South America/ Indigenious/ Native American/ African Art APAH

Calendar Stone in Templo Mayor

- carved representations of a calendar found in the city center of Tenochtitlan- basalt stone was only made for sacred items- center being is meant to be the traditional mythological sea being found in the Aztec's creation myths- circular shape represents time and space- show the Aztec's knowledge of time, geometry, and physics

The Coyolxauhqui Stone (Templo Mayor)

- found at the base of the pyramid stairs- nahuatl is language of the Aztecs- Coatlicue "Snakey Skirt" (mother) -- became impregnated when feathers went into her skirt- Coyolxauhqui, "Bells Her Cheeks" (daughter)- Huitzilopochtli is patron god (son of Coatlicue)Coyolxauqui "Bells Her Cheeks" sister of Huitzilopochtil gets pissed at the new son, tries to kill Hui- but Hui ends up killing her instead and pushes her off Snake Mountain- once painted with bright colors

Mesa Verde

FORM: - built directly into the cave- over 600 structures. adobe, High point of Puebloan architectural development. stoneo bloks were hadn hewn and used adobe to hold them together. stone, mortarm and plaster CONTENT: - simple buildings with no ornamentations or superfluous architecture- kivas: underground circular rooms used for ritual purposes- small rooms off the hearth (storage rooms) had holes large enough to grab anything one may need- murals and other paintings decorate on the walls; geometric designs (used to depict the land). pathways to move. KIVAS: Ceremonial round rooms and dwelling were entered from above with the use of a ladder (has to only be men) for rituals. fire pit, sipapu, deflecto, vent, banquet. communial buildings next to Kivas. FUNCTION: - Mesa Verde means 'green table', revering to the mountains- Ancestral Puebloans occupied area or about 850 years- they were mainly sedentary farmers- abandoned around 1300 CE because of drought, lack of resources or violence- originally both residential and ceremonial CONTEXT: - prehistoric Native American civilization that existed from approximately 100 to 1600 AD- the religion of the Anasazi people was based on their belief in the Earth, not only the source o their food and protection but also as a sacred place connecting them to a Great Spirit. a valley overlooks. people found this area to shelter them. protects them from summer sun, and heats them in winter suns. droughts made them move back and forth. drought, lack fo resources, violence.

Mblo Mask

FORM: -individual portrait that is naturalistic and abstract, refined features-polished surface suggesting health-complex coiffures-scarifications-introspective look on face, carved of wood. Baule People, Ivory Coast CONENT: -individual portraits of specific people-expressing beauty-commissioned by husband-kept out of sight until preformed-preformance goes along with music. top of head: represent animal horns. FUNTION: -party/masquerade-represented idealized inner state of beauty, individual potrait to honor a respected member of society. upside triange of brass: for good health. neat and orderly hari, eyes are down cast: elders already know world so dont need to see. Projections horns; imprortant people/events of the person, put on mask, and potray the person skill/entertainment. CONTEXT: -Moya Yanso is the person who is portrayed-Baule peopleartist: Owie Kimou-early 20th century CE

Great Serpent Mound

FORM: 1070 CE, 1300' long, 3' high follows a river, east/west axis earthwork, site specific Mississippian culture, earthwork, or effigy mound. early woodland people CONTENT: numerous mounds forming the shape of a serpent. serpents jaw is open, snakes mouth is open with long tail around. large oval: extra large eye maybe?, facing east towards summer soliciste, snake is able to tell time. celestial orientiation. could be hayleys comet. snake chasing to haleys comet. Native Americans knew about the celestial events. right after haleys comet. Native Americans viewed phenomena in nature. FUNCTION: connection to Haley's comet might have been used to mark time/seasons. is art because it is consciosly made. Deeper significance so is earth art. SNAKE SYMBOL: control light and dark, mississipian culture. generalized snake, SNAKE: earth, fertility, crop, controls light. CONTEXT: Adams County, Ohio 1070 CE (11th century), first attempt to preserve native american art.

Black-on-black ceramic vessel Maria Martinez and Julian Martinez,

FORM: Blackware ceramic. Coil, not wheel. Contrast of matte black and shiny, polished black finishes, Symmetrical (walls evenly thick). Surfaces free from imperfections. Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century CONTENT: Revival of ancient Pueblo pottery and designs. Orgins from 1000 year old tradition in the Southwest. to create, is beginning with coal in order to build the pot. Pots are burnished before teh firing, the artist begins to polish the leather-hard slip with short, swift motions. She uses a river stone/pebble to polish. the burnishing motions become faster as the surface becomes shiny. burnished pieces are decorated with a refractory clay slip. homemade brushes are used made from the fibers of yucca fonds. a wall of dung is laid forming the insulation for the heat treatment in order to make the pots all black. all used with older techology. the designs; water elements, birds. very anstract. bird and wing. ceramic. FUNCTION: Food container. Maria stepped from the traditional womans role to her pueblos, men are protectors of spiritual realm. signs her neighbors name to keep the traditions alive. CONTEXT: Maria and Julian Martinez, New Mexico mid-20th century. Maria made the pots, Julian painted the pots. made the pueblos famous. she and her husband were picked to revive black on black pottery. first they are red, then turn to black.

Veranda Post of enthroned king and his senior wife

FORM: By OLOWE OF ISE: important (most famous African artist) In Nigeria, Yoruba people 1910, wood and pigment. wood, pigment, vertical sculpture, frontal, largest figure (most important), eyes had blue paint, geometric post above king's head, abstract, decorative, embellishments (rings that circulate around figures) CONTENT: mounted warrior or warrior king, represents military power (power of enthroned king), left hand=spear (power), right hand=pistol (modern weapon), horse and women are both necessary for rule, source of his power (founded on the power of his community), practical necessities=cavalry used in war, pistol, spear; spiritual=nude women, with waist beads, kneels and supports king, nude women=fertility (king can provide for people), bulging eyes to look into spiritual realm, teeth gap=beauty, two attendants carry container. VERANDA POST: A wooden piece that connet floor with ceiling (like a column) but symbolic. very stylized and zig zag figures, big eyes and brigh colors. LONG NECK: beauty. Woman is taller because more important (Queen/ mother). Senior wife fo king sitting on throne. King is small (new at his job, so gets advice from wife). Woman kneeling before king is the other wife, but not important to king). On ings headdress: A BIRD (symbol of female ancestoral protection over King), exaggerated proportions FUNCTION: veranda post= intended to be among the structural posts of a palace's porch. King needs help with senior wife in paternship of ruling. CONTEXT: famous artist that produced numerous royal objects, horses introduced in 10th century; on some other masks, bulging eyes on portrayals of women indicated their ability to take on the spirit in order to take care of their community. OGOGA: Yoruba, design conscience

Chavin de Huantar, temples

FORM: Chavin Culture, 900-200 BCE. Stone (architectural complex); granite (Lanzon and sculpture); hammered gold alloy (jewelry). ashlar masonry CONTENT: very few living spaces- there is a labyrinth of underground tunnels connected beneath the site- many of the underground passages house religious relics and sacred items not available at the time for the public to see- also has "canals" built in to channel sound, so that when the temple was in use, the sound of the ceremonies could be heard all around the site. Sunken Plaza cermony, SHAMANISM: Shaman priests lead cermonies (identify ancestors and gods in the planets). SHAMAN spiritual experts and guides who are believed to have teh ability to communicate with spiritual realm (use hallicogens). carvings in stones (irregular sized stones fit perfectly). CONTOUR RIVARLY: When 2 images share parts or outlines together (Confusion, only high people can read thes statue), LANZON STELE: means spear, harvest God, snake eyes, flared nostrils, claws, jaguar fang. TENON HEADS: nostrils inflaired, snake hair, eyes straight up to sky (looking to heavens). Carvings of priest transformng to animal (claws, fangs (form into sacred animal). One hand down, one hand up for carving. painted black and white: secular domain. FUNCTION: - a religious site built by the Andean people in South America in the highlands- the main, central areas were meant for ceremonial rituals. only the priest allowed in Sunken Plaza, had to go through a ritual before entering temple, sacrafices liquids. CONTEXT: - large, square stone that has been carved with traditional South American designs- consist of intertwining, anthropomorphic subjects- also includes a running inscriptions around the edges of the stone- depicts local birds and monkeys (civilization knew its surroundings and found significance in the animals). religious stone found underneath the old temple of Chavin- carved with anthropomorphic designs to show one of the Inka goddesses- found under the site's temples, but archaeologists also found offerings that had been placed at the foot of the stella as a form of worship- was to worship at the foot of the stone believed to hold power of the gods within it. CHAVINS: before Incans (900BCE-200BCE). excellent builders (had canals for floodings). SUNKEN PLAZA CERMONY: priest drink SAN PEDRO CACTUS: cactus milk that makes preists have hallucionagations) (transitional space to death, but not dead). Priest drinks this to commune with harvest God by entering the temple.

Fang Reliquary Figure (byeri)

FORM: Fang Reliquary Figure (byeri), Fang peoples (southern Cameroon) 19th to 20th century, wood. wood and iron, 58.4 cm high, elongated torso, large rounded head, eyes look down, closed mouth, arms clasped together, coiffure, tubular body and limbs; male and female figures, face is stylized, abstraction (spiritual), conceptual CONTENT: great man"= high status, noble, who lived a long and good life, lineage heads, clan heads, special warriors, craftsmen, women; tranquil and power, coiled up energy,dignified; emphasis on belly button (where umbilical cord first gives life to humans just as reliquary is guarding remains of deceased who have returned back into the spiritual world and wait for rebirth). NOT A RELIQUARY: container of a relic, is a GUARDIAN OF A RELIQUARY, Tranquility on top and strength on bottom, juvinial body. LARGE= wisdom. 3 social groups. BLACK THING: a petruding belly button (spirit gets reborn), well polished FUNCTION: guarded reliquary (a container of relics), talisman (an object with supernatural properties that protects from evil or brings good luck), protected box; also served as puppets during young men's initiations to education them about their ancestors, portable and small for guardian of a reliquary/ teach young boys of ancestors CONTEXT: reliquary usually contained skulls and/or bones of important community members or ancestors together with potent objects and medicine; kept in reliquary instead of stationary cemetery because of semi-nomadic society; probably maintained by elder men in community; popular hairstyle at the time for high status menSo What: the figure and the relics are similar to modern day family heirlooms, showing how different cultures also have an appreciation for their ancestors So What: Ikenga is not a portrait but a symbolic representation of a person's power and achievements, and we see this theme not only in other African art, but throughout time- such as the votive figures that didn't represent the person but their spiritual intent. Noamd people

Great Zimbabwe: Stone Architecture

FORM: Great enclosure with multiple areas, brick huts, smooth walls - no mortar was used, Great Zimbabwe: Great House of Stone. 1000CE, ashlar masonary (With NO mortar) SOAPSTONE CONENT: Great wall and large tower (tower is religious center), chevron pattern near top, CONICAL TOWER: To store grain, Curves everywhere, no stragiht lines. SOAPSTONE BIRD: The beak has human lips at the end, the bird doesnt have claws instead has fingers and toes. COMPOSITE BIRD: (half human and bird)-Made of soapstone (easy to carve) FUNTION: Religious center, wall to keep in cattle, palatial complex, used for a ritual place, altars in the site, ritual site or ceremony. CONTEXT: In between gold rich plateau and Indian Ocean ports. ZIMBABWE: named after this place, bird on their flag. these cultures werent for fending enemys (built so high for political power)

Wall plaque, from Oba's palace

FORM: Hierarchy of scale, relief sculpture, Wall plaque from Oba's palace, Edo people of Benin (Nigeria) 16th centurty, cast brass (not bronze). potrait that hung on a wall. LOSt WAX CASTING: made with brass. CONTENT: King Oba standing in the middle with attendants kneeling beside him with two tiny Portuguese traders in the back, Portuguese are non human looking. OBA: King. head bigger than should be. HEAD BIG: wise and powerful. Steps on previous king. Little musicians nad little flower decor. Person in middle= most powerful and shielded y people arond him. hierarchical scale=most important= bigger. To glorify. 2 figures on side shielding him. man in middle is on a horse, feet elevated. is a king. FUNCTION: To display the king's power, show of wealth CONTEXT: It is the people's obligation to assist the king with whatever he needs, whenever he needs it

Ikenga (shrine figure)

FORM: Igbo peoples (Nigeria) 19th to 20th century. wood, carved figures with a human face and animal attributes, may be small or abstract, naturalistic CONTENT: seated on stool (honor), sword in right hand (power), left hand holds human head (warrior status); "the place of strength", personal spirity of one's achievements, helps owner get things done, sword=ability to cut through things to get to what one wishes in life, left hand can carry many things; ram's horns, decorated with abstract forms, mirror decorations on body, patterning on temples=high rank. 2 gian horns by the Igbo people, like a trophy for Africans in Nigeria. RAM HORNS: because fought for your acheivement FUNCTION: A trophy for the Igbo people if you accomplish something significant. likely made for a warrior, suggested achievements of owner, could related to that person's occupation, not a portrait but a symbolic representation, "sacred diploma" CONTEXT: Ikenga stands for power in the right hand, so it wouldn't be necessary to depict it in the carving, in African art often the concept is more significant to understanding the meaning of an object than how it looks; first an Ikenga is commissioned by a master carver and consecrated, then it would enter into a shrine in the owner's home, a ram fights head first (aggression and strength of head)

Golden Stool

FORM: In between gold rich plateau and Indian Ocean ports, Ashanti people, Ghana 1700 CE, Gold over wood and cast gold ornament CONENT: Shaped like a stool, Ghana people ahve lots of Gold (peaceful country) and safe. FUNTION: Symbolically represents the spirit of the Ashanti nation, represents royal family and succession. The golden stool represents the nation seat of Ghana. STOOL: is so importatn that people would rather give up the king than the stool/ the stool is for everyone, suppose to be tipped over because the whole nation sits there, a divine stool, is placed on own throne kingship. CONTEXT: The Ashanti Uprising/The Golden Stool War occurred in 1900 because a British governor demanded possession of the stool, the stool is so valuable that the location of it is only known by the king, queen, and highly trusted advisors (replicas are usually used in ceremonies). The throne next to the king is the golden stool and the stool is seated higher than ing himself. Anyone trying to steal stool will have issues with the bells attached to it. ASANTEHEN: the king, sits on throne, feet elevated. the stool has its own throne as well. ASHANTI UPRISING/BRITISH PUNITIVE WARS: fought for freedom from Englant, first free colonial country to gain freedom. Apparently dropped out of sky and carved by ancestors, everyone has there own stool in Ghana, but the golden stool is for everyone.

Machu Picchu

FORM: Includes Intihuatana Stone. Central Highlands, Peru. Inka, c. 1500. Granite. careful placement of stones, channels throughout, built into mountain. used stone, house of mortar (precise cut). grantie and limestone, inside covered with llama textile. CONTENT: multi-purpose site with over 200 building perches high on an Andean mountain ridge, about 50 miles from Cusco- discovered in late 1800s by an explorer, Hiram Bingham- fortification was provided by the cliffside that dropped down to the river valley- terraced cliffs for agriculture. observatory with niches, calendars, cosmological though, terrace common way of growing agriculture (potatoes), Intihuatana stone (carved from bedrock stone, corners are aligned with the compass points). terraces for their plants. ceremonial site, military struggle hold, allign with astronomical events, most important archaeoligical sites. sunken plaza, INTIHUATANA STONE: Made from sacred boulder: highest point of Machu Piccu: A SUNDIAL (tells time) FUNCTION: theorized to be an ancient royal estate for the leaders of Cusco to escape for occasional visits. religious pilgrimage site for the Inka. TOQUAPU TUNIC: Camelid fiber and cotton, covered insides of Machu piccu buildings, textures made of alpacca textile, not itchy, very warm. APUS: Mountain peaks: believed to be ancestoral deities, path that leads up to Machu Pico is Incan trial. Mountains are so important (seen as people), each mountian has gender and name. CONTEXT: agricultural complex, Central highlands, Peru 1450-1540 CE. Most famous landmark in South America, emperor wanted a retreat area so commissed this area for emperors retreat palace. INCAS: great engineering. MACHU PICCU: Means old mountain: to have excellent viewing of stars and planets, every temple has windows toward sun. OBSERVATORY: Temple of Sun (view of winter soliciiste) sacred day: giant boulder left there because believed it was sacred.

Cuzco: Qorikancha - Temple of Sun God

FORM: Includes Qorikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman). Central Highlands, Peru. Inka, c. 1450 CE; convent added 1600 CE. Ande site.carved limestone, boulders, ashlar masonry; stone blocks fitted together without mortar. CUZCO: capital of Incan empire "navel of the earth" CONTENT: Laid out in the shape of a PUMA: The Incans sacred animal. PLAZA: belly of puma, RIVER TULLUMAYS: spine of puma. "land of the four quarter"or Tahuantinsuyu: name Inka gave it to their empire largest native state. Incas Quechas built: massive stone blocks, built for symbolism NOT fortification. Fit stone blocks without mortar/glue, so tightly knit for earthquake perfection (thats why irregular). SACSAYHUAMAN: Head fo puma. Temple site: closest to heaven. THEORY OF SITE: jagid blocks (teeth of puma/lightining?) QURIKANCHA: belly of puma (Incan) INCANS: 3 is their sacred number, 3 sacred animals and realms. SANTA DOMINGO: Spanish architecture. Inca: room for god of rainbows, lightning, moon. Temple of Sun, Inka shrine, "curral of gold", dedicated to sun (so much gold.) Incan stones polished perfectly. GOLDEN GARDEN: offering of sun god, fake animal animal offerings made of gold. FUNCTION: MAIZE COB: corn for everything. most precious crop fo Incans and thank God for it with all the gold, made of gold. REPOUSSE: hin sheets of gold and silver. CONTENT: INCA: Thought they were center of universe and ruled the world. Created by SUN GOD. Spanish conquisadtors destroy Cuzco, build Spanish church over Temple of Sun.

All-T'oqapu Tunic.

FORM: Inka, c. 1500 CE. Camelid fiber and cotton. CONTENT: - each square is thought to hold the mantels of the different racial and social groups of the Inkan empire- the Inka empire successfully utilized the craft of weaving and had the know-how to harvest the wool, spin it, and dye it. each square has individual meaning. FUNCTION: an Alpaca wool tunic worn by the Ikan king during ceremonies- stylistic elements meant to represent the unification of the Inkan empire- it made sense to have the king wear it because he was the sole, unified leader of the empire. elite warriors would wear this- checkedered patch= military. LOOMS: to create tunics. made by women. someone who rules overall territories. covered inside Machu Picchu buildings. CONTEXT: Camelid fiber and cotton, covered insides of Machu piccu buildings, textures made of alpacca textile, not itchy, very warm. Andes are cold, so animals grow thick wool to stay warm. People use the wool to stay warm. for rulers/ elite warriors.

Ndop of King Mishe

FORM: Kuba people (Democratic Republic of the Congo) 1760-80, Wood. naturalized, disproportionate, rounded contours CONTENT: kuba king (nyim) seated in front of a drum with a severed hand on it (ibol), shody (headdress). EYE CLOSED: resting in peace dead, HAIRSTYLE: Headdress. little drum with emblum of king (a severed hand: means the king has conquered people and is a warrior king) FUNCTION: honored the leader, serves as a historical marker of the king's reign CONTEXT: kuba known for artistic legacy and artists historically worked exclusively for the nyim, the ndop's large head denotes intelligence. created after king dies

Structure 33, Mayan roof comb latticework, Yaxchilan

FORM: Mayan roof comb latticework. Includes Lintel 25 and Structure 33. Chiapas, Mexico. Maya, c. 700 CE. Limestone. CONTENT: - building of Yaxchilan were more residential tan Chavin- also had underground tunneling, but has a similar religious significance- the ancient Mayan empire occupied the majority of a single peninsula- Maya were very advanced with expanding civilizations, agriculture, religion. MAYAN ART: all same features (writing=Mayan code)-> square pictographs (date/who are Mayans are), social hierarchy, depicts rulers/ elites, faces on profile (beak nose), lots of depictions of rulers. INSICIONS: very detailed works. high relief carving. FUNCTION: Ancient Mayan suilt built in the South American peninsula. the effects of BLOOD LETTING: Blood letting can lead to visions (sting rays have piosin) and cause visions, commune with Gods. Serpent opens mouth and shows a person (with headdress) transforming to God. LADY XOC shows respect by summoning him. CONTEXT: LADY XOC: Acropolis of temples (next to rivers), elevated sites (to be closer to Gods), latis work roof (work comb), oldest stone in the world, lintel above doorway, post on side; carved on ceiling (story was being told). women had huge roles in being powerful rulers with husband (Shiled Jaguar II). SHIELD JAGUAR II: Just ascended to throne (king) depicts ceremony in abstract form. stands tall (shows superiority)

Lukasa memory board

FORM: Mbudye society, Luba people (Democratic Republic of the Congo) 19th to 20th century, wood, beads, and metal. woods, beads, metal CONTENT: memory=string of beads documenting events, people, and places that can be restrung and reorganized, fixed beads in dynamic juxtapositions, memories associated with forms, colors, sizes, configurations. A numanic device: something that triggers your memory. EACH BEAD: means something different, oral history FUNCTION: invented to protect, transmit, and sanctify esoteric royal knowledge, Only be used by sacred elders who are qualified to read these. beads for important events of Luba Kingdom CONTEXT: "man of memory"=touches surface and recalls information as he narrates to the audience. Only a few elders know exactly what each bead means

Nkisi n'kondi Power Figure

FORM: Nkisi n'Kondi Power Figure, Kongo peoples (democratic republic of the kong). late 19th, wood and metal. CONTENT: "nkisi" (plural: minkisi)=spirit, represented as a container of sacred substances; represent the ability to "contain" and "release" spiritual forces which can have a positive/negative impact on community; power figure=magical charm carved in likeness of human being (highlights function in human affairs). vodoo doll based off this figure, white eyes, black pupil=very alert. complicated an built with power, a cavity that activates the spirit. OPEN MOUTH: engaged and fierce. NGANGA: An herbalist or spiritual healer SHAMA (spiritual person) FUNCTION: nkisi= vessels containing medicinal herbs and other elements to cure illness and alleviate social ills; oath-taking image used to resolve disputes and lawsuits (mambu), serve as protector (n'kondi=hunter) from sorcery or evil. eminates lots of power CONTEXT: sacred medicines and divine protection are central to the belief of BaKongo peoples, Ne Kongo (great god) brought first sacred medicine (nkisi) from heaven in earthenware vessel set upon three stones and termite mounds; wooden figures carved (human or animal) and activated through chants, prayers, preparation of sacred substances; similar to modern scaffolding; traded stains and fabrics, large population; underwent three major renovations; considered the most unique mosque because of it's size, unusual facade, construction, and its connection to the earth (spiritual). Nkisi spirit will haunt the person that breaks the contract

Templo Mayor

FORM: TENOCHTITLAN (modern day Mexico City) 1375-1520 CE. steep stairs, medallion of Quetzalcoatl for sacraficed bodies to fall down. (Main Temple). Tenochtitlan (modern Mexico City). Mexica (Aztec), c. 1500 CE. Includes the Coyolxauhqui Stone (volcanic stone), the Calendar Stone (basalt), and Olmec style mask (jadeite). CONTENT: - about 90 ft high, consisted of two separate ceremonial temples- each temple was accessible by massive, steep staircases- site is in ruins today, represented the founding of Tenochtitlan- Aztec empire was a thriving civilization with trade, developments, and governments- two separate pyramids meant to represent the two sacred mountains of Aztec culture. TENOCHTITLAN: Artificial island, double temple pyramid. CALENDER STONE: Aztec rulers on the side, represents anrgy earth motehr monster fused with sun, record of catalistic events (floods, storms) medallions with wind, jaguar, water. CALENDER: Carved in relief, COYOLXAUHQUI STONE. FUNCTION: - one of the most important and largest stepped-pyramid temples in the ancient Aztenchean city of Tenochtitlan- built upwards to reach closer to the Gods in heaven- extreme slant of staircases meant to restrict the access to the sacred sites- other temple housed Aztec culture's violent sacrifices (like ripping the hearts out of invading tribe warriors) CONTEXT: sacrafice people for sun God to ensure sun will shine. TLALO (Temple) rain god. HUITZILOPOCHTLI: can turn into eagle (part of red side of temple) (essentially origin) patron. God of Mexico (God of war adn associated with sun) sacred color of Aztec: green. QUETZALCOATL: Sister of Huitzilopochti born on snake mountain, but Huitzilopochtli, came out in full gear. Tosses pieces of sister down snake mountain: this is why sacraficing became a thing.

Maize Cobs. Inka, c. 1500 CE. Sheet metal/repoussé, metal alloys.

FORM: c. 1500 CE. Sheet metal/repoussé, metal alloys. CONTENT: metal work piece showing two corn cobs- Inka had the ability to extract the metals and manipulate them skillfully. REPOUSSE: thin sheets of gold and silver. FUNCTION: - very representational and naturalistic in form- show how the Inkan empire was able to thrive agriculturally, and how they found significance in the source of their sustenance CONTEXT: corn for everything. most precious crop fo Incans and thank God for it with all the gold, made of gold.

Ruler's feather headdress

FORM: featherworking, gold. Mexica (Aztec), c. 1500 CE. Feathers (quetzal and cotinga) and gold. CONTENT: headdress elaborately decorated with feathers of the Quetzal bird- Mexica culture would catch the Quetzal bird, pluck the tail feathers, and release them so they could continue to live and reproduce- Aztecs understood the rarity of the species and made an effort not to impact the populations. very hard to get these feathers, they were acquired through the vast Aztec trading network. Aztec sacred color: green. MOTECUHZOMA: Didnt know Cortez was coming to invade, soldiers killed Motechuzama. INVASION OF CORTEZ. QUETZAL BIRD: featehrs, of a bird, inspired of Hietzel pochtli, gold, spoon bill feather, men would make these and kill birds to make these. FUNCTION: thought to belong to Motecuhzoma II, who was captured by the Spanish when they attacked the Mexica- transferred to Europe as a spoil of war- showed wealth, power, and authority CONTEXT: Aztecs, 1428-1520 CE, gift for Motecuhzoma II from the Viceroy of Spain, made by artist who specialized in featherwork

PWO Mask

FORM: female ancestral mask, made of available resources, very stylized with what the Chokwe people saw as "beauty", Democratic Republic of Congo CONENT: The mask is of a female face; many tattoos are on the face, each representing a different emotion or feature of women. HAIRSTYLE: symobl of beauty, symmtrical face, women tatoo patterns. calm face, she deserves respect, deep dark red, whiteness of eyes (spiritual realm) FUNTION: used in an initiation dance which was performed to chiefs and kings, newly married men and women, and girls who had reached adulthood; the mask is of a female ancestor because the Chokwe people are matrilineal. Honoring mothers and worshiping mothers, honor women who give birth, family line is passed by women, honors mothers and female ancestors. CONTEXT: The masks honor the female ancestors of the tribe and are used to initiate people into a new journey in their life; Only men wore the masks in the dances, therefor imitating women; pwo means young woman and can also refer to the initiation ceremony itself. Eve in the bible is pwoerful figure (everyones mother) Mask has a dance, man wears this to honor women for childbirth (dances slowly to pay respect).

Aka Elephant Mask

FORM: geometric beading on long, vertical fabric, highly stylized, triangle patterns refer to leopards, body is covered with leopard skins and red feathered headdress, wood, woven rafia, lots of beads and shells. TRADE: for their beads. Kuosi Society CONTENT: worn by male during dance, Bamileke people see the divine king (fon) as representing the supreme being and ancestors (supernatural powers extend into religion and politics), abstract elephant mask. ELEPHANT: King of land mammals, powerful majestic qualities. patterns= energy. BLUE: royal color, YELLOW: prosperity, RED: power. YELLOW PSOTS: leopards, FUNCTION: reaffirms the King's power. Cameroon kings represent themselves as elephants, afirming power of king. CONTEXT: Bamileke people (Cameroon), Kuosi Society, 19th to 20th century CE, headdress attached to animals, the elephant can get fierce like the king.

Nose ornament from Chavin de Huantar

FORM: hammered gold alloy, fully gold CONTENT: - golden nose ring with swirling designs and two bird heads- nose ornaments were symbols of significance and power, either in authoritative or religious way- zoomorphic designs illuminated the understanding the people had of the animals they lived with- use of metalwork shows the culture had access to precious metals and the technology to manipulate them. huge nose ring, clip onto septum. snake body (tails-spirals), snake ahs piercing and earrings too, snake looking up to heavenly realm. FUNCTION: wear as a sign of status. CONTEXT: CHAVINS: excellent jewelry makers.

Olmec heads

FORM: inside templo Mayor. 1200-400 BCE. Tenochtitlan CONTENT: masks created by Olmecs; big stone heads. depiction of a God's face similar to a human face- mask was used for ceremonial rituals in the Aztec empire- jade stone was one of the precious materials reserved for sacred pieces FUNCTION: Aztecs discovered them and added it to their temples (new power), transfer warrior energy. CONTEXT: MEXICA: the Nahuatl-speaking indigenous people. AZTECS: the mercenary (soldiers from mythical homel and of Aztlan who arrived in valley of Mexico and became Mexica (people of Mexico)

Bundu mask

FORM: three zones, shiny surface evokes water, "metal helmet", small and nearly closed eyes, complex hair that comes in a great variety of forms, sheen=beautiful. Sande Society of Mende People, made of wood. CONTENT: ceremony takes place in the forest on the "outside" on the edge of society, idealized beauty and moral guidance, neck rolls (health). MASKS: Wearer embodies person, lots of patterns: for energy. opens mouth: Engangement with enviorment, associated with animals. is actually a helmet. wear rafia: to wear. MASKS: important for ritauls and perfomance. 1 person wears the mask, girls are covered in white to transform into woamnhood. FUNCTION: life transition, teach girls to transition into womanhood and female values, worn by woman. CONTEXT: kept hidden until preformed, Mende people, 19th-20th century CE. Masks represent spirits/ancestor (Symbolic), rolls of neckfact: need to eat to bare children, broad forehead: beauty symbol, embody spirit of soweI: water goddess. small mouth: woman does not need to speak, only when necessary. small ears; dont listen to gossip, does a dance ritual, HAIR: eleaborate coiffure (Hairstyle)< women depedn on other women and represent neat and orderly. scarificaton transfromation.

Great Halls of the Bulls, Lascaux, France.

Period: Unit 1 Prehistory. Medium: Bone. Artist: Unknown. Patron: Unknown. Date: 15,000-13000 B.C.E. Location Lascaux ( France)Function: To serve some religious purpose or to aid with hunting in some fashion FORM: Use of profile and twisted perspective. Lots of natural colours CONTENT: Multiple animals running around in what we believe to be their natural environment FUNCTION: Paints Bison, Great Mongolian horse, secretly in earth (cave) to honor the animals. Art is a sign of humanity, art doesnt get better, it changes. CONTEXT: A naturalistic group of hunter gatherers

Stonehedge

Period: Unit 1 Prehistory. Medium: Sandstone. Artist: Unknown. Patron: Unknown. Date: 2500-1600 B.C.E. Location Wiltshire( UK)Function: Unknown purpose most likely to honor the winter solstice to hold some festivity. FORM: Straight rectangular lines, groups of three FUNCTION: CONSTRUCTION: mortise and tenon structure, wood hedge starting point of burial, stonehedge for dead, human bones around it, PURPOSE: Unkown, site in a circular ditch, a heel stone is alligned with the summer solistice and winter solistice, temples (SUN WORSHIP) or ancient scientific discovery, sacred space (temple)< sacred place for burial. CONTENT: Large stones built around in a circle. CONTEXT: Most likely built by Druids who worshiped the spirits of nature