AP ART HISTORY MIDTERM

21. Temple of Amun re

Period: Ancient Egyptian, New Kingdom Location: Deir el-Bahri (Luxor), Egypt Dates: 1473-1458 B.C.E Form: go throgh pylon, courtyard hypostyle hall, to inner sanctuary, axial plan, huge colums, clerstory lets in natural light (huge inovation), dedicated to amun re, based on creation, ground level rises, sacred lake to the side, bilaterally symmetrical, sunken relief, religious images on hall, Identifying characteristics:

17-Great Pyramids

Period: Ancient Egyptian, Old Kingdom Location: Giza, Egypt Dates: 2550-2490 BCE Form: limestone, 3 pyramids, smallest for Menkaure, oldest and largest for Khufu, one with sphinx for Khafre, cambers for tomb, otherwise solid, originally white, tombs, took many people and years, sphinx composite beast shows power, Identifying characteristics: meaning: pyramids symbols of the sun, where pharroahs were reborn in afterlife, importance of afterlife,

18. King Menkaura and Queen

Period: Ancient Egyptian, Old Kingdom Location: Menkaure Valley Temple connected to the Pyramid of Menkaure (one of the three main Pyramids of Giza on Giza plateau), Dates: 2490-2472 B.C.E. Form: greywacke stone, used to worship him, found in his temple, very idealized bodies, very high relief (still attached) Identifying characteristics: broad shoulders, small waist, symmetrical, permanence, one foot forward stance (not naturalistic) , nemes headdress, meaning:

15-seated scribe

Period: Ancient Egyptian, Old Kingdom Location: Saqqara, Egypt Dates: 2500 BCE Form: painted limestone, tan skin, black eyeliner and hair, painted crystals for eyes, life like, realistic form of body, not idealistic very realistic, meant for a tomb (probably tomb of scribe for his spirit), subtractive carving, Identifying characteristics: body posture, stillness, permanence, meaning: shows hierarchy of Egyptian society

210. White and Red Plum Blossoms

Period: Edo Period Dates: 18th C Artist: Ogata Korin Material: black ink, gold leaf on paper Form: rinpa school (unrealistic, sense of design/graphic qualities, pattern, some aspects seem natural = detail on trees, multiple viewpoints, non-optical scale, thin application of watercolors, very dilute pigments, use of flat, gold background), huge covering on a wall,

32. Tomb of the Triclinium

Period: Etruscan Location: Tarquinia Italy Material: tufa and fresco Form: shows feasts and dinner parties, reclining, woman light, men dark, similar to egyptian (single ground line, composite view, flat figures, afterlife is important)

31. Temple of Minerva and sculpture of Apollo

Period: Etruscan Location: Veii Italy Artist: Master Sculpture Vulta Material: original = wood/mud brick // sculpture = terra cotta Form: TEMPLE tuscan column (doric + base - fluting), temple had porch with columns, enclosed walls, sculpture on roof, three cellas, APOLLO archaic smile, one foot forward stance, similar hair to anyvos kouros, has more motion (has negative space, arms separated, drapery,), different ideal than egypt

29. Sarcophagus of the Spouses

Period: Etruscan Material: Terra Cotta, hollow Form: the relationship between spouses, look like they're communicating (hand gestures, facial expressions, woman seen as more equal than in greece( woman more in front, hes holding her, more involved in society), reclining (not a very natural position), placed in a tumulus

194. Funeral banner of Lady Dai (Xin Zhui)

Period: Han Dynasty Location: China Date: 180 BCE Material: painted silk Form: from tomb of marquise of dai, 3 distinct coffins, funeral banner has some bilateral symmetry, split into 4 registers, hell then middle then heaven, sun/moon, crow/toad, gaurdians, banners had connection to afterlife, contains earlist known portrait in china,

49. Santa Sabina

Period: Late Antique Location: Rome, Italy Date: 422-432 CE Material: brick and stone, wooden roof Form: one of first christain churches, looks like a home, humble exterior, based on roman basillica, inside is much grander, classic christian church: nave, ailes, apse, clerstory, arches on top of columns (arcade), flat wooden church, allows for a lot of people to be in church for liturgy, lets light in, brightest in the apse, apse works as a stage, semi dome behind it

47. Ludovisi Battle Sarcophagus

Period: Late Imperial Roman Material: marble Form: civil wars, unstable, changing powers, invaded by germanics or nomads, goths are characterized, romans look ideal, rise of christianity in rome, used to be mainly cremation of dead, now on sarcophagus (need your body), overlapping bodies (not ordered, centralized), emotion, more stylized, uncertainty, repetition, long torso, short legs, rapid change

Plaque of the Ergastines

Period: classical greece Location: Athens / ionic freize in parthanon Material: marble Form: naturalistic elements (wet drapery, contrapposto), shows panthenaic procession, woman bring peplos to offer to athena (shows her influence in athens, ) also equality with humans/on a same level to a certain degree (depicted in same sculpture, consort with gods, different)

169. Wall Plaque

Period: edo peoples Location: Dates: Artist: Material: Form: oba is king, coral beaded regalia, sheilds, heirarchy of scale, plaques on wall of palace trace lineage, workers in brass guild, cross cultural exchange (coral and bronze from portugal, rosette shapes on back of sword = christain influence, cross)

10-Tlatico female figure

"pretty ladies of Tlatico" Period: Prehistory, Neolithic Mexico Location: Tlatico, Mexico Dates: 1200-900 BCE Form: ceramic, two faces combined, clear exaggeration of hips and breasts, some painted, detailed incised hair, duality, small hands and feet, many of them not all women, Identifying characteristics: meaning: ideal standards, fertility, show woman weren't meant to work

35-Arcopolis

-high city in Athens -located on top of a hill above agora

Period: Archaic - Hellenistic Location: Athens Form: public space below the Acropolis, originally just used as a marketplace, became a place for political discussions, birthplace of Athenian democracy (very limited participation), bouleuterion was assembly house, tholos (housed 40 boule men), stoa of attalos (built be Hellenistic king), open and sheltered spaces (weather), religious purposes also

26- Athenian Agora

201. Travelers among Mountains and Streams

Period: Location: Artist: Fan Kaun Date: 1000 CE Material: ink and colors on silk Form: perfect example of Chinese landscape painting= influenced by book that says good painting has engery (overwhelming, awe), brush strokes (is both dense and light), selection and elemination (not exact representation of what he saw, combination of different places, some parts are dense others are more open= allows viewer to navigate themselves through work), combined viewpoints (not optical), scrolls on silk treated as if religious/ sacred, given respect, had to be gentleman to understand importance

221. Navigation Chart

Period: Location: Marshall Islands, Micronesia Dates: 19th and early 20th centuries Material: shell, fiber, cane Form: shows different routes they took, saw the world based on what they had access to, viewed navigation in terms of sailing, sea as connector, used by trained individuals, learned from master, used as a memory aid not like a paper map taken with them, shells represent islands, sticks represent ocean currents, emphasized the role of the ocean and importance in their lives, mans relationship to society

222. Malagan Display and Mask

Period: Location: New Ireland Province, Papua New Guinea, Melanesia Dates: 20th C C.E. Material: wood, vegetable fiber, pigment, and shell Form: Ceremony began after a funeral and included performances, feasts, and carvings of these sculptures, Purpose of the ceremony was to transition the soul from the world of the living to the realm of the dead, expensive, lasted months, sculptures alluded to identity of clan- through represented animal,Tatanua masks represent spirits of specific dead people, hairstyle worn by men, eyes made of shell, painted black, white, yellow, and red (associated the colors with warfare, magic spells, and violence), ferocious facial expressions including the painted on teeth visible in the open mouth

219. Hiapo (tapa) Niue

Period: Location: Niue, Polynesia Dates: 1850-1900 Material: tapa or bark cloth Form: complicated and detailed geometric designs (isosceles triangles, concentric circles), naturalistic motifs ( flowers and plants), european influence (human figures and writing added later), hand made (free hand painted, woman had to harvest inner bark and pound to make clolth), function (clothing, bedding, wall hanging, used to wrap deities, protectting valuables, used for speacial ocasions,)

217. Female deity

Period: Location: Nukuoro, Micronesia Dates: 18th to 19th century Material: wood Form: carved and polished breadfruit tree, very plain, not much detail, stylized body (weird proportions, elongated torso, broad shoulders, small waist, abstracted sex characteristics), used in harvest festival (matariki) to god of fertility, kept in community house

181. Petra, Jordan: Treasury and Great Temple

Period: Location: Petra, Jordan Material: cut rock Form: Nabataeans - began from ancient greeks/Egyptians, originally nomadic traders settled in jordan, resources come from trade, between china and europe, ideal location, sophisticated water syste, technologically advanced, exposure to diverse ideas, strong central government TREASURY 2 pediments surmounted on each other (Hellenistic statues on roof, carved from rock (egypt) relief carvings, tholos (greek) portico (deep porch etrustcan), pavillion (forward bottom ppediment)

214. Maoi on platform (ahu)

Period: Location: Rapa Nui (Easter Islands), Polynesia Dates: 1100-1600 CE Material: 887 volcanic tuff, 13 bassalt Form: hoa hakananai'a (most famous one, covered in ceremonial design, from birdman religion, covered in tapu, carvings on back facing to protect spirit of island and peoples), positioning (heads tilted back, backs to the ocean), details (frowning lips=stern expressions, protectors, long ears, no negative space/solid bodies=permanance, eyes made of coral), significance (connection to ancestor roots, went to statues to seek guidance and talk to ancestors, toppled by missionaries who tried to convert them to Christianity, ones standing to represent strength of culture)

223. Presentation of Fijian mats and tapa cloths to Queen Elizabeth II

Period: Location: fiji, polynesia Dates: 1953 Material: photgraphic documentation Form: on her royal world tour, photo of visit, england owned Fijian islands, commonwealth nations, image of fijian women presenting Fijian mats (similar to bark cloths) to the queen in ceremony, wearing bark cloths, also participated in kava ceremony (tea, important people drink in order of rank, on the same level,)

216. Staff god

Period: Location: rarotanga, cook islands, central polynesia Dates: late 18th to 19th c Material: wood, tapa, fiber, and feathers Form: only surviving ones, wrapped in bark cloth (to protect from spiritual dangers, tapu protects mana), supposed to resemble a diety (possibly tangaroa), male, woman and childbirht carvings on the side, both men and women built them, feathers and peral shells symbolized spirits of diety, most sacred of Rarotonga's objects, They also have an explicit sexual aspect, thus embodying male and female productive and reproductive qualities,

218. Buk mask

Period: Location: torres straight, Melanesia Dates: late 19th C Material: turtle shell, wood, fibers, feathers Form: probably performed, danced, one part of elaborate costume, power comes from ability to transition between realms,connect to supernatural, only mask made of turtle shell, 3 parts=human head with rafia hair, frigate bird (totemic, symbolic animal representation of lineage), headdress feathers, pattern pieces around face convey a beard (represent older ancestors),kept in special homes (important),

24. Last Judgement of Hu-Nefer (page from Book of the Dead)

Period: Ancient Egyptian, New Kingdom Form: book tells the story of afterlife + how to get to it, being led by God, weighing of his heart, if too heavy it gets eaten, he's ok and goes to Cyrus, most books have very similar images (highly conventional)

22. Akhenaton, Neferiti, and three daughters

Period: Ancient Egyptian, New Kingdom Form: during Amarna period (monotheistic religion, to curtail priests power), still bilaterally symmetrical, more slender body, natural, body is feminine (new standards during period, didnt want to have strict gender beacsue aton, the God, didnt), more about family than the gods, only him and wife could talk to gods, images of power

23. Tutankhamun's tomb (innermost coffin)

Period: Ancient Egyptian, New Kingdom Form: one of only examples of tombs we have, otherwise pretty unnoteworthy pharroah came to power when he was 11, very extravagant and luxurious, arms crossed (worship of god Cyrus, back to polytheistic religion)

21. Mortuary Temple of Hatsheput

Period: Ancient Egyptian, New Kingdom Location: Deir el-Bahri (Luxor), Egypt Dates: 1473-1458 B.C.E Form: first great female monarch (burried in cliffs behind), tucked away into corner, not as visable/prominent as pyramids, terraces rising from ground, collonades, architecture mirrors cliffs (supposed to be there, connected to land, more permanent/eternal, natural) , inside is low reliefs (tell story of her birth), dipictions of her are masculine, hatsheput kneeling (holding bowls to offer to gods, idealsitic, claims legitmacy, Identifying characteristics:

13. Palette of King Narmer

Period: Ancient Egyptian, Predynastic Location: Heirakonpolis, Egypt Dates: 3000-2920 BCE Form: slate, low relief, used for eye makeup, story of unification of Egypt, Identifying characteristics: composite view, hierarchy of scale, falcon with human arm represents horus (God), cow with human face represents hathor (mother of kings), lions with intertwined necks represent unification, different ground lines, two hats one for upper one for lower meaning: shows how much they look up to king, symbols of power,

25-Lamassu at citadel of Sargon II

Period: Ancient Near East, Assyrian Location: Dur Sharrukin Dates: 720-705 BCE Form: Gypsum alabaster, high relief, composite beast, has 6 legs / two different angles, Identifying characteristics: geometric patterns meaning: demonstrated power of the empire and guarded the gates, meant to intimidate, express power

19-The Code of Hammurabi

Period: Ancient Near East, Babylonian Location: Susa, Iran Dates:1792-1750 B.C.E Form: black basalt stele, relief at top, depicting a scene with king and sun god, list of rules below inscribed in cuneiform, used to display laws to citizens and empire Identifying characteristics: meaning: showed power of king and relationship to Gods

30- Audience Hall of Darius and Xerxes /Persepolis

Period: Ancient Near East, Persian Location: Persepolis, Iran Dates: 520-465 BCE Form: capitol of Persian empire, hypostyle hall, 100 feet tall columns, 2nd hypostyle hall was audience room, low reliefs depicting Darius surrounded by nobles bring him tributes ( had tributary states with own governments), Identifying characteristics: beard details, hierarchy of scale, registers, same ground level meaning:

14-Statues of Votive Figures

Period: Ancient Near East, Sumerian Location: Square Temple at Eshnunna (modern Tell Asmar, Iraq) Dates: 2700 BCE Form: carved gypsum, huge eyes -sense of awareness, devotion, innocence, hands in prayer, detailed hair, lips shut, cylindrical/rounded forms, Identifying characteristics: geometric patterning meaning: represented patron/surget prayer, votive means offering

12-White Temple and Ziggurat

Period: Ancient Near East, Sumerian Location: Uruk (modern Warka), Iraq Dates: 3500-3000 BCE Form: elevated platform with white temple on top, dramatic stairwell, bent axis approach with stairs, made out of mud bricks, only highest priests allowed in Identifying characteristics: meaning: close to heavens, gods descended into temple, white reflects light and represents sun god, holy, asserts dominance

16-The Standard of Ur

Period: Ancient Near East, Sumerian Location: modern Tell el-Muqayyar, Iraq at Royal cemetery Dates: 2600-24 B.C.E. Form: trapezoidal box, two sides, three registers, peace side and war side, uses a hierarchy of scale, using narrative to show power (war scene), shows work, daily life, agriculture, animals, party scene king surrounded by nobles, Identifying characteristics: composite view, meaning: shows powerful king and how the society looks up to him

28-Peplos Kore from Acropolis

Period: Archaic Greek Location: Acropolis Material: Marble, painted encaustic Form: archaic conventions (smile, rigid frontal pose, hair), female kouros, clothed (dignity, conservative, woman stayed at home and had no public life), arm position indicates she could be a goddess (holding a symbol),

27- Anavysos Kouros

Period: Archaic Greek Material: Marble, encaustic painting Form: Kouros (nude, freestanding male, grave marker and votives, dedicated to war heroes or athletes), in the round, negative space gives motion, nude (praised the body, ideal standards), Egyptian conventions (one foot forward stance, patterned long hair), archaic smile,

174. Portrait Mask (Mblo)

Period: Baule Peoples Location: Côte d'Ivoire (ivory coast) in West Africa in the Kami village Dates: Early 20th Century CE Artist: Owie Kimou Material: Wood, Brass, and Pigment Form: baule peoples (known for wood sculptures and masks, matriarchial worship, believed in 3 worlds), mblo mask (male dancer, commemorative portrait), details (painted with pigment, oval face, long nose, closed small mouth, carved markings around face, large forehead, triangles are scarification) 6 pronged crown (could represent animals or hair, abstract) supposed to be idealized face, morality, modeled after specific woman (not exact depiction though, embodies her inner beauty), ceremonial dance preformed for village, honors woman, individualized masks, has power to act with its presence, african art portrays body idealistically,

197. Todai-ji

Period: Buddhist, Nara period Location: Nara, Japan Dates: 743 Patron: Emperor Shomu Material: wood, bronze, ceramic tile roof Form: goal to create stability and promote piety/uniform religion, had to tax civilians heavily to pay for it which led to implications later, Cyprus wood (deforestation, limitations), plan =bilaterally symmetrical, front gate( symbolizes passage from life to peaceful temple), libraries/dormatories behind it (monastary), kondo (most important, main hall, housed buddha + relics) pagodas on side, Buddha image (conventional buddha depiction, ideal body, mandorla= halo around with little buddhas), great south gate gaurdian figures on either side (dynamic, scary, motion, facial expressions, muscular bodies)

198. Borobudur Temple

Period: Buddhist, Sailendra Dynasty Location: Central Java, Indonesia Date: 750-842 CE Material: Volcanic Stone masonry Form: complex is trying to create a journey with the goal being the central stupa (in center, world axis, embodies buddha,) represents the life of the buddha/ the journey to Nirvana as you circumambulate (lower terraces are much darker and top is much lighter, imagry of reliefs also change as you go up,tell story of life of buddha, lower levels about suffering, etc ), shape resembles mt mehru, mandala (stairways face 4 directions),

184. Jowo Rinpoche

Period: Buddhist, Yarlung Dynasty Location: Lhasa, Tibet Date: brought to tibet in 641 CE Material: gilt metals with semi-precious stone, pearl, paint Form: statue represents 12 year old historical Buddha, this particular one was supposedly made during time of the buddha (6th C BCE) so is thought to be accurate depiction and was touched by the buddha = is sacred, living image, buddha is thought to be present at statue (power in the remains), constantly is refurbished, luxurious materials show importance, people journey to the sculpture, practice devotional behaviors (circumambulation, prostrate as approaching temple to show humility)

187. Folio from a Qu'ran

Period: Islamic Location: Arab, North Africa or Near East Date: 700-800 CE Material: parchment w ink, gold, color Form: very sacred, meant to be read and cherished, luxurious materials displays importance ,meant to be looked at, recitation of text is sacred act, made by hand on animal skin, claigraphy, read right to left, red dots are vowels

192. Great Stupa at Sanchi

Period: Buddhist, late Sunga Dynasty Location: Madhya Pradesh, Inida Patron: Mauryan Emporor Ashoka Date: 300 BCE - 100 CE Material: mud, clay, stone Form: stupa (burial ground, relics of the buddha inside), shape represents yogic pose, is meant to be circumambulated, structure accommodates beliefs = circle represents circle of life and darma (wheel of law), believe earth began at cosmic mountain (mt. mehru), serves as map of universe (mandala), world axis in center, gateways (toranas) point in cardinal directions, toranas have reliefs on them= in registers telling buddha's life, yakshis (nude women on sides fertility goddesses, incorporated from previous locals)

182. Buddha, Bamiyan

Period: Buddist, Gandharan Location: Bamiyan, Afganistan Date: 400-800 CE Material: Cut rock with plaster Form: cut rock similar to egypt or petra, destroyed by taliban in 2001 (question of whether or not to rebuild), two buddha's in valley, smaller = Shakyamuni (historical), bigger = Vairocana (enlightened), depicted with long earlobes, rectilinear form (egyptian), wet drapery (greco roman) functioned as devotional sites of meditation, pilgrimage there, located on silk road, testament to wealth and power of valley

50. Rebecca and Eliezer at the Well and Jacob Wrestling with the Angel, from Genesis

Period: Byzantine Date: 500 CE Material: purple vellum. painted with tempera (egg), silver ink, Form: rebecca and eliezer (story of generosity, she helped him so he choses her as wife for Isaac), jacob wrestling angel (r and e's son, wrestles for his name, named Israel, becomes leader), continuous narrative (sequential scenes no dividing line), manuscript illumination (script with picture description, doesnt have to be directly related), byzantine elements (stalky bodies, weird proportions, space), classical elements (personification of river, chiaroscuro), expensive + labor intensive (made by hand)

54. Virgin (Theotokos) and Child between Saints Theodore and George

Period: Byzantine Date: 500 or 600 CE Material: encaustic on wood Form: theotokos = god bearer, icon = aid to devotion, not worshiping icon itself, visualize, top has hand of god, mary and christ in center, jesus = most forward, saints look at viewer who look at mary who look at top people you look at god, eye contact, heraldic composition, Byzantine elements (not super realistic, dont care about proportions or the body, frontal, flat/2d, space is confusing,

52. Hagia Sophia

Period: Byzantine Location: Constantinople (Istanbul) patron: Justinian Date: 532-537 CE Material: brick and ceramic with stone and mosaic veneer Form: circular dome on square base, functions like basillica (nave arcade, aisles, nave, apse) but has central plan feel (circle inside square inside square), windows at bottom of dome (supported by light, god is light), force is supported in pendentives (squinches), multi dome structure, originally decorated with gold mosaics, marble encrustation

51. San Vitale (and mosaics)

Period: Byzantine Location: Ravenna, Italy Date: 526-547 CE Material: brick, marble, stone veneer, mosaic Form: basic exterior, layout (octagon with smaller octagon within, with small circle within,ambulatory (wrapped aisle), interior is heavily decortaed (want you to feel overwhelmed, God is big, doesn't feel very stable, Justinian mosaic= (J in center, saintly halo denoting holiness, divine light, looks like hes floating, wears purple, military and clergy around him shows he controls both) light around feet, spiritual realm, gold background, frontal, no interest in bodies, stylized (stripes are supposed to be folds, feet seem weightless, straight long bodies) other mosaic = theodora (wife) surrounded by people, wears purple, in a church, frontal, flat drapery, golden halo (light), not much depth

33-Niobides Krater

Period: Classical Greece Artist: "Niobid Painter" Material: Clay, Red Figure Painting (paint around the figures and details ) Form: one side depicts massacre of Niobes children (story of hubris, thought she was better than fertility goddess, children were killed), other side depicts Hercules surrounded by soldiers, various positions and ground lines (tries to show depth, overlapping,)

34-Doryphoros (spear bearer)

Period: Classical Greece Artist: Polykleitos Material: Marble Roman copy Form: contrapposto (more naturalistic), nude, ideal body (polyketides created canon using Pythagorean ratios - first art theory), represents balance of opposites (chiastic balance), beauty is greater than one persons perception, influenced art after

Helios, horses, and Dionysus (Heracles?)

Period: Classical Greece Location: Athens, east pediment of Parthenon Material: marble Form: muscular, idealized bodies, wet drapery (realistic, shows more of female body), horses emerging from horizon line (fragmentation), not a real end to the sculpture

36- Grave Stele of Hegeso

Period: Classical Greece Location: Dipylon cemetery Material: Marble Form: Hegeso is sitting (hierarchy of scale), a servant on her left, commissioned by the father of family to show off their wealth (how shes dressed, hair, jewelry), possibly represents her dowry, artists now had time for funerary sculptures, shows gender norms (women stayed inside, had servants),

The Parthenon

Period: Classical Greece Location: Athens Artist: Ikatinos and Kallikrates (architects), Phidias Material: limestone (foundation), marble Form: Doric (exterior), ionic (continuous frieze, columns in back room), mixed orders (coming together of all Greeks in Athens, politically motivated, strong exterior delicate interior), peripteral temple, 4:9 ratio (canon), doesn't follow canon in few places (to compensate for optical illusions)

Temple of Athena Nike/Nike adjusting her sandal

Period: Classical Greece Location: Athens Artist: Phidias (oversaw sculpture) Material: marble Form: four monolithic ionic columns, columns only on the front (amphiprostyle), parapet (low, protective wall), high relief along the parapet, Nike adjusting sandal (wet drapery, movement in stance, awkward pose, unbalanced, adds to victory themes, praising Athena)

211. Under the Wave off Kanagawa

Period: Edo Period Dates: 1830-1833 CE Artist: Katsushika Hokusai Material: woodblock print, ink, on paper Form: part of series, 36 others (views of mt fugi), Ukiyo-e (genre of art, art of the floating world, old and new subject matters, daily life not just nature or battle scenes due to increasing western influence, increasing middle class), woodblock print (mass production, less expensive, less unique but has market, intended for middle class, is imagry that spreads to europe), western influneces (persian blue dye, perspective, horizon line), sublime (awe inspiring beauty/terror), signature of artist (branding, art crossing into commercial market)

215. Ahu'ula (feather cape)

Period: Hawaii Location: Hawaii, Polynesia Dates: late 18th C Material: feathers and fiber Form: belonged to people of high rank, like a badge, used as physical and spiritual protection, red and yellow coloring (red represented connection between deities and gods, yellow was used for its rarity), feathers came from certain birds (each bird had 5-7 feathers, cape had 500,000 feathers), sown together on netting (recited spiritual chants while sowing cape), very heavy (provides physical protection as well, protection from gods, spirits go into cape) mana=personal efficacy, cross-cultural exchange

38- Great Altar of Zeus and Athena at Pergamon

Period: Hellenistic Greek Location: Pergamon in Asia Minor Material: marble Form: horseshoe-shaped building (inviting, intimate), Ionic collonade, continuous frieze- gigantomachy of Athena, easily defeating giants, has emotion (facial expressions), movement, plays with light and dark (undercutting), drama, fragmented people, large (architecture that overwhelms), expressing the diversity and cultural sophistication of his empire with this design like empires of this period

37-Winged Victory of Samothrace

Period: Hellenistic Greek Location: Samothrace Material: Marble Form: 8 feet tall (physical impact), confident pose (wing positions), originally positioned on the fountain as she was landing on a boat with water splashing in front of her (illusion of immediacy, art as theater), movement (shown in the drapery)

41-Seated Boxer

Period: Hellenistic Greek Material: Bronze, casting technique Form: just after a fight, emotional (posture, facial expression, wounds), still an interest in athleticism and human body (but here is less heroic, an exploration of the psyche)

40-Alexander Mosaic

Period: Hellenistic Greek (Roman copy of painting) Location: Pompeii Material: Mosiac Form: heat of battle (alexander defeating darius), mix of views, foreshortening, cast shadows, chiaroscuro (light and dark), frantic motion in scene, diagonals, intensity/drama (eye contact, facial expressions, curves, overlapping), reaction to organized classical period

45. Forum of Trajan

Period: High Imperial Roman Location: Rome Italy Material: brick and concrete, marble Form: FORUM largest of 6 forums, served as marketplace and basilica, forum surrounded by portico (collonade with covering), exedras on outside (half circles), high ceilings, raised clerstory for windows, coffers, decorative interior, marketplaces like modern shopping centers COLUMN focused more on Roman engineering than fighting the battle, shows power and organized society, shows wealth and resources, relief, in rome rather than at battle site, used hierarchy of scale and personification (river god), political allegory

199. Angkor, the temple of Angkor Wat, and the city of Angkor Thom

Period: Hindu Location: Siem Reap, Cambodia Date: 1113-1145 CE Material: sandstone Form:angkor = city of 175,000, Khmer dynasty, temple of angkor wat (hindu, suryavarman II), city of angkor thom (buddhist, Angkor Thom), integration of water (canals, moats), angkor wat almost completely covered in relief, dedicated to vishnu, statue of vishnu in center or tower, 1 central towers with 4 flanking towers, elaborate procession to get in, journey, meant to circumambulate, 5 towers = mountain range, mandala, world axis (axis mundhi), tradtional elements, relief of the churning of the ocean of milk (story of gods after world has gone to chaos, vishnu decends, need to release elixer, gods and demons work together, sets up fight b/w the two

200. Lakshamana Temple

Period: Hindu, Chandella Dynasty Location: Khajuraho, India Date: 930-950 CE Material: Sandstone Form: whole exterior covered in reliefs, figural (rare to find freestanding sculpture in Indian art), large towers (serve as mundhi axis, connect the heaven and earth), main tower is sikhara, flat rood buildings = mandapas with amalatas? on top, meant to resemble mt. mehru, architect trying to evoke feelings of going into cave of mountain (move through smaller and smaller rooms to get to womb chamber (Garba griha)), circumambulate the exterior, can also go inside, goal is to make offering to diety in chamber (make offering through Brahmen), In hinduism God is present at image in chamber, mandala

202. Shiva's Lord of Dance

Period: Hindu, Chola Dynasty Location: India (Tamil Nadu) Date: 11th C CE Material: Cast Bronze Form: used in ceremony, taken out for processions, shiva is supposed to be dancing (world destroying dance), many of these were made during chola dynasty, fire around ring (might imply extension of power in chola dynasty), standing on baby (dwarf of ignorance), has 4 arms (traditional way to depict gods, each gesture has a meaning), wild hair (accentuates motion, dirty hair of the yogi), 3rd eye (shows his inner sight), body (feminine, different standards, emphasis on twisting, movement is pronounced, soft skin, this cultures ideal),

39. House of the Vettii

Period: Imperial Roman Location: Pompeii Italy Material: Cut stone and fresco Form: traditional plan (axial plan, entrance is atrium, peristyle garden, rooms around it to the side), this one was kind of like two houses put together, 4 styles of roman painting

44. Colosseum (Flavian Amphitheater)

Period: Imperial Roman Location: Rome Italy Material: Stone and Concrete Form: amphitheater built for entertainment/ spectacle (bread and circuses), arena and rows of seats inside, 4 rows of columns on outside (1= tuscan, 2= ionic, 3=corninthian, 4=corninthian pilasters), concrete arches hold up building, system of barrel vaults, originally faced with white marble and sculptures, money for Colosseum comes from war, weren't very economically prosperous, location says nero's time is over, giving it to the people

43. Augustus of Prima Porta

Period: Imperial Roman Location: Villa of Livia at Prima Porta Material: marble Form: Augustus standing in contrapposto. He is also in an orator pose, very similar to doryphoros, promoting new empire and youthful emperor, armor depicts diplomatic victory and his relation to the gods, cupid is reference to adoptive father caesar brother to cupid and sons of venus, bare feet represent sacredness,

208. Jahangir Preferring a Sufi Shaikh to Kings

Period: Indian, Mughal Dynasty (Islamic) Location: India Artist: Bichitr Date: 1620 CE Material: Watercolor, gold, ink, on paper Form: Jahangir = Mughal emperor/ruler of india, figure at very bottom is self portrait of artist (wearing yellow robe = hindu), other rulers (ottoman sultan, james I), preferring a shufi shaikh (shows he cares more about holy figure than other rulers, shows his piety), symbols of power (gold and white circle= symbol of sun and moon bestowed on him, covered in jewels, wears silk), other influence (little cupids = western renaissance, arabesques, arabic writing, border looks like tiles at isfahan, 2-d surface design = persian), figures modeleled in 3-d, mixes west 3-d with east 2-d

56. Great Mosque. Córdoba, Spain

Period: Islamic Location: Cordoba, Spain Date: 785-786 CE Material: stone masonry Form: why in spain (to conquer land, prince was exiled, umayid dynasty (first muslim dynasty) thrown out by abasids (leads to persian dynasty) set up dynasty in spain), oriented to south as if still in syria, originally hypostyle mosque then was expanded, islamic features (striated arches in prayer hall, replication of forms, overlapping, beautiful surface decoration, play with light and pattern = hard to know whats real and illusion, ornanmental ,horse shoe arch, multilobed arch,), colums are half from old building, spoila taken from roman building

65. Alahambra

Period: Islamic Location: Granada, Spain Date: 1354-1391 CE Material: whitewashed adobe, stucco, Form: Known as the "red fort", the Alhambra's 23-acre complex was contained within, It served as a palace and mini city for the Nasrid Dynasty and Spanish government (the last Islamic dynasty to rule Spain), palace of lions (water feauture, sculpture, carved stucco walls with calligraphy and abstract decoration, and pointed arches, each hall of the palace featured a elaborate ceiling consisting of stucco in muqarnas forms, high ceilings symbolize the Dome of Heaven), The courtyards and lush gardens are to evoke the image of Paradise and the water feature serves as a symbol of the reflection of Heaven,

183. The Kaaba

Period: Islamic Location: Mecca, Saudi Arabia Date: 631-632 CE Material: granite masonry, covered by silk Form: cube in the center at place Muslims make pilgrimage to, (Muhamed came into Mecca and took over site and made it sacred, was polytheistic before, first shrine of islam), idea of pilgrimage and expierience, spiritual journey, once they get there people circumambulate it, human behavior/architecture/art reinforce belief

189. Bahram Gur Fights the Karg,

Period: Islamic, Mongol Persian, ilkahante Location: Date: 1330-1340 Material: ink watercolor gold silver on paper Form: From Persian book of Kings (shahanna) mogol painting depicting persian prince, twisted trees and brushed foreground = Asian influence, hero on horseback = Persian influence, shows dominace of bahram gur, displays pride in country, mongols coqured persia, using persian epic

84. Mosque of Selim II

Period: Islamic, Ottoman Empire Location: Edirne, Turkey Architect: Sinan Date: 1568-1575 CE Material: Brick and Stone Form: similar to hagia sophia (from outside large central dome, nested domes around, windows) interior (octagonal base, squinches, muqarnas, striated arches, liberal use of windows to bring in ligh), mihrab set into wall (half dome looks like an apse), weight channels into peirs which allow for windows, Ottoman empire had control of greece/balkans, structure shows empires power

186. Great (Friday)Mosque, Isfahan

Period: Islamic, Seljuk Sultanate Dynasty Location: Isfahan, Iran Date: 700 CE Material: brick, wood, plaster Form: first 4 iwan mosque, behind each iwan are hypostyle halls (columns support the groin vaults), biggest iwan has dome and leads to Kabba (mihrab), muqarnas on ceiling, urban (connected to city), tilework in interior (mosaic or cuerda seca (multiple color on one area)), blue and gold colors (represent sky, water, paradise, garden= how paradise will be in Koran), surface decoration is rich so you cant tell how building is supported

185. Dome of the Rock

Period: Islamic, Umayyad Dynasty Location: Jerusalem, Israel Date: 691-692 CE Material: stone masonry, wooden roof Form: central plan (looks like san Vitale = emulating Byzantines, Justinian), took it over from byzantines, in the middle is a rock (rock Muhamed descended to realm and back, also sacred to Christians and Jews), interior (caligraphy passages of Koran, windows around dome (like hagia sophia), encrustation on arches, mosaic tile work,

188. Basin (Baptistère de St. Louis).

Period: Islamic, mamluk dynasty Location: Isfahan, Iran artisr: Muhammad ibn al-Zain. Date: 1320-1340 Material: brass inlaid with gold and silver Form: Islamic artist, slave warrior, sent to france, fleur de lis (symbol of french royal family in medelaions, couldve been added later), little sea creatures on floor of basin, elongated animals, cicumambulate, main frieze = different scenes of people, men on horseback, two rulers holding goblets, subtle message of violece, strength, ceremonial

205. Portrait of Sin Sukju

Period: Joseon dynasty Location: Artist: impearial bureau of painting (merit, organized, gov sanctioned) Date: 15 c ce Material: ink and color on silk Form: hanging scroll, primarily 2d approach, there is some light and shadow, garmet tells you his status, rank badge style comes from chinease one (korea has a more graphic quality), seems important, permanant posture, closed form conveys restraint and discipline, hands together = respect, sin sukju = scholar in dynasty, helped create korean script, used for ancestor worship, face (fine lines, simple, round,) robe (heavy, blocklike)

203. Night Attack on the Sanjo Palace

Period: Kamakura Period Location: Dates: 1250-1300 Artist: Material: handscroll (ink and color on paper) Form: meant to be read, more intimate, see story develop, continuous narrative, story (lord nobuyon abducts emperor and empress and sets palace on fire, figures (fine deatil, approach tends to be 2D) buildings (some 3D), Yamato-e painting (blown off roof, see in, uniquely Japanese), facial expressions (emotional, exaggerated), staccato brushwork (minimal lines and shadows on faces),

11. Terra cotta fragment

Period: Lapita Peoples, Location: Soloman Islands, Reef Islands, Melanesia Dates: 1000 BCE Material: terra cotta Form: Lapita peoples, design (has a face, antropromophic shapes, circular, stamped in), repeated designs (geometric designs, common for lapita pottery), built using coil and paddled with anvil, pottery was spread throughout pacific, helps date those areas and show migration,

48. Catacomb of Priscilla

Period: Late Antique Location: Rome, Italy Date: 200-400 CE Material: excavated tufa and fresco Form: catacomb= place of burial for Christians, loculi=horizaontal spaces in which bodies were put, cubiculum= room with loculi, room of the veil/orant fresco (had 3 figures in shape of half moon (lunette), woman praying (ornas pose), heirarchy of scale, ceiling rounded with lunettes around it = supposed to look like fake dome, life leading up to moment on either side, contrapposto, frontal,) Jesus fresco (Jesus in middle, as Sheppard, flexible images, Christ as teacher, miracles, early images of Jesus = young, unbearded, Sheppard, heraldic compostion, position shows importantce/object of gaze, animals are symbols of salvation,

46. Pantheon

Period: Late Imperial Roman Material: marble Form: facade (Corinthian columns, pediment, looks like normal temple), interior (reveals huge dome, possible due to concrete, coffered ceiling= testiment to roman architecture, innovations, power, resources,) temple to all gods, circle = symbol of unity, orbe of heaven and earth intersecting, window = eye/oculus, to the heavens, gods can be conceptualized as light, marble encrustations on floor and walls, dome decorated with bronze, gold,

206. Forbidden City

Period: Ming Dynasty Location: Beijing, China Date: 15 C CE Material: stone masonry, marble, wood patron: Zhun Di (3rd emperor of Ming dynasty) Form: Confucianism guided the design (precise order, respect for empire in way building was laid out ), enter through Meriden gate, open to courtyard, go through gate, open to moat hall of supreme harmony (for emperor to meet with business people, face of the empire), family could go beyond to palace of heavenly purity (emperors residence) and behind it palace of earthly tranquility (empresses residence), to the sides in shape of symbol for earth were palaces for concubines, red and yellow colors (auspicious to Chinese), wooden buildings held together by brackets (duogong construction), , gaurdian figures line the roofs, use principles of chinese architecture ( bilaterally symmetrical, enclosures, heirarchy, horizontal emphasis, cosmological elements)

177. Lukasa (memory board

Period: Mubudye society, luba peoples Location: dem repub of congo Dates: 19th to 20th Material: wood, beads, metal Form: individuals who made them apart of Mubudye society (court historians/interpreters), devise used as a history textbook (individuals would hold devise and run their fingers along it to read history, tactile contact stimulates remembrance of history), wooden board, hourglass shape (body?), person tells story to groups of people (how do you know if what their saying is truthful?, all history is interpretation, what you choose to talk about)

209. Taj Mahal

Period: Mughal Location: Agra, India Patron: Shan Jahan (son of Jahangir) Date: 1632-1653 CE Material: stone and marble Form: mausoleum built for his favorite wife when she died, use of garden and water to evoke afterlife for islamics, riverfront garden city, flanked by guest house and mosque, white marble is very striking (seems like its floating on water, weightless, expensive = shows power, rising sun, koranic inscriptions, inlaid with semi-precious stone = peitra dura, arabesque motifs), commemorative monument (themes of emotion , love for wife parallels love for empire)

207. Ryoan-ji

Period: Muromachi period Location: kyoto, japan Dates: 1480 CE Material: rock garden Form: monastary, dry garden, similar to tea culture (fashionably unpretentious, humble, different style from chinease, tranquility, simple, planned out), set up (15 rocks placed in garden, surrounded by moss, cant see all from any angle, have to move around and comprehend in your mind), representation (mountain range over clouds, tiger leading cubs, islands in sea, open to interpretation), spiritual site, zen buddhism, wabi sabi (refined austerity and subdued taste, different from contemporary western art)

220. Tamati Waka Nene

Period: Māori, the Pacific Location: new zeland, polynesia artist: gottfried lindauer Dates: 1890 Material: oil on canvas Form: maori (indigenous people of new zeland), commemorative portrait of cheif of people, artist used renaissance naturalism, patron Henry Partridge commissioned him to paint maori cheifs, painted after he died, used photos for reference, clothing (kahukiwi =kiwi feather cape, green stone, taong=treasures, moko=tattoo, twatawha=weapon, meant to show power, mana,), realistic, 3-D, hung in homes, community houses

9. The Ambum stone

Period: Neolithic, Location: Ambum Valley, Enga Province, Papua New Guinea, Melanesia Dates: 1500 BCE Material: Greywacke Form: found in enga province being used by enga people, greywacke (extremely difficult to carve with tools at this time, took a long time, important), probably a pestle (used to ground food), function for enga (bones of the ancestors, used in rituals, belived to be living, has supernatural powers), animal (echidnas/ant eater)

6-Anthropomorphic Stele

Period: Prehistory, Neolithic Location: Ha'il, Saudi Arabia, Arabian Peninsula Dates: 4000-3000 B.C.E. Form: stele, 3 feet tall, human like, low relief, represents men, probably used as a grave marker, Identifying characteristics:

5-Beaker with ibex motifs

Period: Prehistory, Neolithic Location: Susa, Iran (pre sumer mesopotamia) Dates: 6000-4000 BCE Form: hand painted terra-cotta, stylized animals by elongation, not naturalistic, ibex=goat in middle, clan marker inside Identifying characteristics: animals

4-Running horned woman

Period: Prehistory, Neolithic Africa Location: Tassili n'Ajjer, Algeria Dates: 6000-4000 BCE Form: woman running, painted, white body paint for ritual, horns (could be half animal or just a headdress) Identifying characteristics: composite view, animal /hybrid

7-Jade Cong

Period: Prehistory, Neolithic China Location: Liangzhu, China Dates: 3300-2200 BCE Form: circle inside with square edges outside, faces on edges-seen from different perspectives, duality, used in graves, made by abrasion(rubbing sand) Identifying characteristics: meaning: square and circle meant heaven and earth in later China, could have similar meaning

8-Stonehenge

Period: Prehistory, Neolithic Europe Location: Wilshire, England Dates: 2550-16000 BCE Form: inner and outer circle of huge stones (megaliths), post and lintel construction (2 up one across), outer circle built later on, Identifying characteristics: meaning: form of a calendar, different angles of the sun shows shadows, solar calender

1-Apollo 11 Stones

Period: Prehistory/ Middle stone age Location: Namibia, Africa Dates: roughly 25,000 years ago Form: a silhouette of animal, profile Identifying characteristics: profile to give more information, animal depiction,

2-Great Hall of the Bulls

Period: Prehistory/ Paleolithic Location: Lascaux, France Dates: 16,000-14,000 BCE Form: 11 feet long bulls, outlines and silhouettes, not all on ground level, different artists/times, Identifying characteristics: composite view (descriptive)

3-Camelid Sacrum in the shape of a canine

Period: Prehistory/Paleolithic Mexico Location: Tequixquiac, Mexico Dates: 14,000-7,000 BCE Form: sacrum bone carved and painted into head of a dog Identifying characteristics: animal depiction, fertility Meaning: bone could be used to represent fertility, something sacred, gender, fire

193. Terracotta warriors

Period: Qin Dynasty Location: Date: 221-209 BCE Material: Painted Terra Cotta Form: Qin Shi Huang (1st Emperor, standarization of weights and measures, Bureaucracy, united 1/2 of modern china, built great wall, legalsim), including over 7,000 terracotta warriors horses, chariots and weaponry intended to protect him in the afterlife, river had mercury (immortality), beauty/ independence vs compliance, no records, united forced labor, high taxes, paranoid about revolution, tomb complex (mutilated skeletons), terra cotta surgate for sacrifice, slaughtered everyone who knew, 5'10", detailed, dicerse, molds to mix/match

42. Head of a Roman patrician

Period: Republican Roman Material: Marble portrait Form: patricians were older men, show wrinkles and folds (represents wealth and power), idealized? their ideals could've been different, verism, busts used like shrines to ancestors (Romans valued lineage)

213. Nan Madol

Period: Saudeleur Dynasty Location: Pompeii, Micronesia Dates: 700-1600 CE Material: bassalt Form: means space between things (reference to canals), Saudeleur Dynasty came here to rule (hierarchical society, gov commissioned architecture, complex/ city) artificial islands, buildings (housed 1000 people, ceremonial and religious sites, tombs), two types of buildings (pah=administrative, powe=religious, mortuary), materials (long bassalt collums, stacked into log cabin configurations, had to carry by hand from far away, megalithic) Canals (waterways important, sea connects people does not divide, allowed eels to come in)

175. Bundu Mask

Period: Sonde Society, Mende Peoples Location: Sierra Leone Dates: late 19th c Material: wood, cloth, fiber Form: ceremonial mask, sonde society (secret society of all women of different ethnic groups, each group has own mask), worn on head, rafia covers face and entire body, carved by men, only mask preformed by a women, mask understood to be spirit of sowei (water spirit), worn for initiation of women (located in Forrest, taught how to be wives), small mouth (important not to gossip), closed eyes (demure, proper), large forehead (intellegence), ideal woman, skin should look like this (moist, shiny, covered girls in white clay to show contrast), folds of face (full woman ideal), understood in motion, reveals gender roles

168. Great Mosque of Djenne

Period: Sudano-Sahelian refers to the Sudanian and Sahel grassland of West Africa Location: present-day mali Dates: 1200 CE , rebuilt 1900s by french colonists Material: Adobe Form: islam comes to northern africa very early (soon after Muhammed's death), adobe (needs constant restoration, re plater it every year, community created event out of it, brings them together) dont want to tile it (sense of history, labor, originality, keep event, lose traits of mosque in africa), wooden timber rafts are there for replastering, forms round out over time, plan (hypostyle hall, facing mecca to the north, courtyard, mineretes, quibla wall, mihrab), ostrich eggs on top of pillars (symbolizes fertility, mixes with beliefs from africa)

195. Longmen Caves

Period: Tang Dynasty Location: Luoyang, China Date: 493-1127 CE Material: Limestone Form: very similar to Bamiyan Buddhas (rock cut, colossals, situated in caves, surface detail on buddhas), Buddhism comes from India (brought stylistic trends and techniques), ID Buddha (by hair style, yogic posture, long ear lobes), colossal structures (have to think about angles of viewer, meant to overwhelm, more stylized/lose detail), empress Wu Zetion commissioned it (to show power and legitimacy, also show her piety and investment in buddhism), heirarchy of scale, other gaurdian figures on sides (have movement, more expressive, energetic, costums signifies court members)

196. Gold and jade crown

Period: Three Kingdoms, Location: Silla Kingdom, Korea Date: 5th to 6th C CE Material: gold and jade Form: found in a funeral mound, worn by the king, represents a sacred tree in capital city ( shows shamanistic beliefs = worshiping nature), materials are very expensive, luxurious, fragile, hard to make, similar to 1st C CE afgan crown, aslo has greco roman influence

204. David Vases

Period: Yuan Dynasty Location: China Date: 1351 CE Material:white porcelain with cobalt blue underglaze Form: materials is classic Chinese style ceramics, porcelain (has keablin in it and fires at much higher temperature, almost translucent, huge export for china for hundreds of years), has images of dragons (imperial symbol) and the Phoenix (connected with heaven), function (dedicated to a Daoist temple, to bring honor onto those who commissioned it, gesture of piety and power)

167. Conical Tower + circular wall of Great Zimbabwe

Period: african art, shona peoples Location: southwestern zimbabwe Dates: 1000-1400 CE Material: coursed granite blocks Form: site where country gets its name, great enclosure +connecting walls (probably homes of elites), permanent site emerged (they had access to sustainable food, water, dependent on cattle raising, trading), purpose (not for protection, to create social boundaries, palace within enclosure), granite enclosure (system of cooling and heating overtime gives cracks), rock grainers (shows permanent food supply, surplus, ruler collected and stored grains = kings job), cook rack (for women's cookware = queens job next to kings, mutual symbiotic relationship), soapstone birds (crocodile heads with human mouth, some sort of diety or priest dressed as diety)

170. Sika dwa kofi (Golden Stool)

Period: asante peoples Location: ivory gold coast Dates: 1700 Material: wood covered in gold Form: golden stool fell from sky, miracle, made it heaven, soul of asante nation, takes on essesence of peoples, sacred, gold symbolizes royalty, idea of sunsum that stool your energy touches what you used has to be kept intact,

178. Aka Elephant Mask

Period: bamileke peoples Location: cameroon Dates: 19th to 20th Material: Form: preformed, worn and danced, honors king, bring about harmony, worn with red feather headress, full body costume, elaphant and leopard symbols of power, transform into animals, people of higher status wore them, main form is isosceles triangle in design, dynamic,

173. Female (pwo) mask

Period: chokwe people Location: dem repub of congo Dates: late 19th early 20th Material: wood, fiber, pigment, metal Form: Tribe was a matrilineal culture meaning that ancestry is traced through maternal lines, The mask was worn by a male in a ceremonial dance, even though the mask itself was of a woman, Males made and wore this mask in order to honor a female who was young and had just given birth, also honors the founding female ancestor of the tribe who is associated with fertility, Represents the ideal woman, The closed eyes and mouth because the women has proven herself (ability to be calm, bow down to her), white clay around the eyes represent the spirituality of a women, demure, large forehead, tattoos (tear, cross)

179. Reliquary figure (byeri)

Period: fang peoples Location: southern cameroon Dates: 19th to 20th c Material: wood Form: fang peoples (semi nomadic, hunters, traders, patriarchal) see figures as a spirit, beleive ancestors are in the figures, stylized body (large head, elongated torso), talisman (object with supernatural powers) guardians (protected the reliquaries of important people in community, common for most people), closed mouth and eys (signifies calmness, contemplativeness), also warriors (threatening guardians) herniated umbilicus (represented connection to mother, through generations), 3 crested hairstyle (popular at the moment)

176. Ikenga (shrine figure)

Period: igbo peoples Location: nigeria Dates: 19th to 20th c Material: Wood Form: means power of the right hand (place of strength), figures were for man in the house (meant to have their power), igbo peoples (no central gov, individuality), function (kept in the home, shrines, made sacrifices to it, were always out and displayed, had common one for cheif of whole society), symbolism (signifies power of man in the house, horns= praised rams, signifies initiating goodness) right hand (held swords=power, object related to occupation), scarification (ichi, showed achievements, status, meritocratic society), unique to the person (abstract representation,

191. The Arbabil Carpet

Period: islamic, safavid Location: arbadil, iran Date: 1539-1540 Material: silk and wool Form: carpets were very important, praised, portable, hung in mosques, this one was for a shrine, very large, encouraged people to walk around it, very detailed (340 knots per inch), visual unity and balance, reflects lamps as if carpet is water (encourages people to look up at actual lamps), poetry at the top, took years of dedcation to make, made from wool, arabesques,

190. The Court of Gayumars

Period: islamic, safavid dynasty Location: Date: 1522-1525 Material: ink watercolor gold on paper Form: comes from shahanna, story of first ruler of Persia, surrounded by other people and animials (werent as conserned with iconography in the area / period) , ruler was said to be able to communicate with animals, very bright, peaceful atmosphere, balanced, flows out of frame, fluid feeling, empahsis on organic forms (east asian influence)

172. Power Figure (Nkisi n'kondi)

Period: kongo peoples Location: dem repub of congo Dates: late 19th C Material: wood and metal Form: common figure in congo, used to contain herbs/medicine, voodoo dolls come from this, believed god brought first one down with medicine, believed to have special powers (settle disputes, cure illnesses), constructed under authority of spiritual people, cowry shell between outside world and medicine (barrier between our world and spiritual head), larger head, weird proportions, leaning forward (agressive spirits have agressive presence in peoples lives) large base (signify height/importantce), spiritual world connected to medicine (power comes from ability to heal), 4 feet tall

171. Ndop (portrait figure)

Period: kuba peoples Location: dem repub of congo Dates: 1760-1780 CE Material: wood and camwood powder Form: small sculpted figurine, portrait of King Mishe miShyaang maMbul, intended to be used (attached with storytelling, displays kings likeness for generations, storytelling through sculpture is rare/ fore elites), commissioned by king (called nyim=head of group of tribes, artists reported to him, school of art), intended to be ideal depiction, holding ibols (shows accomplishments, identity), ndop acts as vessel of power, sculpture held regal authority, conventions of endops (head = 1/3 of body= intelligent, legs crossed, arms down,= permanence, sitting on naam=platform, yiing = pattern, ikul = ceremonial knife, shody = headdress, eyes like shells = their currency)

180. Veranda post of enthroned king and senior wife (Opo Ugoga)

Period: yoruba Location: Palace of the Ogoga king of Ikere; Ikere, Ekiti region, Nigeria Dates: 1910 Artist: olowe of ise Material: Form: intended to be structural posts of a palace, referred to as a king, horses introduced to society, holds spear and pistol, largest figure and most important is king, celebration of his power, source of power is his community (horse, woman), woman represents spiritual aspects (nude=fertility representation, bulging eyes, can look into spiritual realm), neals in support of king, cap in middle of teeth = sign of beauty,