Unit 5 test
Olmec mask
-1200-400 BCE -jadeite/greenstone -4" high -buried 1470 CE at Aztec templo mayor -small greenstone sculpture of human face -small fits in Palm of hand -Olmec conventions:upturned lips,almond eyes, cleft in forehead, "baby face" -polishes -not Aztec from a much older culture -ritually buried by Aztecs -Olmec culture from 1500-1200 BCE (1200 years before Aztecs) among coast -distant geography and time -akin modern western cultures looking to ancient Roman -shows Aztecs had reverence for mother culture -teotilhucan(enormous pyramids) city of Gods where sun was born -Aztecs collected objects from afar (Yucatán peninsula and modern day southwestern US) -indicates vast Aztec trade network through meso- America
The Coyolxauqui stone
-1500 CE -11 feet in diameter -Themes: female nude, women's issues, art for warship, war and violence, power and authority -symbolism/allegory , social event, pagan myth, narrative, not an original location -Carved stone monolith that display dismembered decapitated woman -depicts Mexica , Aztec goddess Coyolxauhqui (bells her cheeks) sister of Mexicas patron God -Huitzilopochti (hummingbird left) who killed his sister when she attempted to kill their mother -depicts female diety -found at the base of the stairs of the Huitzilopochti temple -Originally painted and carved in Low relief -Monster faces that joins associated with trouble and chaos -Naked with sagging breasts and a stretched belly, she was a mother -Nakedness equals humiliation and defeat -decapitated and dismembered pieces of bone sticks out from limbs MYTH -Huitzilopochti mother Coatlicue became pregnant -her daughter coyolxauqui became angry -her and 400 brothers attacked mother -Huitzilopochti decided to defend mother -beheaded and threw body down a mountain -body broke apart -stone portrays that moment in the myth -During rituals captives painted blue killed on temple roll down staircase to fall in stone -For enemies this was powerful reminder of Aztec authority -Spanish conquest: -In 1521 the Templo Mayor destroyed what did survivor remain buried -Stones for reuse to build structures like cathedral in new Spain -Templo Mayor museum contains object found at the site
Wall plaque from Oba's palace
-16th century brass -Benin Nigeria -Benin: established relations with Portugal trading and ivory and slaves -900 brass plaque produced between 16 and 18 inches -part of a sprawling palace complex wooden pillars covered with brass plaques -Show aspects of court life in the Benin culture - Oba king believe to be direct descendent of Oranmiyan the legendary founder of the dynasty -only the Oba was allowed to be shielded in the way depicted in the plaque -Hierarchical proportions: largest figure was the greatest -Symbols of high rank or emphasized -Stepping on a fallen leader -emphasis on head; bodies are often small and immature -Lost wax process -Ceremonial scene at court -High deep relief sculpture some Emerge so much they appear almost free standing
Ndop (portrait figure) of King Mishe miShyaang maMbul
-17 60-17 80, wood -figures are commemorative portraits of Kuba rulers presented in an ideal state -Kuba people Congo -Not an actual representation of a deceased King but his spirit -Made after death of the king -Each king is commemorated by symbols on the base of the figure -The King has a sword in his left hand and a non-aggressive post handle facing out -One of the earliest existing African wood sculptures oldest in existence -rubbed with oil to protect them from insects - Act as a Surrogate get for the king in his absence - crossed leg pose - sits on a base - Face seems uninvolved above mortal affairs -A piece knife and left hand -kept in the King shrine with other works called a set of royal charms -Royal regalia bracelet arm bands belts headdress PHOTO OF A KUBA RULER ENTHRONED WEARING A ROYAL REGALIA -Kuba Nyim Kot a Mbweeky 111 un stated dress with royal drum in Mushenge Congo -wearing royal headdress necklace of leopard teeth sword lance drums of reign basket -Continuous tradition of honoring a king -Costuming an extremely elaborate could away 185 pounds he needs help to move -Costuming represents the splendor of his court his greatness and his responsibilities -Symbolizes the rulers wealth status power -Kuba tasted of accumulation of objects - Ruler often buried with the material after death
Mesa Verde Cliff Dwellings
-Ancestral puebloan peoples formally known as the Anasazi build homes in to side of a cliff -More than 600 structures mostly residential but also for storage and ritual it to Cliff faces -Four corners region of the US Southwest Colorado Northwest New Mexico North East Arizona and Southeast Utah -Verde a Spanish her green and Messa means table but he refers to flat topped mountains -The ancestral puebloans accessories dwellings with retractable ladders -The 12th and 13th century structures made of stone mortar and plaster remain the most intact -Traces of people can be found as hand or finger prints and many of the mortar in plaster walls -not everyone lived in cliff dwellings about 125 live in Cliff palace -Cliff dwellings are among the best preserve buildings from this time -Largest of cliff dwellings about 150 rooms in more than 20 circular rooms -Due to its location it was well protected from the elements -The buildings range from 1 to 4 stories and some hit the natural stone ceiling -built using stone and mud mortar along with wooden beams adapted to natural cleft in Cliff face -Family lives in architectural units organized around kivas circular subterranean rooms -Kiva is included a fire pit or Hirth a ventilation shaft and a ceremonial hole in the floor -In the Passy circular spaces were likely both ceremonial and residential -Keepers are now without roofs but would have been covered and space around equal small plaza -Connected rooms found out around these pause is creating a housing unit -One room typically facing onto the plaza contained a Hirth for gathering -Other rooms located off the Hirth were likely storage rooms -The builders of structures plastered and painted murals what remains today is fragmentary -some murals display geometric designs while others represent animals and plants -From 500-1300 CE ancestral puebloan were farmers and cultivated beans squash and corn -Originally most farmers live near the crops -Shifted in late 1100s when people begin to live near water and had to walk to crops -why move up to the cliff alcoves at all away from watering crops -Protection from invaders? ceremonial L/spiritual significance? Shade and protection from snow -The exact reasons for building the cliff dwellings remain unknown -The cliff dwellings on Mesa verse were abandoned around 1300 CE -Cliff palace was built in the 12th century in a banded less than 100 years later -Due to either drought lack of resources violence or some combination -dry. Likely caused a shortage of food and may have resulted in confrontations
Bandolier bag Aazhooingwa'on or 'worn across the shoulder"
-Based on ammunition bags carried by European soldiers armed with rifles -Large in size and decorated with a ride array of colorful beads and ribbons -worn as a cross body bag with a thick strap across the chest to allowed to rest on the hip -The designs on the bag or abstracted and symmetrical -White beads act as Contor lines to help make the design is more visible to the naked eye -On the cross body strap with you designed the branches in for directions -Left portion has light blue background right side of strap blue is darker -Colors may represent the Celeste deal Dash sky and underworld realms -The abstract designs on the sash may also be right in relation to the Cosmos -Branch on the four cardinal directions/division of the terrestrial earthly realm into four quadrants -Thousands of tiny colorful beads strung together that decorate the bags surface -Stylistic differences personal preference contact with Europeans trade and travel -Often possible to see the expose on embroidered trade cloth underneath the cross body strap -combining traditional materials animal hides with new materials cotton trade cloth -Tiny glass beads see beads acquired from European traders and prized for their brilliant colors -decorated with silk ribbons - also procured via trade with Europeans -Prairie style borrowed from older Delaware traditions and native peoples after relocation -The prairie style used colorful glass beads fashioned and floral patterns -Prairie style is result of peoples coming into contact after removal from ancestral homeland's -Floral forms, ribbons, and bead show transformation, creativity and adaption to new situations -forced removals and threats to traditions art shows resilience and creativity of tribes like Lenape -Made by tribes and first nations across the Great Lakes in the prairie regions differ in appearance -Likely made by artist part of Delaware tribe today New York State -A Normas geographic area has Lon complex history that dates back more than 4000 years -Popular in the late 19th century and the eastern are wood lands region -Indian removal act of 1838.Jackson Lenape relocated to Oklahoma Wisconsin etc. -Lenape continue to create objects like bandolier bags as they had an ancestral lands -Men most commonly were these bags woman created them -Bandolier bags how to express group identities and social status -Did not have a pocket but were intended to complement meant ceremonial outfit -Men even warm more than one bag on occasion dressing and a rainbow of colors and patterns -Weren't necessarily always used to hold objects -in the United States it is more common to see the term native American native are indigenous where as first nations use more frequently in Canada
Hide Painting of Sun Dance
-By later 19th century artist to pick subject set a firm to native identity and appealed to tourist -Combines different dance at sacred Sundance and nonreligious wolf dance -The Sundance around a buffalo head between two poles with an eagle above it -Men dressed and feather headdress is dance around the poles -Sundance honors creator diety for earths bounties and ensures this bounty continues -Sacred ceremony that US government outlawed until 1935 -painting references Sundance for Tourists but combined it with the legal wolf dance -The hide painting also shows activities of daily life -Surrounding the Sundance woman breast near fire in more men on horses hunt buffaloes -Warriors on horses also Sean returning to Camp which was celebrated with wolf dance -Some of the Warriors where feathered warbonnets made of eagle feathers -Some scenes display individual skinny buffaloes and separating body parts in the piles -hide painting traditional for Kiowa Lakota Shoshone Blackfeet Crowe Dakota and Osage tribes -Painting along with oral tradition function to record history -Originally use natural pigments read okra and chalk and eventually paint and dies through trade -Likely done with combination of free hand painting and stenciling - men and women both painted by men produce scenes on tepees clothing and shields -Combined history with a contemporary moment -This painting may have been wall hanging or a robe -Headdresses communicated bravery in battle and function as symbols of honor and power -Warriors shown hunting with bows and arrows while riding but shoshone had rifles for sometime -All parts of the Buffalo were used as it was considered a way of honoring the sacred animal -at the time Cotsiogo painted his hide most buffalo had either been killed are displaced -cotsiogos Hide marks past events rather than events occurring at the time it was created -cotsiogo pronounced co SEE ko -A.k.a. euro American name cadzi Cody Co see co -Represents his experiences during a period of immence change for the people -Placed on the wind river reservation and central western Wyoming -Prior to placement Shoshone were nomadic -likely created his hide paining for your American towards who visited the reservation
Great Mosque of Djenne Jenne
-C 1200 -Rebuilt 1906-1907 -Adobe remodeled in 1907 -Dejenne Mali -major urban c center by mid ninth century CE -Islam was becoming economic and religious power along trance sahara trade routes -In 13th century King converted to Islam and transformed palace into mask -Original mosque lavishly decorated austere Muslim rulers had destroyed -more humble Mosque erected -replace by current grand Mosque in 1906-1907 in style of original -three tall towers one in Center is a mihrab -Crowning ornaments have ostrich eggs: symbols of fertility and purity -Tall narrow engaged columns act as buttresses -characteristic of west African mosques -torons: wooden beams projecting from walls -made of Adobe a baked mixture of clay and straw -Wooden beams act as permanent ladders for the maintenance of the building -Vertical fluting drains water off the surface quickly -largest mudbrick mosque in the world
Aztec Calendar Stone
-Center is sun God tonatiuh with your spools knife - tongue and claws -Tongue is represented by stone sacrificial knife sacrifices allow sun to continue moving -to fire serpent that lower part of desk human faces emerge from mouth of serpents equals time -eight triangles pointing out word denote suns rays largest face 4 cardinal directions -Band at midway point contains 20 day signs of 260 day ritual calendar -12 inches in diameter 3 inches thick and weighs about 24 tons -After Spanish conquest it was buried and main square of Mexico City -Mounted on exterior wall of cathedral where remained until 1885 -Exact purpose and meaning of calendar stone unclear -Archaeologist and historians have proposed numerous theories -Center a monolith is face of sun god, Tonatiuh -shown holding a human heart in each clawed -Mexicana believe God created world for times before present era -Top white square equals four Jagwire, day one first era ended and monsters devoured all of humanity -Top left square equals four wind, when's destroyed earth and humans turn into monkeys -Bottom left equals four rain, rain of fire which transformed humanity into turkeys -Bottom right equals four water, when world was flooded and all humans turned on the fish -face at center and four calendar glyphs equals glyph for motion day would fifth sun is destroyed by earthquake
Montezuma 11 Headdress
-akin to western royal crowns symbol power/rank -Quetzalcoati, the god of earth and sky -quetzal= bird -cotl= snake/serpant -headdress is made from bird called quetzal -originally had a helmet made of pure gold, melted down by spanish -Montezuma 11= leader of the Aztecs -initially welcomed spanish, attacked and conquered aztec empire by 1521 -Hernan Cortez captured Montezuma and stoned him to death, sent headers to spain (charles vi) -sacred bird from central America (Costa Rica) represents wisdom, fertility,freedom, and peace -shows long distance trade of empire and luxury items offered as tribute by conquered people -there are 400 feathers on the headless 400=eternity -only come from male quetzal bird each has only two long tale feathers -Aztec warriors wore a headdress decorated with feathers to indicate the rank -only part of an elaborate costume that would have transformed the rulers apperance -made by specialized feather workers that continued their work for the spanish -feather workers later objects were hybrid Aztec style and catholic function
Black on Black vessel
-Designs based on natural phenomenon such as clouds feathers corn and rivers -The elements are abstract but suggest a bird on fight with rain clouds above -Shape color and designs fit with art deco movement of the 1920 - 19 30s -Over all materials had to be gathered and process carefully are vessel would not fire properly -Mix shards of broken pots pounded into powder are volcanic ash -Potting wheel was not used -dried vessel was scraped sanded smooth and covered with slip thin solution of clay and water -Slip with polish to create a shiny finish a difficult and time-consuming process -Overslept the pot was covered with designs painted with an iron rich solution -High temperature firing change the brittle clay to hard ceramics - Making ceramics in Pueblo consider communal activity different steps were often shared -No kilns created fire hot enough to transform the pot by using Manure -Potters help each other with mixing the paint and polishing the slip -Martinez would form perfectly symmetrical vessels by hand and leave decorating to others -Maria and Julian and Martinez pioneered a style of applying matte black designs overpolished black -Based on pottery shards found out ancestral pueblo dig site data into the 12th to 17th centuries -The Martinez is worked at the site help in the archaeologist -Julian Martinez spent time drawing and painting the ancestral designs in later re-create it on Pots -in the 1910s the Martinez work to re-create the black on black ware they found out the dig -Before arrival of railroad and 1880s pueblo pots used for food storage cooking and ceremonies -Important to the native art world by reframing native ceramics as a fine art -Non-native Americans purchased as asthetic rather than as utilitarian objects -Ceramics from southwest Trace a connection from ancestral pueblo a modern pueblo eras -no written record so changes in ceramics allow scholars to see connections and innovations -As Potts moved into a fine art market Martinez was encouraged to sign name on bottom of Potts -This denied the communal nature of art she began to sign is as it resulted in more money per pot -Maria Martinez became one of the best no need of potters of 20th century -left at the Pueblo of San Ildefonso 20 miles north of Santa Fe New Mexico -By 1910s Martinez began selling her parts to a non-native audience -Learn ceramic techniques from family members in from potters a nearby pueblos -Work with different family members including her husband Julian and others -Known to have signed the Potts of others one in her name to help Community -Helping her Pueblo is of paramount importance to Martinez -Live as a proper Pueblo woman insisted to scholars that she was just a wife and mother
Yaxchilán
-Exteriors had elaborate decorations -Carved stone lentils above doorways made cite famous -Lintels commission by rollers provide dynastic record and both text and image -numerous large carved in hieroglyphics steel -To Acropolis is with temples grand staircases and a palace -Long plaza and terraces surrounded by building on Shoreline above band of river -Series of hilltop temple complex is that high above main plaza -White stone city -Significant Maya center during the classic. -Located on south bank of river Chiapas Mexico -One of the greatest centers of Mayan civilization in Mexico -Located on a large horse shoe Bend in river -in jungles of lacandon rain forest right on Guatemalan border -No roads lead to say usually reach by boat -first in habited around 200A.D. -Most of structures at site date from 500 to 800 AD -City dominated by dynasty of jaguar court beginning with penis of the Jaguar -reached peak during the rains of shield jaguar and his son bird jaguar -They ever acted many of finest temples and carve hieroglyphic many monuments -like most classic mayan abandon shortly after 800 AD -Rediscovered in the 19th century -Maya glyphs begin to be translated in the 1960s
Great Zimbabwe
-Shona people -1000-1400 granite -Zimbabwe Southeast Africa - Title means venerated houses or houses of stone -Prosperous trading center and Royal complex -Stone enclosure probably a royal residence -Walls 800 feet long 32 feet tall 17 feet thick at base -Form nucleus of city that radiated out in all directions for mile CONCICAL TOWER -modeled on traditional shades of grain silos -Control over food symbolized wealth power in royal authority -Wall slope in word toward the top made of granite blocks -No mortar used -Passageways are tightly bonded narrow and long -forced occupants to walk in a single file paralleling experiences in the African bush -Tower resembles a granary represented a good harvest and prosperity -Not a fortress builder show power and wealth -at the height of power housed more than 10,000 people
All- T'oqapu tunic
-T'oqapu equals square geometric motifs make up the entirety of this tunic -designs were only allowed to be worn by those of high rank in Inca society -Individual designs related to various people's places and social roles within Inca empire -covering tunic with T'oqapu Makes it Royal and symbolizes power of the Inca ruler The Sapa Incas power is manifest in the tunic in several ways 1 fine thread, expert weave, and bright colors equals ability to command an access to Luxury goods 2Parent a black and white checkerboard worn by in the army, and shows military might 3 many patterns shows he was special individual who held claim to all people and places of empire 4 statement of Absolut dominon over the land it's people and its resources -Thread spun find me approximately 100 threads per centimeter, make it light and strong -Precious materials across empire were shaped into high status objects -weaving usually done on backstrap loom leaning forward or tilting back adjust tension -two main fiber spun into the threads of tunic came from cotton and Camelid -Animal fibers are more easily died then plant fibers alpaca equals bright colors -all tunic is died Camelid wool warp over a cotton weft common for high statue textiles -Collecting spinning and die in the fibers equals huge amount of work from numerous people -Some dyes were reserved for high status textile such as red and blue -cochineal dye equals bodies of small insects and it takes thousands to make a small amount of dye -Red and blue not only beautiful day also represented social and political power -All T'oqapu tunic is the height of Indian textile fabrication and symbol of Inca power -Empire at its height extended from modern Ecuador to Chile -Exchange of high status good secured economic and power relationships between Inca and subjects -were then given as royal gifts worn by Royal household are burned a sacrifice to sungod Inti -traditional to weave garments in a single piece cutting cloth destroy spirit existence camac -given to local leader so inka could claim portions of local produce in labor as their due -Finally made textiles equals objects of status among Andean people more valuable than gold or gems -and the Inca empire finest cloth produced by a acllas women collected from across the empire -acllas also performed religious rituals and made and served Chica at state feast -these woman spun dyed and wove fibers that were collected as part of Inca taxation system -well then with a slit in the center for head to paths with spaces left open as arm holes
Chavin de Huantar
-Temple complex: U-shaped Old Temple(900 BCE) &the new temple (500 BCE) -interior has many tunnels and galleries -Galleries all existed in darkness, no windows -Acoustics may have projected sounds from inside to pilgrims -Whole building "spoke with the voice of its god" -rough stones in many sizes to compose walls and floors -smoothed stone for carved elements -At 10,300 feet in elevation in Andean mountains of Peru -Thought to be birthplace of an ancient "mother culture" -declined around 200 BCE but motifs and stylistic elements continued -temple built there became an important pilgrimage site -Near 2 of the few mountains passed(dessert to west and jungle to east) -near joining of two rivers -for 700 years drew worshippers -Lanzon means great Speer in Spanish in reference to the stone shape -Digging stick used in traditional High land agriculture -Shape indicates that the deities power was ensuring successful planting and harvest -Lanzon Depicts a standing figure with large round eyes looking upward -mouth is also large with bard teeth and protruding fangs (jaguar and the caiman) -eyebrows and hair I figure rendered as snakes both bodily features and animals -Visually complex style creates a barrier between believers who can form and who cannot -God of temple was represented us 15 foot tall notched wedge shaped stone -carved with image of a supernatural being located deep in the old temple
Qorikancha "Golden Horse"/ church of santo domingo
-art at the heart of cusco most sacred shrine of the inka dedicated to the worship of sun -Inka had many Gods claimed descent from the son god (lnti) and held it above all others -inside temple was a miniature world: gold,silver,jewels, with garden of people, animals, and plants -monastery and church of santo domingo were built around and on top of original shrine -incorporating old structure into new one makes for a strange appearance -parts of old temple are still visible inside and out with spanish baroque features -all doorways windows and wall niches of Qorikancha were distinctive Mika trapezoid shape -doorways were double jammed too signify importance of the building -exceptionally fine masonry was reserved for the most important buildings -more time consuming than regular inka stone work -stones were shaped into rectangular blocks and polished to a smooth surface -walls then cover in gold to signify the shrines decoration to inti reflecting the sun -Qorikancha was center point of empire imaginary lines connected the shrines through cusco valley -after spanish conquest it was 1 of many Inka shrines turned into christian holy space -riches of it were taken following spanish conquest in1532 and melted down
machu pichu
-built as a royal estate for 1st inca empire, pachacuti inka yupanqui in middle of 15th century -on mountain overlooking the Urubamba river [in modern day peru] -three days walk from inka capital of cusco and nearly 3000 feet lower in with a pleasant climate -where inka empire and family hosts feasts perform religious ceremonies and administer empire -chosen for sight lines mountain peaks cosidred ancesteral deities throughout the Andes -contains housing for elites maitanence staff religious shrines fountains and terraces -houses to terraces built by carefully fitting individual stones against eachother -terraces were common element of highland agriculture before Inka -increased arable land and decreased erosion by creating stepped walls on sides of mountains -each step could then be planted with crops including ritually important maize -water management was crucial a system of stone channels drains water from rainfall -some of the water was channeled into 16 fountains -may have created a ritual bath for the emperor sacred king who performed rituals -typical of Inka elite architecture built of stones that had individually shaped to fit closley -laborious process of pecking at stones with tools each uniquely nested against those around it -allowed for earthquake damping movement -outward faces were then worked smooth so that the walls resemble intricate mosaic - most structures were roofed with wood and thatch -entry ways were in the unique inka shape of a trapezoid rather then a rectangle -trapezoid shape was also used for niches and windows in the walls of the building -buildings for people of lower status made using a rough construction without shaped stones -emperor and his retinue would only reside at machu picchu for part of the year -the ability to command ppl across the empire was a command of power -graves at mach picchu were craftspeople who came from all over th empire -building show social divisions of site with high status buildings to the northeast -emperor lived in a separate compound at the southwest of the site indicating status as the ruler THE OBSERVATORY -Adjacent to royal residence for religious ritual and astronomical observation -pachacutis claimed both a descendent of the sun god inti and the sun himself -obligations of royal family= performing rituals that sustained the forces that drove existence -the number of religious structures at machu pit is high -pachacuti heavily involved in the religious functioning of the empire showing his right to rule -also called the temple of the sun this buildings purpose is echoed through its unique shape -composed of two main parts upper curved stone enclosure with windows and niches cave beneath this structure with masonry additions that hold more niches -used to calculate the june solstice and other important constellations-the cave beneath the enclosure may refer to the place of the underworld in Inka myth
Maize cobs,Inka
-garden of miniature llamas corn flowers and people made of gold and silver -mimics appearance of ripe ear of corn breaking through husk ready to be harvested -expertly combined silver and copper to mimic components of actual corn -hollow and delicate life sized -ancient Andean art traditions favored abstract and geometric forms -often incorporated naturalistic forms in small-scale metal objects -in courtyard of inka temple the Qorinkancha in the capital city of Cuzco -Spaniards arrived in the Andes and desired the Inkas gold and silver -after the defeat of inka in 1530 Spanish set up colonies across the countries -looted inka objects in large quantities and sent many back to spain -collection of Spanish Charles V includes gold maize stalk with three leaves and two ears of corn -royal inventories also describe gold and silver llamas female figures a lamb and a male figure -life size garden was offering and became part of a compact cosmos controlled by the Inka state -represented the most important agricultural products over vast empire -plants and animals represented in the golden garden grow only at specified altitudes -used for making the chicha (maize beer) used at government rituals -garden asserted natural world as a possession and reinforced divine right to rule -acted as symbols of supernatural origin of the inkas in the sun and control over the natural world as descendants from the most powerful deity
city of cusco
-inca empire (Tawantinsuyu) the four religions was largest empire in pre columbian america -Tawantinsuyu= ink name for their empire in their native language , Quechua -cusco was administrative political and military center of empire in modern day Peru -elevation of 11200 feet -masonry as metaphor: stones like ppl many different ones fit together if properly organized -each stone was fitted to the one next to it -blocks will have a varied number of sides such as the 12 sided stone in walls of Hatun Rumiyoq St. -stones slotted together still allowing small movement protecting the walls from earthquakes -Axis mundi- the center of exsistence- and a reflection of ink power -divided into two sections, hanan(upper or high) and hurin(lower) -paralleled the social organization of ink society into upper and lower moieties -divided into quarters that reflected the four divisions of the empire -people from those sections inhabited their respective quarters of the city -city was a map in miniature of the entire Inka empire -way for Inka rulers to explocotly display their power to shape and order that empire -the city was both secular and sacred -leaders from all sections of empires required to live in cusco as means of controlling them -young woman drawn from across empire to serve gods and nobles as chosen women -young men brought to cusco to be educated and raised in the ink culture -when they returned home, were advocates farina traditions and power
Saqsa Wayman
-looks down on the city of cusco fro the northwest -zig zagging walls described as a fortress -function and purpose debated -possibly never finished or left incomplete at the time of conquest -stones used were much larger than this used in the streets and houses -stones were quarried and hauled into place using labor tax all ppl of empire owed Inka
Intihuatana stone
-means hitching post of sun -carved boulder located in ritual area of the site to the west of the main plaza -carvd boulders part of relationship with art and belief in land inhabited by supernatural force -carved boulders of this type are found throughout the heart of the inka empire stones -- - -name refers to idea that it was used to track the passage of the sun throughout the year -used to determine when religious events would take place similar to the observatory
The Great Serpent Mound
-southwestern Ohio -largest serpent effigy in the world -1300 feet in length 1-3 feet in height -oriented so head is east and tail is west -made by ancient native American cultures -conforms to natural topography of site -earthwork: both architectural and sculptural -may have reworked an earlier site -possible functions: to mark time document a celestial event act as a compass guide to astrological patterns or place of worship for a snake god -fort ancient culture 1000-1650 CE is probably responsible for the mound 1070 CE -contains no artifacts which is atypical -no evidence for burial purposes -created along fertile valley of the Mississippi ohio Illinois and Missouri rivers 1000 years ago -erected by settled people who cultivated maize beans and squash -stratified society with organized labor force no written records -many native cultures in Americas attriubuted supernatural powers to snakes or reptiles -native peoples of Ohio valley created snake shapes out of copper sheets -head of serpent aligns with summer solstice and tail aligns with winter solstice sunrise -curves in body of snake parallel lunar phases or align with two solstices and two equinoxes -egg or eye shape at head may be a representation of the sun -swallowing of sun shape could document solar eclipse -alignment may indicate that it was used to determine true north and served as a compass -may mark appearance of Halleys comet appered in 1066
the great serpent mound
-southwestern ohio -largest serpent effigy in the world -1300 feet in length, 1-3 feet in height -oriented so head is east and tail is west -made by ancient native American culture -conforms to natural topography of sit -earthwork: both architectural and sculptural -may have reworked an earlier site -possible functions: to mark time document a celestial event act as a compass guide to astrological patterns or place of worship of snake god -"fort ancient culture" (1000-1650) is probably responsible for the mound c. 1070 CE -contains no artifacts which is a typical -no evidence for burial purpose - created along fertile valleys of the Mississippi, ohio, Illinois, and Missouri rivers 1000 years ago -erected by people who cultivated beans maize and squash -stratified society with organized labor force, no written records -many native cultures in America attributed supernatural powers to snakes or reptiles -native peoples of middle ohio valley creates snake-shapes out of copper sheets -head of serpant aligns with summer solstice tail points to winter solstice sunrise -curves in body of snake parallel lunar phases or align with two solstices and two equinoxes -egg or eye shape head may represents the sun -swallowing of sun shape could document solar eclipse -alignment may indicate that it was used to determine true north and served as a compass -may mark appearance of halleys comet appeared in 1066
Tlaloc temple
-top center is sculpture of male figure on his back painted in blue and red -holds a vessel an abdomen likely to reactive offerings -type of sculpture is called a chacmool, older then mexica -associated with rain god Tloloc -at base of temple are stone sculptures of two frogs with heads arched upwards -croaking of frogs herald coming of rainy season -temple symbolized mountain of sustenance produced rain allowing crops to go
Tamati Waka Nene
1890 CE Oil on canvas Gottfried Lindauer -New Zealand painter famous for portraits of Maori chiefs -Journey man painter tradesman who worked on commission -Trained at the Academy fine arts in Vienna he migrated to New Zealand and 1874 -businessman Henry partridge commissioned numerous portraits of eminent Maori -reenactments of traditional Maori life and customs -created a pictorial history of Maori when it was believed they were dying out - Traveled extensively around New Zealand - showed 12 of his Maori portraits at 1866 colonial and Indian exhibition in London SUBJECT -C 1780 through 1871 -Maori chief and convert to the Wesleyan Methodist faith -painting is posthumus based on a photograph by John Crombie - Emphasis placed on symbols of rank -Elaborate tattooing staff with an eye in the center feathers dangling from the staff TAMATI WAKA NENE -a leading Ngāpuchi chief -Was one of the Protestant missionaries first converts -Took the baptismal name of Thomas Walker -Protective missionaries and assisted the British residence -Spoke to argue that British intervention was necessary for peace and stability -Agreed that the governor should be as a father judge and peacemaker -Believe that maori customs should be preserved and land should never be taken -during the 1845 conflict he allied himself with the British -Provided support and advice to the Imperial forces -epitaph read: friend of the government and parent of the Europeans
Reliquary guardian figure (nlo bieri)
19th to 20th century Fang people -Figures place on top of cylinder like containers -Containers made a part that holds schools and other bones of important clan leaders -Feet dangling over the rim in a gesture of protecting the contents -Reliquary figure guards the headbox against the gaze of woman or young boys -Bierri figures are composed of characteristics of thing people place high value on: -Tranquility introspection vitality -Services were ritually ribbed with oils to add luster and protect against insects -Prominent bellybutton and genitals emphasize life -Playful gesture in somber look emphasize death -abstraction of human body and attraction for the early 20th century artist
Aka elephant mask
19th to 20th century Wood woven raffia cloth and beads BAMILEKE PPL -only important people in society can own and wear an aka mask -Used add a royal court -elite Kuosi masking society owns and wears the mask -Worn on important ceremonial occasions -Beadwork a symbol of power SYMBOLIZES ELEPHANT -Long trunk -large ears symbolizes strength and power -Mask fits over head into full tank down in front symbolize in the trunk and behind body -performance art: maskers dance barefoot to a drum and gong; they waive spears and horsetails
Bundu mask
19th to 20th century CE wood and cloth Mende ppl SANDE SOCIETY -Group of woman who prepare girls for adulthood and their role in society -Woman secret society in Liberia Sierra Leone Guinea and the Ivory Coast -initiate girls into adulthood by rituals including female genital mutilation -Champions woman social and political interest and promotes their solidarity - poro is complementary institution for men -Only African example of a wooden facemask control exclusively by woman -Extraordinary high social position of woman in the geographical region -Idealized female beauty -elaborate hairstyles symbolizes wealth -Worn by women of status -Large forehead -Small eyes in the shape of slits -,Tight lipped mouth symbolizing secrets not revealed -costume the woman wear black gown made of raffia that hides the body -costumed as a Sowei the water spirit -rings around neck symbolize waves from which sowei breaks through the surface of water -Mask rest on her head had not placed inside the mask -mask coated with palm oil for a lustrous effect -Black color symbolizes water Kunis and humanity -Individuality of each mask is stressed
Templo Mayor
Aztec -City of Tenochitilan establish and 1325 on an island in middle of lake Texcoco -Mostly filled and to create modern day Mexico city -Expanded and large and reconstructed during seven main building phases -Located in sacred precinct at heart of the city -Position at center of Mexica capital in thus entire empire -Capital also divided into four main quadrants with Templo Mayor at center -designer reflects mexicana Cosmos four parts around navel of universe or axis mundi -90 feet high two grand staircase is Clint temple dedicated to Tlaloc and Huitzilopochti -Tlaloc Was patron deity of water and rain and associated with agricultural and fertility -Huitzilopocti. What is patron deity of Mexica and associated with warfare fire and sun -to deities symbolize Mexica concept of burnt water THE HUITZILOPOCHTI TEMPLE - In the center with sacrificial stone -Near top standardbearer figures decorated stairs with paper banners and feathers -coyolxauqui monolith found at bas of stairs -OFFERINGS AT TEMPLE MAYOR -Over 100 ritual deposits containing thousands of objects found -Items related to water like coral shells crocodile skeletons and vessels depicting TLALOC -Others related to warfare and sacrifice: human skull masks and sacrificial knives -offering contain objects from far away places from which Mexica collected tribute THE TEMPLE MAYOR TODAY -Spanish conquest and 1521 Templo Mayordestroyed and buried -Stones were used to build structures like cathedral -Templo Mayor museum contains objects found at site
Portrait mask (Mblo)
Baule peoples Wood and pigment Late 19th to early 20th century PRESENTED AT MBLO PERFORMANCES - Individual is honored by having ritual dances and tributes performed -Honoree receives mask is a GIF that reflects an artistic double -Mass commission by group of admirers not by an individual -dancer wear his mask and clothes of honor person and joined by honoree during performance IDEALIZED REPRESENTATION OF A REAL PERSON -Not a portrait in the modern sense of the term -Portraits of real people even if commemorative are rare in African art -Broad forehead pronounced eyesockets column shaped nose -quiet faces introspective look peaceful face meditative eyebrows in an arch
Golden stool (Skia dwa kofi)
C. 1700 gold over wood location Ashanti people and was a symbol of the Ashanti ppl held in Ghana -Contains the soul of the nation -Never actually used as a store never 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 -Taking out on special occasions -Entire surface and laid with gold -Bells hang from the side to warn the king of danger -replica is often used in ceremonies but each replica is different WAR OF THE GOLDEN STOOL MARCG SEPTEMBER 1900 -Conflict over British Sovereignty in Ghana formally gold coast -British representative try to sit on the store cause an uproar and subsequent rebellion -War ended in British annexation and Ashanti de facto independence
Presentation of Fijian mats and tapa cloths to Queen Elizabeth 11
During the 1953-1954 royal tour Fiji 1953 multimedia performance Empiezas tapa cloth MADE FOR THR VISIT OF QUEEN ELIZABETH -year of her coronation as queen of England -presentation to the queen is an example of performance art -on December 17, 1953 a newly crowned Queen Elizabeth II and her husband Prince Philip arrived on the island of Fiji then an English colony for three days before continuing on the first tour of the commonwealth nations of England and the Pacific Islands BARKCLOTH CALLED MASI -Imagery of royal crowns geometric patterns and floral motif -Man oversee the growth of the mulberry trees that produce the Tapa -Woman turn the barn into Cloth -Masi is only worn by the woman -Woman also present the cloth to the queen to celebrate the occasion of her visit -Bark removed from tree soaked in water and treated to make it pliable -clubs are used to beat the strips into a long rectangular block to form pieces of cloth -edges of these smaller pieces Are then glued or felted together to produce large sheets -Decorated according to a local tradition sometimes stenciled sometimes printed or died -In iPhoto several women are wearing skirts made of bark cloth -Bold and intricate geometric patterns and red white and black often painted onto them -Making it continues in Fiji where cloth is presented as gifts and important ceremonies -weddings and funerals commemorate significant events MATS -photograph shows roles of mats that is carried by women - like masi Fijian mats continue to serve an important purpose in fijan society -Ritual exchange and tribute -Made by woman -Matt made by stripping boiling drying blocking in and softening on leaves of Pandanus plant -dried leaves then woven into tight often diagonal patterns that cumulate and frayed edges -simplicity is indication of their importance -The more simple design the more meaningful its function -Practice is growing with many mats being sold at market Often to tourists -used heavily and wedding and funeral rituals
Ikenga (shrine figure)
Igbo peoples (Nigeria). c. 19th to 20th century C.E. Wood. IKENGA MEANS STRONG RIGHT ARM -relates to physical prowess -Honors the right hand -holds tools Or weapons make sacrifices conducts rituals and alerts to speak at public forums -Traditional masculine associations of strength and potency -Carved from hardwoods MASCULINE CONNOTATION -Tells of the owners morality prosperity achievements genealogy and social rank -Personal god of achievement and success -Requires blessings before use consecrated with offerings before kinsman -A Normas horn symbolize power -As manatee is more success he my commission a more elaborate version -It is maintained in the mans home - Destroyed when the owner dies another can reuse it's not destroyed
Transformation mask
Kwakwaka'wakw artist pacific northeast indigenous peoples Themes: social status social event mythological narrative art for warship conventional emotional psychological depiction of animals not original location symbolism/allegory -masks worn. I dancers during potlatches -Believe deceased ancestors roamed the world transforming themselves in the process -Both religious and theatrical the spirit of the ancestors were supposed to enter -Animal changing into a mythical being our one animal becoming another -Transformed the mask reveals the face of an ancestor are face of wearer -Masks passed between family members of a specific clan -sign of a person's status and rank -Host of potlatch displayed his status by giving away gifts -Only those with a certain status could wear mask -Portrays family genealogy by displaying crest symbols -Arranged in before clans killer whale, Eagle, Raven, and wolf can't clans -Asks vary among first nations of the northwest coast -Tradition over 1000 years old -Color palette mostly red blue green and black - use of an undulating calligraphic line -Red cedar wood a very important common material used for many objects and buildings - Asks take months sometimes years to create -Made of wood quickly decay most masks date to the 19th and 20th centuries -Closed represents a crow are an eagle when spread a human face appears -strings to open a move the mask - Eagles face and big sweat down the center giving impression of a bird spreading its wings -Christian missionaries band potlatches in 1885 considered immoral -Many masks were confiscated -Destroy displayed in museums are private collection -Potlatch is legalized in 1950s -Try to have attempted to regain possession of the confiscated masks -potlatches again practice today among northwest coast people's
Ahu' ula (feather cape)
Late 18th century Hawaii Feathers and fiber -small cape has a shaped neck line which would closely fit the wearer -Semi circular shape is a later development from the trapezoidal shape -Made of thousands of bird feathers -Some birds had only seven usable feathers -Coconut fiber used as a base feathers tied to it -For ceremonies and battle -cloak created by artist who chanted the wearers is ancestors to imbue power on it -Hawaiian male nobility wore feather clothes and capes for ceremonies and battle -ahu'ula translates to red garments -Cross Polynesia read was associated with both gods and chiefs - -In the Hawaiian islands however yellow feathers between equally valuable due to their scar city -Cloaks and capes given as gifts to European captains and their cruise -cast into the hands of the wealthy patrons who financed their voyages - - - -
Power figure (Nkisi n'kondi)
Late 19th century wood and metal Kongo people's (democratic republic of Congo) God, Ne Kongo brought sacred medicine from heaven Nkisi- spirit N'kondi- hunter -A container of sacred substance is activated by supernatural forces you stupid contain Andrew the spiritual forces both positive and negative and its consequences for the community -An oath taking image -A resolution to solve verbal dispute or lawsuit mambu -And avenger -Guardian if sorcery or any form of evil has been committed -Carved under the divine authority of a spiritual specialist to activate figures the chance prayers in the preparation of sacred substances - if oath is broken will become activated and either destroy our protect -Pegs blades nails are other sharp objects are inserted into surface -Medicines are sometimes stored in the head or belly of the figure -Medicines are shielded by piece of glass mirror are the reflective surface -Glass represents the other world were spirits of the dead can peer see potential enemies -seeds may be inserted to tell A spirit to replicate itself - claws May insight the spirits to grasp something -Stones may activate the spirits to pelt in the mise are protect one from being pelted -A peg may refer to a matter being settled -A nail may represent a more serious offense such as murder -Prior to insertion blazer nails are liked to seal the purpose -European interpretations: -Considered fetish objects -Confiscated by missionaries in the late 19th century -destroyed as evidence of sorcery or heathenism -Collected as objects of fascination by Europeans -Morphed into voodoo dolls covered with stick pins in popular culture
Female Pwo mask
Late 19th to early 20th cent Wood fiber pigment and metal CHOKWE PPL CENTRAL AFRICA -Female masks used by men in ritual dances -Male dancers are covered with their identities masked and dressed as women with braided hair -Ritual in watchmen move like woman CHOKWE A MATRIARCHAL SOCIETY - Pics female ancestors -Mask is discarded were not in use -Can be buried with the dancer CHARACTERISTICS -In large eyesockets -pushed in chin -Slender nose -High forehead -almost closed eyes -balanced features
Navigation Chart
Marshall Islands, Micronesia 19th to early 20th century Wood fiber MARSHALL ISLANDS -Eastern Micronesia -34 coral atolls consisting of more than 1000 Islands and islets -Spread out across an area of several hundred miles -Marshall islands or low line and hard to see from a distance CHARTS -ancient Mareener's develop stick charts to understand the vast pacific oceanPacific Ocean -Devices are not really sticks and they're not really charts -Made out of coconut fiber and shells -Placement of fibers and shells indicate location of islands waves and currents -Stick charts were not used for navigation in the way we use Maps or charts today -did not consult stick charts on their long journey throughout Micronesia -Navigators memorize the chart before the journey was made -Charts were highly individualized -Sometimes a stick chart could only be read by the person who made it -Some standard features used to interpret ocean features -Composed for navigate the many islands to get to a destination -horizontal and vertical stick support the chart -Diagonal lines indicate wind and water currents -Small shells indicate the position of the islands on the chart -To maintain links between the islands islanders put seafaring canoes
Memory Board (Lukasa)
Mbudye society 19th to 20th century Wood beads and metal Luba ppl -memory board or lucasa helps the user remember key elements of the story for example -Court ceremonies migrations heroes kinship genealogy list of kings -carved from wood in an hour glass shape then adorned with shells beads or metal -Reader hold Lukasa and left hand and traces of the designs with the right index finger -Ability to read the board is limited to a few people -back resembles a tortoise READING EXAMPLE -One colored bead can stand for an individual -Large beads around by smaller beads as a king and his court -Lines of beads or journeys our paths -Each boards design is unique -Representations the divine revelations of a spirit medium expressed in sculptural form MEMORY BOARDS ARE CONTROLLED BY THE MBUDYE -A council men and women who interpret the political and historical aspects of luba society -Zoomorphic element symbolize the crocodile an animal that the lives on both land and water -Dual nature of crocodiles metaphor for the lubas political organization -two interdependent leaders: Kikungulu head of mbudye and kalaba owner of land
Pisupo Lua Afe (Corned Beef 2000)
Michel Tuffery. 1994 C.E. Mixed media. -Life-size sculpture of bull made from flatten cans of corn to beef -Sculpture with small concealed wheels at feet for ease of movement -made from hundreds of tins revited together -interest in Polynesian heritage -Samoan pea soup first canned food introduced into Pacific Islands - pisupo now generic term for canned foods -Introduction of canned meat cause decline of traditional fishing and agriculture -Corn beef now part of the ceremonial gift economy at weddings and birthdays -fine mats and decorated bar cloth now along side food items and cash -Traditional feast foods pigs and root vegetables -Canned corn beef is a processed food high in saturated fat salt and cholesterol -Major contributor to Polynesian obesity -Critiques issues of ecological health and food sovereignty -theme of recycling and garbage emphasized by the reuse of cans -Beef and dairy cattle destroy fragile island ecosystem -Traditionally food and environment are considered sacred GIfts -Now losing control over food production ownership and care of environment -Artist has brought bulls to life a performance installations throughout the world -Fireworks inside their heads give appearance of breathing fire -put on casters with movable necked staged bull fights -Company by drummers and groups of human performers issuing fierce challengers -performed on city streets to reach Community that might not come into gallery
Easter Island Moai
Moan on platform Rapa Nui 1100-1600 Volcanic tufa figures on basalt -About 900 statues -mostly male -Almost all facing inland -Erected on large platforms of stone mix with ashes from cremation -Carve to commemorate important ancestors -images represent personalities defied after death or commemorated the first settler kings -Prominent four head large brought nose is been lips ears out reach to the top of their heads -Shorten arms falling straight down hands across lower abdomen below navel -Chest and navels delineated -top knots added to some statues - eye sockets originally inlaid with Redstone and coral -Sculpture was painted with red and white designs -Stone statues of human figures known as moai -50 tons of peace size and complexity of the statues increased over time -Proportions are typical of the statues with the head 1/3 of the total height -Back to the sea keeping watch over the island -platforms (ahu)are as sacred as the statues on them - quarried Carved and directed from around 1000 CE until the second half of 17th century -With the adoption of Christianity in the 1860s the remaining standing were toppled -Around 1500 CE the practice of constructing the statues Peaked -From around 1600 CE statues began to be toppled -Fragile ecosystem had been pushed beyond what was sustainable -Overtime only seabirds remained nothing on safer offshore rocks and islands -Rapanui religion change to the Birdman religion -Lost confidence ancestors after the deforestation and the ecological collapse
Hiapo (tapa)
Niue. c. 1850-1900 C.E. Tapa or bark cloth, freehand painting. -Hiapo is the word used for Niue for tapa Or bark clothe -tapa is the cloth made from tree bark -pieces are beaten and pasted -After the tapa is dry designs are sometimes repainted to enhance the effect -traditionally worn as clothing before the importation of cotton -Niue Is Island country south of Samoa -1830 British brought Samoan missionaries who introduced bark cloth to Niue from Samoa -earliest examples of hiapo were collected by missionaries and date to the second half of the 19th century -niuean ponchos(tiputa) based in a style that was introduce to Samoa and Tahiti -probable that Niueans has a native tradition of bark cloth prior to contact with the west -1880s new style that incorporated fine lines and new motifs -Illustrated with complicated and detailed geometric designs -patterns were composed of spirals concentric circles squares triangles and diminishing motifs -niuens were the first Polynesians to introduce depictions if human figures in bark cloth -Some include writing and usually names along the edges of the overall design -Niuen hiapo stop to be produced in the late 19th century -Today has a unique place in history answers to inspire contemporary Polynesian artist -commemorating an event honoring achieved noting a series of ancestors -Each set of designs is meant to be interpreted symbolically images have a rich history together -using stencils artist dye expose parts of the tapas with paint Polynesian history and culture -the most important traditional use for tapa were the clothing bedding and wall hangings -textiles were often specially prepared and decorated for people of rank -tapa was ceremonially displayed on special occasion such as birthday and wedding -in sacred contexts tapa was used to wrap images of Deity's -today at times of death bark cloth may be integral part of funeral and burial rites -woman's arts historically utilized soft materials -fibers used to make mats and bark cloth ephemeral material such as flowers and leaves -cloth made of bark is genetically known as tapa across Polynesia -terminology decorations dyes and designs vary throughput islands -woman would harvest the inner paper mulberry -inner bark is then pounded flash with a wooden beater or like an anvil usually made of wood
Female deity
Nukuoro, Micronesia. c. 18th to 19th century C.E. Wood. -represents evil goddess kawe - Control natural disasters and took control the island when male God was absent -Made of a much harder word than other carvings might have been placed outside -Simple geometric forms -horizontal lines used to indicate knee caps naval and waist line -Featureless larger than life size -Sometimes dressed and garments may have been decorated with flowers -minimalistic designs distinctive to Micronesia -Polynesian traces such as large breast -erect pose short legs long and strong arms emphasis on the breast -Tiny stylized hands -stylized head no facial features pointy chin small nose -Tattoos on the left side of the pubic area a distinctive feature -Offered Good's first harvest even human sacrifice to keep from evil doing -Kept in religious buildings belonging to the community -Rare remaining artifacts of its dimensions known to exist -Little is known about kawes actual function -Damaged with cuts may have had her genitals removed -Disapproval by the newly Christianize people -revenge for natural disaster -only large scale figure to survive transition to Christianity and abandonment of ancient beliefs -Very influential during the first half of the 20th century in Europe -Primitive form is considered by European intellectuals tab metaphysical qualities
Veranda post of enthroned king and senior wife (Opo Ogoga)
Olowe of Ise (Yoruba peoples). c. 1910-1914 C.E. Wood and pigment. Most veranda posts were painted traces of paint remain Artist carved posts for rulers of the Ekiti Yoruba kingdom in Nigeria -Negative space creates an open Ness in the composition -King is the focal point and relationship between -his figure and others represented on this post -behind him his large scale senior wife supporting the throne -She crowned the king during the coronation protect him during his reign -Junior wife is a small figure -Flute player is Esu the trickster god -now missing fan bearer
Malagan Mask
Papúa New Guinea C. 20th century Wood pigment fiber and shell -Send the soles of the deceased on their ways to that other world -Ceremonies for the living of the obligation of serving the Dead -sometimes ceremonies begin months after death and Can last an extended period of time -erectStructure suited to the purpose -After the ceremony the structures I consider useless -Usually destroyed are allowed to rot -Sculptures of the deceased are commissioned -they represent the individual soul or Lifeforce not physical presence -Masks are extremely intricate and the carving -mask indicate relationship of a particular deceased person to clan and living member of the family -Large hair comb reflects hairstyle of time masks not physical portraits only portraits of the soul -painted black yellow and red important colors denoting violence or and magic
Nan Madol
Pohnpei, Micronesia 700-1600 Basalt boulders Ancient city that acted as a a capital of the Saudeleur dynasty 92 SMALL ARTIFICIAL ISLANDS -Connected by canals about 170 acres in total -Build out into the water on the lagoon similar to Venice Italy -sea walls act as breakwaters 15 feet high 35 feet thick -Canals were flushed clean with the tides -Islands are arranged southwest to northeast to take a vantage of the trade winds -curved outer walls point of where that you're just giving a complex of symbolic boat like appearance -Eastern shore the island of Pohnpei -Constructed by placing large rocks in fill atop coral reef's to form raise platforms -complexes were built primarily from columnar basalt a volcanic rock - supported elaborate residential home ceremonial complexes -at peak may have been home to 1000 people Highly stratified social system -City built to separate the other classes from the lower class -Many of the residents were Chiefs the majority were commoners -Chiefs both organized and control potential rivals requiring them to live in the city -Earliest known example of such centralized political power in the western Pacific -Social hierarchy was reflected in the size of the residences built within the compounds -Largest being homes of the chiefly elite -beads and other ornaments which may have mark their owners social status
Staff God
Rarotonga Cook Islands Late 18-early -19 century Wood tapa fiber and-feathers -Staff known as God sticks -Shaft in the form of an elongated body -Large had placed on top several smaller has carved below it -upper part of the staff consist of a carved head above smaller carved figures -lower end of the carved Phallus -Varied in size from about 28 inches to nearly 13 feet -Central wood shaft wrapped in an in Normas role of decorated bark cloth -One of the most sacred of Rarotongas objects -Large column like wooden shaft placed upright in a village common era -Soul of God is represented by pearl shells and red feathers placed inside bark cloth next to shaft -Most of staff gods were destroyed only the toppings are retained us trophies -missionaries removed and destroyed phallus from carvings considering them obscene -Only surviving wrapped example of a large staff God -No other survive in large staff gods from the cook islands that retain their bark cloth wrapping -wooden core made by male carvers has had at one end in originally terminated and a phallus -Skilled labor of men and woman -Explicit sexual aspect does and body in male and female productive and reproductive qualities -Bark cloth made by women protects and contains ancestral power of the deity
Buk (mask)
Torres Strait. Mid- to late 19th century C.E. Turtle shell, wood, fiber, feathers, and shell. Adhaz parw ngoedhe buk means mask language of the Torres straight islander ppl -some masks combine by human and animal forms -depicts a human face possibly portraying culture hero -fragile bird on top represented personal totemic species connection with animal spirit. -composite human and animal imagery typical of western Torres straight masks -Turtle shell masks unique to this region -worn over the head like a helmet -Masks only used only during special occasions and sacred ceremony's - worn to hide the identity of the dancer wearing it -Masks and their ceremonies are sacred and only discussed among the people of island -Masks believe to protect our totems clans and tribes -used with grass costumes and ceremonies about death fertility are male initiation -Ceremonies involved fire drum beats and chanting -Reenacted events from the lives of culture heroes drawn from local oral tradition -Rituals designed to ensure bountiful harvest and an abundance of fishing game -performances in which senior men wear in the masks together with wrestling costumes grass