Exam 3

Abelam Yam Mask

Abelem, Papua New Guinea, neigbors invited to Elema mask ceremonies to perform before Elema masks

Feather Cloak

Ahu Ula believed their deities were covered in feathers a way to connect the wearer to the gods, invoke protection red=color of Hawaiian royalty male artists only king will have the longest robe, women/princesses will have shorter ones

Akua 'ba

Asante, Ghana, by Osei Bonsu, "Akua's child", fertility fetish for pregnant women, ensures the birth of a healthy baby girl, enlarged forehead, considered beautiful in child,

The Great Temple

Aztec, Tenachtitlan, Mexico City, series of buildings with superimposed structures,

The Founding of Tenochtitlan

Aztec, from Codex Mendoza, ink and color on paper, vision, establishing the city, produced as gift to Spanish King, Charles V, divided into 4 sections representing dominant families, symbols of practices,

Throne and footstool of King Nsangu

Bamum people, Cameroon, wood, textile, glass beads, cowrie shells, objects to convey power, wealth, and status of king, in king's palace, assemblage includes the king, snakes wrapped around - traditionally/generally, snake is related to water, the earth/abundance, and ancestors

Male and Female Figures

Baule people, divination figures, bush spirits, idealized to flatter the spirits, diviners interpret spirits' actions, part of sacrificial altar,

Diluki from Belau

Belau, splayed female figure set over the entrance toa men's ceremonial house, symbol of procreation and protection, also of death and rebirth, facing west, emblematic of sun and its life-giving propteies, geometrical,

Seated Couple

Dogon People, geometric motifs, elongated bodies,

Elema hevehe masks

Elema, Papua New Guinea, men dancing as part of cycle with masks that are symbolic of female water spirits, every stage of mask construction is celebrated, masks are burned and spirits are symbolically destroyed women made skirts

Bocio Warrior Figure

Fon people, Republic of Benin, by Akati Akpele Kendo, Bocio: to protect the king and the state, Gu - god of war and metalwork, centerpiece of battle shrine placed at battle sites, placed at site to ensure victory over enemies,

Kiowi Parfleche

Great Plains, gender roles, plains women traditionally painted abstract, geometric designs, hide envelope to carry goods, utilitarian object, abstracted maps: evoke topography

House With the Totem Poles

Haida, Northwest Coast and Alaska, by Bill Reid, Canada, totem sculpture was important to Northwest Culture could mark houses with high-ranking members crests on totem poles could be memorial poles honoring deceased members

Raven and the First Men

Haida, Northwest Coast and Alaska, by Bill Reid, adaptation and renewal or ancesty, wood, traditional, sculpture in the round, revitalizing traditions, not trying to exactly copy traditions, but adapting to the new world and renewing old traditions, raven seen as the trickster, raven coaxed the first people out of clamshell, paradoxical nature, traditional motifs: abstraction, stylized, simplified forms, enlarged eyes,

Kuka 'ilimoku

Hawaii, Hawaiian war god, natural surroundings having stylistic influences, Screaming out a war cry, intimidating enemy, crested helmet made of feathers, enlarged head, site of mana

Katsina Figure

Hopi, by Otto Pentewa, headdress, rain deity, stair step is a symbolic reference to thunder clouds, color symbolism, to make the intangible spirit world tangible,

Doors from the shrine of the king's head in the royal palace

Ikere, Yoruba, Nigeria, by Olow of Ise narrative work, rare, 10 total panels, high relief, polychromed/painted wood

Inka Man working with a Khipu

Inka by Coyolxauhqui Khipu: fiber and system of knots to record economic information

Remains of the Temple of the Sun

Inka, Cuzco, Peru, surmounted by the church of Santo Domingo, blocks of stone are cut specifically to the desired dimension, dry means done without mortar

Inka, Llama, Alpaca, and Woman

Inka, Huaca: object believed to be the house of a spirit, making the intangible tangible,

Asmat Bisj Poles

Irian Jaya, Melanesia, Buepis Village, Fajit river, casuarina coast, soul is in the head, enlarged head = more power, stealing head is stealing the power of the village and their ancestors, head hunting,

Honoring Song at Painted Tipi

Kiowa, Reservation Period, Personal adornment, Ledger Art, ink and colored pencil, individualized figures, clothes status and identity expressed through personal adornment, painted skin/tattooing, painted hide, a way to identify tipi, using accessible materials to keep tradition, materials given to natives as Europeans affected their culture

Nkonde Nail Figures

Kongo people, Dem. Rep. of Congo, vodun figures, helped alleviate anxiety and fears, promote calmness and strength, consecrated by priests to ensure fertility of crops, promote healing, weaken enemies

Reliquary Guardian Figure

Kota, Gabon, mbulu ngulu, ancestry, concave head = women, convex = male form, wood, copper, iron, and brass, metal reflects,honor ancestors' deeds, promotes balance and order, portable in migration, head is seat of power, only chief would be allowed to ask for assistance from ancestral spirits, Ancestral content represents cycle of life, want ancestors to be at peace and harmony, ideal qualities

Detail of a Kiva mural

Kuaua Pueblo, Southwest, Ancestral Puebloan, New Mexico, male council house, Coronado State Monument, lighting man, eagle, and fish representing rain, a ritual painted to ensure the rains coming in fertilize their crops,

Kuba King Kot a-Mbweeky III

Kuba people, Dem. Rep. of Congo, Kuba King, Ngady Amwaash; first woman, Bwoom; pygmy ancestors

Mandan Buffalo-hide robe

Mandan, Great Plains, heraldic account, gender roles depicts battle between Mandan and Sioux, 22 episodes, public viewing, no elaborate background, prints, guns, weapons, people, favored motifs,

God of the Winds

Maori, Hawaii, by Cliff Whiting, oil on wind and fiberboard, sun on left, moon on right, swirling patterns, cosmology, image of Maori creation myth and world views

Te-Hau-Ki-Turanga

Maori, Oceania,

Female Mask, Mende

Mende people, Sierra Leone, masks act as mediators between physical world and spirit world, unusual - women are collaborating on design of the mask - they also dance with the mask symbolizes idealized woman society of women that instruct the girl initiates and bring them into womanhood,

Mictlantecuhtli and Quetzalcoatl

Mixteca-Puebla, from Folio 56 of the Borgia Codex, Mexico, by Tlaltecuhtili, ritualistic manuscript, world view, looking at spirit world, pictographs, recording rituals and belief systems, symmetrical, geometric patterns, references to sacrifice, heavy dependence on line, 2-dimensionality over illusionism,

Row of Moai

Moai, Rapa Nui, Polynesia volcanic tufa and red scoria monoliths

Iatmul ceremonial men's house

New Guinea, represent a woman, interior meant to be female, men would produce art,

Raratonga Staff God

Raratonga, Cook Islands, Polynesia, ancestry, top portion, visual aid for story telling, carved wood, tapa/barkcloth, & feathers, cultures would use visual aids to tell stories, oral traditions, tapas wrapped around, procreation/fertility, abstracted, reduced, geometric patterning, offspring symbolized

Men's ceremonial house from Belau

Republic of Belau, Micronesia, paintings; legends of the goddesses of creation, center of community, meeting house for council of elders, decorated to reflect individuals' importance,

Jar

San Ildefonso Pueblo, by Maria Martinez, adaptation and renewal, gender roles, revival of ancient Puebloan tradition women would go to pits to refine clay after the process, women would normally paint the designs, but her husband painted them due to demand, husband took on "women's" role, sense of balance and harmony in community, she would sign her neighbors names on finished pieces new and innovative black, matte finish

Contemporary Aboriginal Paintings

Star Dreaming, by Paddy Sims, Warlpiri fire ceremony is associated with the creating of the constellations, Untitled, by Emily Kame, dot construction, popular stylistic approach, e

Chilkat Blanket

Tlingit, Northwest Coast and Alaska, gender roles, worn to potlatch, mountain goat wool and cedar bark, distributive composition, heavy use of line, to discern pattern from far away, identification, male designers, female weavers,

War Helmet Mask

Tlingit, Northwest Coast and Alaska, organic, naturalism, abstraction

ngatu with manulua designs

by Mele Sitani