ap art history / latin america

Great Serpent Mound Ohio Valley, c. 1070 Effigy mound north america.

- 1,300 ft long. - erected by the fort ancient culture. - serpents often attributed with supernatural powers: could be imitating a god/goddess. - head aligns with summer solstice, tail aligns with winter solstice. - contains no artifacts, therefore not a burial ground. - roughly made mound, an animal or person,. fort ancient peoples - sustained a way of life based on maize - society does not appear to have any social stratification. - cremated their bodies and buried the bones and cremains. - could have been a recording for when to harvest, no one knows. - Effigy mound(mounds built in the form of animal or birds) serpent mound represents one of the first efforts at preserving a native American site from destruction at the hand of pot hunters and farmers. The Mississippians strongly associated snakes with the earth and the fertility of crops. Scholars have suggested that the serpentine form of the mound replicates hailley's comet streaking across the night sky. An earthwork as large and elaborate as serpent mound could only have been built by a large labor force under the fim direction of a powerful elite eager to leave its mark on the landscape forever.

city of machu picchu 1450-1540 housing, religious shrines, fountains, terra featues carved rocks; signature of inka art divisions of social class south america

- a whole entire city. - housing, agriculture. - within the city, division of social class could be seen. - upperclass: stone, carves, fitted together. - lowerclass: rocks on top of each other. - king was thought to be the descend of the sun. city of mach picchu observatory - used for celestial observation - upper curved stone with window - lower: cave - temple of the sun. - stone and fitted together. intihuatana stone - hitching post of the sun - carved boulder - sun passage, religious events - calculation for religious purposes and events. - shows the relationship with the earth. - supernatural forces. - Maachu Picchu was probably the estate of the Inka emperor Pachacuti. large upright stones echo the contours of sacred peaks. Precisely placed windows and doors facilitated astronomical observations. - Great archaeological importance as a rare undisturbed Inka settlement. The accommodation of its architecture to the landscape is so complete that the buildings seem a natural part of the mountain ranges surrounding the site on all sides. The Inka even cut large stones to echo the shapes of the mountain beyond. Terraces spill down the mountainsides and extend even up to the very peak of Huayna Picchu, the great hill just beyond the settlement's main plaza. The Inka carefully sited buildings so that windows and doors framed spectacular views of sacred peaks and facilitated the recording of important astronomical events. Machu Picchu is among the architectural and engineering wonders of the premodern world.

coyolxauhqui stone volcanic stone templo mayor, mexico city, mexico 1500 ce 11ft in diameter

- aztecs were polytheisitc. - top decapitated women head. - monster faces. (represents other dietys) - Coyolxauhqui, or Bells-Her-Cheeks, the sister of the Mexica's patron god, Huitzilopochtli (Hummingbird-Left), who killed his sister when she attempted to kill their mother. - she is naked, sign of humiliation - mothers name: coatlicue. - son's name: huitzilopochtli - daughter started the fight, - ceremony called ` - severed limbs - represents coyolxauhqui, who was murdered by her newborn brother, huitzilopochtli, because she attempted to kill their mother; she was thrown down the mountain, where her body fell apart. - huitzilopochtli was the patron god of tenochtitlan - for the mexica, nakedness was considered a form of humiliation and defeat - once brilliantly painted - 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 Centzonhuitznahua) attacked their mother. At the moment of attack, Huitzilopochtli emerged, fully clothed and armed, to defend his mother on the mountain called Coatepec (Snake Mountain). Eventually, Huitzilopochtli defeated his sister, then beheaded her and threw her body down the mountain, at which point her body broke apart. - Mexica effectively transformed the temple into Coatepec.

pacific processional welcoming queen elizabeth II to tonga with ngatu iaunima (tapa cloth) tonga, central polynesia, 1953 ce. multimedia performance (photographic documentation) performance art.

- celebration in honor of queen elizabeth. - carrying matts to honor. - suggest the idea of movement, chants. the idea is the ritual of the art. - all the ideas making it a work of art. - 1953: newly crowned queen elizabeth II visited island of Fiji - women wear skirts made of barkcloth, painted with geometric patterns, carrying rolls of woven mats as gift to queen. - chants, dances, scents, etc. are all part of the art

chavin de huantar 900-200 bce peru

- chavin culture: the earliest civilization in the andes. - the temple built there became an important pilgrimage site that drew people and their offerings - people are called the chavin. - major trade center, intersection with two rivers(huachesca and mosna). - intersection of trade routes allowed city to prosper and may be seen as a spiritually powerful phenomenon. - sacred site: maybe because it is located where 2 rivers joined. - no one knows meaning or use of the passageways, but.. - archaeologists are exploring acoustics and believe that ancient people came to hear the oracles speak- the voice of "the gods" emanated from passageways. - important pilgrimage site. - interior of the temple was riddled with a multitude of tunnels, called galleries. - It is possible that the whole building spoke with the voice of its god

malagan mask and display new ireland, papua new guinea (pacific) 20th cent. ce wood, pigment, fiber, shell

- commonly used at funeral rites, which both bid farewell to the dead and celebrate the vibrancy of the living. - can represent dead ancestors, ges (the spiritual double of an individual), or the various bush spirits associated with the area) - the seller surrenders the right to use that particular malanggan style, the form in which it is made, and even the accompanying rites. this stimulates production, as more elaborate variations are made to replace the ones that have been sold. - malanggan ceremonies were expensive, the funeral rites could take place months after a person has died.

hide painting of the sun dance cotsiogo, eastern shoshone, painted elk hide. wind river reservation, wyoming, us.

- cotsiogo and the eastern shoshone tribe were moved to the wind river reservation in 1868. - much of his work reflects and affirms his tribe's culture. - appeal to tourists often sold for financial support for families. - elk hides and painting: traditional forms of art among great basin and plains tribes. - very traditional. - records history, biographical details, battles. - dancing around poles (represents grass/wolf dance) - sun dance represents their sacred festival. honor creator deity. - buffalo head (rise on the split tree) - eagle. - dancing around the pole. - the us government banned the sun dance until 1935 - the scene of the dances appeal to the tourist. - bright colors. - buffalo: considered sacred animal. - bows and arrows depicted instead of rifles. - many buffalo depicted, even though many already killed or displaced. - reflecting upon his culture. - 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, Cotsiogo shows these men in motion. Men participating in this sacred, social ceremony refrained from eating or drinking. 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. However, the United States government deemed it unacceptable and forbid it. The U.S. government outlawed the Sun Dance until 1935, in an effort to compel Native Americans to abandon their traditional ways. Cotsiogo likely included references to the Sun Dance because he knew tourist consumers would find the scene attractive; but he modified the scene combining it with the acceptable Wolf Dance, perhaps to avoid potential ramifications. The Wolf Dance eventually transformed into the Grass Dance which is performed today during pow wows (ceremonial gatherings). 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 a warrior acted bravely in battle, and so they functioned as symbols of honor and power. Not just anyone could wear a feathered war bonnet! Cotsiogo shows the warriors hunting with bows and arrows while riding, but in reality Shoshone men had used rifles for some time. Horses were introduced to the Southwest by Spaniards. Horses made their way to some Plains nations through trade with others like the Ute, Navajo, and Apache. By the mid-eighteenth century, horses had become an important part of Plains culture. Buffaloes were sacred to the Plains people because the animals were essential to their livelihood. Some scenes display individuals skinning buffaloes and separating the animals' body parts into piles. All parts of the buffalo were used, as it was considered a way of honoring this sacred animal. At the time Cotsiogo painted this hide, most buffalo had either been killed or displaced.

calendar stone, aka sun stone. elaborately carved solar disk, basalt most famous work from teh aztecs 11 3/4 ft in diameter and 3 feet deep.

- earrings. only wealthy aztecs would wear. - dayglyph believed that would die then come alive. the 5th sun we are living in now. - believed in the first sun died by a jaguar of sun god's death..(nahui oceloti) -2nd sun wind, (depicts the god ehecatl) death by - 3rd sun rain, (depicts the god tlaloc) - 4th sun water, (depicts the goddess chalchiuhtlicue) - 5th sun idea, its prophesizing that this current world in which we live is going to be death by earthquakes. - sun is brought into creation by the gods sacrificing themselves, since the first god couldnt move, another god had to sacrifice himself to put the sun in motion. - because the gods have killed themselves willingly, hmans need to be feeding them through offerings: animal, human, sacrifice. - 20 days, basic unit of the aztec calendar. - outside the band of calendrical dates - divided into 4 quadrants, for the directions. - bottom center, fire serpents: nahuatl, xiucoatl, associated with the solar calendar, carrying sun across the sky. - would have been originally painted. - have been placed horizontally on the ground - center: gruesome face, wide mouth, either side: ear spools(, tongue is actual a sacrificial blade, claw hands.. could be tonatiuh, aztec sung god - nahuatl language; spoken by the aztec who were nahua - records the origin of the aztec cosmos - creation of the five suns, history of previous and current era of the sun - current era: fifth sun "4 movement" - ollin: movement - four dots: four movement

lanzon stela chavin de huantar 900-200 bce peru

- image of supernatural being on wedge-shaped stone- shape similar to digging sticks used in farming. - indicated deity's power to ensure successful planting and harvest? - mouth and head similar to digging tools? - may be an agricultural deity. features: - large eyes look upward. - mouth with bared teeth and protruding fangs. - left hand points down; right hand raised up- heaven and earth. - long, talon-like fingernails-indicate jaguar? - eyebrows and hair appear as snakes - lanzon means great spear, shape of the digging stick used in agriculture. - shape indicate the deity's power ensuring planting and harvest. - carved channel from top to forehead- to receive liquid offerings poured, from gallery above? - mixture of human and animal features, favors a complex. 3rd image: - jaguar mouth and snake hair give special powers. - jaguars could communicate with the dead and with evil spirits. - eyebrows and hair of the figure have been rendered as snakes, making them read as both bodily features and animals. contour rivalry: two images share parts or outlines. - only seen by priests - relief sculpture. - the face of a jaguar- most sacred animal in the andes. - deep within the old temple

mesa verde cliff dwellings colorado cliffside, 450-1300. sandstone.

- inside the cliff, protuding out. ancestral puebloans - received the name "pueblo" from the spanish explorers commenting on their style of dwelling. - stone and mortors, to build. - known best for their petroglyphs, besides their homes in cliffsides. - kivas used for ceremonial and residentual - deflector (low wall designed to prevent air drawn from the ventilation shaft from reaching the fire directly), and a sipapu ( a small hole in the floor that is ceremonial in purpose) - families lived in architectural units organized around. kivas. - cliff palace. - made of stone, motar and plaster - inhabited by the puebloans of colorado. - murals may be recording knowledge of animals/plants - constructed in cliffsides to avoid animal attacks/contact with other possible enemy natives and weather? unknown. - "life came from the ground" - worked in unit - migration occured due to lack of resource, violence, drought, food shortage. - example of ancestral puebloans - The Ancestral Puebloans entered the kivas using a ladder extending through a hole in the flat roof. These rooms were the spiritual centers of native Southwest life, male council houses where the elders stored ritual regalia and where private rituals and preparations for public ceremonies took place—and still do. - The Ancestral Puebloans designed it to take advantage of the sun to heat the pueblo in winter and the sheltering ledge to shade it during the hot summer months.

maize cobs inka, 1440-1533 ce. metal (gold and silver) alloys repousee: metal work shaped by hammering from opposite side. found in golden garden of qorikancha.

- inside the garden. - to show power. - spanish melted it down. - depicts of lamas, corn, and put them together in one place. miniature version of the inkan empire. - wanted to justify their right to rule. - portray realism, of corn, suppose to look very ripe to emphasis fertility. - corn has been depicted since it was used in their political festival (corn beer). - Inka visual expression often incorporated more naturalistic forms in small-scale metal objects. This silver alloy corncob sculpture is one example of this type of object.

bandolier bag lenape tribes (delaware) various first nations across canada and the great plains

- inspired by ammunition bags euopeans wore. - made out of different silks, strings, hide, and beads - weaving on the bag is a masterful display of technical skill. - multiple could be worn, creating a a "rainbow effect" - usually made by women, worn by men. - included intricate and colorful designs - some designs alluded to spiritual realms and the afterlife. - primarily worn with ceremonial outfits. - other features: silk, ribbons, fringe Bandolier Bags are based on bags carried by European soldiers armed with rifles, who used the bags to store ammunition cartridges. While Bandolier Bags were made by different tribes and First Nations across the Great Lakes and Prairie regions, they differ in appearance. The stylistic differences are the result of personal preference as much contact with Europeans and Euro-Americans, goods acquired in trade, and travel. Bandolier Bags (like this one) are often large in size and decorated with a wide array of colorful beads and ribbons. They are worn as a cross-body bag, with a thick strap crossing a person's chest to allow it to rest on the hip. The designs on the bag are abstracted and symmetrical. White beads act as contour lines to help make the designs more visible to the naked eye. On the cross-body strap, we see a design that branches in four directions. Yet notice how the artist has actually made each side slightly different. The left portion of the strap displays a light blue background, and the repeating form is more rounded, with softer edges. On the right side of the strap, the blue is darker, the framing pink and green is varied, and the repeating form displays more straight lines. The small size of seed beads allowed for more curvilinear designs than quillwork. It is possible that the contrasting colors represent the Celestial/Sky and Underworld realms. The abstracted designs on the sash may also be read in relation to the cosmos because they branch into four directions, which might relate to the four cardinal directions (north, south, east, and west) and the division of the terrestrial (earthly) realm into four quadrants.

staff god rarotonga, cook islands, polynesia late 18-19th century ce wood, tapa, fiber and feathers

- known as a "god stick" holds spirit of the god - wood wrapped with barkcloth - shaft is in the form of an elongated body, with a head and small figures at one end. - upper part consists of carved head above smaller carved figures - combines male and female elements - smaller figures in profile appear to be prominently male. - wooden core: large head at one end and originally terminated in a phallus - figures facing outward could depict women in childbirth - the barkcloth protects ancestral power (mana) of deity made by women - upper part of the staff consists of a carved head above smaller carved figures - lower end is a carved phallus. - some missionaries removed and destroyed phalluses for carvings, considering them obscene. - contained red feathers and pieces of pearl shell, known as manava or spirit of the god. - islanders carrying the image upright on a litter. - most sacred of rarotonga's object. - shaft is in the form of an elongated body, with a head and small figures at one end. - other end, composed of small figures and a penis, is missing. - feathered pendant is bound in one ear. - represent tangaroa the creator god? - have explicit sexual aspect, embodying male and female productive and reproductive qualities.

lintel 25 on structure 23.

- located above the central doorway, made of limestone. - focuses on a bloodletting ritual carried out by lady xook. - bloodletting was an act of rebirth and rejuvenation. - they would let blood to honor and feed the gods and the rulers to shed blood in order to maintain order in cosmos. - wife of shield jaguar. - ruler also believed to be descended form god. - figure emerging from the mouth of a serpent. - lady xook holds a bowl in her left hand while looking up at the serpent. - head dress, elaborate earrings. burning the paper so blood to go to the gods. - elites and rulers only did the ceremony.

malangan figure wood,vegetable fiber, pigment and shell(turbo petholatus opercula)

- made for malangan, a cycle or rituals of the people of the north coast of new ireland, an island in papua new guinea. - malangan express many religious and philosophical ideas. - concerned with honoring and dismissing the dead, but they also act as affirmation of the identity of clan groups, and negotiate the transmission of right to land. - made for single ocassion then destroyed. - symbolic: identity, kinship, gender, death. and the spirit world. - included representations of fish and birds of identifiable species, alluding both to specific myths and the animal's natural characteristics. - at the base of this figure is depicted a rock cod, a species which as it grows older changes gender from male to female. The rock cod features in an important myth of the founding of the first social group, or clan, in this area; thus the figure also alludes to the identity of that clan group.

all-t'oqapu tunic camelid fibre and cotton 1540-1540 acllas: chosen women that made the tunic, weave the tunic. t'oqaoc: squared geometric shape

- more pattern you had, the more importance you have. - tiny squares of what the tunic is made out. - to be worn over clothes, showed off power and social class, and worn by rich people. - example of the height of andean textile fabrication and its centrality to inka expressions of power. - two main fibers: cotton and camelids. - is a single piece of cloth, woven with a slit in the center for the head to pass through, and folded over and sewn together along the sides with spaces left open as arm holes. - Red- and blue-dyed textiles were not only beautiful, they also represented the apex of the resources needed to produce them and the social and political power that commanded those resources. - alled qompi in Quechua (the language of the Inkas), was produced by acllas ("chosen women"), women who were collected from across the empire and cloistered in buildings to weave fine cloth. The acllas also performed religious rituals, and made and served chicha (corn beer) at state feasts. These women spun, dyed, and wove fibers that were collected as part of the Inka taxation system. The textiles they produced were then given as royal gifts, worn by the royal household, or burned as a precious sacrifice to the sun god, Inti. -T'oqapu are the square geometric motifs that make up the entirety of this tunic. These designs were only allowed to be worn by those of high rank in Inka society. Normally, an Inka tunic with t'oqapu on it would have a band or bands of the motif near the neck or at the waist. Individual t'oqapu designs appear to have been related to various peoples, places, and social roles within the Inka empire. - likely makes it a royal tunic, and symbolizes the power of the Inka ruler (the Sapa Inka). The Sapa Inka's power is manifest in the tunic in several ways; firstly, its fine thread, expert weave, and bright colors signify his ability to command the taxation of the empire, access to luxury goods like rare and difficult dyes, and the weaving expertise of the acllas. Secondly, among the t'oqapu in the tunic is one pattern than contains a black and white checkerboard. This was the tunic pattern worn by the Inka army, and shows the Sapa Inka's military might. Lastly, the collection of many patterns shows that the Sapa Inka (which means "unique Inka" in Quechua) was a special individual who held claim to all t'oqapu and therefore all the peoples and places of his empire. It is a statement of absolute dominion over the land, its people, and its resources, manifested in an item that is typically Andean in its material and manufacture.

olmec-style mask from olmec people mexico city, mexico jadeite

- olmec people had many gods by nature. - mainly looked at the jaguar god. - lmec mask was made over a thousand years prior to the Mexica, and its burial in Templo Mayor suggests that the Mexica found it precious and perhaps historically significant. - smooth texture, dark grey and green, - artist choose it because he wanted to stay for a long time. - jadeite is a high mineral with high density. has holes on the side, don't know what it was used for. think it mustve been tied to a mummy..etc. typical olmec shape face. face itself is neither human, just an idealization. downward mouth.

nose ornament chavin de huantar 900-200 bce peru gold

- person wearing is showing off wealth, and honoring of the deity. - pinches or passes through the septum. common in the andes. - upward-looking eyes as the lanzon. - swirling forms beneath them also evoke the culture's eye shape. - serpent motif again - worn by elite person to wealth and power.. and allegiance to chavin religion. - made by hammering and cutting the gold.

black-on-black ceramic vessel maria martinez and julien martinez, puebloan, blackware ceramic, pueblo, new mexico us c. 1939

- pots and pottery very important uses to the pueblo's. maria martinez - skilled pueblo potter from a young age. - worked with her family. - helping out her pueblo community was extremely important to her work. - introduce to non native, and native audience. ceramics: pueblo community tradition - inspiration of the olla: abstract, but bold and geometric designs - natural imagery. - recreate how the black and black design. - used serveral of the designs from the arch site. - this specific pot is called a olla. - bird, storm clouds, possible river, two bands, very decorative intention of maria martinez. - appealed to many people because fit in the art decom movement. - abstract and bold was very appealing. bring the past, and spreading her pueblo culture.

buk (mask) torres strait, mabuiag island mid-late 19th century turtle shell, wood, fiber, feathers, turtle shell

- probably for male initiation and funerals - senior men wore masks with costumes-reenacted stories of heroes or ancestors - some represent humans, other birds, fish, or reptiles; this one combines features of both humans and animals. - divided into three registers; bottom: human face, above: face and body of a bird, above above: feathers - frigate bird depicted, human hair. - shell(eyes), raffia. - used in a masquerade. - static movement, dancer could make gesture of a bird. - face of a hero? did supernatural deed? an ancestor? someone important in the family lineage? - bird can be seen as a totem, that has connection to family, could be unique - connect to supernatural perhaps. turtle shell was traded, they asked island people to burn their masks - assume that the masks were very important, kept in a house built of small stones.

moai on platform (ahu) rapa nui (easter island) 1100-1600 ce volcanic tuff figures on basalt base

- theory: seems have to do with ancestor worship. and extraterrestrial people. the maoi of rapa nui - moai means "statue" - rapa nui is the name of the island - platform: (ahu) on the sacred site of orongo - figure's back is covered with cermonial designs - show images relating to the island's birdman cult - birdman cult ritual was an annual trial of strength and endurance - moai probably carved to commemorate important ancestors - about 887 of them - stand with back to the sea- keep watch over island. - finished statue was slid carefully down slope using ropes tied to giant palm trees, into a hole. easter island known for their statues - Its eyes sockets were originally inlaid with red stone and coral and the sculpture was painted with red and white designs, which were washed off when it was rafted to the ship, to be taken to Europe in 1869. Hoa Hakananai'a's head is slightly tilted back, as if scanning a distant horizon. He has a prominent eyebrow ridge shadowing the empty sockets of his eyes. The nose is long and straight, ending in large oval nostrils. The thin lips are set into a downward curve, giving the face a stern, uncompromising expression. A faint vertical line in low relief runs from the centre of the mouth to the chin. The jawline is well defined and massive, and the ears are long, beginning at the top of the head and ending with pendulous lobes. The figure's collarbone is emphasized by a curved indentation, and his chest is defined by carved lines that run downwards from the top of his arms and curve upwards onto the breast to end in the small protruding bumps of his nipples. The arms are held close against the side of the body, the hands rudimentary, carved in low relief.

female deity nukuoro micronesia 18-19th century wood

- this style of art is similar to the western world. features: - egg-shaped head tapering at chin - columnar neck - eyes and nose stylized or not shown at all - sloping shoulders - chest indicated by simple line - some female figures with rudimentary breasts deities - deities resided in figure- resting place of god or ancestor spirit - placed in temples and decorated, firgurines bore the name of a speicif deity which was associated with a particular extended family group, a priest and a specific temple. - religious ceremony marked beginning of harvest, food was given as offering to sculpture(and dances were performed and women were tattooed) - each figure bore name of specific deity - this represents goddess kawe, associated with harvest - european artists believed that the highly stylized representation of the human in the Nukuoro figures represented the purest form of art—an art that lay at the origins of mankind.

'ahu 'ula (feather cape) "red garments" hawaiian later 18th century feathers and fiber

- worn by male nobility for ceremonies and battle - 'ahu'ula means "red garments" color associated with both gods and chiefs - many feathered cloaks and capes given as gifts to early european visitors(sea captains and their crews) - this style of semi-circular cape is considered a later development from the trapezoidal shape. - would be passed into the hands of the wealthy patrons who financed their voyages.

Yaxchilán. Chiapas, Mexico. Maya. 725 CE. Limestone. Structure 40; Lintel 25 on Structure 23.

Lintel 25 intel 25 (below)—from the central doorway—also focuses on a bloodletting ritual carried out by Lady Xook. Bloodletting was a common ritual among elites and it is one of the most frequent subjects in Maya art. A ruler or other elites (including women), would let blood to honor and feed the gods, at the dedication ceremony of a building, when children were born, or other occasions. Rulers needed to shed blood in order to maintain order in the cosmos. The ruler was believed to be a descendent of the gods, and the act of bloodletting was of critical importance in maintaining their power and order in the community. Bloodletting was also an act related to rebirth and rejuvenation. On Lintel 25 (above), the effects of bloodletting are on display. The loss of blood and the burning of incense produced hallucinations, which were desired in certain ritual contexts to access other realms. In this lintel, Lady Xook (in the lower right) kneels before a vision serpent, from whose mouth emerges a figure. Look closely at the detail below. Lady Xook holds a bowl in her left hand while she looks up towards the rising serpent. In addition to her patterned huipil (square-cut blouse), Lady Xook is festooned with a headdress, elaborate bracelets, earrings, and a necklace—likely made of jade. In the bowl are pieces of paper stained with her blood. She has likely burned the paper to allow the blood to ascend to the gods, and to bring about the vision serpent. In the image below, you can see that the figure emerging from the vision serpent's mouth is armed with a shield, spear and a war helmet. He, too, wears an elaborate headdress, a breastplate and ear spools. The identity of this figure is debated; some scholars claim it is an ancestral figure while other believe it is Shield Jaguar II or perhaps even Lady Xook. A glyphic inscription (oddly, written backwards) in the upper left corner of Lintel 25 notes the date of Shield Jaguar II's ascension to the throne in October 681. The image and the inscription both reinforce the reign of the ruler and his dynastic ties, in this case via his wife.

Yaxchilán. Chiapas, Mexico. Maya. 725 CE. Limestone. Structure 40; Lintel 25 on Structure 23.

Structure 40. Bird Jaguar IV also had Structure 40 built as part of his political campaign to secure his rulership. Structure 40 (above) sits in the South Acropolis, flanked by two other structures. It displays the typical Yaxchilán architectural style—a rectangular vaulted building with a stuccoed roof comb. Like many other Yaxchilán buildings it had stele associated with it, such as Stela 11 that showed Bird Jaguar IV towering over war captives accompanied by his parents. The stela, like the buildings and other commissioned works, were intended to advertise Bird Jaguar IV's dynastic lineage and thus his right to rule.

yaxchilan(main city state) south bank of the usumacinta river chiapas, mexico 725 ce. limestone

Yaxchilán's ruling dynasty rose in the 4th century C.E., but its heyday followed several hundred years later (during what art historians call the Classic period), with Lord Shield Jaguar II who ruled for 60 years beginning in 681. He commissioned some of the most famous sculptural works at the site. His son and heir, Bird Jaguar IV, continued this tradition. Some of the most impressive Maya buildings and sculptures were created during this late-Classic period before the city-state collapsed in the 9th century. three structure: structure 40, 33, 23. stuctue 40 - bird jaguar iv had it built to secue his rulership - sits in south acropolis - typical yaxchilan architectural style - stela 11 shows bid jaguar iv towering over war captives. - has steel associated with it. - advertise structure 33 - most liekly built by bird jagua iv who is was the sn of shield jaguar. - located within the central acropolis near structue 23. - has an elaborate roof comb to make the structure look taller than it actually is. - in the central niche is a sculpted human being possibly jaguar. - top step - much of the structure is still standing today.

latin america

brazil, mexico, venezuela 3 major indigenous groups.

ruler's feather headdress(probably of motecuhzoma II) mexica 9axtec) feathers, (quetzal and continga) and gold. 1428-1520 ce.

feather: long distance trade with tenochtitlan. tribute items: paid by conquered cities to the aztecs, included luxury items. - moving with wind, danced, transforms ruler. subsumed by the costume. pure gold ornaments. - amanteca, feather workers - placed on top of head, this was your identity. - made by the nahuatl lived in special corner. - sent to europe by hernan cortes (spanish conquisador who defeated the aztecs) after hernan cortes fell in love with its beauty. - after the aztec capital, tenochtitlan, was conquered, these headdresses were still produces, this time with christian iconography. - demonstrates the blend of aztec and christian culture by the spanish. - questzal feathers: a bird.

hiapo(tapa) niue 1850-1900 ce. tapa or bark cloth, freehand painting

gender roles - men's art used hard materials, associated with sacred rituals - women's arts used soft materials - cloth made of bark is known as tapa or hiapo - designs: geometric motifs - used for clothing, bedding and wall hangings - specially decorated for people of rank - ceremonially displayed on special occasions - often used to wrap images of deities. (and even today used in funerial and burial rites) to make bark cloth - take inner bark of mulberry tree. - island of niue used diminishing motifs: design motifs decrease in size from border to center of textile.

TAMATI WAKA NENE gottfried lindauer(painter) a czechoslovakian 1890 ce. oil on canvas. art of the pacific islands maori culture.

how does lindauer give a power of sense and authority? - the staff he is holding - tattoo face. - feather on the staff. - you had to accomplish something to get a tattoo. - clothing. in maori culture, portraits serve two purposes: - record likeness - bring ancestor into world of living man of status: - wears fine cloak covered in kiwi feathers and earring of greenstone. - holds weapon with feathers and finely carved eye. - has intricate facial tattoo, called moko. - his face is to intimidate his enemy. - the carved eye may be a spiritual significance. (tamati was a maori chieftain) (worked with british and converted to christianity)

eagle transformation mask primarily for ceremony purposes vancouver island, d.c. canada cedarwood, animal hide, feathers, cords, various colored pigments

kwakwaka'waka. - nations located in canada. - tribes have society based of fishing, - depicted mythological creatures, ancestral spirits. - deep understanding of the spirit world. - masks: depictions of mythological beings/ deceased ancestors. - thunderbird: massive bird. - once they wore these masks, possesd by the spirit. - called a transformation mask since once the mask opens up, the face of an ancestor is there. - tribes have society based off on fishing/woodwork.

navigation chart

mattang - specifically made for the purpose of training people selected to be navigators. - depict general information about swell movement around one or more small islands. - often sold as souvenirs. - trainees were taught by experienced navigators

navigation chart marshall islands, micronesia 19-20 early century ce wood and fiber

rebbelib navigation chart - devised charts that marked locations of the islands, and the swell and wave patterns. - horizontal and vertical sticks: act as supports - diagonal and curved: represent wave swells. _ cowrie or other small shells represent the position of the island - would not be carried on voyages. - covers either a large section section or all of the marshall islands. - represents the two chains of islands which form the marshall islands

inkan art city of cuzco including Qorikancha (main temple/church & convent of Santo Domingo) & walls at Saqsa Waman (Sacsayhuaman). central highlands, peru 1450-1540 ce axis mundi: center of existence divided into upper(hanan) and lower(huron) class division

shaped into a puma; could represent power. - women were brought in to make corn-beer. walls at saqsa waman 1440-1540 andesite (a volcanic rock) each stone is shaped and individual like people bulit using labor tax unfinished but thought to be a fortress, because of its zigzagging lines. builts when they were being conquered. city of cusco: qoriancha - main temple, "golden house" - to worship inti: the sun god. - carved the stone to be smooth, and doubled jam their doors. - e Qorikancha was the center point of the empire, and from it radiated imaginary lines, called ceques, which connected it to shrines throughout the Cusco valley. Rebecca Stone refers to the ceques as a "landscape calendar and cosmogram," as the shrines were also a marker of time, with different noble families tending to and holding rituals at the shrines around the ceque system throughout the year. Santa domingo convent at Qorikancha - turned into a christian holy space santa domingo (spanish colonial) covent, added 1550 - 1650 - catholic church on top of the temple. - indicated our culture is more important than your culture. - The monastery and church of Santo Domingo were built around and on top of the original shrine, incorporating the old structure into the new one in a way that makes for a strange appearance today

maori people are the indigenous people in new zealand. maori moko

status symbol increased attractiveness, virility chiseled into face no two alike

aztecs temple mayor(main temple) Tenochtitlan, mexico(present day mexico city) 1375-520 b.e stone destroyed from the spanish acquisition.

temple of huitzilopochtli and tlabloc. temple is in the center of the city and the city in itself is in the center of the empire. - templo Mayor was expanded, enlarged, and reconstructed during seven main building phases, which likely corresponded with different rulers, or tlatoani ("speaker"), taking office. Sometimes new construction was the result of environmental problems, such as flooding. - divided by 4 quadrants, templo mayor at the center, reflect the mexica cosmo. - as believed to be composed of four parts structured around the navel of the universe, or the axis mundi - both temples dedicated represents rain and agriculture fertility(tlaloc) huitzilopochtil(warefare, fire, sun) - Paired together on the Templo Mayor, the two deities symbolized the Mexica concept of atl-tlachinolli, or burnt water, which connoted warfare—the primary way in which the Mexica acquired their power and wealth. - sacrifical stone for sacrifies. the tlaloc temple has a mian statue of blue and red, holds a vessle for people to bring goods. altar of the frogs. when th frog cloaks, raining season is coming. - pieces from the temple were used for the cathedral in spain.

Nan Madol Pohnpei, Micronesia c. 700-1600 CE Basalt boulders and prismatic columns

was the ritual and ceremonial center for the ruling chiefs of the Saudeleur dynasty. Consisting of a series of artificial islets (small islands) linked by a network of canals, Nan Madol is often called the "Venice of the Pacific." The islets were constructed by placing large rocks and fill atop submerged coral reefs to form raised platforms, which supported elaborate residential and ceremonial complexes. The complexes were built primarily from columnar basalt, a volcanic rock that breaks naturally to form massive rodlike blocks that make an ideal building material. Encompassing more than ninety islets, at its peak Nan Madol may have been home to a thousand people. Although many of the residents were chiefs, the majority were commoners. Nan Madol served, in part, as a means by which the ruling Saudeleur chiefs both organized and controlled potential rivals by requiring them to live in the city rather than in their home districts, where their activities were difficult to monitor. The highly stratified social system at Nan Madol is the earliest known example of such centralized political power in the western Pacific. Within the city, social hierarchy was reflected in the size of the residences built within the compounds, the largest being the homes of the chiefly elite. Excavations of these elite residences have revealed the presence of beads and other ornaments, which may have marked their owner's social status. An intriguing aspect of Nan Madol is the close correlation between the oral history of the site, passed down through the centuries, and evidence unearthed during archaeological excavations. For example, oral traditions make references to small canals cut into the islets, allowing sacred eels to enter from the sea so that they could be honored through the sacrifice of captured sea turtles. Subsequent excavations have revealed traces of both the small canals and the sacrificial turtles. Recently, archaeologists have begun creating computerized reconstructions of the city in order to gain insights into its original appearance.