AP Art History Midterm

Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia. Hindu, Angkor Dynasty. c. 800 - 1400 CE. Stone masonry, sandstone.

Form & Function: - largest religious monument in the world - 400 kilometers large - contains various capitals of the Khmer empire from 9th to 15th century - includes temple of Angkor Wat in Angkor Thom - full of temples, monuments, hydraulic structures (basins, dykes, reservoirs, canals) and communication routes - villages sprinkled throughout park are still inhabited today - built entirely out of stone, and almost all surfaces covered with high relief ornaments and base relief images - Buddhist monks and nuns still worship there today - Angkor temple dedicated to Vishnu, the protector or preserver Content: - Organization (ancient sanskrit and khmer texts say that temples should be organized to be in harmony with nature; planned according to sun and moon, calendar of the year; central axis should be aligned with the planets; plan of the universe or mandala) - Structure (expansive enclosure wall separates the temple grounds from the moat; the temple is comprised of three passageways running around the temple, also known as galleries and a central sanctuary, marked by 5 stone towers; 5 stone towers mimic Meru, the mythical home of the gods in both Hinduism and Buddhism; stacked nature of temple supposed to literally represent mountains to invite the gods, hallmark style of architecture; galleries create empty spaces that represent the mountain ranges and oceans surrounding the mountain; Meru is considered an axis-mundi or an axis connecting heaven and Earth; so this temple is like a lavish home for Vishnu) - Decoration (1200 square meters of carved base relief; represent 8 different Hindu stories; more prominent one is Churning of Ocean of Milk = shows the beginning of time and the creation of the universe (links King to Gods in direct line since creation of the world); Devas (gods) fighting asura (demons) to reclaim order and power; to save the Earth amrita (the elixir of life) has to be released from the Earth; relief depicts the moment when the gods and demons are churning the sea of milk; playing tug of war with Naga (the snake) to churn the oceans; once the elixir is released Indra (the king of all gods) is seen descending to collect it and save all the worlds) Context: - has become Cambodian national symbol; on the national flag - Siem Reap region of Cambodia - name means "City Temple" in Khmer (national language of Cambodia) although this is likely not the original name - strangely no texts that mention the city by name- built by King Suryavarman II (1113-1145/50 C.E.) "protector of the sun" - many scholars believe that the temple was also intended to serve as a mausoleum after the King's death - construction started shortly after he took the throne and was finished shortly after his death - based on inscriptions found and the style of architecture - building temples was used by Khmer kings to legitimize their rule and gain protection from the gods - needed to prove that the gods did not support his predecessor, assert that their temple was where they would choose to live on Earth - probably used 300,000 workers, including architects, construction workers, stone masons, sculptors, and servants to feed them

Portrait of Sin Sukju (1417 - 1475). Imperial Bureau of Painting. c. 15th century CE. Hanging scroll (ink and color on silk).

Form: -crisp and angular lines -color characterization -hanging scroll -ink and color on silk -possible collaborative pice Content: -head slightly turned (1 ear shown) -rank badge worn on front and back -peacocks with plants and cloud -intellectual scholar -seated in specific chair Function: -respect for one's elders and ancestors -officially honors for his distinguished service @ court and loyalty to the King during hard times -portrait cherished by descendants Context: -Imperial Bureau of Painting, Korea -1417-1475 CE

Statue of votive figures, from the Square Temple at Eshnunna (modern Tell Asmar, Iraq). Sumerian. c. 2700 BCE. Gypsum inlaid with shell and black limestone.

Form/Content: • realistic figures & clear narratives separate it from prehistoric art • men depicted as bare chested with kilts • women had their left shoulder covered • only slaves & prisoners are shown as nude; nudity was a debasement (unlike Greeks) • emotionless • hierarchical scale, showing importance by the size of the figure - formalized art • hands in prayer to indicate piety • large eyes looking to the gods, waiting for them to descend Context/Function: • these were the tallest found; male is 2'6" (most important) • placed in the cella of a temple & shown as praying • served as a stand in for an actual person • overly large eyes believed to be the windows to the soul & eternal wakefulness to their gods • some held libation vessels • cups used in the ritual of pouring out precious liquids/oils as a form of sacrifice to the gods

Painted elk hide. Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Reservation, Wyoming. c. 1890 - 1900 CE. Painted elk hide.

Form: - Artist named Cotsiogo, American name is Cadzi Cody - Known for his numerous animal hide paintings on deer, elk, and buffalo using natural pigments such as chalk and red ochre - Was a member of the Eastern Shoshone tribe - Essential in the transformation from traditional and even ancient tribal methods and art into a modern society and art form that fits into the contemporary Western society - Pigment used on elk hide - Animal painting tradition used to record history - Combination of free-hand penciling and using a stencil Function: - Multifunctional, working for both the economic and cultural benefit of the Wind River Reservation - Led to economic development because it created sales from white visitors and also led them to attend Sun and Wolf dances, in which they would also spend money - Important as a cultural survival statement for the tribe, as it helped move the once antiquated and ancient tribe artwork into the modern world by making it increasingly contemporary Content: - Combines contemporary tradition to the historical record of tribes - Displays important ritualistic Sun Dance and Wolf Dance - Sun Dance was especially ceremonial and used to honor deities - Depicts daily life on the Wyoming reservation such as men hunting buffalo on horses and women sitting near fires at a campsite (teepee) - Warriors shown in feathered war headdresses to show their honor and importance Context: - painting on animal hides is a long-lasting tradition in the Great-Basin region of the U.S. - functioned to preserve history, similar to the oral tradition of story-telling - Animals such as horses and buffalo on the painting were especially important to livelihood, as Buffalo was a source of food and horses were used during hunting. - An era of intense poverty on the Wind River Reservation in Wyoming, important because this artwork kept both the culture and economy alive

Basin (Baptistere de St. Louis). Muhammad ibn al-Zain. c. 1320 - 1340 CE. Brass inlaid with gold and silver.

Form: - Mohammed ibn al-Zain (Egyptian or Syrian) - Brass inlaid with gold and silver - very expensive materials - bowl used for religious ceremonies Function: - Originally used for washing hands at official ceremonies - later used for french royal family baptisms Context: - people used this bowl to wash or purify themselves before the ceremonies - later was used by royal families for baptisms - adapted from its original use - people of the time valued the inlaying of metals because it was very difficult to do - also used very expensive materials to show the wealth Content: - shows people hunting alternating with battle scenes along the side; Mamluk hunters and mongol enemies - shows the conflict between the two groups - bottom of bowl decorated with fish, eels, crabs, frogs, and crocodiles - all can be found in water

Lamassu from the citadel of Sargon II, Dur Sharrukin (modern Khorsabad, Iraq). Neo-Assyrian. c. 720 - 705 BCE. Alabaster.

Form: - alabaster -limestone Content: -god-like figures -animal body, human head -5 legs Function; -support doorways of Assyrian palaces -intimidate those who enter Context: - from the citadel of Sargon II (modern day Iraq) - 720-705 BCE -Sumerian

Running horned woman. Tassili n'Ajjer, Algeria. 6000 - 4000 BCE. Pigment on rock.

Form: - canyon painting (layers of painting from different times so makes it hard for carbon dating) -depicts motion Function; - show this person as holy or a god bc of the horns Content: - shows a woman with horns running - dots on her body represent body painting - shows a deity wearing ceremonial headgear? Context: - in situ on canyon walls in the Sahara - 6000-4000 BCE (neolithic)

Camelid sacrum in the shape of a canine. Tequixquiac, central Mexico. 14,000 - 7000 BCE.

Form: - carved bone Function: -spiritual mask -house spiritual essence of a hunted animal -sacrum bone powerful symbolism of Osiris and rebirth- triangle Content: - sacrum bone (hip bone) carved in shape of a canine/wolf Context: -found in a tomb in Mexico (MesoAmerica) -14000-7000 BCE

Jade cong. Liangzhu, China. 3300 - 2200 BCE. Carved jade.

Form: - carved jade -low reliefs -abstract designs - square with a circle inside Function: -jade usually appears in burials of high ranked people Content: -low reliefs decorations on this refer to spirits/ deities Context: - Liangshzu, China in 3300-2200 BCE -jade in China is linked with virtues like beauty, durability, and subtlety

White Temple and its ziggurat. Uruk (modern Warka, Iraq). Sumerian. c. 3500 - 3000 BCE. Mud brick.

Form: - mud brick -collosal scale -built to resemble mountain Content: - sloping walls, bent access (ramp up to enter the altar), 3 entrances -mosaic surface Function: - temple that is a meeting place for humans and gods in the center of the city -votive figures and dedicated to Anu the sky god -top temple was only for royals or clergy to enter Context: - Uruk; Modern day Warka, Iraq -Sumerian - 3500-3000 BCE

Borobudur Temple. Central Java, Indonesia. Sailendra Dynasty. c. 750 - 842 CE. Volcanic-stone masonry.

Form: - relief sculptures - elevates - clockwise up and around Content: -72 stupas, 1460 reliefs, 9 platforms in sets of 3, 504 Buddha statues -narrate Buddha's teachings -Jataka tales (Buddha's past lives) Function: -built as monument to Buddha -pilgrimage site/shrine -narrative guides you -physical and spiritual journey to higher state of consciousness Context: -Buddha- poet, thinker, and architect of this temple -Saliendra dynasty commissioned this (the leaders of maritime power

Stonehenge. Wiltshire, UK. Neolithic Europe. c. 2500 - 1600 BCE. Sandstone.

Form: - sandstone -post and lintel (two vertical posts support a horizontal beam) - arranged in a circle (cromlech) Content: - stones in a centralized plan -small stones surrounding in no specific pattern Function: - probably religious ceremionies - burial? - marker of mid-summer solstice Context: -Wiltshire, UK in 2500-1600 BCE

Colosseum (Flavian Amphitheater). Rome, Italy. Imperial Roman. 70 - 80 CE. Stone and concrete.

Form: - stone + concrete -Corinthian, Doric, and ionic columns -outside mostly intact -barrel vaults, thick walls, groin vaults, arches Content: -2 theaters -downward force of arches -bronze shield on top, 4 layers -76 entrances Function: -entertainment for the public -usually dangerous like gladiator fights or animal hunts Context: - Rome, Italy 70-80 BCE - Imperial Rome

Standard of Ur from the Royal Tombs at Ur (modern Tell al-Muqayyar, Iraq). Sumerian. c. 2600 - 2400 BCE. Wood inlaid with shell, lapis lazuli, and red limestone.

Form: - wood inlaid with shell, lapis lazuli, and black limestone -mosaic -hierarchic scale to show who was more important in society -front shoulds, body in profile Content: -2 sides: war side and peace side -war side: shows Sumerian king on larger scale descending from his chariot to inspect captives, lower register shows him riding over dead bodies in his chariot -peace side: food brought to a banquet, ruler wears a kilt of wool (larger scale) Function: - shows the different classes of people -democratic leadership Context: - found in the Royal Tombs at Ur (modern day Iraq) - 2600-2400 BCE Sumerian

Lukasa (memory board). Mbudye Society, Luba peoples (Democratic Republic of the Congo). c. 19th to 20th century CE. Wood, woven rafia, cloth and beads.

Form: - wood, beads, and metal - covered in material and shaped like a turtle shell Function: -used by the Luba peoples (Mubydye people) -interpreted by a specialist in different ways - shows the different aspects of the Luba culture Content: -each is unique and shows different stories of the Luba people Context: -Democratic Republic of the Congo -Luba peoples in the 19th and 20th century

Great Serpent Mound. Adams County, southern Ohio. Mississipian (Eastern Woodlands). c. 1070 CE. Earthwork/effigy mound.

Form: -1300' long, 3' high follows a river east/west axis earthwork site specific Mississippian culture Content: -numerous mounds forming the shape of a serpent Function: connection to Haley's comet might have been used to mark time/seasons Context: -Adams County, Ohio 1070 CE (11th century)

The David Vases. Yuan Dynasty, China. 1351 CE. White porcelain with cobalt-blue underglaze.

Form: -Mongolian style -white porcelain with cobalt blue underglaze from Iran -2 1/2 feet tall -text Content: -peonies= prominent scrolling flower -inscription with date, location, temple, patron, and purpose -phoenix and dragon balanced (symbol of Daoist faith- yin and yang) -elephant handles Function: -made for Daoist temples to honor a military leader who was deified -expression of Silk Road -held flowers beside an altar Context: -a part of wealthy man's collection -1351 CE -Yuan Dynasty, Mongol Empire -Beijing, China

Maize cobs. Inka. c. 1440 - 1533 CE. Sheet metal/repousse, metal alloys.

Form: -Realism: sheet metal pressed against actual maize to get the texture (repousse) -oxidized silver (black maize) Content: -corn was revered because of its importance to the diets of the Incans Function: -show importance of corn Context: -1440-1533 CE Inka

Funeral banner of Lady Dai (Xin Zhui). Han Dynasty, China. c. 180 BCE. Painted silk.

Form: -T-shaped painted silk banner -over 6' long -set in registers -depth shown -naturalistic scenes not just abstract shapes -bi: disc with a hole that represents the sky Content: -registers represent the 3 layers of the universe -Lady Dai stands on platform with her servants as she is pictured ascending into heaven -dragons frame the scene on both sides -sacrificial funerary rituals shown taking place in a mourning hall in the bottom register Functions: -put over the tomb Context: -Han Dynasty, China- 180 BCE

Chavin de Huantar, Northern highlands, Peru. Chavin. 900 - 200 BCE. Stone (architectural complex); granite (Lanzon and sculpture); hammered gold alloy (jewelry).

Form: -U-shaped temple -sunken relief -powerful curving -stone architecture -hammered gold alloy -granite sculpture Content: -only priest and high officials could see the Lanzon (human/jaguar) Lanzon statue: -enormous, shape of agricultural tool, dark tunnels lead to the illuminated statue -nose ornament: status symbol, serpent shape relief: jaguar Function: -ceremonial center for the Chavin people Context: -Northern Highlands, Peru Chavin People -900-200 BCE Center of Chavin culture

Great Mosque of Djenne. Mali. Founded c. 1200 CE; rebuilt 1906 - 1907. Adobe.

Form: -adobe (clay and straw) -takes on forms familiar in W. Africa -raised on a platform (protection from flooding) Content: -pier buttressing, torons (types of posts) -ostrich eggs on top to represent fertility Function: -mosque -south sahara trade, learning, and cultural center -center of religious and cultural life in Mali and community of Djenne Context: -Mali -found in 1200 CE rebuilt 1906-1907

Transformation mask. Kwakwaka'wakw, Northwest coast of Canada. Late 19th century CE. Wood, paint, and string.

Form: -animal and human share -symmetrical Content: -pull string causing mask to open up -bird=crow Function: -used in Potlatch -Potlatch: used to memorialized the dead, mark union of families through marriage -help tell a story, dance around Context: -Kwakiutl (N. Coast of Canada) -late 19th century CE

Peplos Kore from the Acropolis. Archaic Greek. c. 530 BCE. Marble, painted details.

Form: -archaic smile -patterned hair -marble with paint remains -smaller scale Content: -women with arm out (supposed to hold out a oil lamp but hand broken off) Function: -in front of temples to "light the way" -votive figure Context: -530 BCE

Ryoan-ji. Kyoto, Japan. Muromachi Period, Japan. c. 1480 CE; current design most likely dates to the 18th century. Rock garden.

Form: -asymmetrical -abstract -gravel=flowing elements -stones=islands, shore, bridges Content: -15 stones -raked stone garden -monastery (Zen Buddhist monks) -mirror pond Function: -can only enter garden through your mind (spiritually enter) -power of emptiness -each rock is a different visual "pull" -Zen seated meditation Context: -1480 CE, Kyoto, Japan -Muromachi Period -Zen Buddhist

Reliquary figure (byeri). Fang peoples (southern Cameroon). c. 19th to 20th century CE. Wood.

Form: -bilateral symmetry -abstract/stylized -geometric shapes -close or metal eyes -clasped hands often hold an object -exaggerate belly button Content: -for protection of relics and village as a community -they can be male and female Function: -guardian of ancestral relics (bones and other materials in a container) -used during certain rituals for young men Context: -Fang people (Cameroon)

The Code of Hammurabi. Babylon (modern Iran). Susian. c. 1792 - 1750 BCE. Basalt.

Form: -blackstone stele with words carved in it -basalt -frontal shoulders, everything else profile Content: -divine law code carved in stone -sun god, Shamash, giving laws to Hammurabi to be king -god is bigger (hierarchic scale) Function: -tells us where the laws came from -exercises justice and divine authority to carry out the law Context: - Babylon (modern day Iran) -Susian (1760-1750 BCE)

Seated boxer. Hellenistic Greek. c. 100 BCE. Bronze.

Form: -bronze -realistic- shows the exhaustion of a real athlete Content: -boxer seated naked with only his boxing gloves -copper shows blood -cuts and bruises Function: -show a boxer after a fight Context: -Greek 100 BCE -Hellenistic

Todai-ji. Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the Kei School. 743 CE; rebuilt c. 1700. Bronze and wood (sculpture); wood with ceramic-tile roofing (architecture).

Form: -bronze and wood (sculpture) -wood and ceramic roofing (architecture) -bracketing system to support the roof -massive pillars -contrapposto stance of the Nios (powerful, dynamic bodies) Content: -50' tall wood statues: Ungyo (open mouth) and Agyo (closed mouth) -Colossal Buddha image (bronze) Function: -Buddhist temple -meant to meditate with the Buddha statue -expression of Buddhism and State mixing in Japan Context: -743 CE rebuilt 1700 CE -various artists of Kei school -commissioned by emperor Shopu -Nara, Japan 1st imperial capital, end of Silk Road

Templo Mayor (main temple). Tenochtitlan (modern Mexico City, Mexico). Mexica (Aztec). 1375 - 1520 CE. Stone (temple); volcanic stone (The Coyolxauhqui Stone); jadeite (Olmec-style mask); basalt (Calendar Stone).

Form: -built in layers -two great staircases -stone temples -the Coyolxauqui Stone: volcanic stone -mask: jadeite -calendar stone: basalt Content: -two temples on top (one for sun God Huitzilopochtli and one for the Rain God Tlaoc) -base of the pyramid is a serpent and the Coyolxauhqui Stone -Coyolxauhqui Stone: retells the story of Huitzilopochtli (after his sibs killed their mother, he takes revenge on them and dismembers his sister Coyolxauhqui which is shown on the stone) -Calendar stone (central is the sungod, shows the days) Function: -ceremonial place for the Aztec people -human sacrifice victims were thrown on this stone from atop the temple Context: -Tenochtitlan (Mexico City), only foundation of Aztec culture that exists today Aztec 1375-1520 CE

The Kaaba. Mecca, Saudi Arabia. Islamic. Pre-Islamic monument; rededicated by Muhammad in 631 - 632 CE; multiple renovations. Granite masonry, covered with silk curtain and calligraphy in gold and silver-wrapped thread.

Form: -calligraphy on cloth covering the cube (kisna) -corner points on the cardinal points -granite with silk curtain -set in a mosque Content: -kaaba in middle of Mecca -kaaba filled with pagon god statues and the Black Stone Function: -holds relics of Muhammad -walking meditation in counter-clockwise motion -place of pilgrimage-hajj (one of the 5 pillars) Context: - Mecca, Saudi Arabia -pre-Islamic monument -631-632 CE

Niobides Krater. Anonymous vase painter of Classical Greece known as the Niobid Painter. c. 460 - 450 BCE. Clay, red-figure technique (white highlights).

Form: -calyx krater (type of painted pot) -stiffness in the figures contrast the other relaxed side of the vase -sense of depth perception -red figure technique with white highlight Content: -one side: mortal woman named Niobe with 12 children would always brag to the goddess Leto that she had more children so Apollo and Artemis (Leto's children) take revenge for their mother by killing all 12 children -other side: Hercules (identified with club and lions skins) is actually a sculpture (contraposta) and Greek soldiers are offering tribute and prayer to protect them before going into battle Context: -460-450 BCE -not signed

All-T'oqapu tunic. Inka. 1450 - 1540 CE. Camelid fiber and cotton.

Form: -camelid fiber and cotton -squares filled with geometric motifs -no repetitive geometric figures Content: -more colors=higher status -dyes from different regions of the Incan empire Function: -elite men's tunic Context: -Inka empire 1450-1540 CE -foreigners wore black

City of Machu Picchu. Central highlands, Peru. Inka. c. 1450 - 1540 CE. Granite (architectural complex).

Form: -careful placement of stones -channels throughout -built into mountain Content: -observatory with niches -calendars -cosmological though -terrace common way of growing agriculture (potatoes) -Intihuatana stone (carved from bedrock stone, corners are aligned with the compass points) Function: -religious pilgrimage site for the Inka Context: -agricultural complex -Central highlands, Peru 1450-1540 CE

Shiva as Lord of Dance (Nataraja). Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century CE. Cast bronze.

Form: -cast bronze -stance signifies refuge for troubled soul Content: -Shiva: destroyer god-keeps us from afterlife, but also creator -flaming circle crushing Apas mara (dwarf) -Hindu trinity: Brahma (creator), Vishnu (preserver), Shiva (destroyer/transformer) -Vedas: sacred texts of Hinduism Function: -shows the never-ending cycle of life Indians believe in -immortal symbol that in this physical world there will always be ignorance or things we have to overcome Context: -Hindu, India -Chola Dynasty 1000-1100 CE

Tlatilco female figurine. Central Mexico, site of Tlatilco. 1200 - 900 BCE. Ceramic.

Form: -ceramic Content: - pinched waist and big hips with two-heads - no hands or feet -naked except for jewelry Function: - show fertility -two heads represent life and death that happens everyday Context: - Central Mexico in 1200-900 BCE -many of the other figures show deformities like this

Forum of Trajan. Rome, Italy. Apollodorus of Damascus. Forum and markets: 106 - 112 CE; column completed 113 CE. Brick and concrete (architecture); marble (column).

Form: -column: marble, low relief -brick and concrete architecture -scroll-like frieze on column- continuous narrative -groin vaulting/barrel vaults in market Content: -forum: basilica in back with equestrian figure in the center and two libraries -marble column of trajan: ashes of trajans put in bottom, crowded composition, story of defeat of the Dacians -market of trajan: multilevel mall with 150 shops Function: -column: monuments celebrates the victory in the Dacian war -forum: marketplace Context: - Rome, Italy 106-112 CE column 113 CE

Night Attack on the Sanjo Palace. Kamakura Period. Japan. c. 1250 - 1300 CE. Handscroll (ink and color on paper).

Form: -combining image and text -Yamato-e: high vantage points, strong angles, cropping, narrative scroll -read right to left -strong angles -handscroll -extraordinary detail Content: -rival families (Fujiwara and Minamoto) attack the Taira clan and defeat them -establish shogun empire -battle: 1159 -extreme detail of armor, weaponry, war tactics -struggles between emperor and rising shoguns Function: - Depicting a turning point in Japanese history to confirm the power of the Shogunate Context: -piece made 1250-1300 CE -Kamakura Period, Japan

Conical tower and circular wall of Great Zimbabwe. Southeastern Zimbabwe. Shona peoples. c. 1000 - 1400 CE. Coursed granite blocks.

Form: -coursed granite blocks -battered walls -ornamental stonework Content: -adobe living structures -towers (32 ft high) -great enclosures -narrow passageways Functions: -trade center in S. Africa (jewels, beads, gold) -was a major city (most likely palace complex) -granary tower Context: -Shona people -Great Zimbabwe 1000-1400 CE

Petra, Jordan: Treasury and Great Temple. Nabataean Ptolemaic and Roman. c. 400 BCE - 100 BCE. Cut rock.

Form: -cut rock -treasury carved into a cliff -red sandstone walls -lower platform paved with hexagonal stones Content: -complex water system -temple on platform like apadana and built on hillside -buried dead in tombs cut out of sandstone cliffs Function: - city of powerful nomadic Arabic tradespeople (Nabataeans) -important commercial center -connected silk road and other trade routes Context: -found in 1812 -probably made around 400-100 CE -ancient city in Jordan -influence of Greek and Roman

Buddha. Bamiyan, Afghanistan. Gandharan. c. 400 - 800 CE (destroyed in 2001). Cut rock with plaster and polychrome paint.

Form: -cut rock with plaster and polychrome paint - carved into niches on the side of a cliff Content: -staircase that ascended up to the Buddha's shoulder for travelers -mutras: hand gestures -hair in bun and big ears Function: -was the largest Buddha sculpture in the world until it was blown up in 2001 by Taliban -travelers were Buddhists who offered gifts of thanks or prayers to the statue Context: -Bamiyan, Afghanistan- Gandaran 400-800 CE -located on crossroads of the Silk Road

Temple of Amun-Re and Hypostyle Hall. Karnak, near Luxor, Egypt. New Kingdom, 18th and 19th Dynasties. Temple: c. 1550 BCE; hall: c. 1250 BCE. Cut sandstone and mud brick.

Form: -cut sandstone and mud brick -hypostyle hall -symmetrical plan, axial plan -open ceilings -colossal columns with sunken relief Content: -134 sandstone columns -inscriptions/images of kings and gods on walls and columns -gates (suggesting old world to new world) Function: -used for festivities and prayer -only priests and pharoahs allowed Context: -Karnak, near Luxor -New Kingdom 1250 BCE -East side of the Nile

House of the Vettii. Pompeii, Italy. Imperial Roman. c. second century BCE; rebuilt c. 62 - 79 CE. Cut stone and fresco.

Form: -cut stone and fresco -axial symmetry Content: -atrium (inner courtyard with pool) -reception area (atrium) has open ceiling -catch basin to collect rainwater -peristyle garden in back of house -living room with frescoes -frescoes show person's taste and used as conversation pieces for businessmen to discuss Function; -represents the wealth of the people who lived there Context: -Pompeii, Italy -Imperial Rome 2nd century BCE rebuilt 62-79 CE -wealthy family's home set in the middle of markets

Ruler's feather headdress (probably of Montezuma II). Mexican (Aztec). 1428 - 1520 CE. Feathers (quetzal and cotinga) and gold.

Form: -featherworking -gold Content: -very hard to get these feathers, they were acquired through the vast Aztec trading network Function: -unknown Context: -Axtec -1428-1520 CE -gift for Motecuhzoma II from the Viceroy of Spain -made by artist who specialized in featherwork

Jowo Rinpoche, enshrined in the Jokhang Temple. Lhasa, Tibet. Yarlung Dynasty. Believed to have been brought to Tibet in 641 CE. Gilt metals with semiprecious stones, pearls, and paint; various offerings.

Form: -gilt metals with semiprecious stones, pearls, and paint Content: -various offerings, candles Function: -sacred image of Tibet -idea is that you don't have to meditate or site a mantra; just seeing this will be a religious experience itself -pilgrimage site -believed to have ability to grant wishes Context: -enshrined in the Jokhang Temple -Llasa, Tibet- Yarlung Dynasty -brought to Tibet in 641 CE

Tutankhamun's tomb, innermost coffin. New Kingdom, 18th dynasty. c. 1323 BCE. Gold with inlay of enamel and semiprecious stones.

Form: -gold -inlay with stones and enamel Content: -crook and flail- symbols of Osiris -cobra and vulture coming from headpiece- gods of Upper and Lower Egypt -Son of Akhenaton Function: -sarcophagus (body inside) -materials used represent the royal wealth (143 objects buried with him) Context: - New Kingdom 1325 BCE

Palette of King Narmer. Predynastic Egypt. c. 3000 - 2920 BCE. Greywacke.

Form: -greywacke -organized in registers -hierarchic scale -low relief, twisted perspective Content: -Front: Narmer (on large scale) looking on the beheaded bodies of his enemies wearing crown of lower Egypt, harnessed lionesses (symbol of unification), bull knowcking down a city fortress (Narmer knocking over enemies) -Back: Hawk=Horus, Narmer wearing bowling pin crown (symbol of unification), stands barefoot (he is a divine king), palette for eye makeup, hieroglyphics Function: -represents the unification of Egypt and country's growth as a powerful nation Context: -found in temple of Horus -Old Kingdom of Egypt -3000 BCE

King Menkaura and queen. Old Kingdom, Fourth Dynasty. c. 2490 - 2472 BCE. Greywacke.

Form: -greywacke -under life-size -symmetrical -Egyptian style: one foot in front of the other Content: -king and queen same height, idealized figures -pharaoh crown -wife gives simple affectionate gesture Function: -temple sculpture -symbolize his power and kingship Context: -Old Kingdom 2500 BCE

The Ambum Stone. Ambum Valley, Enga Province, Papua New Guinea. c. 1500 BCE. Greywacke.

Form: -greywacke stone Content: -sculpted to look like an anteater -human/animal characteristics (mostly animal) Function: - objects like these are believed to have supernatural power - used as a spirit stone in rituals Context: - Ambum Valley, Papua New Guinea around 1500 BCE

Travelers among Mountains and Streams. Fan Kuan. c. 1000 CE. Ink and colors on silk.

Form: -hanging scroll (see all at once) -ink and colors on silk -in proper scale -Neo-Confucianism ideals Content: -Chinese landscape (no specific place) -waterfall, travelers, boulders, trees, mist Function: -reverence for rocks and stone because of their "chi" (energy) -evoke Buddha -after long period of political disunity Context: -artist: Fankuan (scholarly artist) -Song Dynasty, China -1000 CE

Ndop (portrait figure) of King Mishe miShyaang maMbul. Kuba peoples (Democratic Republic of the Congo). c. 1760 - 1780 CE. Wood.

Form: -hardwood, rubbed with palm oil -seated in a cross-legend posture on a rectangular base with Kuba textile patterns -emotionless -epicene body -often holding idol, symbol of particular ruler Content: -not idealized portrait -associated with the king's fertility -symbol on the base identifies each specific Ndop -at death, placed with his throne in a shrine near his grave -once it rots or is damaged, new one is carved as a replacement Function: -symbolic portrait of Kuba leaders -holds the spirit double of the Nyim Context: -royal spaces of Kuba people -democratic republic of the congo -1760-80 CE King Mishes

Winged Victory of Samothrace. Hellenistic Greek. c. 190 BCE. Marble.

Form: -marble -textures shown -very dramatic motion, explosive, -forward movement counteracted by the backward movement of her wings Content: -nike lands on front of ship descending from the heavens -wet drapery look to the sculpture -twist and contrapposto of the torso Function: -war monument -commemorating a naval victory -nike is a symbol of victory Context: - 190 BCE Hellenistic Greek

Audience Hall (apadana) of Darius and Xerxes. Persepolis, Iran. Persian. c. 520 - 465 BCE. Limestone.

Form: -hypostyle hall -cut sandstone and mud brick -built in a hillside with big platform -72 columns (3 portico made of 12 columns) Content: - relief on the side pictures Darius and Xeres -stairs have central relief of king enthroned with attendants -reliefs Function; -used to hold thousands of people (audience hall), king's receptions - ascend upwards symbolic Context: - Persepolis, Iran; Persian influence - 520-465 BCE -built by Darius and Xerxes; destroyed by Alexander the Great

Mesa Verde cliff dwellings. Montezuma County, Colorado. Ancestral Puebloan (Anasazi). 450 - 1300 CE. Sandstone.

Form: -indigenous North America -geometric designs on murals -sandstone Content: -living in communities -harmonizes with landscape for functional reasons -summer sun doesn't hit the pueblos, but winter light warms it -painted murals Function: -residential places -storage places -ritual places -Kiva: communal gathering, ritual purpose for men Context: -Montezuma, County, Colorado -450-1300 CE -pueblo people, descendants are Hopi and Zuni -Anasazi tribe

Portrait mask (Mblo). Baule peoples (Cote d'Ivoire). Early 20th century CE. Wood and pigment.

Form: -individual portrait that is naturalistic and abstract, refined features -polished surface suggesting health -complex coiffures -scarifications -introspective look on face Content: -individual portraits of specific people -expressing beauty -commissioned by husband -kept out of sight until preformed -preformance goes along with music Context: -Moya Yanso is the person who is portrayed -Baule people artist: Owie Kimou -early 20th century CE

The Court of Gayumars, folio from Shah Tahmasp's Shahnama. Sultan Muhammad. c. 1522 - 1525 CE. Ink, opaque watercolor, and gold on paper.

Form: -ink, opaque watercolor, and gold on paper -clothing identifies who they are not their faces -minute scale drawing and detail Content: -opening page of the Shahnama -Gayumar is surrounded by his son and grandson he looks down on the court to address them Function: -telling ancient history of Persia Context: -folio from Shah Tahmasp's Shahnama -artist: Sultan Mohammad -1522-1525 CE

Bahram Gur Fights the Karg, folio from the Great Il-Khanid Shahnama. Islamic; Persian, Il'Khanid. c. 1330 - 1340 CE. Ink and opaque watercolor, and gold on paper.

Form: -ink, opaque watercolor, and gold on paper -shown wearing European clothing but background looks Chinese (combination of cultures) Content: -Bahram Gur went on the court of Hind disguised so he could observe the kingdom and its civilians -king tricks him into showing his true identity and decided to send him away by making him slay a karg (horned wolf)- Barham pierces the wolf with arrows and cuts off his head -this folio shows Bahram after he has defeated the wolf- confident and relaxed Function: -expresses political power attempting to legitimize the Elkhanid's claim to Iranian kingship -shows the ideal king (crown and halo) Context: -folio from the Great II-Khanid -1330-1340 CE (Islamic/Persian) -from the Book of Kings

Yaxchilan. Chiapas, Mexico. Maya. 725 CE. Limestone (architectural complex).

Form: -limestone -built on platforms (ascent up) -3 doorways to a single room -corbelled vaulting -panel over doors -painted stucco designs -roof combs Content: -glyphs: each tell about an event, person, and when relief pictured: -Lady Xok's vision after suffering blood loss -her and husband, Shiel Jaguar III -pulling a piece of barbed rope through her tongue -vision of great warrior coming out of serpent's mouth Function: -affirms reign of Shield Jaguar III Context: -Chiapas, Mexico -725 CE

Longmen caves. Luoyang, China. Tang Dynasty. 493 - 1127 CE. Limestone.

Form: -limestone -guardians and vajrapani are more in motion and engaging figures Content: -110k Buddhist statues, 60 stupas, 2800 inscriptions carves on steles -the Vairocana Buddha (representing the celestial Buddha) with bodhisattva, a heavenly king, and a thunderbolt holder on the sides Function: -signifies the arrival of Buddhism in China Context: - Luoyang, China- Tang Dynasty - 493-1127 CE

Athenian agora. Archaic through Hellenistic Greek. 600 BCE - 150 CE. Plan.

Form: -long buildings (stoa) -covered places- public markets -at foot of Acropolis, road that leads up Function: -marketplace/meeting area -temple (pay tribute to Athena) Content: -participated with government -democracy- didn't vote representatives but instead participated directly Context: -600-150 BCE -Athens, Greece

Great Stupa at Sanchi. Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c. 300 BCE - 100 CE. Stone masonry, sandstone on dome.

Form: -mandala plan (map of the cosmos) -sandstone Content: -4 gateways -hemispherical dome -yakshis and yakshus- nature goddess/god Function: -monastery -reliquary mound holds Siddhartha's relics -symbolic representations of the Buddha (footprints, lion, elongated pathway, empty seat) -no actual pictures of Buddha's face -show inclusiveness of Buddhism Context: -300-100 BCE Madya Pradesh, India -late Sunga dynasty

The Ardabil Carpet. Maqsud of Kashan. 1539 - 1540 CE. Silk and wool.

Form: -many many details -silk and wool carpet -central sunburst medallion creates illusion of a heavenly dome with lamps reflection in a pool of water full of lotus flowers -slightly symmetrical Content: -two different lamps suspended from the ceilings -one panel with inscription that tells you who made it and when Function: -made for the funerary shrine of Safi al-Din Ardabil -prayer carpet Context: -Maqsud of Kashan 1539-40 CE -one in a pair of carpets

Pantheon. Imperial Roman. 118 - 125 CE. Concrete with stone facing.

Form: -marble -coffers: indentations in the ceilings -15' thick walls Content: -big portico in the front with a rotunda in back that has a dome with an oculus -sculptures of gods in niches Function: -houses all 7 planetary gods -famous burial space -coffers create illusion of heaven Context: -imperial Rome 118-125 CE

Head of a Roman Patrician. Republican Roman. c. 75 - 50 BCE. Marble.

Form: -marble -deep wrinkles, hooked nose, defined cheek bones Content: -realistic portrayal of a Roman patrician -show sense of civic virtue: wisdom, seriousness, public service Function: -kept in shrines of Roman houses -mask of values and virtues of Republican men in Rome Context: -Republican Roman 75-50 BCE -influence of Greek Hellenistic art

Ludovisi Battle Sarcophagus. Late Imperial Roman. c. 250 CE. Marble.

Form: -marble -high relief Content: -figures piled on top of each other, crowded surface -Romans shown as the good guys (ideal/noble) -Romans trampling over defeated barbarians - enemies very caricatured with great detail Function: -tomb Context: -late imperial empire; 250 CE

Doryphoros (Spear Bearer). Polykleitos. Original 450 - 440 BCE. Roman copy (marble) of Greek original (bronze).

Form: -marble (Roman); bronze (Greek) -contrapposto: shifted weight -not meant to portray a specific person but rather specific characteristics of a Greek Function: -portray the physical perfection of a human figure Content: -everyone is imperfect but brings together different body proportions to make physical -missing its spear -athlete and warrior -gazes off in the distance Context: -Artist= Polykleitos of Argos in 450 BCE -Roman copy of the Greek original

Acropolis. Athens, Greece. Iktinos and Kallikrates. c. 447 - 410 BCE. Marble.

Form: -marble (wealth) -winged figure (nike) -elevated Content: -buildings, temples, statues -Parthenon (constructed under Pericles): -doric temple -East Pediment on parthenon: birth of Athena from the head of Zeus (Helios) -plaque of ergastines: procession held for Athena every 4 years -Temple of Athena Nike: commemorate Greek victory over the Persians -Victory Nike adjusting her sandal Function: -hold image of goddess Athen (in cella) -celebrate the female figure -civic pride (Athena) -commercial, civic, religious, and social building Context: -Athens, Greece 450-410 BCE

Great Altar of Zeus and Athena at Pergamon. Asia Minor (present-day Turkey). Hellenistic Greek. c. 175 BCE. Marble (architecture and sculpture).

Form: -marble frieze -elevated with steep dramatic staircase -complex forms with big muscles showing violent energy and detail -ionic columns Content: -frieze wrapping around the monument shows gods overpowering the Titans -Titans vs. Olympians -"Athena": gigantomachy, battle between the gods and giants (gods win) Function: -war monument (Greek defeat of Gauls) -break architectural boundaries -altar dedicated to ZeusContext: -175 BCE - Asia Minor, Turkey

Grave stele of Hegeso. Attributed to Kallimachos. c. 410 BCE. Marble and paint.

Form: -marble with paint -hierarchic scale -drape accentuates the body Function: -funerary object -put on graves in Classical period -commemorates the death of Hegeso Content: -genre scene: slave bringing jewelry box to nike figure for her to examine the jewelry -inscription identifies Hegeso Context: -410 BCE

Anavysos Kouros. Archaic Greek. c. 530 BCE. Marble with remnants of paint.

Form: -marble with remnant of paint -archaic smile -Egyptian inspiration shown through the stance of one foot slightly in front of other -incaustic paint Content: -not a specific civilian depicted (not individualized) -male nude (warrior) -observing the human body Function: -grave marker Context: -530 BCE -large scaled

Augustus of Prima Porta. Imperial Roman. Early 1st century CE. Marble.

Form: -marble, over life-size -elevated to be more god-like -contrapposto Content: -Augustus barefoot -cupid riding dolphin (shows divinity -breastplate is about the Pax Romana: the power of empire is due to the military Function: -shows Augustus as a god because he thought he was (barefoot and cupid riding dolphin signs of this) -shows him as civic ruler (judge's robe) and warrior (breastplate) Context: -Imperial Rome (early empire) 1st century CE

Gold and jade crown. Three Kingdoms Period, Silla Kingdom, Korea. Fifth to sixth century CE. Metalwork.

Form: -metal work with gold and jade Content: -3 prongs in the back; prongs look like antlers coming out the sides -jade pieces hanging down- connected by thin wiring Function: -queen crown Context: -found in tomb of a queen -Silla Kingdom, Korea -Three Kingdoms Period -5th-6th century CE

Alexander Mosaic from the House of Faun, Pompeii. Republican Roman. c. 100 BCE. Mosaic.

Form: -mosaic copy of a Greek wall painting -tessarae: individual pieces of a mosaic -spacial illusionism -interweaving of figures Content: -Alexander the Great confront Darius III at Battle of Isos -dead tree signifies the death and sadness Function: -floor mosaic showing dramatic representation of a historical event -last major defeat of the Persians Context: -Roman Republic -House of Faun, Pompeii 100 BCE

Bandolier bag. Lenape (Delaware tribe, Eastern Woodlands). c. 1850 CE. Beadwork on leather.

Form: -new art form resulting from trade for beads among Anglo-Americans -rounded forms -beadwork Content -decorations vary based on status Function: -worn primarily for decoration -show social status -worn by men and made by women Context: -Lenape Tribe (eastern Delaware) -1850 CE

Dome of the Rock. Jerusalem. Islamic, Umayyad. 691 - 692 CE, with multiple renovations. Stone masonry and wooden roof decorated with glazed ceramic tile, mosaics, and gilt aluminum and bronze dome.

Form: -octagonal centralized plan -arcades, colonades -heavily decorated on outside -stone masonry decorated -wooden roof and cermaic tile -bronze dome Content; -building surrounding a rock -mosaic contains no human or animal figures Function: -building over rock Context: -Jerusalem, Palestine 691-692 CE -Umayyad- islamic -rock is where Abraham prepared to sacrifice his son -Muhammad's night journey

Seated scribe. Saqqara, Egypt. Old Kingdom, Fourth Dynasty. c. 2620 - 2500 BCE. Painted limestone.

Form: -painted limestone -crystal limestone eyes Content: -royal scribe -depicted with sagging body (realistic not ideal), thin face -holding tools to show he is ready to write Function: -shows that the scribe is important but not perfect like a pharoah -made for tomb at Saqqara for the ka Context: -Saqqara, Egypt 2500 BCE -found near tomb (funerary object)

Last judgment of Hu-Nefer, from his tomb (page from the Book of the Dead). New Kingdom, 19th Dynasty. c. 1275 BCE. Painted papyrus scroll.

Form: -painted papyrus scroll -continuous narrative Content: -Hu-Nefer being lead to final judgement -heart weighed on scale against Osiris (test to see if has a heavy heart) -sin must weigh less than feather -Hu-Nefer is accepted into afterlife Function: -guide people to the afterlife and make journey from life to death Context: -New Kingdom 1275 BCE -found in Hu-Nefer's tomb -from the Book of the Dead

Beaker with ibex motifs. Susa, Iran. 4200 - 3500 BCE. Painted terra cotta.

Form: -painted terra cotta, clay - geometric forms - set in registers, controlled and repeated planar composition Function: -funerary object Content: -dog figures, mountain goat, cranes Context: - Susa, Iran in 4200-3500 BCE -neolithic -new technology: use of potter's wheel

City of Cusco, including Qorikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman). Central highlands, Peru. Inka. c. 1440 CE; convent added 1550 - 1650 CE. Andesite.

Form: -plan in shape of a cat and at the head is a fortress -intricate stone work -trapezoid shapes -andesite Content: -city is divided by social class -massive stone walls without using mortar -foundation of city is all that is left today -Qorikancha (central temple dedicated to the Sun God, Inti) walls covered in gold to show the shrines' significance -Saqsa Wayman: forstress that looks down on the city, zig-zagging walls, stones were quarried and hauled with incredible manpower Function: -capital of Incan empire Context: -Central Highlands, Peru Inka empire -Commissioned by Pachacuti 1440 CE

Mortuary temple of Hatshepsut. Near Luxor, Egypt. New Kingdom, 18th dynasty. c. 1473 - 1458 BCE. Sandstone, partially carved into a rock cliff, and red granite.

Form: -sandstone -red granite statue -built into rock cliff Function: -mortuary temple for Hatsheput but she wasn't buried there -statue shows her power in male ways (beard and kneeling is priest-like gesture Content: -statue of Hatsheput kneeling: offering plants to Amen, the sun god -ascent up to temple -chapels and shrines dedicated to her -hypostyle hall Context: -site specific -across from Amun temple

Anthropomorphic stele. Arabian Peninsula. 4th millennium BCE. Sandstone.

Form: -sandstone Content: - 3 of them all 3ft tall -belted robe with knife hanging from it Function: - used in incense trade -religious/burial practices Context: -found on trade routes in the Arabian Peninsula, Saudi Arabia -fourth millennium

Female (Pwo) mask. Chokwe peoples (Democratic Republic of the Congo). Late 19th to early 20th century CE. Wood, fiber, pigment, and metal.

Form: -smooth, brown surface with rich patina created by red clay and oil -eyes nearly closed -long thing nose -thick braided hair -high forehead -symmetric -naturalistic form with slightly geometric abstraction -protruding ears with earrings Content: -older female role model -beautiful, archetypal woman -forehead and right cheek are marked with cosmogram tear marks -danced by mean with fiber costumes, bookbs, and carries flywhisk Function: -entertainment -expression of female beauty -initiation ceremony for young men to separate from theirs mothers Context: -Chokwe people (Congo) -19th-20th century CE

Great Mosque (Masjid-e Jameh). Isfahan, Iran. Islamic, Persian: Seljuk, Il-Khanid, Timurid, and Safavid Dynasties. c. 700 CE; additions and restorations in the 14th, 18th, and 20th centuries CE. Stone, brick, wood, plaster, and glazed ceramic tile.

Form: -stone, brick. wood. plaster, and glazed blue ceramic -each entrance corbelled Content: -built around a courtyard with 4 arches coming from it -madrassa- place for Islamic instruction -iwan: vaulted space that opens on one side to the courtyard) Function: -prototype for future iwan-mosques -connects political, commerical, social, and religous activities within the city Context: -Isfahun, Iran- 700 CE -Islamic, Persian- Timrud and Safavid dynasties

Apollo 11 stones. Namibia. c. 25,500-25,300 B.C.E. Charcoal on stone.

Form: -stones with charcoal drawings of animals -geometric designs - 4-5" Function: - depict animals =some of world's oldest works of art Content: - animal figures with human legs added on probably later Context: - found in Apollo 11 caves in Namibia -probably were made about 25500 BCE (oldest representational art in Africa) and buried in these caves -named because it was discovered at the time of the Apollo 11 moon landing

Akhenaton, Nefertiti and three daughters. New Kingdom (Amarna), 18th dynasty. c. 1353 - 1335 BCE. Limestone.

Form: -sunken relief piece, limestone, hieroglyphics Content: -couple receiving blessing from Aten (the sun god-rays shown) -show husband and wife seated with their children -rays shining upon the family showing their divinity Function: -shows intimacy of the family -conveys realistic fidgetiness of children -state religious shift in evolving Egyptian art Context: -New Kingdom (Amarna) 1350 BCE

Ikenga (shrine figure). Igbo figures (Nigeria). c. 19th to 20th century CE. Wood, beads, and metal.

Form: -tall -abstracted male figure -wood -prominent horns -holding swords -expresses strength Content: -a person object associated with an individual -male power of the right hand -large horns -right hand holds the sword -seated -left hand holds severed trophy head Function: -given to young males -Igbo person shrine figure Context: -Igbo people -19th-20th century

Sarcophagus of the Spouses. Etruscan. c. 520 BCE. Terra cotta.

Form: -terra cotta (sign that this is Etruscan) -lifesize -archaic smile, patterned hair -extending arms Content: -husband and wife reclining on a couch dining "dining in banquet for eternity" -four pieces put together Function: -funerary container to hold ashes not the body Context: -520 BCE Etruscan

Terra cotta fragment. Lapita. Solomon Islands, Reef Islands. 1000 BCE. Terra cotta (incised).

Form: -terra cotta with dentate stamping Content: -dentate designs (circles, hatching, dots) Function: -unknown Context: - Lapita peoples - Solomon Islands, Reef Islands in 1000 BCE

Bundu mask. Sande Society, Mende peoples (West African forests of Sierra Leone and Liberia). 19th to 20th century CE. Wood, cloth, and fiber.

Form: -three zones -shiny surface evokes water -"metal helmet" -small and nearly closed eyes -complex hair that comes in a great variety of forms -sheen=beautiful Content: -ceremony takes place in the forest on the "outside" on the edge of society -idealized beauty and moral guidance -neck rolls (health) Function: -life transition Context: -kept hidden until preformed -Mende people -19th-20th century CE

Tomb of the Triclinium. Tarquinia, Italy. Etruscan. c. 480 - 470 BCE. Tufa and fresco.

Form: -tufa and fresco -wall paintings -great detailed piers -color coding to show genders (not race) Content: -pictures people casually dining in triclinium (reclined on couches) -fully furnished -lively paintings of people dancing and in motion Function: -keep record of domestic life -holds ashes (crematorium) and any other offerings to the dead Context: -Tarquinia, Italy -Estruscan 480-470 BCE

Veranda post of enthroned king and senior wife (Opo Ogoga). Olowe of Ise (Yoruba peoples). c. 1910 - 1914 CE. Wood and pigment.

Form: -veranda post -frontal -enlarged eyes -elongated -hieratic -negative space -deep blue color Content: -King is seated on the throne -senior wide stands behind him -secondary wife is smaller and underneath him -family portrait -associated with divine Function: -architectural support/sculpture -expressing King Yoruba's power Context: -was one of four carved posts by Olowe of Ise for the royal palace at Ikere -Yoruba people 1904-10 CE

Power figure (Nkisi n'kondi). Kongo peoples (Democratic Republic of the Congo). c. late 19th century CE. Wood and metal.

Form: -wood with screws, nails, blades, cowrie shell, -46" high -geometric abstraction: emphasis on belly and neck -each one is unique and has different stuff in it Function: - used to address issues in the community like political unrest and social strife Content: -container in the belly that holds powerful materials indicated to activate the spiritual to protect the patron Context: - created by a nganga (holy person) of the Kongo peoples in the Democratic Republic of the Congo in the late 19th century

Black-on-black ceramic vessel. Maria Martinex and Julian Martinez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century CE. Blackware ceramic.

Form: -Blackware ceramic -Coil, not wheel -Contrast of matte black and shiny, polished black finishes -Symmetrical (walls evenly thick) -Surfaces free from imperfections Function: -Food container Content: -Revival of ancient Pueblo pottery and designs -Orgins from 1000 year old tradition in the Southwest Context: -Maria and Julian Martinez, New Mexico mid-20th century -Maria made the pots, Julian painted the pots

Lakshmana Temple. Khajuraho, India. Hindu, Chandella Dynasty. c. 930 - 950 CE. Sandstone.

Form: -Sandstone -Axial plan -Panchayatana temple type: Configuration of 5 rooms is the typical setup for Indian temple -High base/platform -Deep entrance porch -Complex horizontal banding crosses the ribs of the tower Content: -Series of rooms -Tallest part of building: marks spot of most important part of building (inner sanctuary that holds the image) -4 shrines/chapels around main room -Lion statues (symbols of male figures) -Murti: embodied image of a divine figure -Mandapa: hall -Sensuous couple (controversial figures): shows deeper connection with gods Function: -Hindu temple dedicated to Vishnu -Mandir temple: Space that is the house for gods (in this case, for Vishnu) -place of worship, the divine endowed in its idealized architectural form Context: -Chandella Dynasty 950 CE -Khajuraho, India (North Central India)

Forbidden City. Beijing, China. Ming Dynasty. 15th century CE and later. Stone masonry, marble, brick, wood, and ceramic tile.

Form: -Stone masonry, marble, brick, wood, and ceramic tile -Layout based on Chinese philosophy -Certain palette to signify (dark red-sun, yellow-earth, blue-heaven) Content: -30 ft. tall walls surrounding the city -Moat around the wall -Series of bridges -Front Gate (Mao Zedong's portrait over doorway), Meridian Gate -Private realm: where the royal family lives (outer and inner court) Numbers everywhere -Complex of roughly 100 buildings, 9000 rooms Function: -Express that the emperor is the Son of heaven -Political and ceremonial center for nearly 500 years -Main building: to discuss the issues of the state -Importance of numbers spiritually -Walls provide privacy and protection for the families Context: -Largest political complex in the world -City at center of a city -Beijing, China, Ming Dynasty 15th century CE-later

Folio from a Qur'an. Arab, North Africa, or Near East. Abbasid. c. eighth to ninth century CE. Ink, color, and gold on parchment.

Form: -ink, color, and gold on parchment -wide page rather than vertical like normal Content: -brown Arabic ink read from right to left -vegetal and geometric motifs because animal and human figures not allowed Function: -made for a wealthy patron -Mus'haf: a codex Qu'ran (bound version) Context: -Arab, North Africa, or Near East- Abbasid -8th-9th century

Great Hall of Bulls. Lascaux, France. Paleolithic Europe. 15,000-13,000 B.C.E. Rock painting.

Form: Animals were important (bulls, horses, cattle, and deer); patterns and details were prominent (could tell us about o

Terra cotta warriors from mausoleum of the first Qin emperor of China. Qin Dynasty. c. 221 - 209 BCE. Painted terra cotta.

Form: Emperor Qin lined his burial complex with a treasury of riches and piles of precious gemstones said to represent the stars, sun and moon. He was deeply concerned with the universe and looked to the cosmos as a guide for crossing over to an immortal existence. Function: The First Emperor ascended to the throne of the Qin state at age of 13. He immediately began to plan his burial, and more importantly, his underground palace to carry him into the afterlife. He envisioned a subterranean domain that would parallel his worldly existence after corporal death. Content: The terra-cotta army includes warriors, infantrymen, horses, chariots and all their attendant armor and weaponry. There are unusually high levels of mercury around the complex. Historians believe the Emperor may have set up a system of mercury rivers. Some evidence points to the fact that he believed in the life-giving power of mercury. Context: All of the sculpture and the entire burial complex was created during the reign of emperor Qin Shihuang (221-209 BCE). Made to guard the tomb of Qin Shihuang, the first emperor to unite China. An entire complex has been found underground. The complex has gardens and stables, bronze ritual vessels, jade jewelry, and a wealth of gold and silver ornaments. Qin was considered a military genius. However, his strategies were extremely violent and destructive. The unification of China is, without question, the greatest symbol of the Qin dynasty's power and influence. The First Emperor known for innovations that consolidated his rule. During his reign, he introduced the standardization of currency, writing, measurements and more. He connected cities and states with advanced systems of roads and canals. He is also credited with continuing the construction of the Great Wall.

Temple of Minerva (Veii, near Rome, Italy) and sculpture of Apollo. Master sculptor Vulca. c. 510 - 500 BCE. Original temple of wood, mud brick, or tufa (volcanic rock); terra cotta sculpture.

Form: Mud brick or tufa and wood Function: Temple for worship of Minerva Content: Little architecture survives, model drawn by Vitruvius; steps in front direct attention to the deep porch; entrances emphasized; Influence of Greek Architecture in the columns and capitals; Tuscan order columns; Raised on a podium; Three doors represent 3 gods; division of interior into three spaces Context: 510-500 BC Period/Culture: Etruscan

Sika dwa kofi (Golden Stool). Ashanti peoples (south Central Ghana). c. 1700 CE. Gold over wood and cast-gold attachments.

Form: gold over wood Function: Symbol of the Ashanti nation (contains the soul of the nation) Content: (Skia dwa kofi); never actually used as a stool or allowed to touch the ground; New king is raised over the stool; carried to the king on a pillow (he alone is allowed to touch it); taken out on special occasions; entire surface inlaid with gold; bells hang from side to warn king of danger; replicas often used in ceremonies, but each replica is different; War of the golden stool (1900); conflict over British sovereignty in Ghana; British representative tried to sit on the stool; caused an uproar and subsequent rebellion; War ended in British annexation and Ashanti de facto independence Context: c. 1700 Period/Culture: Ashanti

Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx. Giza, Egypt. Old Kingdom, Fourth Dynasty. c. 2550 - 2490 BCE. Cut limestone.

Form: limestone Function: Monuments and tombs to dead pharaohs. Content: Giant monuments to dead pharaohs; Each pyramid has adjoining mortuary temple; Huge pile of limestone with minimal interior; pharaoh buried within; Each side is oriented to a point on the compass; Faced with stone, most of which has been lost; Each pyramid has a funerary complex connected with a formal pathway used to transport Pharaoh's body; shape may have been influenced by a scared stone relic called a benben; Tombs of Menkaura, Khufu, and Khafre; Context: c. 2550-2490 BC Period/Culture: Old Kingdom Egypt