Art History Final

211. Hokusai, Wave off Kanagawa

1830-1833 C.E. Polychrome woodblock print; ink and color on paper. Form: - Polychrome woodblock print made of ink & color on paper - Ukiyo-e print style Function: - Hokusai responding to boom in domestic travel & corresponding market for images of Mount Fuji - Woodblock prints purchased as souvenirs Content: - Composition arranged to frame Mount Fuji - White top of great wave creates diagonal line leading viewers eye directly to peak of mountain top - Juxtaposition of large wave in forground dwarfing small mountain in distance; inclusion of men & boats amidst powerful waves - Personification of nature, seems intent on drowning the figures on the boats - Mount Fuji seems to be one of the waves - Striking design contrasts water & sky w/ large areas of negative space Context: - Part of series of prints by Hokusai called Thirty-six views of Mount Fuji - Mountain not the only focus in the works of the series, despite name - Kasuchika Hokusai - Went by many different names - Discovered western prints from dutch trade - Created Japanese variant of linear perspective - Dutch influence in low horizon line & Prussian Blue - Mount Fuji - Highest mountain in Japan - Considered sacred - Ukiyo-e prints - Name of Japanese woodblock prints made during Edo Period - Recognizable for emphasis on line & pure bright color, & ability to distill form down to minimum - Ukiyo-e prints extremely popular in Europe - First time Landscape is a major theme in Japanese prints

199. Angkor Wat and Angkor Thom

199. Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia. Hindu, Angkor Dynasty. c. 800-1400 C.E. Stone masonry, sandstone. Built in the 12th century and dedicated to Hindu god Vishnu by King Suryavarman II Function: Not a place for religious congregation; instead a physical home for the gods to lay claim to political office, king had to prove he was superior/more worthy of throne than predecessors by making even grander temples/devotions to Gods Content 1200 meters of carved bas reliefs Enclosure wall separates sacred temple grounds from protective surrounding moat 5 towers mimic 5 mountain ranges of Mt. Meru, the home of the gods for both Hindus and Buddhists; designating Angkor Wat an axis mundi—axis connecting heaven and earth Today used as a Buddhist temple as Cambodia's population is predominantly Buddhist; Buddhist monks and nuns worship at the site

209. Taj Mahal, Agra

209. Taj Mahal. Agra, Uttar Pradesh, India. Masons, marble workers, mosaicists, and decorators working under the supervision of Ustad Ahmad Lahori, architect of the emperor. 1632-1653 C.E. Stone masonry and marble with inlay of precious and semiprecious stones; gardens. Exterior: Enter from the forecourt where shops were set up. As one entered it was the goal to wow the viewer with the elements of symmetry and grandeur. Materials and techniques: Used marble for the exterior of the mausoleum. Red sandstone was used in both the interior, Interior's patterns laced with semi-precious stones such as coral, onyx, carnelian, amethyst, and lapis lazuli. A brick scaffolding was used during construction that mirrored the Taj itself. Built using a post-and-beam pulley system. Content/subject matter: The mausoleum as well as the entire compound was intended to embody symmetry and harmony. Theorized to represent the throne that God sat upon during judgment day. Quranic verses stylized with floral patterns represent paradise. The mausoleum's white color represents purity and priesthood, where the red represents strength and warriors. Function: - The function was to serve as a resting place for the Emporer's wife as well as a symbol for the wealth and power of the Mughal Empire.

193. Terracotta warriors of First Emp. of Qin

Basic Info 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 geniusHowever, his strategies were extremely violent and destructive 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 riversSome evidence points to the fact that he believed in the life-giving power of mercury Context 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

208. Bichitr, Jahangir Preferring a Sufi Shaikh

Bichitr, Jahangir Preferring a Sufi Shaikh to Kings from the "St. Petersburg Album," 1615-1618, opaque watercolor, gold and ink on paper, 18 x 25.3 cm (Freer|Sackler: The Smithsonian's Museums of Asian Art) Form:- This piece uses a mixture of gold, ink and watercolor on traditional asian paper Function:- this would have been originally found in an album that had alternating paintings and calligraphic scriptures - these have now been dispersed In this miniature painting, Jahangir Preferring a Sufi Shaikh to Kings, flames of gold radiate from harmonious fusion between the sun and the moon (thus, day and night), and symbolizing the ruler's emperorship and divine truth. Jahangir is shown seated on an elevated, stone-studded platform whose circular form mimics the disc above. The Emperor is the biggest of the five human figures painted, and the disc with his halo—a visual manifestation of his title of honor—is the largest object in this painting. Jahangir favors a holy man over kings Sufi Shaikh, who accepts the gifted book, a hint of a smile brightening his face. By engaging directly only with the Shaikh, Jahangir is making a statement about his spiritual leanings. --> Emperor favors visitation with a holy man over an audience with kings. Below the Shaikh, and thus, second in the hierarchical order of importance. The unidentified leader, dressed in gold-embroidered green clothing and a turban tied in a style that distinguishes him as a foreigner, The third standing figure awaiting a reception with the Emperor has been identified as King James I of England. Last in line is Bichitr, the artist responsible for this miniature, shown wearing an understated yellow jama (robe) tied on his left, which indicates that he is a Hindu in service at the Mughal court—a reminder that artists who created Islamic art were not always Muslim.

182. Bamiyan Buddha

Buddha. Bamiyan, Afghanistan. Gandharan. c. 400-800 C.E. (destroyed in 2001). Form: stone, stucco, high-relief, rock-cut Buddha Function: located on a branch of the Silk Route— ideal location for merchants and missionaries to practice their faith whilst traveling the trade route Content: Two monumental Buddha sculptures — the larger one is the Buddha Vairochana (the celestial and diety form of Buddha) and the smaller one is Buddha Shakyamuni (Gautama Buddha— the historical figure of Buddha) Context: Inspired by art and cultures of India, Central Asia and even ancient Greek culturw

81. Codex Mendoza

Codex Mendoza, Viceroyalty of New Spain, c. 1541-1542, pigment on paper Function Around 1541, the first viceroy of New Spain, Antonio de Mendoza, commissioned a codex to record information about the Aztec empire--> information about the lords of Tenochtitlan, the tribute paid to the Aztecs, and an account of life "from year to year." Content it shows us a schematic diagram of Tenochtitlan, with the city divided into four parts by water ways by intersecting blue-green undulating diagonals. At the center of the schematic diagram of Tenochtitlan is an eagle on a cactus growing from the midst of a lake. The eagle and the cactus relate to the narrative surrounding the capital's establishment. Surrounding the entire page are year glyphs,]\ There are a total of fifty-one year glyphs--> calender thing Below the schematic diagram of the city are two scenes of military conquest. The artist emphasizes the military power of the Aztecs by showing two soldiers in hierarchic scale: they physically tower over the two men they defeat. Context The cactus upon which the eagle rests also symbolizes the place name of Tenochtitlan. The cactus is a nopal, or prickly pear cactus, which in Nahuatl is nochtli. The cactus grows from a stone, or tetl. When paired together, they form te-noch to connote the place of the prickly pear cactus, or Tenochtitlan. Today's Mexican flag similarly displays the eagle on a nopal cactus growing from a stone in the middle of a lake, relating to the mythic origins of the Mexican capital.

162. Inka tunic

Complete Identification: All T'oqapu Tunic No known artist 1450 - 1540 (Peru) Camelid fiber and cotton Inka people Warp & Weft Thread Two techniques of threading - Warp thread and Weft thread Warp thread: vertical background threads, usually cotton, does not show in final product. Cotton and Camelid Fiber Two main fibers spun into the threads of the tunic came from cotton and camelids Cotton plants grew well on the Andean coast, in a variety of natural colors Most camelid fiber textiles were made with the silky wool of alpacas, which thrived in the highlands These fibers were used because they were dyed easily than other materials such as plant fibers. So when weavers wanted bright colors they'd most commonly used this alpaca wool. Content: Symbolism Individual t'oqapu designs are believed to represent various peoples/ethnicities, places, and social roles within the Inka empire. Covering a single tunic with a large variety of t'oqapu, as seen in this example, likely makes it a royal tunic, and symbolizes the power of the Inka ruler (the Sapa Inka). Function Worn by the king (Sapa Inka) to identify him and keep him warm Tunics like these served as power symbols in the Incan culture with each small insignia, or T'oqapu, representing an accomplishment or history of an individual. The mass of T'oqapu on this tunic ensure to us that it belonged to a royal. Believed the cloth had spirit (camuc) Textiles were also used for maps, quipu (bookkeeping or like numerical storage device) The textiles they produced were then given as royal gifts, worn by the royal household, or burned as a precious sacrifice to the sun god, Inti. Special clothing marked changes in life cycles, both as costume for initiation ceremonies and as a mark of age, social status and distinction. Speicific people wore specific clothes for specific occasions. Cloth was offered to the gods in burnt offerings, used to dress and preserve mummies, and offered in burials. Finally, cloth provided a medium for representing the gods and religious imagery reflecting cosmological concepts Themes: Identity Symbolism Life cycles All three of these tie into each other because the tunic would display what stages in life the wearer was in, as well as individual accomplishments, symbols of status, tribes, ethnicities and if the tunic was created for the royals it would portray certain battle symbols and other symbols that represented the enitirity of the Inca empire. In this work the Al-toqapu tunic was created for the king which is why we see an abundance of different themes and motifs across the tunic Power Authority Wealth and Status Materials and technique

163. Delaware bandolier bag

Complete Identification: Bandolier bag no known artist 1850 C.E. Beadwork on leather Lenape people Delaware tribe, Eastern Woodland Function: Bandolier bag is worn as a cross-body bag → a strap crosses the chest and allows the bag to rest on the hip Bags were commonly decorative → even those with pockets were not necessarily used to hold anything Men could wear more than one bag at a time Express group identities and social status Especially in the face of displacement → represent the determination and perseverance of Lenape people and Lenape culture Content: There are thousands of beads strung together across the bandolier bag's surface Show mastery of technical skill Based on bags carried by European soldiers that held ammunition for rifles Large in size Trade cloth (cotton, wool) and hide are used as the base for the bags and straps Seed beads (tiny glass beads) are acquired from trading with Europeans Prized for color Replaced porcupine quills as base for colors in the bags Porcupine quills would be dyed and woven into the cloth Silk ribbons are also used for decoration → gained from trading as well Expanded the surface of the bag in an interesting way Trading with the Europeans allowed for new materials to be added as decoration to the bags Replaced further quillwork and dying of the bandolier's fabric Beads would reflect sunlight, ribbons would flap in the wind Red wool tassels on the bag are attached with metal cones → add more colors and textures Designs Abstracted and asymmetrical White beads act as contour lines Each side is slightly different in design Small size of the beads allows for more intricate designs than quillwork Contrasting colors could represent Sky and Underworld realms Design could also represent cardinal directions, as they go in four different directions Themes: Materials and symbolism Relationship with nature Colonialism Effects on culture Effects on art Lasting effects of displacement and cultural diffusion/dispersement

175. Mende Sande Society mask

Complete Identification: Bundu mask No known artist 19th to 20th century Wood, cloth, and fiber Sande Society Mende peoples (West African forests of Sierra Leone) Themes Performance Pieces Idealization & Abstraction Gender Issues Function Used in public masquerade that celebrates a girl's maturation Sowo Ideal image for young girls Context Ceremony Mende people Sierra Leone Patrilineal, patriarchal, & polygamous Secret Poro & Sande societies Climate and geography both influence the artwork Form Dark, painted wood material forming a head resembling a thimble Small face & features Geometric designs w/ ring of separation Top of head has points perp. to face Fibers (hair) → wild Content Part of a full costume Ideal image contrast w/ white clay Mask itself is idealized → physical & moral beauty Neck rings → fertility & good health Women representation/gender roles 4 lines = scars (ideal)

160. Qorikancha, Cusco

Complete Identification: City of Cusco, including Qorikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman) No known artist c. 1440 CE, convent added 1550-1650 CE Andesite Inca Central highlands, Peru, elevation of 11,200 feet Form: Red roofs Buildings are close together The city was built on a flat valley that is surrounded by a mountain range -- ideal place for a settlement Fertile land Fed by several rivers Extremely organized Technical stone constructions Stones at Sacsayhuamán are huge (two or three times the size of humans) Urban layout Function: Capital of Tawantinsuyu ("Land of the Four Quarters," name for the Inca empire in Quechua) Divided into four quarters that represent the four divisions of the empire People in each section are specific to that division Two main sections → hanan (upper/high) and hurin (lower) Axis mundi → center of existence Inca rulers and nobles lived in Cusco, as well as local leaders Women came to Cusco to become acllas ("chosen women"), to weave cloth for deities and nobles, and to make chicha ("corn beer"), serve in shrines, sometimes chosen for marriage Men brought to Cusco for education Gods and mummies kept in the capital Qorikancha In the center of the hurin Most sacred shrine of the Inca → to the sun god Inti Imaginary lines called ceques connected to other shrines Was later turned into a Christian temple Monastery of Santo Domingo built around it Sacsayhuamán Built as a fortress, but function is debated Left unfinished? Possibly because of colonization Ancestral conditions Content: City is thought to be laid out like a puma (symbol of strength) The stone construction shows the advanced ability of the society with aesthetic values and structures The nobles' houses were separated from the rest of the city The architecture and urban layout solidified the city's importance as a political power Masonry demonstrates understanding of how stone is put together Each stone was modified with tools so that it fit with its neighboring stones (some had up to 12 sides because of this process) Stones had room for a little bit of room to wiggle → so that earthquakes would not destroy it Gods (captured) and mummies in the city were used to further control followers City represents 3,000 years of indigenous and autonomous cultural development in Peruvian southern Andes Qorikancha Ceques radiating from Qorikancha also served as markers of time and "landscape calendar and cosmogram" Renovated by emperor Pachacuti Inca Yupanqui He had a divine revelation → divine king Doorways and wall niches are Inca trapezoids Doorways are double-jammed to signify importance The exceptional masonry is reserved for important buildings Walls covered in thin sheet of gold → representing the sun (Inti) Inside → garden made out of jewels and precious metals (with people, animals, plants) Later stolen and melted down by conquistadors Sacsayhuamán Northwest of Cusco Parts could have been left uncompleted → possibly because of colonization Stones are much larger than the ones used for the Cusco houses Quarried and hauled into place using manpower Under the mit'a → labor tax applying to all able-bodied people canchas (housing units)-- kept intact architectural components and works of art inside structures Themes: Converging cultures Domestic life Urban experience Sacred spaces Religion, divinity Social hierarchies Gender roles in society Culture before and after colonization Architecture and artistic innovation

174. Chokwe Pwo mask

Complete Identification: Female (pwo) mask, Chokwe people, Democratic Republic of Congo, early 20th century, wood, plant fiber, pigment, copper alloy Form Ideal features including wide forehead, small nose, calm expression, healthy (reddish brown) complexion, delicately rounded ears, mouth, and chin Function Made to honor fertile, young mothers Matrilineal society Also honor the founding female member of Chokwe Used during male initiation rites to teach young boys about how they should behave as well as to show them the type of ideal woman (who is like Pwo) that they should be looking for as a wife Danced for serious reasons and as for entertainment sometimes with the Cihongo (founding father) mask Show the beauty of woman and their fertility Content Cingelyengelye on forehead and cheeks (tattoos) Pwo- the founding mother and deity who represents fertility This mask represents Pwo Mwana, who is the younger and more idealized founding mother The huge eyes suggests that she is on a different level or spirituality/ power and her wisdom is so great The ideal woman and virtues: her hairstyle was fashionable and the women could really see themselves in the mask when it was being performed: ideal womanhood Context Depicts a female deity (Pwo) because she is used to help teach the boys being initiated into the society as men what appropriate behavior towards women is and how they should respect them Young and fertile and has successfully given birth: influence women that it is their duty to their Chokwe lineage by bearing children and taking care of them Respecting her bravery and courage to give birth to a child: she is so important because the Chokwe people hold a lot of respect for female deities, female ancestors, mothers/sisters/wives because they are a matrilineal society where the ancestry and inheritance is passed through the line of the mother Themes Spirituality Femininity Beauty Fertility Bloodline Coming of age

156. Serpent Mound

Complete Identification: Great Serpent Mound Earthwork/effigy mound c. 1070 C.E. Adams County, Ohio (created by Fort Ancient peoples of the Middle Ohio River Valley) Remains in original location. Function: Snakes, which were seen to have supernatural powers, were often incorporated into spiritual rituals. The astrological alignment of the serpent—the head aligns with the summer solstice sunset and the tail with the winter solstice sunrise—suggests that it was used to mark the seasons. Similarly, the curves in the serpent's body may follow lunar phases or equinoxes. It's possible that the snake is swallowing the ovoid shape at its head, which could represent the sun. Perhaps the swallowing of the sun was meant to document a solar eclipse. The direction of the (North) Pole Star aligns with the first curve of the serpent from its head; thus the serpent may have served as a natural compass. It also may have represented the constellation Draco, which included the Pole Star. Created around the same time that Haley's Comet appeared—may have marked this astronomical event. Although burial sites from the earlier Adena culture nearby indicate a possible burial purpose for the serpent, no archaeological evidence suggests this. Scholarly debate over the mound's purpose (clearly) continues. Context: Created by Native American tribes (primarily the Fort Ancient culture) who lived in the valleys of the Ohio, Missouri, Mississippi, and Illinois rivers before settlers of European descent came to the region in the 19th century. The people who made this mound lived in settled agrarian communities; farmed squash, maize, and beans (the "three sister" crops); had a stratified social hierarchy with a large labor force, and did not leave behind written records. Effigy mounds of animal figures were common creations of the tribes of the Upper Midwest; however, many of these mounds were destroyed by the plows of European settlers. Many of these cultures believed snakes to have supernatural powers; tribes of the Middle Ohio Valley frequently made copper serpentine figures as well. Geography: the mound follows the topography of a high plateau over Ohio Brush Creek—the serpent's head points to a cliff overlooking the creek. It's speculated that the plateau's lizard like shape evoked (and inspired?) the creation of the serpent. Geology: a meteor struck the site 250-300 mya, creating folded bedrock. The Fort Ancient peoples lived in densely populated agrarian villages of 100-500 residents, composed of circular or rectangular houses surrounding an open plaza. In addition to agriculture, some members seasonally lived and traveled in hunting groups, supplementing their diet with deer, elk, turkey, bear, small game, nuts, fruits, and berries. During this period (after 1000 A.D.), the culture shifted from making burial mounds to cemeteries surrounded by trash and storage pits. The Fort Ancient culture lived contemporaneously alongside the Mississippian culture, which built Cahokia and heavily emphasized the theme of the rattlesnake. It's possible that this serpent mound is a testament to the influence of the Mississippian rattlesnake-worshipping practices. Some scholars consider the Fort Ancient culture just to be an offshoot of the Mississippian culture. Perhaps the mound is just a restoration/refurbishment of an earlier mound made by the Adena culture (c.1100 B.C.E.-200 C.E.) or the Hopewell culture (c. 100 B.C.E.-550 C.E.). Form: Dirt Snake effigy mound, the largest one in the world, over 1300 feet long. An average height of 4-5 feet and an average width of 20-25 feet. Thought to possibly be a rattlesnake Depicts a snake with three curves and a tail ending in a spiral that appears to b swallowing a circular shape. The mound conforms to the natural topography of the area The head faces east and the tail faces west Head aligns with summer solstice sunset Tail points to the winter solstice sunrise. Erected c. 1070, although the construction date is entirely speculation and no one, is completely certain of it Is a national historic landmark Content: A snake, slightly crescent-shaped With the snake's head to the east and the tail to the west The ovoid shape at the eastern end of the serpent is thought to be its head, eye, or possibly an egg or even the sun that the snake is swallowing (representing a solar eclipse?) Depicts a large snake, possibly a rattlesnake Many Native American cultures east of the Mississippi believed the snake to be a powerful deity of the underworld. Vocabulary: Effigy: a model or sculpture Themes: Display Power-authority; images of the Divine Animals in art Myth Sacred Spaces

173. Baule portrait mask

Complete Identification: Portrait mask (Mblo) Owie Kimou Early 20th century C.E. Wood and pigment Baule Peoples Côte d'Ivoire (Ivory Coast) Function Entertainment mask-- used in personal shrines and masquerade performances - Mblo wooden masks were used for dancers specifically - Were stored away and placed in secret when not in use - Not meant to be hung on a wall and appreciated simply for their physical appearance - Has power to act with simply its presence-- communicate with ancestors and spirits - Meant to honor a respected member of Baule society Content: The mask is an idealized portrait of Moya Yanso A women known in Kami for her beauty and incredible dancing ability Mask displays her at her prime High forehead and small mouth → convey intelligence and posture Left eye is slightly higher than right eye → gives feeling of complexity The folds near the mouth → conveys age The brass → would shine in the sunlight to represent health Could be a slight representation of animals with the horns The horns represent abstract hair, although the hair is usually not abstract -- represents Moya Yanso's inner beauty Cross Cultural: Both the Mblo mask and the Kuba ndop are idealized portraits Embody character traits → wisdom and reserve But they have very different functions Mblo mask is for performance → Kuba ndop is a decorative status symbol Themes: Display History/memory Performance Identity Power and authority Abstraction and idealization → the human body Portraiture

164. Kwakiutl transformation mask

Complete Identification: Transformation mask no known artist Late 19th century Red cedar wood, paint, and string Kwakwaka'wakw Northwest coast of Canada Form: Large, exaggerated bird head Large beak Opens to show a human face Multiple bright colors Hair made of string Function: Creates a powerful effect during ceremonies Worn during potlatch where the host displays his status Conveyed a high social status Portrayed family genealogy-- could contain family crests Passed between family members of a clan Content: In the shape of an eagle Pull chords and the mask opens The open form seems like a bird spreading its wings The human face is of an ancestor Uses elements of formline style Bilaterally symmetrical when opened Uses wavy, calligraphic lines The eyes and other forms are ovoid (oval) shaped S and U shapes are frequent

159. Moxtexuhzoma II headdress

Completely Identify Ruler's feather headdress (probably of Moctezuma II) Unknown Artist 1428-1520 CE Feathers, gold, wood, plant fibers Aztec People Mexico Form Materials: Feathers, gold, plant fibers, wood, leather, paper, textiles, and gilded brass 3.8 feet tall, 5.75 feet wide Feathers mounted on wooden sticks layered in semi-circles with small plates of gold Originally included a golden bird beak Each of the 450 feathers is a tail feather from a different bird, specifically quetzals and contigas Function Thought to have ceremonial purpose Was carried on a long stick through town Performed in as part of a costume Feathers were a very important part of the Aztec Economy Art made of feathers were seen as a symbol of wealth and status Were used to create fans and shields as well as headdresses Were also a part of a warrior's clothing Especially rare feathers were received as payment from cities conquered by the Aztec Empire Content Vibrant colors and rare materials indicate importance and status Took a long time and much dedication to make, as each feather was retrieved from a different bird Feathers used in this headdress are from birds located in the Yucatan peninsula, meaning that extensive trade was required to acquire these feathers Quetzal tail feathers from the male birds, each of which carry only two long tail feathers that are used in the headdress Made by amantecas (feather workers) who were highly skilled artists and lived in a special quarter of the capital Context Presumably belonged to Motecuhzoma II, ruler of the Aztec Empire Capital of the Aztec Empire was Tenochtitlan (present-day Mexico City) Acquired by Hernán Cortés, a conquistador who led an expedition that led to the fall of the Aztec Empire Sources vary on whether the headdress was gifted as a diplomatic gesture or taken forcefully First mentioned in European inventory as a "Moorish hat" in 1596 when it was acquired by Austrian Archduke Ferdinand II von Tyrol Displayed in ethnology museum in Vienna (now called the Weltmuseum Wien) Mexico has claimed ownership of the headdress and has been asking for its return since 1991 The museum of Austria suggested a replica be sent instead, claiming that the original would be destroyed if it was transported Themes Power/authority Performance Identity Wealth and status Innovation: Materials

166. Maria and Julian Martinez vessel

Completely Identify Date: 1939 Artist: Maria Martinez and Julian MartinezMaterial: Blackware ceramic, pigment, volcanic ashCulture: PuebloLocation: New Mexico Context Although women did not have official religious/ceremonial roles and authority, Puebloan rituals centered on mimicking female reproductive ability, and women were afforded respect in the domestic sphere. Form Ceramic mixed with volcanic ash to make it black. pot made by building up coils, not shaped on a wheel. Above image is an olla (rounded pot) from the Bandelier National Monument. Function Maria Martínez and Julian Martínez's pieces became known as fine art and were purchased from them as such. Historically, ollas and similar dishes held water, stored seed and grain, and were used for cooking. ContentImages on the pots were often based on natural phenomenon, such as rain clouds, bird feathers, rows of planted corn, and the flow of rivers. Vocabulary Olla: rounded pot.Matte: dull black.Burnished: polished with a stone (as opposed to being glazed). ThemesChallenges traditionsImages of (cultural) identityObjects of wealth and status Maria Martínez's pottery is remarkable because she transformed a functional tradition of Puebloan pottery into symbols of her culture and works of decorative art that became status symbols for many American collectors.Cross cultural connections Bushel with Ibex motifs Staff god/ god stick Puebloan pottery is typically a communal art where different people complete different steps. the staff god also incorporates work done by a group women made the bark cloth and men did the carving.

172. Kongo nkisi n'kondi figure

Completely Identify: Nkisi n'kondi (Power figure) Late 19th century CE Wood and metal Kongo Peoples Democratic Republic of the Congo Form: Serves as a power figure (a magical form seemingly carved in the likeness of a human) Imposing figure (leaning forward, wide stance) signifies strength and importance Contains many different types of insertions, including nails, pegs, and sticks that each have different meanings Function: Power figure =a charm carved as human Used as oath during legal disputes, Curated and carved specifically by a nganga, who were spiritual specialists (akin to witch doctors) bless and 'activate' the healing powers of these figures Content: Often contain medicinal combinations inside them, covered by a piece of glass (glass represents the 'other world') These reflective objects symbolized contact with the supernatural Sharp objects/pegs = conflict being resolved Each party would lick the tip of the peg so as to "seal" it If one party was to break their agreement, they would no longer be protected by figure

158. Inka maize cobs

Completely identify: Maize cobs Inka empire, 1440-1533 Sheet metal/repoussé, metal alloys (silver\gold) Ethnological museum, Berlin Formal Analysis (elements and principles): Inka metalsmiths combined silver and copper to mimic the internal and external components of actual corn Art-making process (materials and techniques): The Maize cob was made out of a mixture of copper and silver by Inka metalsmiths It was made so that it retained the lifelike proportions of actual corn, and was thinner on the husk and thicker on the actual corn The Maize cobs kernels were individually sculpted so that they are still visible, just like on actual corn Content: A life sized metal corn cob sculpture made of silver and gold. Mimics the appearance of ripe corn ready to be harvested Sculptural representation of Zae mays Corn was a very important part of life, honoring the corn Context\Audience: Displayed in a metal garden in the courtyard of one of the most important Inka temples, the Qorikancha, in the capital city of Cuzco Inka art (unlike many other Andean artistic traditions) favored naturalistic forms, as seen in this life like portrayal of corn European invaders desired the gold and silver the Inkas had. Some of the earliest Spanish chroniclers record the placement of a garden composed of gold and silver objects among many of the offering and ritual spaces in the Qorikancha (including similar sculptures of the corn) Plants and animals represented in the golden garden cannot grow and survive at every point in the empire, but only at certain altitudes. Maize grows up to a mid-range altitude, metallic maize cobs would have represented one of the most important imperial foodstuffs, used for making the chicha (maize beer) consumed at feasts Intended Function\Purpose: The Maize cob was supposed to be a ritual offering performed by the Inca government or state religious officials Many gold and silver objects as well as some textiles were used as offerings and sacrifices in the Inka religion The rituals and offerings help retain Inka offical's power (the Qorikancha's garden reinforced the Inka's divine right to rule) All these offerings acted as symbols of the supernatural origin of the Inka's in the Sun, and their control over the natural world as descendants from the most powerful deity Artistic Innovation\Convention: Inkan metalsmiths were able to sculpt silver, copper, and gold alloys into realistic animals and objects Thematic and Cross Cultural Comparisons: Power/Authority Religion Naturalistic artwork

221. Marshall Islands navigation chart

Completely identify: Navigation Chart(s) Unknown artist(s): Marshallese navigators (ri-metos) Marshall Islands, Micronesia 19th to 20th century C.E. Wood and fiber Pacific art Content: Chart is a form of a Rebbelib (a chart that covers most or all of the Marshall Islands) Used for navigation between the Marshall islands in eastern Micronesia Composed of wooden sticks: horizontal and vertical acted as supports and the diagonal and curved ones represented wave swells Small shells represented where all the islands were Assortment of wood, fibers, and shells Arranged to show and indicate various regional Marshallese geographic locations such as coral atolls Context\Audience: Shows the ingenuity of the Marshallese ri-metos, despite Europeans initially believing they were primitive Micronesians in the northwestern pacific are renowned for their navigational skills, particularly regarding these navigation charts The Marshallese navigators were able to utilize natural ocean swells to navigate around vast island chains The Navigation Charts have vital information and serve as mnemonic devices for skilled ri-metos who had great status and social influence because of their navigation skills Ri-metos religiously guarded their charts and treated them as prized social items, the type which would be passed on from generation to generation Intended function\purpose: Used for navigation between the Marshall islands Different charts represented differing degrees of geographical measurement Some represented large geographic areas, while others only showed smaller water features around islands The maps were memorized and not actually brought on the canoes with people

215. Hawaiian feather cape

Feather cape, probably before 1850 C.E., olona fibre, feather, 68.5 x 45 cm, Hawaii Form: Made with feathers and olona fiber (netting made in straight rows) Feathers were attached to the netting in overlapping rows Exterior = red feathers from the 'i'iwi bird, black and yellow feathers from the 'o'o bird Function: Male nobility wore feather cloaks and capes for ceremonies and battle (they were called 'ahu'ula aka red garments) Only high-ranking chiefs or warriors of great ability were entitled to wear these exceptional garments Neckline - curved shape to best fit the wearer The cloaks and capes were given as gifts to sea captains and their crews created by artist who chanted the wearer's ancestors to imbue their power on it Protected the wearer from harm Content: A feather cloak - yellow and red Red = associated with gods and chiefs across Polynesia Yellow = valuable because of their scarcity in the Hawaiian Islands Semi-circular cape is a later development from the trapezoidal shape Feather cloaks and capes were symbols of power and social standing in Hawaiian culture 18th century

206. Forbidden City, Beijing

Context ● Constructed 1406-1420 ○ Beijing ○ Ming Dynasty Following a coup d'etat Moved capital from Nanjing ● Served as the Emperor's Palace for 500 years○ 1924 — end of Qing Dynasty ■ Founding of the Republic of China ● Built as a symbol of power and defensive strength Form ● Ceremonial, ritual, and living space ○ Ideal cosmic order in Confucian ideology ● 961 metres (3,153 ft) from north to south and 753 metres (2,470 ft) from east to west ○ 980 surviving buildings ○ 8,886 rooms. Color ○ Red -->Luck and prosperity ○ Yellow "forbidden"--> Color of the Emperor = Power ○ Black-->Water ○ Green -->Crown Prince's color -->Wood/Growth ● Historic center of Beijing Function The function of the palace was to serve as home to the Chinese emperor and his (or her) court By separating the court from the city on a physical island, the emperors considerably strengthened their influence Content Outer Court (South) — State Affairs ○ Hall of Supreme Harmony ○ Hall of Central Harmony ○ Hall of Preserving Harmony Inner Court (North) — Domestic ○ Palace of Heavenly Purity -->Emperor's residence ○ Hall of Union ○ Palace of Earthly Tranquility -->Empress's residence ○ The 12 Palaces -->Western Palaces (XiLiuGong) & Eastern Palaces (DongLiuGong) Context The palace was operating for over 500 years, so it saw major political, technological and other changes over its lifetime In order to solidify his power he moved the capital, as well as his own army, from Nanjing to Beijing and began building a new palace

171. Democratic Republic of Congo ndop

Context: 1760-1780 Period/Culture: Kuba Form: wood Content: Calm, expressionless face reflects dignity and feeling of royal distance Holds a royal drum and wears a hat (presumably a crown) Not an exact likeness or representation of the king; captures the ideal king Objects like the drum and belt identify an individual king, and the varying geometric motifs and emblem (ibol) distinguish each reign Context: Commissioned in 1710 by Kuba King Mishe miShyaang maMbul at height of his reign Celebrates his generosity and great number of loyal subjects Ndop is record of his reign and solidifies his accomplishments Function: Commemorates accomplishments of the King it portrays Record of the King's reign Kuba peoples did not have written historical records; instead used Ndops Held the king's spiritual essence, thus was carefully protected Source of instruction and inspiration for future reign Themes: Images of power and authority Life cycles History/Memory The human body

196. Silla gold and jade crown

Crown, Silla kingdom, second half of 5th century, gold and jade, excavated from the north mound of Hwangnam Daechong Tomb, 10 3/4 in. / 27.3 cm high (Gyeongju National Museum, Korea, National Treasure 191) Form:- Made from gold and jade - This one is of the headband style that can be found in the south of Korea- Function:- placed in burial mounds when royal family members died -chinese -On special occasions it was worn by high ranking people to show their power and influence - expensive materials and imagery- Context:- Korea was split into three kingdoms and this crown was found in the Silla Kingdom that takes up most of the southeast- this piece shows the connesction that Korea had with the eurasian steppe (thousands of miles of grassland that stretches from central Europe through Asia)- these people used the same burial techniques as the Chinese thats why many pieces of gold and other precious items found with dead kings- other expensive objects that were found in the tomb were ones that have traveled along the silk road - connection to the outside world and influence of other cultures Content:- have three branches coming from the headband which represents the sacred tree that once stood in the ritual precinct of Gyeongju. - connected heaven and earth- the two antlers coming off of the piece represent the reindeer that were native to the Eurasian steppe- coming off of the tree branches are gold disk and jade pieces called gogok - these are supposed to be ripe fruits that represents the lands fertility and abundance

201. Fan Kuan, Travelers among Mountains and Streams

Fan Kuan. c. 1000 C.E. Ink and colors on silk. Form: -Seven-foot long painted hanging scroll composition - Takes advantage of scale to increase grandeur & monumentality of the mountain by decreasing the size of the people - Monumental landscape painting style - Painted things not as seen through human eye - Single composition w/ constantly shifting viewpoint Function: - Expresses cosmic vision of man's harmonious existence in vast/orderly universe - Shows the Neo-Confucian search for absolute truth in nature & self-cultivation - Painting epitomizes early Northern Song monumental style of landscape painting Context: - Fan Kuan was unconventional man for his time - Only surviving work by Fan Kuan - Example of Chinese landscape painting appear long before euros - Mountains as sacred - Painted during Song dynasty

217. Nukuoro female deity

Female Figure, Nukuoro, Caroline Islands, Micronesia, 18th-19th century, wood Function Religious purposes Each sculpture represents a specific deity. Were all labeled with names. Also, every deity was related to a different extended family group, a priest, and a specific temple. Used for a special annual harvest ritual They were given food offerings during this festival Old and rotting wooden figures were replaced during this time The people believed that the spirit of the deity resided inside of the wooden figurine for the duration of the festival. Content Nukuoro deities were believed to inhabit animals, pieces of wood, and wood figures called tino aitu. Sacrifices to the figurine occured each year during the harvest of coconuts, arrowroot, taro, banana, sugarcane, breadfruit, and pandanus (a fibrous fruit). Perhaps the lack of facial detail and the flexed legs provide a "blank canvas" ready to take on a deity's vital force during each festival. In addition to representing deities, the figures sometimes symbolized ancestors. Nails attached to the figures allowed clothing to be added when they took on deities' identities at the festivals. For the female figures, the triangular shape of the pelvis indicates a mandatory tattoo there (te mata) for elite women.

204. Yuan David Vases

Form Blue and white porcelain with intricate designs Vases were modeled after bronzes Function The David Vases were made as an altarpiece along with a incense burner to honor a general who had recently been made into a god due to his supernatural wisdom, power, and ability to tell the future. Made for the altar of a Doaist Temple Was then owned by a Sir Percival David Content Tall white vessels decorated with blue stylized dragons, birds, clouds and floral designs. Elephant-head shaped handles Dedication on the side of the neck of the vessels; believed to be earliest known blue and white porcelain dedication Inscription from one of the vases with date Context The long dedication is one of the earliest known on Chinese blue and white vases. The Blue Porcelain was imported from Iran Chinese expansion into western Asia makes the cobalt blue available These porcelain vases show the traditional Chinese porcelain making with its signature blue glaze on white porcelain and its dragon, floral, and other curvilinear motifs It is one of the most important examples of blue and white porcelain in existence SHOWS TRADE WITH IRAN

153. Chavin de Huántar

Form: - Archeological and cultural site in the Andes of Peru - Architectural complex made primarily of stone - roughly shaped stones for walls and floors - smooth stones for elements and artistic designs inside - Lanzón and sculpture made of granite - Jewelry made of gold alloy - Materials such as granite and gold alloy are relatively nice compared to other similar structures at the time, demonstrates both size of the population making the pilgrimage and the importance of spirituality in the culture. - 10,330 feet above sea level - Temples, especially the first, have a lot of tunnels - No windows, use tunnels to bring in air Function: - Temple and religious center for a supernatural being that was their primary god - An important pilgrimage site that drew people and offerings from all over - Designed also to unify the people of a previously distant and unconnected Pre-Inca Peruvian society - Held many spiritual ceremonies and rituals as well as near constant prayer and tribute to the gods, especially the supernatural anthropomorphic being depicted in several of the site's sculptures. Context: - The culture that built it was known as the Chavín Cult - Was the capital and religious center of the Chavín Cult's members and the pre-Incan civilization. -Was constructed over many stages and years, but primary construction took place in 900 BC - Had been continually occupied by various Incan groups and descendants up until 1940. - Geographic location very important and purposeful, known as the Ancash region - Allowed for lots of migration and pilgrimage, especially from the Southern Highlands and Coast - Set at the connection of two of Peru's largest rivers, allows for easy access - The site is in a valley of an otherwise very mountainous Andes region - Allows for agricultural production of potatoes and maize - Includes artifacts and stylistic elements from all over Content: - Transportation of ceramics, textiles, and other moveable products - Consists of the old and new temple - old temple is "U" shaped and built around 900 BCE - new temple built around 500 BCE, which made it larger and added a sunken court - Includes a large stone carving and sculpture of the supernatural being for whom the temple was originally built. - Also included similar mysterious, supernatural, and spiritual art throughout - The serpent motif was a nose ornament found there used and worn by elites of the Chavín culture to demonstrate status and power. - Includes quarried stone buildings, terraces around plazas, an internal gallery, and plentiful anthropomorphic artwork in an ode to the supernatural being Themes: - Religion - The central hub, cultural and spiritual capital - Nature, landscape - Relationship between humans and the environment - Power and authority - Legend/mythology

194. Funeral banner of Lady Dai

Form: -The Funeral Banner of Lady Dai (Xin Zhui) was made in the 2nd century B.CE and is comprised of painted silk. -funeral banner ? Function: -The function of the banner is not certain -It is known that is had some connection to the afterworld -Possibly were used as "name banners" used to identify the individual being buried during a mourning ceremony (1972) -Also, could have been burial shrouds that assisted the soul on its journey to the afterworld -It also was a clear display of wealth -Only the most elite could afford these silk banners Content: -It is comprised of four horizontal registers 1. Heavenly Realm -Used to portray the supernatural aspect of the heavenly world 2. Lady Dai and her attendants -Portrait of Lady Dai in an expensive embroidered silk robe 3. Body of Lady Dai with Mourners -Sacrificial funerary rituals 4. Underworld Context: -She was an elite member of the Han Dynasty -It was expansive and powerful stretched to as far as the Roman Empire -Elite lived in an enclosed village around the emperor -Philosophy: Confucianism Daoism (opposite in harmony) -It is an early example of one of the earliest pictorial works in China -Pictorial: Representing naturalistic scenes

177. Luba lukasa

Form: Varied in size but small enough to hold Made of large wood plank with metal and smalls beads of various materials 19th - 20th century Luba People Democratic Republic of Congo Function: Used as a way to record and remember important times and events in the Luba People's society Important for oral history and story-telling Alludes to ancestors and deities, recording names Only specifically trained people can read them Demonstrates hierarchy and class consciousness, as only the most accomplished and senior members of council could read the memory boards These people were known as "men of memory" Readers would hold it in their left hand and trace patterns with their right index finger Content Wooden plank held patterns that touched and helped describe stories and the history of the Luba people Designed to tell stories Luba people were trained to read and memorize lukasas, but this was very difficult for each generation as most of the stories were personal and only told orally Context: At the start of the 1500s the Luba people began to emerge as a powerful nation in central Africa The People wanted to figure out a way to remember their history so their culture would not be lost Specific people assigned by the Luba kings were trained to memorize patterns and colors in order to make a Luba and tell the story on it to the people in the Luba Tribes. This specific one was made between the 19th and 20th century Cross Cultural Connections: This type of storytelling relates to the Benin people who had the Benin wall with plaques of patterns that kept historical records of the Benin people Themes: Oral Tradition Storytelling Maintaining culture Hierarchy Language Record keeping

178. Aka elephant mask

Full Identification: Aka Elephant Mask Bamileke (Cameroon, western grasslands region) c. 19th to 20th Century C.E. Wood Form: Elephant mask composed of colorful cloth and beads Two long panels- represent the elephant's trunk- woven raffia fiber adorns the edges of the trunk Isosceles triangle- geometric designs- sometimes in the shape of an hourglass Two circles- elephants ears . Function: This piece of art was meant to be used in performance- the wearer also wore a tunic and a decorative headdress Purpose was to emphasize the complete power and dominance of the king Content: Black beads- relationship between living and the dead White beads- ancestors and medicines Red beads- life and women Triangular pattern of beads- similar to leopard's spots this animal was also seen as a great symbol of power and authority- required a lot of respect beads imported from Venice and the Middle East- represent great wealth and status

154. Mesa Verde Cliff Palace

Fully Identify Mesa Verde Cliff Dwellings 450-1300 C.E. Sandstone Ancestral Puebloan (Anasazi) Montezuma County, Colorado Form Built directly into the cave Dwellings built both on top and in/along the mesas Over 600 structures Made of stone, mortar and plaster Stone and mud mortar, supported by wooden beams adapted to the natural clefts in the cliff face Shaped the sandstone using harder stones Used chinking pieces to fill gaps in the mortar New building technique from other dwellings that were built using adobe Adobe - type of brick made from clay, sand, straw and/or sticks Composed of architectural units and kivas (see context) The paintings and murals were pigmented with clay, minerals and other organic materials. Function Continued use for ceremonies, though not specifically the Mesa Verde structures Originally both residential and ceremonial Originally covered but now they do not have roofs The space around the buildings was used as a small plaza Circular and rectangular/square rooms for living One room in the architectural unit that was facing the plaza usually used for family gatherings Smaller rooms off the hearth were used as storage rooms Cliff Palace has some unusual structures including a circular tower, which the use for is still unknown Content Kivas- underground circular rooms used for ritual purposes Had a wooden roof held up by sandstone columns (sat on the the top of the columns like a shelf Had a firepit in the center with a vent and a deflector Also had a small hole in the ground called a sipapu for ceremonial purposes Spaces in between Kivas and housing spaces Small rooms off the hearth (storage rooms) had holes large enough to squeeze an arm through to grab anything on may need Plastered and painted murals, many that remain are fragmentary Murals and other paintings decorated the walls Geometric designs, plants, and animals The geometric designs were used to depict the geography of the land Context Mesa Verde means "green table" table refers to the mountains Ancestral Puebloans lived in the Mesa Verde for about 850 years (450-1300 C.E) Not all the people lived in the Mesa Verde, but the structures are the best preserved 500-1300 CE, Ancestral Puebloans were mainly sedentary farmers Originally farmers lived closer to their crops but later they began to lie near sources of water and would walk farther to reach their crops Exact reasoning for the cliff dwellings is unknown, possibly provided protection from invaders, snow, and provided shade. There could also have been a ceremonial or spiritual reasoning Abandoned around 1300 CE probably due to drought, lack of resources, or violence Themes Sacred spaces Man vs nature

161. Machu Picchu

Fully Identify: Machu Picchu Built by the Inca People c. 1450-1540 CE Individual stones (mostly granite) ➝ shaped to fit together Andes Mountains, Peru Form: Ruins of an Inca city Located near the Inca capital (Cusco) Composed of houses & terraces built by fitting individually carved stones together Terraces essentially = steps built into the side of the mountain Slow process of erosion Provide land for agriculture 16 stone channels drain water out of structure or into fountains One fountain may have acted as a ritual bath for the emperor Walls resemble mosaics Wood & thatch used for roofing Entrances, windows, & niches are trapezoidal Observatory Made up of a stone enclosure with windows above a cave structure Context: Originally used as a palace for Inca emperors- Pachacuti Inca Yupanqui- mid 15th century Overlooks the Urubamba river (near modern day Peru) near Inca capital of Cusco, and nearly 3,000 feet lower in elevation In a fertile climate Chosen because of its proximity to Adean landscape- sight lines to other mountains "apus" These mountains symbolize the spirits of ancestors Emperor would only live there for part of the year in a "separate compound southwest of the sight"- shows his "stand alone" royal status Pachacuti believed he was the descendent of the sun or the sun himself- why this work was known as the "temple of the sun" People viewed the sun as divine- emperor had divine rights Content: Main building construction = typical Inca elite architecture Stones shaped to fit one another, not to look uniform Each stone had a protruding side & a concave side that locked them with other stones but allowed for movement during earthquakes Outward faces were always smooth Buildings & layout highlight social divisions Structures for people of lower class were made more crudely & not in the typical Inca elite style Most high status buildings are together in the northeast Emperor lived to the southwest, further symbolizing his status as ruler The observatory is next to his residence, drawing connections between status, royal authority, ritual, and astronomy Pachacuti was claimed as a descendent of the sun (Inti), a position that contributed to his right to rule Was responsible for conducting many rituals Machu Picchu contains many religious structures A testament to the importance the Inca placed on religion & ritual Used rituals to reinforce their relationship with the supernatural force of existence Emperor Cave of the observatory may represent the Inca underworld Structure acts as a representation of Inca myth as much as a center for astronomical study Intihuatana Carved boulder located in ritual sector of Machu Picchu Reflected belief in spirits within the earth Reinforced Inca connection to them Function: Emperor was very spiritually engaged and was the spiritual leader of his people- performed rituals relating to supernatural forces at this site Number of religious artifacts represent power of the emperor The Intihuatana or a carved boulder ("hitching post of the sun")- used sun and shadows to tell the time (religious rituals were very time oriented) Used for astronomy and studying the sky- people went to the high points of the building Area where the elite could gather- plan the fate of the empire, have feasts, and perform religious acts. Recreation of Inca myth- people would travel to Machu picchu and feel connected to their ancestors who also made great pilgrimages Then and now Machu Picchu is burdened by its high visitation rate- difficult to maintain the historical integrity of the site Themes: Sacred spaces Myth Power-authority- divine leaders Symbolism Sun and divine rights of emperor History/memory of Inca people Identity of Inca people Performance (term used loosely- religious rituals were active)

223. Tonga Ngatu Iaunima

Function: The photo depicts a celebration honoring the visit of Queen Elizabeth II Content: Procession of women Their skirts are made of barkcloth and the mats are tapa mats Barkcloth is also known as masi Tapa mats are made from the bark of the paper mulberry tree Context: On December 17, 1953 the queen visited the Kingdom of Tonga, which was the only Pacific nation to retain a monarchy and was protected by the British government Fiji, Polynesia Cloth is presented as a gift in special ceremonies like funerals or weddings and also to commemorate special events Queen Elizabeth witnessed many Fijian traditions and participated in the kava ceremony

220. Tamati Waka Nene

Gottfried Lindauer, Tamati Waka Nene, 1890, oil on canvas, 101.9 x 84.2 cm Function: Preserving the person in history Bring the presence of ancestors into the living world → so the painting could not just show the image/appearance of Tamati Waka Nene, but also physically embody him His attire shows his status Content: Shows Tamati waka Nene- Māori man → indigenous people of New Zealand A Rangatira or chief of the Ngāti Hao people in Hokianga -- from the Ngāpuhi tribe An important war and peacetime leader Estimated to be born in the 1780s and died in 1871

192. Great Stupa, Sanchi

Great Stupa at Sanchi. Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c. 300 B.C.E. - 100 C.E. Stone masonry, sandstone on dome. Form: Stone and sandstone stupa Stupa: domed structures, evolved from earthen mounds containing relics As Buddhism evolved the stupa evolved into a pagoda 50 ft tall Function: Sacred sites and shrines, usually encased in fences, throughout Asia (Site for worship and meditation) Chatra - triple umbrella structure symbolizing the three jewels of Buddhism: the Buddha, the Dharma (doctrine), and the Sangha (community) Yasti - central pillar symbolizing the cosmic axis, supports chatra Dome - symbolizes dome of heaven enclosing the earth Gateways - also known as Toranas: face in cardinal directions Context: Stupa's not originally Buddhist, but Buddha's remains were buried in a stupa creating new tradition Emperor Ashoka divided up those remains into many locations throughout India,

168. Great Mosque, Djenne

Identify: - #168. -Great Mosque of Djenné. -Founded c. 1200 C.E.; rebuilt 1906-1907 -flood plain of the Bani River in Djenné, Mali -Adobe mud brick Form:-Made from cylindrical adobe (mud brick) -made by hand with contribution from the whole society-- complex organization of society -"rectilinear and partly enclosed by a wall"-Supported by massive pillars-Topping the conical pillars are ostrich eggs- Contains a mihrab Function: -sign of the chief's religious devotion to Islam - Mosque, center for prayer and community. Still has a practicing congregation- political symbol to Europe- "Epicenter for religious and cultural life"- Location of Crepissage, a festival dedicated to the replastering of the mosque.- The replastering is a communal effort. Content:- 3 minerets- Earthen roof- Qibla faces Mecca-Terracotta lids cover holes on the roof-Timber poles poke out of the mosque called torons for decoration and climbing the mosque for replastering -stairs symbolize transition from everyday life of the marketplace to a sacred place. Context: -oldest known city in Sub-Saharan Africa -largest mud-brick structure in the world - Has been rebu'ilt 3 times, the original, in 1830s, then by the French in 1906- Current version built in 1907 - African chiefs quickly adopted Islam -built in a marketplace - Built by first converted Muslim ruler in Djenné (Koi Konboro)- Islamic culture had a huge impact on the region. -Mali emerged as a powerful empire, allowing it to be very prosperous - Ostrich eggs represent fertility- Tombs of great regional Islamic scholars are adjacent to the mosque.

170. Sika dwa kofi or Ashanti golden stool

Identify: 170. Sika Dwa Kofi, c. 1700 CE, Asante People (South Central Ghana) Form: Gold over wood and cast-gold attachments Carved using a single block of wood & w/ Asante methods Has a crescent shaped seat that is held off the ground by a flat base Function: This stool is the divine throne of the Asante People Bells on this stool warn the king of danger The stool is used in celebrations and processions "Believed to embody the spirit of the Asante Nation" Nobody is allowed to sit on it so they keep it on its side Content: Two bells are tied to each end of it representing divine spirits or kings Gold symbolizes royalty Context: The Ashanti are the largest ethnic group in Ghana today The stool is so sacred it has never been placed on the ground or sat on. The stool is more important to the Asante People than the king/Asantehene Validated by the stool, the Ashanti flourished The king was views as a divine medium between his people and the spiritual realm Ashanti are a matrilineal society where line of descent is traced through the female, but the personality and soul of a peson comes form he father. The kingdom was rich in gold, so it is pivotal to the art

218. Torres Strait mask

Identify: Location: Australia, Mabuiag Island, Queensland, Torres Strait. Currently: Metropolitan Museum of Art Date: Mid- to late 19th century C.E. Materials: Turtle shell, wood, fiber, cassowary feathers, resin and paint. Function: Ceremonial significance to the Torres Strait Islanders Ritualistic uses Male initiation Funerary Rites Associated with hunting and warfare rituals Enhances the effects of rites performed to produce plentiful a plentiful harvest, as well as fish and game animals Displays the connection between humans and animals in ritual Ceremonies included performances by senior male dancers surrounding a campfire The bird might have represented the wearer's personal totemic species Believed to help the wearer have access to supernatural spirits Context: Torres Strait is between Australia and Papua New Guinea and has many small mostly uninhabited islands. Diego de Prado, a Spanish explorer, first found works that used turtle shells in this way in 1606

157. Templo Mayor, Tenochtitlán

Identify: Mexica (Aztec people) Unknown artist Tenochtitlan, Mexico 100 by 80 meters, 90 feet high Tenochtitlan, Mexico (present day mexico city) 1325 CE Rebuilt 6 times Myth Summary associated with war god aspect of temple: Huitzilopochtli's mother, Coatlicue (Snakes-her-skirt), became miraculously pregnant. Her daughter, Coyolxauhqui, became angry when she heard this, so with her 400 brothers, she attacked their mother. Right away, Caotilcue's son, Huitzilopochtli emerged out of her womb, fully grown, clothed and armed to defend his mother on the mountain called Coatepec (Snake Mountain). Eventually, Huitzilopochtli defeated his sister and brothers, then beheaded her and threw her body down the mountain and her body broke apart. Huitzilopochtli became the patron deity of Mexica. Form: Volcanic stone and covered in stucco the post classic period and Mesoamerican style A large symmetrical building with twin staircases leading up to two identical temple towers Was a focal point of the society and taller than all the other buildings Content: Main temple of the Mexica people Design is inspired by Mexica mythology Either side of the temple was dedicated to and represented the two primary gods Wooden statues of the two gods were inside of the two temples God of war and sun on one half Huitzilopochtli Included sacrificial stone and standard bearer figures and serpants This side of the temple represents snake mountain or Coatepec South side of the temple Painted red → symbolic of the dry season during the winter solstice Steps leading to Huitzilopochtli's were painted bright red, symbolizing war and blood Stairs also had sculptures of snake heads with feathers God of rain/agriculture on the other half Tlaloc Included altar of the frogs and chacmool sculpture to receive offerings This side of temple symbolized the mountain of sustenance, which produced rain and allowed crops to grow North side of the temple Painted with blue stripes → symbolic of the wet season during the summer solstice Stairs leading to Tlaloc temple were blue and white, again representing water Stairs also had sculptures of snake heads with blinkers These halves were very contracting to each other, showing a value in balance and harmony of opposites in nature from life and death, peace and violence, power and humility. Function: A place of worship for their gods, Tlaloc and Huitzilopochtli Rituals, ceremonies and reenactment of their myths Panquetzaliztli ("Banner raising") performed Honored Huitzilopochtli's triumph over Coyolxauhqui Gifts were offered to Huitzilopochtli Tamales were eaten and there was dancing Reenact the myths associated with Coatepec A representation of Aztec warfare and conquest as well as their power Context: Aztec empire was from 1345 - 1521 CE Tenochtitlan, Mexico (present day mexico city) Sacred precinct and center of former mexica empire On on island in the middle of lake Texcoco Means "The Greater Temple" A UNESCO world heritage site Taken apart and destroyed by the Spanish in 1521, remains were buried When the Coyolxauhqui stone was found, the site of Templo Mayor was also rediscovered Now the temple is an excavation site of ruins Thousands of ritual objects have been recovered related to the temple Included objects from other cultural traditions showing the Mexica awareness, value, and appreciation of past culture, such as the Olmec mask The aztec Invasion of neighboring territories to spread Aztec ideas and religion Tenochtitlan dominated smaller city states to establish itself as the capital around the 12 cent CE Constant threat of military intervention maintained the order Tenochtitlan could hold 200,000 people by the 16th century Was a Trade center Gold, pottery, food exports Coyolxauhqui Stone Form: C. 1500 Volcanic stone Found in Templo Mayor in 1978 A Monolith relief carving and was originally painted red orange white and blue Content: Connected to warfare and the sun→ was located at the base of the huitzilopochtli side of temple Depicts the Aztec goddess Coyolxauhqui (Bells-Her-Cheeks), sister of the patron god, Huitzilopochtli (Hummingbird-Left), who was killed by her brother when she attempted to kill their mother. Graphic imagery depicts themes of death and chaos. She is beheaded and dismembered Items mark her status, but the goddess is naked connecting to motherhood but Also symbolizes Humiliation and defeat Function: A sacrificial stone Used to transformed temple into a symbolic coatepec ("snake mountain") by placing it at bottom of structure to reenact their myths to honor Huitzilopochtli During the monthly festival of panquetzaliztli, war captives were killed and rolled down the structure so that they landed on the monolith to reenact and symbolize the defeat of Coyolxauhqui who fell off the snake mountain Ritual was to assert power and authority over enemies of Mexica and make them fear Mexica War captives were killed in a way that mirrored the death of Coyolxauhqui Calendar Stone Form: called the sun stone From 1502-20 CE Discovered in 1790 Basalt, Originally painted Content: angry face resembles sun with open mouth and ear spools to symbolize elite. Possibly of Tonatiuh the Aztec sun god Related to aztec myths of the five suns which is the creation all previous eras of the world including the current, or fifth era/ sun called four movement Prophesied the 5th era will end in death by earthquakes, relating to the volcanic landscape 20 symbols → the days of the calendar Arrows point in cardinal directions to symbolize quadrants of the universe Tenochtitlan was also divided into four quadrants, capital represents center of universe Fire Serpents represent time→ carry sun across the sky Includes a Symbol of Montezuma II→ dates to his reign Function: Modern day Emblem of mexican culture Records the origins order and structure of the universe Tells story of cosmos History of creation and time Olmec-style mask Form: C. 1200-400 BCE Small Polished sculpture made of jadeite Recovered at the site of Templo Mayor From Olmec culture, before the Aztecs In Gulf coast of mexico→ distant in geography and time Content: Human face comparable to a baby's with distinct Olmec style Function: Was and Offering buried in the temple in 1470 Aztec collected them and ritually buried them to offer to gods Aztec collected objects from many different culture→ connection between cultures Shows the vast trade networks of mesoamerica Context: It was from 1000 years prior to Mexica's existence in Teotihuacan → Mexica people saw it as valuable and historically significant Shows Aztecs revered past culture and cared about history Olmecs thrived and had enormous pyramids that the Aztecs admired and believed the fifth sun was born

167. Great Zimbabwe walls

Identify: c. 1000-1400 CE Shona people Southeastern Zimbabwe (Great Zimbabwe) Form: Coursed granite blocksno mortar held the blocks togetherAshlar masonry: carefully cut stone walls made without mortar Conical tower is surrounded by the circular wall of Great Zimbabwe and was built with same type of stone as the circular wall Unique style because of location, not influenced by islamic architecture Function: was a royal center where kings governed (symbolized their power) The wall separated the commoners from the royal families The great circular wall was to demonstrate power and protect the houses and the commercial market that it encased. a site for long distance trade The Conical functioned as a granary (symbolized that the ruler is "a custodian of bountiful harvest") A Shona ruler showed their power and wealth by the amount of grain they had. also allowed people to have panoramic views of the country to scope out enemies coming. Also possibly served as a site of some religious rituals Sacred cave in the Hill Ruin that once house the ruler and family Content: The stone constructions of Great Zimbabwe are categorized into three areas: the Hill Ruins(acred cave, 30 ft high walls, cylindrical towers and monoliths with geometric patterns) the Great Enclosure (walled structure with turrets and monoliths, smaller wall parallels the outer wall creating passageways to towers) and the Valley Ruins (evidence of trade site Many discoveries of trade goods from as far as southeast Asia have been discovered at the site.) The wall surrounded 250 clay structures that were furnished with pots, designated areas for sleeping and sitting, and hearths. these may have been for the royalty other clay and thatch homes may have supported 20,000 Built around a cave that held religious importance to the Shona people Large towers connected to the wall to provide a 360-degree view of approaching enemies Some parts of the wall have geometric patterns Context: Great Zimbabwe had 18,000 inhabitants the vast majority lived in mud-brick structures, while elite rulers lived safely and luxuriously inside the walled enclosure Granite blocks were quarried from nearby hills and took decades to transport This structure took over 30 years to complete and demonstrates remarkable skill A soapstone sculpture of a seated bird resting on atop a register of zigzags was discovered within the circular wall--> The sculpture is thought to represent the power of the Shona kings The Conical tower also believed to be made to worship the supreme all creator god, Mwari. Built in a time of great wealth and success of Great Zimbabwe, so the structure was representative of their pride --Great Zimbabwe was part of a large trading network --the structure showed the wealth of kings, but also the city's wealth as Great Zimbabwe as they produced about two fifth of the world's gold --Although they were an inland empire, kings taxed the gold to port cities along Africa's east coast for trade Greta Zimbabwe declined in the 15th century due to lack of gold, shifts in the trade network, and exhausted soil very sophisticated ruins a Themes: Status/class system Authority ritual/ ceremonies sacred space materials and their significance community societal pride and achievement

207. Ryoan-ji, Kyoto

Kyoto, Japan Muromachi Period, Japan C. 1480 CE Current design most likely dates to the 18th century Rock garden Form Zen Buddhism temple A complex of 23 sub-temples Function Built under the patronage of the Hosokawa family (a Japanese clan that held power during the 15th century) Zen dry gardenserve as centers for meditation; encourage contemplationzen = meditation Different theories to what the garden represents:An island floating on an oceanA mother tiger carrying her cubs over the seaSymbol of the Japanese aesthetic concept of wabi (refined austerity) & sabi (subdued taste)The fundamental ideal of Zen philosophyAn expression of a pure form of abstract composition to incite meditation Officially: interpreted as islands in a floating sea; mountain peaks above clouds; constellations in the sky Content Zen dry gardenJapanese rock gardens - characterized by minimalistic perspectives & abstracted formsEnclosed courtyard filled with small stones / white sand with a series of moss islands from which rocks protrudeMeant to be viewed from a veranda in a nearby buildingAsymmetrical arrangementFinding beauty in what is worn / agedReminiscent of a Japanese painting: the rocks function as mountain ranges & the two-dimensional wall functions as an atmospheric space^^reflects the Japanese aesthetic of a mountain obscured by the mist, rather than a mountain on a clear dayThe white sand racked in wavy patternsActs as water / reflective of the waves > a tranquil sea Wet GardenContains a tea houseSeemingly arbitrary placement, the plants are actually placed in a highly organized & structured environment symbolizing the natural worldWater symbolizes purification - used in rituals

200. Lakshmana Temple, Khajuraho

Lakshmana temple, Khajuraho, Chhatarpur District, Madhya Pradesh, India, dedicated 954 C.E. (Chandella period), sandstone Form Made of fine sandstone and ashlar masonry Function Hidu temple is not a hall for congregational worship instead it is the residence of a God Also use temple for cultural events and festivals This was a way to spread cultural values Content The central deity at the Lakshmana temple is an sculpture of Vishnu in his three headed form known as Vaikuntha who sits inside the temple's inner womb chamber Sculpture has a harmonious integration with the architecture Figures are sensuous with revealing clothing Depicts idealized female beauty was important for temple architecture and considered auspicious, even protective Erotic poses symbolize regeneration The ertotic poses were not intended to be provocative, but instead served ritual and symbolic function significant to the builders, patrons, and devotees of these captivating structures Context The Lakshmana temple was the first of several temples built by the Chandella kings in their newly-created capital of Khajuraho At one point in time over 80 temples existed at this site, including several Hindu temples dedicated to the gods Shiva, Vishnu, and Surya.

184. Jowo Rinpache, Lhasa

Lhasa, Tibet Yarlung DynastyBelieved to have been brought to Tibet in 641 CEGilt metals with semi-precious stones, pearls, and paint; various offerings Form: gilt metals with semiprecious stones, pearls, and pain, large sculpture in Jokhang temple Function: considered the most sacred and important Buddha image in Tibet b/c carved by the celestial architect Viswakarma in India during the lifetime of the Buddha Shakyamuni (6th-5th centuries B.C.E.) Content: Buddha Shakyamuni— otherwise known as historical figure of Gautama Buddha gold and bejeweled throne positions signify the moment of the Buddha's enlightenment Context: sculpture has undergone restoration and reconstruction mostly after the Cultural Revolution

212. Mao en Route to Anyuan

Liu Chunhua, Chairman Mao en Route to Anyuan, 1967, oil on canvas Form: - This is based on an oil painting that was done on canvas- this is actually a color lithograph - this is a method of printing using a smooth stone or metal- done by Liu Chunhua Function: - The communist party in China wanted to portray Chairman Mao as a new revolutionary leader- wanted to gain followers throughout all of China Content: - this painting shows a young Mao Zedong (at the time of the painting he was in his seventies) - youth makes him more revolutionary- has a determined face - makes him a strong leader- standing on top of a mountain - ready to conquer anything in his way Context: - This painting was used as a way for the Communist party in China to thank Chairman Mao for his support throughout the years- they also wanted to portray Mao as a revolutionary leader committed to championing the common people. - At this time there was large amounts of conflict over power so Mao had these paintings done to help regain control - this painting in particular shows Mao on his way to lead the miners strike of 1922 -- they wanted better wages, working conditions and education -- this created the bond of Mao with the communist party

198. Borobudur, Java

Located on the island of Java in Indonesia, the rulers of the Śailendra Dynasty built the Temple of Borobudur around 800 C.E-- buddhist Form: Volcanic stone masonry A buddhist model of colossal size 400feet per side at the base and 98 feet tall and has 4 stairway aligned with cardinal points (NSEW) 500 buddha images, 1,000 relief panels and 1500 stupas which vary in size Function: Meaning of Borobudur is highly debated: Most think that it is a cosmic mountain 3 dimensional mandala where worshippers pass through various realms on their way to ultimate enlightenment

195. Longmen Caves, Luoyang

Longmen caves. Luoyang, China. Tang Dynasty. 493-1127 C.E. Limestone. Form Caves along the banks of the Yi river in China. Sculptures carved into the existing limestone, some colossal, some small Linear and abstract motifs are typical of the mature Northern Wei style Dynamic low relief decoration reflective of Chinese style Function Record the lineage of the patriarchs who passed on Buddhism Asserted sovereignty and power Used for assimilation Foreign religion used to affirm superiority Content The site includes 110,000 Buddhist stone statues, more than 60 stupas, and 2,800 inscriptions on steles Central Binyang cave- 508 C.Epreviously painted.pentad grouping of figuresThe Buddha sits on an altar, deeply carved into the rock Fengxian TempleVairocana Buddha has monk attendants bodhisattvas, and guardians flanking his sideHigh relief in a semi-circleImmense size (55ft) shows supreme deityVajrapani, detailed musculature, strength, and animated expressionElongated legs and exaggerated poses Kanjing Temple accurate depiction of arhats, monks long on their way to enlightenment29 in processionCarvings line the walls

214. Rapa Nui moai

Moai on platform C.1100-1600 C.E Volcanic figures of basalt base Rapa Nu Function: The Moai represent the human spirit Used to honor and represent the ancestors of the people. The sculpture was probably made by a high status individual with a significant skill in carving The rock they are made out of is hard and difficult to work with Context: Easter Island is called Rapa Nui by the people who live here. Moai means "statue" Ahu means "Platform" Original Location Shown on a stone platform Orongo - Stone village on Rapa Nui that is used for ritualistic purposes. by the ocean As the environment of the island changed the religion also shifted which led to the end of the creation of the Moai From 1600 C.E, statues began to be torn down Last ones were torn down in 1838 Created by one stone carver or groups of carvers (those who made them were masters in art of making the moai) When the statues were finished they were taken down to the coast by groups of tens to hundreds of people. Used ropes and levers to move them

213. Nan Madol.

Nan Madol, 13th-17th century C.E., Pohnpei, The Federated States of Micronesia, basalt Form: Materials are basalt boulders and prismatic columnsCarved basalt stones from volcanic plugsTransported stones 5-50 tons from mountains to reef without the use of large animals or complex machineryThought to be an engineering masterpiece with such little technology available at the time A system of canals that crisscrosses the ruins"Nan Model" translates to "spaces between Did not use concrete, but instead, a crisscrossing pattern of horizontal logs called stretchers and perpendicular logs on top of them called headers (similar to post and lintel) Function: Remote location meant they did not have to devote many resources towards the military Allowed them to instead concentrate on building a unique capital city complex that became the Nan Model Served as a home to over 1,000 inhabitants Context: Pohnpei, Micronesia Saudeleur DynastyAn early example of a centralized political system in the western Pacific Placed high importance on agriculture and gods 700-1600 C.E. Inhabitants referred to it as the "Reef of Heaven" Content: A system of crisscrossing canals Luxurious palaces for the rulers and smaller houses surrounding for their servants Contained a variety of specialized isletsSome for constructing canoes, holding sacred eels, and preparing coconut oil for sacred ceremonies

197. Toda-ji, Nara

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 Todai-ji = "Great Eastern Temple"Refers to its location on the eastern edge of the city of Nara (Japan's capital) Kokubun-ji = national system of monasteries in Japan Todai-ji - the chief temple of the Kokubun-ji Function Commissioned by emperor shomu as a way to...Promote spiritual unity among the Japanese provinces to unite them under his ruleDisplay his the power, prestige, and piety of the Japanese imperial court Content The bronze Buddha statue was 49 feet in height and required all of the available copper in Japan Upon completion of the Todai-ji and the bronze Buddha, the entirety of the Japanese court and all government officials witnessed the "eye-opening" ceremony Kei School of Sculpture was considered to be the peak of Japanese sculpture by many for its devotion to musculature and realism Ungyo and Agyo sculptures within Todai-ji, each over 8 meters tall and carved out of cypress wood Context Emperor Shomu was motivated to construct Todai-ji both due to his connection with Buddhism and to unite Japanese clans under centralized rule and spiritual unity Todai-ji was built to be the chief temple of the Kokubun-ji system, a series of provincial temples Was designed to be impressive and display power and authority, and all citizens in Japan were required to pay a special tax for its construction, drawing heavy criticism

203. Night Attack on the Sanjo Palace

Night Attack on the Sanjô Palace. Kamakura Period, Japan. c. 1250-1300 C.E. Handscroll (ink and color on paper). (2 images) Form: Emaki- Japanese hand scroll Example of otoko‐e, "men's paintings" The action moves from right to left Strong diagonal lines emphasizing movement Swift, active brushstrokes Handscroll; ink and color on paper Function: Designed to be unrolled and viewed up close Informative about the Heiji Rebellion Content: Vibrant outline and color The characters appear multiple times Narrative scene Tangled mass of bodies Lone archer leads escape from burning palace with commander on horseback Context: Made in the 13th century commemorating a 12th century incident Elevated viewpoint, heightening the scene's value Made during the Kamakura period Valuable historical reference on the period Story:Violence escalates with shoving and colliding carts and warriors The escalation includes stabbing and slashing Sanjô palace incident just part of the Heiji insurrection 1159-60Scroll was part of another setgunki monogatari- "war tales"Precedes Kamakura ShogunateEvents originated in Kyoto

219. Niue tapa

Niue, c. 1850-1900, Tapa or bark cloth, freehand painting Function Tapa were used for clothing, bedding, and wall hangings Tapa would also be displayed on special occasions Still exist today as parts of funeral rituals and burial rights Tapestries could function as a type of currency -- they could be exchanged for food and work/services Used for ceremony or to designate status Worn during rituals, exchanged in marriage or other events, used to wrap babies and sacred objects If a family has no tapa to give away, they are considered poor Content Certain designs and textiles were designed for people with high social standing or rank Important figures and high-ranking individuals would wear these decorated cloths at important stages in their lives Different cultures and islands would present similar pieces of cloth to places they travel to by boat Similar pieces of bark cloth have designs representing local wildlife and marine animals (such as jellyfish and starfish) and occasionally depictions of humans As the designs on a particular piece of tapa cloth are unique to the maker's island, township, or region; all pieces of this type of cloth are unique

210. Ogata Korin, White and Red Plum Blossoms

Ogata Kōrin, Red and White Plum Blossoms, Edo period, 18th century, pair of two-fold screens, color and gold leaf on paper Form: -It is a pair of two- fold screens -Color and gold leaf on paper -Dimensions- 156 by 172.2 cm -Technique was ink and water color -Tarashikomi -Diluting and blending colors -Mokkotsu -"Bonelessness" -Form without any exterior outline Function: -To portray a mastery of interplay of forms, execution of colors and texture, and use of unconventional ink painting methods. -To establish Korin's reputation -To preserve and perpetuate the values and characteristics of the Rimpa movement -To create a piece that matched the function of a traditional Japanese folding door Content: -The painting is both abstract and realistic -The gold leaf background denies the viewer of any sense of time or geographic location -The stream has an un-naturalstic metallic color, but has swirls that show that the water is moving -Sharp tapered contour lines gives the work an un-naturalistic upward tilt -The trees colors and muddy and unnatural and do not have a distinct outline -However, the shape of the plum trees shows that the artist understood how these trees grew (tangles of branches and shoots) -Each screen is hinged at its central hinge -Allows for the viewing of the two-dimensional painting to be seen in three dimensions. Context: -Epitomizes Japanese art -Part of what is known as the Rimpa Movement or "School of Korin" -The movement is known for the combination of naturalism, monumental presence, dynamism and sensuality -It was initially inspired by Chinese literature, but shifted to portraying nature and naturalistic Chinese motifs (example: plum tree) -Although Korin is not the inventor of this Movement -It was seen a century before him -Invented by Hon'ami Koetsu -Painted on screen and fans -Calligrapher, Connoisseur, and Philosopher Cross Cultural Comparison:Van gogh's starry night

180. Olowe of Ise veranda post

Olowe of Ise (died 1938)YorubaIkere, NigeriaCoastal West Africa Form - One of four carved wooden posts, painted with unknown pigment Function - Veranda post, architectural, structural support for palace at Ikere Content - Depicts king seated (focal figure) - Senior wife behind, crowning him, large scale and pose underscore her importance: participating in coronation and political advisor to king - Small figures at feet of king represent a junior wife, trickster god Esu playing the flute, and and at one point a fan bearer, now missing- Emblematic of Olowe of Ise's style; exaggerated proportions, interrelationship between figures, and open space between them - Technical composition conveys close relationship between King and QueenLine of queen's jaw continues by bird's tail Diagonal line of breasts continues in king's jaw and is repeated in his arms Patterns of beads in queen's bracelet repeated in King's crown Context - Influential style in Yoruba culture for centuries - Olowe considered by many the best Yoruba carver ever, died in 1938- Most important of the four veranda posts commissioned, focal point of entry

165. Sun dance hide painting

Painted elk hide. Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Reservation, Wyoming. c. 1890-1900 C.E. 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 Themes: - The individual and society - Ancient vs. modern world - Beliefs and values - Cultural traditions - Nature - The relationship between man and animals - Passage of time

169. Benin wall plaque, Oba's Palace

Plaque: Equestrian Oba and Attendants, Edo peoples (Benin Kingdom), 1550-1680, brass, Fuction: Decorated palace walls. Plaques were made in pairs and attached to pillars in Oba's palace. They show court rituals that occurred in the palace and the order of plaques in the palace show the history of the kingdom. context: At the time this plaque was made, the Beninese mainly traded with the Portuguese empire.

205. Portrait of Sin Sikju

Portrait of Sin Sukju, second half of the 15th century, hanging scroll, ink and color on silk, 167 x 109.5 cm, Goryeong Sin Family Collection, Cheongwon, Treasure no. 613. Form Full length portrait The portrait is facing slightly to the right This is a hanging scroll Function Meant to honor the accomplishments of the distinguished court member and eventual prime minister. Suggests his loyalty to the king and the idea that Sin Sukju deserves respect. Serves as a site of ritual to Sin Sukju's family and helps guide the family's worship. Considered to be a piece of propaganda used to show the dominance of the government over the Korean people. Content Depicts Sin Sukju as an official honored for his service to the court and loyalty to the king during a chaotic period dressed in official robes with rank badge on chest Sin Sukju's rank badge has a pair of peacocks surrounded by plants and clouds He is seated in a full-length view, head turned slightly, only one ear showing common during that time period Wrinkles and solemn expression exudes wisdom and dignity Detail on face contrasts with simplicity of attire Context Sin Sukju is a scholar and politician that rose to status of Prime Minister in 1445 Confucianism is the emphasis on respect for one's elders and ancestors which is an honor that was made by Sin Sukju Rank badges are typically made of embroidered silk and it indicated rank of anyone from local official to the emperor This portrait reflected Korean belief that the face reveals important clues to subject Made during the second half of the 15th century Artists may have collaborated on portraitsInterest and detail on face was furthered when the Jesuits introduced

179. Fang reliquary figure

Reliquary figure (byeri); Fang peoples (southern Cameroon); c. 19th to 20th century CE; wood Form: Wooden carved figure Abstraction - emphasis on the geometric shapes of the object Emphasis on the idea of a guardian figure, instead of depicting a realistic human figure Elongated torso; downcast eyes; closed mouth Powerful musculature Function: Guard family reliquary boxes from the "forbidden gaze of women and uninitiated boys" & evil spirits reliquary - container for holy relics Bones of important ancestors & potent substances/herbs an object with supernatural properties that protects from evil and brings good luck were consulted when considering an important decision used as puppets to teach their ancestral history to young men of the society Content: The head is symbolic of an infant, while the body represents that of an adultHighlights continuous cycle of human developmentEnlarged head - indicating intelligenceBulging belly button & high forehead - newborn traitsInfants form link between living & deadReflects importance of ancestorsBulging muscles contrast with a contemplative/serene, expressionless face and a symmetrical pose to highlight characteristics the Fang people valuedMuscles represent readiness to ward off spirits/humans attacking reliquariesPatient expression suggests honor, tranquility, vitality, and the ability to hold opposites in balance Context: Nomadic people that needed portable reliquaries rather than graves Themes:AncestorsPowerAfterlifeSpiritualityLegacyProtectionWisdomContinuousness of developmentConnection between living and deadPatience & tranquilityStatus/role in society Cross-cultural ComparisonTerra-cotta WarriorsBoth the Fang byeri and the Terra-cotta warriors were crafted for protectionReliquary figure guarded bones, linking living with ancestorsTerra-cotta Warriors guarded the tomb of China's first emperor: Qin Shi Huangdi

202. Shiva as Lord of Dance

Shiva as Lord of Dance 1100 Bronze Function: From the 11th century and onwards, Hindu devotees carried these statues in processional parades as priests followed chanting prayers and blessing ppl . When the worshiper comes before the statue and begins to pray, faith activates the divine energy inherent in the statue, and at that moment, Shiva is present. Content: Sometimes the statues would be adorned in resplendent red and green clothes and gold jewelry to denote the glorious human form of the gods. Context Shiva constitutes a part of a powerful triad of divine energy within the cosmos of the Hindu religion. There is Brahma, the benevolent creator of the universe; there is Vishnu, the sagacious preserver; then there is Shiva, the destroyer. "Destroyer" in this sense is not an entirely negative force, but one that is expansive in its impact. In Hindu religious philosophy all things must come to a natural end so they can begin anew, and Shiva is the agent that brings about this end so that a new cycle can begin. Symbolism cosmic circle of fire = continuous creation and destruction of the universe. endless cycle of annihilation and regeneration moves in tune to the beat of Shiva's drum and the rhythm of his steps damaru, the drum In his upper left hand he holds the agni (image left), the flame of destruction that annihilates all that the sound of the damaru has drummed into existence.

155. Yaxhilán

Yaxchilán located in Chiapas, Mexico What is the geography of the area, and how does it shape its art? The geography of this near Usumacinta River and Piedras Negras as its major rival. It is believed that they built it where is was to show dominance and strength towards their rivals. The architectural styles show a huge contrast to their rivals: shows the huge differences between the two kingdoms (may have been on purpose or lack of communication). There is a loop defends the site on all sides except for a narrow land approach from the south on the river. Content: The site is host to an impressive number of structures and monuments (over 100) Famous for its high-quality relief carvings. Carved lintels (the beam at the top of a doorway) Stairs have hieroglyphic writing and stele (upright wood or stone slab monuments) Structure 23 (most famous lintels): a toot (palace building) and shows Shield Jaguar II's wife (Lady K'abal Xook) (The three lintels on Structure 23)= 24, 25, and 26 depict different ritual moments in the life of Lady Xook showing a narrative Lintel 24: Lady Xook pulls a thorned cord through her tongue so that she can bleed onto paper that fills a basket on the ground before her which is called bloodletting Her husband (Shield Jaguar II) holds a lit torch above her beautiful diamond pattern decorates Lady Xook's huipil Lintel 25: from the central doorway also bloodletting ritual carried out by Lady Xook kneels before a vision serpent, from whose mouth emerges a figure. She holds bowl in her left hand as she looks up towards rising serpent addition, she has on headdress, elaborate bracelets, earrings, and a necklace (jade) In the bowl are pieces of paper stained with her blood. Figure emerging from the vision serpent's mouth has a shield, spear and a war helmet; (like Lady Took) has elaborate headdress, a breastplate and ear spools A glyphic inscription (written backwards) in the upper left corner: the date of Shield Jaguar II's ascension to the throne in October 681 All scenes are carved with great precision and detail decorating the raised surfaces Function: Relief sculptures: (Lintel 45 on Structure 44) show Shield Jaguar II with war captives to commemorate his victory in battles against rival city-states Reinforce the reign of the ruler and his dynastic ties and wife Structure 33: built by Bird Jaguar IV, (like a father to Shield Jaguar II) ordered series of building projects and monuments= to legitimate his rule, insist respect, and show power. Structure 33: placed on the side of the main plaza= making it a focal point for the area and to attract attention of the people The building is narrow: only able to hold a small amount of people: for royalty or elites To show the people their difference in status (lower) Focus on Lady Xook: the ruler wanted to promote his lineage and power through his most important wife (who had more prestige than his other wives) important for showing Shield Jaguar II's power important role of royal women in Maya culture Context: Yaxchilán's dynasty 4th century C.E: Lord Shield Jaguar II who ruled for 60 years beginning in 681 He commissioned famous sculptural works at the site Bird Jaguar IV (heir) followed his father: built buildings and sculptures were created before the city-state collapsed in the 9th century Prior Structure 23: gap/halt in building at Yaxchilán for about 150 years Lintels (not when they were built) but when they were excavated Bloodletting was a common ritual among elites Very common in depiction of Mayan art Ruler, elites (including women): would let blood to honor and feed the gods= ceremony of a building, children were born, or special occasions Rulers needed to shed blood in order to maintain order in the cosmos Rulers were believed to be a descendent of the gods & bloodletting was important for maintaining power and order in the community Bloodletting was act related to rebirth and rejuvenation. -The loss of blood and the burning of incense produced hallucinations: to access other realms. - Lady Took burned the paper to allow the blood to ascend to the gods attract the vision serpent. - Structure 33: Maya Classic architecture Form: -Yaxchilán's central complex of buildings (called the Central Acropolis) -The contour and incised lines of the lintels possess a calligraphic quality, as if they were drawn or painted rather than carved. - Great attention to detail, sophistication, formal: other mayan cultures in vaes and murals -Many of the exteriors had elaborate decorations, - the carved stone lintels above their doorways which have made this site famous -lintels: provide a lengthy dynastic record in both text and image. include carved lintels (the beam at the top of a doorway), stairs faced with hieroglyphic writing, and stele (upright wood or stone slab monuments). - Structure 23: a yotoot (palace building) showing Shield Jaguar II's wife, Lady K'abal Xook -underneath it are the limestone lintels when entering the doorway Themes: Power Authority Femininity Royalty Elite Lineage Gender roles Respect Worship Spirituality Beauty Dominance Strength in war

176. Igbo Ikenga

c. 19th to 20th CenturyPeriod/Culture: Igbo, wood Themes Power Abstraction Form Carved wooden sculpture human face and animal features Masculine Tall > wide Ram horns vary in size Content Ikegna = carved wooden sculpture w/ human face and animal attributes Vary in levels of abstraction Horns → aggression and ambition Carved to resemble whoever commissioned the figure Function Celebrates individual achievement Emphasises power held by those they are carved to represent Kept in the home of the owner/commissioner Reflects status in the Igbo culture Context Made by the Igbo People of Nigeria 19th Century No centralized government

222. New Ireland Malagan mask

high wood, vegetable fiber, pigment, and shell found in north coast of New Ireland c. 1882-83 CE Function: Commonly used at funeral sites Send a farewell off to the dead Celebrate the achievements and life of the dead Also used as a sort of copyright When someone buys a piece, the seller gives up his right to use that particular style again.This stimulates vibration and variance in the malagan displays and masks. Sending off the malagan was very importantSculptures are treated delicatelyThe 'souls' of the dead are said to be transferred to these sculptures Each sculpture represents a specific individual and his/her relationship with ancestors, family members and clan totems.Represents the persons soul/spirit.Not a self portrait Sculptures are burned once the souls leave the malagan sculptures Content: The masks can represent a number of things.Dead ancestorsGes (the spiritual double of an individual)Or the various bush spirits associated with the area The base of this figure is depicted a rock cod, a species which as it grows older changes gender from male to female. The rock cod features in an important myth of the founding of the first social group, or clan, in this area; thus the figure also alludes to the identity of that clan group.

216. Rarotonga staff god

late 18th-early 19th century, wood, paper mulberry bark, feather, 396 cm, Rarotonga, Cook Islands FUNCTION Meant to be a symbol of "manava" or the soul of god 1888- The Cook islands became a protectorate of Britain- in this way the Staff God celebrates paganism and the life native people held before the influx of missionaries and their conversion to Christianity FORM Alternating figures appear to be placed along the spine, alluding to genealogical continuity & Tangaroa's children Represent male & female roles in reproduction Reference to Tangaroa as a god of fertility: Female figures (shown from front) = women in childbirth Male figures (shown from side) = important ancestors Barkcloth wrapping Polynesians would have believed that the cloth was needed to protect deity's spiritual force This force, MANA, is contained within the layers Red feathers and pearls on the wooden head also act as a symbol of MANA If wrapping comes off, deity would leave, and the staff god would be useless Provides deity with clothing, as seeing a god naked would have been inappropriate