher social status Other racial names and classes like barbarians, or civilized Native Americans Suggested to be commissioned by a viceroy, the stand-in for the Spanish king in the Americas Commissioned by viceroys to illustrate how mixed races were less civilized in dress and manner Dress and skin color was key to emphasize the differences between races.

Title: Templo Mayor (Main Temple) Culture/Location: Tenochtitlan (modern Mexico City, Mexico). Mexica (Aztec) Date: 1375-1520 C.E. Medium: Stone (temple); volcanic stone (The Coyolxauhqui Stone); jadeite (Olmec-style mask); basalt (Calendar Stone) Theme: Images of Power

F:Small (palm of hand) Mask Green stone Polished Olmec features (upturn lips, baby face, almond eyes, clef head) F:Offering Traditional Olmec Mask Collecting the objects and buried them at certain points for specific offering C:From a culture older than Aztecs Belong to the Olmec Culture (1500-1200 BCE) This is the Aztecs look back to older culture, like we do with the Romans Historically C:Mexico Found buried as an offering in the temple Precinct Olmec thriving along the Gulf of mexico not near central Olmec = Mother Culture of Mesoamerica Teotihuacan (city) reference the culture Flourished 100s before Aztecs thought this is where the sun was born "City of the Gods Two temples were dedicated to gods that represented the sun and rain Calendar stone glyphs represent 4 jaguar, 4 wind, 4 Rain, and 4 Water to reference previous time periods or ages. The importance of the art from previous Mesoamerican civilization demonstrated by the Olmec-style mask excavated from within the sacred precinct

Title: The Virgin of Guadalupe (Virgen de Guadalupe) Culture/Location: Miguel González Date: 1698 C.E. Based on original Virgin of Guadalupe. Basilica of Guadalupe, Mexico City. 16th century C.E. Medium: Oil on canvas on wood, inlaid with mother-of-pearl Theme: Images of Power

F:Warm, yet bright colors Holy (full body halo) On a crescent moon Prayer hands Wears blue (Virgin) F:Tells us the date when Virgin Mary showed up in Mexico and met Juan Diego Told him to build her a shrine Represents: Motherhood Feminism Social Justice "The gold-encircled cross brooch under the neck of the Lady's robe is a symbol of sanctity." → quality of being holy C:Mary wears her traditional colors with a blue cloak over her dress Embroidered roses cover her dress Light surrounds her giving her a halo effect She symbolizes "the book of revelation" There are 12 golden rays that frame her head and face C:The Virgin or Lady of Guadalupe is the patron saint of Mexico, and hold the country's sense of identity. In 1531, she was said to have appeared to an indigenous man named Juan Diego three times. Miguel Gonzalez was considered the foremost painter of enconchados; a mexican technique were tiny fragments of mother pearl are placed on wooden supports or canvases and then covered in a yellowish tint and other thin glazes of paint. This technique was inspired by asian decorative arts, due to the influence of asian good to mexico in the colonial times The use of mother-of-pearl provides the viere with a sense of how an image would appear within a visionary experience

Title: Frontispiece of the Codex Mendoza Culture/Location: Viceroyalty of New Spain Date: 1541-1542 C.E. Medium: Ink and color on paper Theme: Images of Power

F:bluish aquamarine tined, division, stylized, two dimensional, representation of Tenotitchlan, writing on the sides, great bird in the center, religious significance. F:Show power/ greatness of their empire, to record history, worship and respect the Gods, and important stories of the founding of city 1541: Antonio de Mendoza (the first viceroy of New Spain) commissioned a codex= to record information about the Aztec empire for him to know artist(s) were indigenous: images annotated by Spanish priest that could speak Nahuatl (language of the Aztecs)→ sense of the control the story? C:The Codex: great amount of information about the Aztec empire Frontispiece: Information about the organization, foundation, origins of the (Tenochtitlan) Aztec capital "place of the prickly pear cactus" schematic diagram of Tenochtitlan -city divided into four parts by intersecting blue/green smooth diagonals -represent: city divided into four quarters= mirror the organization of the universe, believed to be four parts aligned with the four cardinal directions (north, east, south, west). -city made of canals: depicts quadripartite division of the city and the canals running through it Aztec myth: Huitzilopochtli (Hummingbird Left) =patron deity told the Aztecs' ancestors to leave Aztlan (ancestral home) and find a place with "an eagle atop a cactus growing from a rock" → when they see this they should settle and build city there: saw this sign middle of Lake Texcoco therefore capital was on an island in the lake Center: an eagle on a cactus growing from the midst of a lake The eagle and the cactus symbolize the city founding + values Cactus: The cactus (eagle sits on) symbolizes place name of Tenochtitlan is a nopal (prickly pear cactus) grows from a (tetl) stone Paired together: form te-noch → Tenochtitlan (place of the prickly pear cactus) Other figures: below the cactus + stone: is a war shield= symbolizes Mexica did not settle peacefully in the Valley of Mexico above the eagle: symbolizes a temple= maybe symbolizes Templo Mayor or the Aztec's main temple To the right of the eagle: skull rack (tzompantli)= structure found near the Templo Mayor Different types of plants: including maize (corn) huge food source → dot the city's four quadrants= agricultural fertility in the city Tenoch: Ten men depicted in four quadrants → wearing white garments + top knots in their hair men who led the Aztecs to this island location name glyphs attached to them pre-Conquest manuscripts manner= a thin black line connects to a symbol that indicates their name Priest: amongst the men distinct and differs: seated to the left of the eagle (closest to it), has gray skin, different hairstyle, red mark around his ear= identify him as a priest because he let blood from his ear as offerings to deities + ash covers his skin. His name glyph identities his as "Tenoch" speech scroll coming from his mouth (listen to his words of wisdom/god) + woven mat upon where he sit= convey his high status Surrounding the entire page: year glyphs total of fifty-one year glyphs One year is marked= the year 2-Reed → twenty-six years after Tenochtitlan's establishment this reed has a cord wound around it + fire drill appears above it symbolize year 2-Reed= first year of a new 52-year cycle → new fire was drilled to begin the new cycle and signal the completion of the previous 52-year cycle What is the New Fire Ceremony?: occurred every 52 years (a complete cycle of the solar calendar) and it assured that the sun would rise again. Just prior to the beginning of a new cycle → new fire was drilled in the body of a sacrificial victim and the fire was distributed to people to light their homes Below diagram city: 2 two scenes of military conquest emphasis of military power of Aztecs= shows two soldiers physically tower over the two men they defeat: a hierarchical scale that they are superior shield: identify them as Aztec warriors (identical to the one above that is associated with Tenochtitlan) obsidian-bladed weapons (called macana) What up with the war scene?: The defeated men (place glyphs as Colhuacan and Tenayuca) from different locations around Lake Texcoco → burning temples with hills: Colhuacan and Tenayuca were defeated C:Codex (Codex Mendoza)= information about the lords of Tenochtitlan, the tribute paid to the Aztecs, daily life year to year, inner working of the empire 1541: Antonio de Mendoza (the first viceroy of New Spain) commissioned a codex= to record information about the Aztec empire artist(s) were indigenous: images annotated by Spanish priest that could speak Nahuatl (language of the Aztecs)→ sense of the control the story? Tenochtitlan ( former Aztec capital): established in the middle of Lake Texcoco in the Valley of Mexico (1325) Tenoch (ruler of the Mexicas during the fourteenth century) died in 1363, first Aztec tlatoani (speaker/the ruler) was elected in 1375 by a council of elders This scene of conquest: early Aztec military victories, which aided them in building their power even prior to their first official tlatoani came to power.

Title: Painted elk hide Culture/Location: Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Reservation, Wyoming Date: 1890-1900 C.E. Medium: Painted elk hide Theme: Converging Cultures and Traditions

F:created with local pigments in a free-hand style on dried outstretched elk hide. The figures and scenery are depicted in two dimensions Movement hunting scene spatial and structural awareness. F:created by Cotsiogo after he was forced to settle on the Wind River Reservation in an effort to support himself in a foreign territory He often depicted scenes that were appealing to tourists such as hunts and religious rituals. C:On the painted elk hide men donning feather bustles and headdresses surround a buffalo head held between two poles The Sun Dance was meant to honour the Creator Deity and ensure a successful growing season in the coming year. illustrates activities of daily life as women gather near a fire and men on horses ride through a village in their hunt for buffalo animal was sacred to Native American tribes as it was essential for their survival, and men can be seen skinning and filleting the buffalo. C:Earliest pieces dating back to the 1800s record history through a depiction of geometric /floral motifs By the late 19th cent artist depict subject matter that focused on native identity in order to appeal to tourists Both men and women free-hand painted on hides, but work on tipis, clothing, and shields were created exclusively by men. Cotsiogo was a member of the Eastern Shoshone tribe and was one of the most popular and influential Native American artists. The Sun Dance and non-religious,Wolf Dance were also common to his work as foreigners viewed these rituals with a sense of mysticism and otherworldliness. Sun Dance was outlawed by the US government in 1935 in an effort to convince Native Americans to embrace white culture.

Title: Maize cobs Culture/Location: Inca Date: 1440-1533 C.E. Medium: maize, chicha, repoussé Theme: Images of Power

F:hyperrealistic cob, protruding kernels, detailed, almost completely open husk, offering the gods a ripe piece of maize, metal makes the piece more stunning and vibrant because the Incas wanted to serve the most valuable object to the gods F:part of a garden made entirely of gold and silver objects, mimicking nature, as an offering and ritual place, corn acts as a ritual offering performed by the Inca government or state religious officials to the sun god, who was the most powerful of gods for the Inca, sign of respect and devotion, by offering valuable objects to god, they expected a happy life and society in return. C:made entirely of silver and gold, appearance of ripe corn ready to be harvested, the sculptural representation of Zae mayes which is Incas valued in their daily life as a source of nutrients and protein, life size husk open as a sign of being ripe, two cops connected at the shank of the corn C:Corn is very important, depiction of corn is a way of honoring the food for its importance in Inca life, The Incas offered to gods to appease them, metal workers spent a lot of time on the maize and other parts of the garden to please the gods as much as possible making a heavenly and special gift.

Title: Screen with the Siege of Belgrade and hunting scene Culture/Location: Circle of the González Family Date: 1697-1701 C.E. Medium: Tempera and resin on wood, shell inlay Theme: Images of Power

F:muted colors, natural tones, yellow tint, violent scene, chaos of people, war and fiery destruction, a folding wall (symbolic) landscape across the screen, floral framing, dark wood frame, golden toned screen, warm colors, tempera and resin on wood, shell inlay, extremely detailed, F:Folding narrative screen (Biombo) Originally with six panels, twice as long, influenced by Japanese art C:Techniques were influenced from Southeast Asia Battle Scene Battle of Belgrade, propaganda to add power of Harsburg royal line (spain) Figures fill both the streets Use of both linear and atmospheric perspective Soldiers express emotions but are not individualized Mother-of-pearl inlay illuminates the helmets of choice soldiers as well as the highlights on buildings= depth Back: Hunting Scene there is much less focus on the figures and their emotions than the opposite side. The emphasis is on the serenity of the landscape and nature; figures are smaller and there are much less of them compared to the battle scene. The hunters are less individualized and less emotive than the soldiers on the opposite side; again, this is because the artist's focus for this side was on the landscape, not the people. C:Spain colonized Philippines with Japanese, folding screen and lacquer from Japan. New Spain was a viceroyalty of Spain that contained much of the modern-day United States and all of Mexico, in addition to the Philippines and Florida. With such an expansive and continent-spanning area, the culture of the region was very syncretic and was influenced by Spaniards and Europeans, indigenous Americans, and even the Japanese (as is seen in the Screen). Connection: Sanjo Night Attack (heavily influenced by japanese culture) and the mountains among streams piece on the back of the screen highlighting the importance and power of nature

Title: Portrait of Sor Juana Inés de la Cruz Culture/Location: Miguel Cabrera Date: 1750 C.E. Medium: Oil on canvas Theme: Investigating Identity

F:similar to other portraits of the time -Red curtains behind her were common in elite portraits(higher status) -Religious garments = convey the deep connection she had with her faith -Books = communicate her love for learning F:Unknown but many portraits were used to tell their story C:The painting portrays her a hero. -It is set in a library to symbolize her love of learning and she is shown wearing her religious garments to show her connection to religion. -Red curtains are a sign of high status. She is staged sitting at a desk with an open book. -She is holding a rosary in her hand and is looking directly at the viewer with a slightly disdainful look in her eyes Cabrera highlights the intellectual interests of the female in his Portrait of Sor Juana Inéz de la Cruz by alluding in her pose and setting to traditional representations of St. Jerome C:Considered one of the first feminist of the Americas -She joined a religious order and became a nun in order to pursue her intellectual interests -Instead of marrying, she decided to pursue her intellectual passion in a Carmelite convent before converting to the Jeroimite order