Indigenous Americas - AP Art History A Unit 2

Regional subunits of Native North America

-Northwest Coast -Southwest -Plains -Eastern Woodlands -Pueblo. -there was great variance in religious practices and social organization between the regional groups. Commonalities between the regional subunits: -ideas of harmony with nature, oneness with animals (animals were sacred), respect for elders, community cohesion, dream guidance, shamanistic leadership, and ritualistic preparation. -these shared ideas are represented in artwork that includes geometric patterning , mythical or shamanic figures, and animals.

Artistic traditions of the Ancient Americas

-Shamanism -Unity with the natural world -animal-based media -focus on the spirit as opposed to the appearance of a subject -Creation of objects that have a strong function

Altar of the Children (Altar 5) -La Venta, Mexico. Olmec -900-400 B.C.E

-These altars may have served as thrones -Monolithic stoneblocks with a flat top and projecting edge -The front face of most altars follows a typical iconography -Ruler is carved in high relief sitting in a large niche --the niche symbolizes the underworld, source of supernatural power --the ruler's power comes from his association with the gods.

Jaguar Mask -La Venta, Mexico. Olmec -1,000-600 B.C.E. -Mosaic Pavement made of Serpentine

-purposefully covered with clay and buried in several layers of dirt. --The Olmec buried lots of art, potentially for spiritual reasons.

Mesoamerica and Central America

15,000B.C.E - 1,521 C.E. Encompasses what is now Mexico, Guatemala, Belize, and Western Honduras. Three Distinct cultures: Olmec, Maya, Mexica(Aztec) -- each succeeded the other as the other declined. -- Olmec pyramids began as early Earthworks, Mayan temples were 9-level structures with single temples, Mexica culture built similar structures with twin temples.

Chavin

900-200 B.C.E. Andes Mountains Religious Culture -- practiced Shamanism Chavin de Huantar (See above) Gave way to cultures such as Nazca, Huari, Chimù, and Chankas.

Transformation mask Kwakitutl, Northwest coast of Canada. Late 19th century C.E. Wood, paint, and string

A dual image mask. Used in healing rituals by Native Americans The mask is in the shape of an eagle's head with ornate painting and detail --The eagle was symbolic of worshipped deities and was considered to be a healing animal Human face was shown when mask was opened by string - face has some bird-like features Painting in dark red, black, white, and green was used to augment and accentuate the basic form on the mask The transformation is important as it demonstrates the oneness and harmony with nature.

Bloodletting

A process in ancient America intended to induce religious visions and enable the elite to communicate with the gods and royal ancestors. Images were carved to commemorate these events (Chiapas, Mexico-> structures 33 and 40, images found in these architectural complexes are commemorative of the Mayan bloodletting ritual. --These images were intended to transfer life force --> Participatory art, not for passive viewing

Shamanism

A traditional belief in which shamans achieve various powers through trance or ecstatic religious experiences. Shamans: A person regarded as a spiritual leader, connected to and influencing spiritual elements. -- Able to heal the sick and communicate with the underworld and the dead. -- Have devotion to plant and animal worlds and stressed survival and communication with challenging environments.

Effigy

An anthropomorphic or zoomorphic form represented in a vessel

Ancient American Art Regions

Andean South American Mesoamerica Central America

Architecture of Andean region and Ancestral Puebloans

Architecture of the Andean Region: integrated the environment and was a representation of both power and social hierarchy within the culture and community. Layouts of places like Machu Picchu and Cusco serve as evidence for the different living spaces set aside for each of the social classes in the hierarchy of the culture. VS. The ancestral Puebloans, or Anasazi, in Colorado had communal living spaces in which there was no social separation (See Mesa Verde Cliff Dwellings)

Andean Culture

Art of these cultures is connected to nature, using and incorporating natural elements, animal imagery, and plant imagery

Ancient American Art Classification

Before 1500 B.C.E. South of U.S. Mexico Border

Mesa Verde Cliff Dwellings. Montezuma County, Colorado. Anasazi. 450-1300 C.E. Sandstone.

Carefully planned Mesa verde cliff dwellings featured 200 rectangular rooms made from stone and timber, then plastered with adobe. --adobe: clay dried in the sun but not fired Strong ceremonial value to the community at Mesa Verde. --Kivas: an enclosed ceremonial chamber, fully or partially underground in a pueblo. reached by a hole in the ceiling ->Functioned as spiritual centers of communion with nature, counsel houses, storage for ritual items, and places of preparation for private rituals and public ceremonies.

Sacred Cycle

Celebrated events in 2 calendars: on was 365 days, the other was 260 days. --Calendars overlapped once every 52 years. -> Ritual called New Fire Ceremony Aztec (Mexica) Calendar Stone.

City of Machu Picchu -- Intihuatana Stone Central Highlands, Peru - Inka c. 1450-1540 C.E. Granite

Ceremonially, one of Machu Picchu's primary functions was astronomical observatory, as evidenced by the Intihuatana Stone. Intihuatana Stone: located at center of the city - large, flat, ornamentation-free stone which features a projection from the center. --The projection casts a shadow by the sun - precise indicator of the date of the two equinoxes on March 21 and September 21 --Intihuatana means "hitching post of the sun" in quechua - equinoxes the sun casts almost no shadow at a certain point in the day --These intihuatana stones were extremely sacred objects to the Inca people as they were believed to be ties of the city to the gods (found in many Inca cities).

Cultural influences on Ancient American Art

Chavin Olmec Maya Teotihuacan Toltec Mexica (Aztec)

Chavín de Huántar -Northern Highlands, Peru. Chavin -1200 B.C.E. -Stone (architectural complex) -Granite (Lanzon and sculpture) -Hammered gold alloy (jewelry)

Chavin de Huantar > -An important religious center - pilgrimage site and sacred space -Located where two rivers join (Tinkuay - harmonious meeting of opposing forces) - Flat-topped pyramid and u-shaped surrounding (the u-shape and sunken plaza indicate it was meant for large gatherings to worship). >Lanzon Stela: An ornate carved pillar, symbolic of a central figure represented with a feline head and human body. - worshipped - contained within the Chavin de Huantar -would be encountered in a series of dark tunnels at the center of the temple. >Nose Ornament: An example of religious and animal based work--features two bird-like heads attached to the ears of the wearer along with a central nostril position. -Elite and royals wore and were buried with symbolic jewelry to demonstrate connection to deities and religious devotion

City of Cusco Central Highlands, Peru - Inka c. 1440 C.E.

Cusco: Capital of the Inca empire, the symbolic and political center of the Empire. Built in the Shape of a Puma --Symbol of Inca power and the Shamanistic reverence of nature Features similar masonry techniques observed in Machu Picchu. --Stone was regarded as a special sacred material and living rock was often incorporated -> living rock: still attached to the Earth. --Stone was used to convey political meaning and interact with the spirit world.

Painted Elk Hide Attributed to Cotsiogo, Eastern Shoshone, Wind River Reservation, Wyoming. c. 1890-1900 C.E. Painted elk hide

Displays a tribe performing a sun dance ritual. -Vivid images in red, yellow, green, and blue -on the outside, warriors riding horses can be seen hunting buffalo. -> Lack of evidence doesn't clarify if these events are occuring at the same time or separately -> Storytelling like this often took place in paintings on hides.

European Impact

European impact causes archaeologists to rely on alternative sources of information for Native North American art. --Historical sources may be inaccurate depending on whether Native or European sources were used. --Smallpox killed many indigenous people (about 90% were killed by illness introduced by Europeans)- especially in the Incan empire. --Many treasures were destroyed or melted down. --Many art techniques were influenced by the Europeans (such as beadwork)

Mexica (Aztec)

Followed the Teotihuacan and the Toltecs - Ancient America. Central Mexico Existed from 1428-1521 C.E. Consisted of three city-states: Tenochtitlan (Mexica home city), Texcoco, and Tlacopan. Tenochtitlan: location chosen by the god Huitzilopochtli. Expanded through the use of chinampas (artificial islands) Codex Mendoza: documented the history of the Mexica. --Commissioned by Antonia de Mendoza, Spanish viceroy of New Spain. (made by native scribes and painters)

Unearthing the past

Hieroglyphs: Relied on by art historians to contextualize text and image, historical, and artistic elements for those cultures Archaeology: Helps to identify specific traditions of artworks. --Many surviving works of the Ancient Americas were not extracted scientifically and affected the artworks. Ethnographic analogy: interpretation of archaeological remains by comparison to historical cultures. --Helps identify cultural continuities: Present traditional practices and religious beliefs which may give light to past practices and beliefs.

Lintel 25, Structure 23. Yaxchilán. Chiapas, Mexico. Maya 725 C.E. Limestone

In this lintel Lady Xok is alone experiencing a vision of a warrior emerging from a snakes mouth with a spear aimed towards her. Presented realistically Viewers would be small gatherings of...(See lintel 24) Example of the important role elite women played in society.

Inca

Inca: Quechua-speaking people who built an empire in Western South America. (1438-1533) Gained control of the West Coast of South America Inca would relocate groups of people to redistribute uncooperative tribes and workers to where they were needed. --Contributed to rapid growth of the Empire and established a complex system of labor taxation. --labor taxation: required citizens to contribute y providing labor for community managed lands, for construction needs, military campaigns, and textile production. Goods and services produced were redistributed to the population in three ways: --support of religious needs --support of the emperor, construction, and military campaigns. --support of the citizens Incas had symbiotic relationship with stone/Earth

Native North America

Includes cultures north of the U.S. Mexico border from ancient times to the present Indigenous people were widespread -Primarily hunter gatherers

Media produced in Native North America

Including: Earthworks, stone and adobe architecture, wood and bone carving, weaving and basketry, hide painting, ceramics, quillwork, and beadwork The more active, or involved, an artwork is, the more it is believed to transfer life force and power. -Many artworks function as ritual objects to wear, carry, or use during special ceremonies in front of large audiences.

Lintel 24 Yaxchilán. Chiapas, Mexico. Maya 725 C.E. Limestone

Lady Xok: The principal wife and queen of Shield of Jaguar the Great. In this lintel she is performing a bloodletting ritual to commemorate the birth of a son to another of the ruler's wives --She pierces her tongue with barbed cord while her husband provides torchlight --This is done to experience religious visions Appears realistic, nothing signifying it is a vision. Viewers would be gatherings of priests and nobles inside small temples, or for calendrical rituals or possibly supernatural beings (many pieces were placed in elaborate graves) Example of the important role elite women played in society.

The Coyolxauhqui Stone. Tenochtitlan (Mondern Mexico City, Mexico). Mexica (Aztec). 1375-1520 C.E.

Located at base of stairs at Templo Mayor (Tenochtitlan) Stone portrays Coyolxauhqui's dismembered body. --accented by carvings of skulls and bones underneath that could be representations of the Centzon Huitzanahua Aztecs would ritualistically reenact the actions of Huitzilophochtli when he threw Coyolxauhqui's body down from the heavens.

Tenochtitlan (Mexica)

Located directly beneath the center of Mexico City. Templo Mayor located at the center of the city in sacred precinct. --Honored Huizlopochtli. --Contained seven shells of walls. --more walls were built around it, creating superimposition

Black-on-Black ceramic vessel. Maria Martinez and Julian Martinez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. Mid-20th century C.E. Blackware ceramic

Maria Montoya Martinez (1887-1980) created the artwork while her husband, Julian Martinez did the decoration on the artwork. With traditional puebloan pottery techniques being lost, Martinez tried different techniques in order to preserve the cultural art. This vessel is hand coiled (not on pottery Wheel).

Maya

Mesoamerican hierarchical civilization. Emerged from Olmec decline. Known for technological and cultural accomplishments. --Developed the calendar. - Based off of astronomy --Developed most sophisticated hieroglyphics in Mesoamerica. --Built great cities -> Pyramids, temples, necropolises, palaces, and governmental structures Pyramids: "Stairways to heaven" - expressions of power and displays of propaganda for residents and strangers alike.

Aztec (Mexica) Calendar Stone Mexica ca 1400s

Mexica believed the world had gone through previous incarcerations. Within second circle: glyphs of the ritual name days beneath the outer line of dual fire serpents. --each name day depicts how the age ended Center of the calendar stone: 4 previous suns and the face of an Earth monster with her claws holding human hearts. Likely placed on the ground to be the recipient of sacrifices 50,000 pounds (25 tons)

Olmec

One of earliest hierarchical Mesoamerican civilizations Numer of themes and motifs in Olmec art/architecture is repeated throughout the history of Mesoamerica --Recurring motifs like the feathered serpent and rain deity were religiously important to the culture. Most of Olmec art relates to power and the supernatural world. --Olmecs buried some art, possibly for spiritual reasons.

Chichén Itzá El Castillo pyramid and the Temple of Kukulcán. Chichen Itza, Mexico. completed ca. 1000 C.E.

One of the most powerful of the Late Classic/Post-Classic May settlements. Itzá: Mayan-speaking people who arrived in the region around 800 C.E. El Castillo and the Temple of Kukulcán: The most prominent structrue in Chichen Itza. --Oriented to the four compass points --Has a total of 365 steps-number of days in the year. --Kukulcan: A deity approximately equivalent to Quetzalcòatl, the Feathered Serpent.

Colossal Olmec Head. Monument 1 - the Warrior -La Venta, Mexico. Olmec -900-400 B.C.E.

Portrays a powerful face- high cheekbones, hooded eyes, full lips, and a broad nose. Approximately 134 of these types of sculptures have been found The heads were most likely portraits of specific rulers and a testament to their power.

Toltecs

Predecessors to the Mexica (Aztec) -> Seen by Mexica as intellectual and cultural predecessors.

Bandolier Bag Lenape (Creek People) c. 1820 C.E. Beadwork on cloth, cotton, and silk

Produced after European influence on Native Americans Originally used as hunterbags with quillwork --> No longer served original purpose with influenced European designs and materials -> worn in celebtrations This Bandolier bag's strap features white, red, and turquoise floral pattern, a reproduction of European designs brought with the colonists. --These pieces became symbols of achievement for the women who created them.

City of Cusco - Qorikancha temple (which later became Santo Domingo - Spanish colonial convent) Central Highlands, Peru - Inca c. 1440 C.E. Sandstone

Qorikancha temple serves as an example of ancient construction technique -> sanding and shaping blocks to fit tightly together without mortar. Distinguished by the curved surface shown on the front of the building, the Inca originally referred to this site as the "temple of the Sun" --Dedicated to the creator god Viracocha --housed mummies of early rulers and was the center of a network of shrines and temples. The invading Spanish later built the Santo Domingo on top of the temple --Built directly on temple and stripped the temple of gold, jewels, etc. --Statement of disapproval of Incan beliefs and of the European mission to convert the indigenous people to their customs and religious philosophies.

City of Machu Picchu Central Highlands, Peru - Inka c. 1450-1540 C.E. Architectural complex - granite

The City of Machu Picchu: the royal country estate of the Inca ruler Pachacuti. (between two peaks in Andes mountains) --Utilized by the Inca as both a secret ceremonial city and as a method to institute a presence in the area. --one of primary functions, ceremonially, was as an astronomical observatory. Stone buildings occupied terraces with surrounding agricultural terraces --large temple section, palaces baths, storage rooms, and about 150 houses --laid out in several zones (including lower class residential area and royalty area). Echoes Shamanistic views -- built with sensitivity to its surroundings. --buildings were placed so that the windows and doors framed views of sacred peaks and landscape. --holiness of nature and exemplifies the instinctive grasp of the harmonious relationship of architecture to the site.

Lintel 24 and 25 and Isenheim Altarpiece

Visions and sacred themes in artwork have been exemplified in various art historical periods, these are not localized to Ancient America. These three pieces demonstrate not only religious values of the culture they were created within, but also their supernatural quality. --Audiences were intended to interact with the pieces, and looking at them would have a spiritual impact.

Great Serpent Mound Adams County, Southern Ohio, Mississippian (Eastern Woodlands) c. 1070 C.E. Earthwork/Effigy mound

This snake mound with a tightly coiled tail has an open jaw and appears to take an oval shaped mound in its mouth --suggested by some archaeologists that this represents the horned serpent, found in mythology of many early American cultures --Others suggest the oval shaped mound structure represents the sun, which is important because the sun was connected to nature and seen as a provider. Function is debated: --Some speculate that a meteorite strike or geological anomaly made the area important or that the mound was built over an ancient trail. --no cultural background to support astrological or other speculation about function. Snakes were strongly associated with earth and the fertility of crops, and this is characteristic of the reverence and connection to animals, the supernatural,and the natural.

Common trait in Mesoamerican art

To display mythical events in realistic, figural detail. Culturally, the spiritual and mythical had a direct impact on their lives, and therefore were represented in a realistic fashion. There was a fine line between natural and supernatural.

All-T'oquapu tunic Inka. 1450-1540 C.E. Camelid fiber and cotton

Toquapus: A square geometric pattern/motif reserved for a member of the Inca elite. --Were decorative and symbols of authority -> The designs carried symbolic meaning indicating ethnic identity and social rank The all-T'oquapu tunic has many toquapus that do not follow an overriding pattern. --lack of a pattern suggests that the wearer rules over a large number of people and that he is both the source of order and above it.

Spanish Conquistadors

When Spanish conquistadors arrived in Tenochtitlan, their misconceptions about the Aztec (Mexica) fueled the conquest of Mexico. Their views then skewed the views of others (King of Spain, etc.)

Camelid wool

burned in offerings sand used as clothing for golden icons --highly valued and deemed appropriate for the gods