Roped Pot on a Stand, Igbo-Ukwu, 9^th-10^th century CE, leaded bronze.

• One of the objects placed around the king that he will continue to use in the afterlife 
• Made from clay and caste in bronze
• Looks like a water pot drum still used in Nigeria today- the vessel is filled with water and then if you struck a flat mallet across the surface of the water at the rim, a percussive sound is made

Head of a King, Ife, 13^th century CE, zinc brass.

• Modeling of flesh is very sensitive and holds true to human form
• Seen in the shape of they eyes and the transition from the cheeks to the lips and nose.
• thin parallel scarification pattern covers the entire face
• Proves the richness of African culture without the influence of Greek or Renasissance European art
• Debate over whether naturalistic or idealistic rendering- these scultpors looks very much like humans in Africa, but they're all the same age and embody the same physical traits; suggests this is what Africans thought of as physical beauty

Great Friday Mosque, Jenné, Mali, rebuilding of 1907 in the style of the 13^th-century original

• Jenné was a thriving city whera a lot of trade and commerce took place. much of the tribes were connected
• Built after the 26th kings of Jenné became a Muslim and tansformed his palace into a mosque
• Finials, crowning ornaments are at the top of each tower and hear ostrich eggs which are symbols of fertility and purity
• Colums resemble west African mosque architecture and rhythmic effect has great verticality and grandeur
• Torons are wooden beams projects from the walls and provide permanent supports for the scaffolinds for replastering

Conical Tower.  Great Zimbabwe, c. 1200-1400 CE

• A later addition to the Great Enclosure in Great Zimbabwe which was the heart of extensive trade network for gold, ivory, and exotic skins
• Origianlly capped with three courses of ornamental stonework and contructed between two walls- resembles a granary which would have represented the good harvest and prosperity that results from allegiance to the ruler of Great Zimbabwe 

Seal Impressions, Indus Valley Civilization, c. 2500-1500 BCE

• First clue that an ancient civilization existed in the Indus Valley
• Seals coated with alkali and then fired to produce lustrous, white surface. Images of animals and portrayed with remarkable natrualism, well-modeled surfaces implying their underlying skeletons
• Function is enigmatic and the script is so promient in the impressions hasn't been deciphered

   Torso.  Harappa, Indus Valley Civilization, c. 2000 BCE; Red sandstone

• Image of soft, sensual naturalism
• Very small- not tall
• Contrasts strongly with “Torsos of a priest-king” and Greek sculptures at the time
• Soft- curved belly; not as muscular
• Could be a wealthy individual and relishes in soft-body; curves and contours

 Ashokan Pillar, Maurya Period, 246 BCE

• Monuments dedicated to Buddha after Ashoka converted to Buddhism- impassioned propagation of Buddhism that also secured his enormaous empire because he erected these monuments alll over Syria, Egypt, and Greece
• Relates to spreading of Buddhism so filled with scriptures to teach 
• Axis-moodi- object that unites earth with the heavens

Great Stupa, Sanchi, founded in the 3^rd century; 150–50 BCE, Madhya Pradesh, India

•  Remains of Buddha are held here- the holiest place for Buddhism 
• Sanchi- sight where Buddha gave his first series of teaching; practiced meditation in order to pursue enlightenment 
• Marked by series of gateways- torana
• Each elaborately decorated and tells the story of Buddha’s life  
• Directly equivalent with great moments in Athens 
• Parthenon is built
• Ashoka equivalent to Paraklese- the builders
  extraordinary moment all over the world; for humanity 
• exploration of what is just in relationships, what forms of government are right, what equality is 

Yakshi Bracket Figure, East torana of the Great Stupa at Sanchi.  Stone, 60”; Maharashtra, India, 1st Century BCE to 1st Century CE

• Yakshi- Nature spirits that act as agents of the gods.  Usually a young, sensual female figure, associated with productive forces of nature
• Personification of the water; she is a source of life. Symbol of the sap of a tree- which flower at her touch
• Band that pulls gently at her abdomen accentuates the suppleness of her flesh; and the arch of her back evokes the deitues's procreative essence- she's a little nude

Standing Buddha, Gandhara, Pakistan.  2^nd-3^rd century CE.  Schist (stone), height 7’6”

• Example of art from Gandhara style which typically portrays the Buddha as a superhuman figure, more powerful and heroic than an ordinary human
• Body seen through the folds of garment; he has massive heavy shoulder and well-defined torso
• Robe is important and characteristic of Gandhara- tight; riblike folds alternate with delicate creases- similar to Hellinistic orators
• His left knee is bent suggesting a slightly relaxed posture

Standing Buddha, Sarnath, India, 474 CE.  Sandstone, 6’4”

• Embocied Sarnath Gupta style
• Mildly relaxed pose; the body clearly visible though a clinging robe- has no creases or folds as seen from other styles which forces viewer to concentrate on form of body
• The form of the body is graceful and slight- has well proportioned torso
• Downcast eyes suggest introspection but the open gesture maintains a human like

Kandariya Mahadeva Temple, Khajuraho, 1000 CE

• Fullest manifestation of Northern style plan- parabolic curve 

• Open spaced exterior
  

• The exterior has a strong sculptural presence its massiveness suggesting a cosmic mountain composed of ornately carved stone
  

• High relief of 3 roles of deities in erotic poses suggests Shiva's divine bliss

Rajarajeshvara Temple to Shiva, Thanjavur, 1003-10 CE

• Southern temple
• Tallest structure in India at the time 
• Very conservative structure- representations of smaller architecture 

Shiva Nataraja, Thanjavur, India 12^th century CE.  Bronze, 32”; Chola dynasty

• One of the best representations of Hinduism 
• Depicts dance of cosmic proprotions, signifying the universe's cycle of death and rebirth; also a dance for each individual, signyfying liberation of the believer through Shiva's compassion
• Death is seen in ring of fire surrounding Shiva
• Drum represents rhythm of creation
• Very complex pose with great claribty
• Central axis maintains the figure's equilibirum while the remianing limbs asymmertrically extend far to each side
• Minimal clothing reveals perfected form with broad shoulders tapering to a suple waist

Soldiers, Lintong, Shaanxi. Qin dynasty, c. 210 BCE life-size, Earthenware

• Vast underground army of some 8,000 life-size terra-cotta siluders with 100 life size ceraminc horses standing in military formation, facing east, supplied with weapons- ready for battle
• Belief that underworld should match the real world
• Each solider is different and meant to represent individual soliders 

Detail from a Rubbing of a Stone Relief in the Wu Family Shrine Jiaxiang, Shandong.  Han Dynasty, 151 CE.

• Apart of a shrine built to help teach Confucian themes like respect, filial piety, and wifely devotion
• Compared to Han relief- clearly shows shange that took place in the Chinese worldview in the span of 300 hyears
• Banner places equal emphasis on heaven, earth, and the underworld
• Relief includes
• Birds and small figures alluding to mythical creatures or immortals
• archer YI saves the world shooing the extra sun crows that were threatning it
• Visitors arrive via horse-drawn chariots
• Emperor and empress receive visitors 

Detail of Admonitions of the Imperial Instructress to Court Ladies, mid-4^th century CE; ink and colors on silk, Six Dynasties period

• Shows scene known as courage of lady fan
• Confusion values
• Wives and their place
• Ideal human behavior for men and women questioned
• Calligraphy becomes high art form for scholars and educated class- the literarti
• Literarti would become deeply devoted to hobby of art- similar to an amateur but basically professional hobbyists
• Reveals character of writer 
• Type of calligraphy
  running style- semi cursive, relaxed, strong, graceful, dynamic, fluid; captures notion of qi- the energy of the person

Wang Xizhi Portion of Letter from the Feng Ju Album, mid-4^th century CE. Six Dynasties Period; ink on paper

• Feng Ju is an example of "walking" or semicursive style, which is neither too formal or too free but is done in relxed, easygoing manner
• 
  

Seated Guanyin Bodhisattva, 10^th-12^th century CE, Wood with paint and gold

• Image of sublime grace, beauty, and elegance
• Dressed like a prince and reflects princely attitude because of his extreme spiritual achievement 
• Royal ease posture- reflects confident sense that he’s achieved something many haven’t yet experienced but he chooses to stay back

Travelers Among Mountains and Streams, early 11^th century CE.  Hanging scroll, ink and colors on silk, height 6’ 9” Northern Song Dynasty

• Reflects theme of relationshop between humans and nature
• Neo-confucianism (daoism, confucianism, and buddhism)- landscape reflects mix between Buddhism
• Takes image of qi and marries it with li
• All of the li are striving for alignment with the great ultimate- everything is striving for becoming one with the universe
• Not a hand scroll- orientation is vertical rather than horizontal- meant to be hung rather than held
• Goal of painting is not to express specific mountain but an idea of mountainess- the li- the underlying principal of what a mountain is 
• three acts
• group of rocks- extreme foreground
• group of rocks and trees dividing by water at center
• huge looming mountain that thrusts itself up- powerful energetic mountain top
• A person pushing a cart is seen at a very tiny scale- reflects how miniscual man in in relation to the cosmo

Seated Shakyamuni Buddha, Korean, Seokguram Grotto, c. 751, Granite, height of Buddha alone 11”

• Iconography of divine/enlightened figured
• Massive- superhuman
• Buddhism prospered under Unified Silla dynasty- many temples erected
• Seokguram is artificial cave and at heart of temple is Buddha seated on lotus pedestal
• Portrayed at the moment he achieved Nirvana which is incited by hand gesture

Maebyeong Bottle with Decoration of Bamboo and Blossoming Plum Tree.  Korean, 12^th-13^{th; Goryeo dynasty}

• Theme of human and nature- Used asstorage jars for wine, vinegar, and other liquids; has daily use but still attracted to beatuy in nature
• Celadon- high-fired, transparent glaze of pale bluish-green hue, typically applied over a pale gray stoneware body 
• Example of Korean potters developing their own style and technique of decotations
• Inlaid in black and white slips or finely ground clays would decorate the bottles and tell a story- depicts bamboo and swans on the edge of a lake

Album Leaf from the Ishiyama-Gire, 12^th century, Ink with gold and silver on decorated and collaged paper; Heian Period

• Anthology of the 36 immortal poets- poems that are still highly regarded by educated Japanese today
• Role of writing in art- wiry, flwoing calligraphy and patterning of papers matches the elegance of the poetry, epitomizing polished, refined Japanese taste
• Techniques used inlcude-
•  block printing- scattered gold and siler
• collage- pasted colored papers making the wakas (the type of poetry) seem to float 

Dogu.  Jomon period, c. 2500-1500 BCE.  Earthenware

• Function unclear- perhaps toys or has ritual function
• None look the same and highly abstracted
• One looks like cat with one hand touching chest
• Purpose is unknown but could reflect spiritual quality of owner- personalities
• If is did serve this purpose, abstraction make sense so as not to reveal any specific traits of people- remains vague
• Can make out form of piece but because proptions are off and details aren't clear- abstract

Main Hall, Inner Shrine, Ise.  Last rebuilt 1993. SE coast of Tokyo, Yayi period; early 1st century AD

• When agriculture evolves- Neolithic period of Japan 
  Class structure changes with new jobs
• New religion of Shintoism comes about- concerned with purification of work we live in 
• Dedicated to sun goddess- generator of imperial family
• Temples and shrine architecure- shrine is rebuilt around every 20 years with architects training to recontruct the building starting at childhood- after Kami is ceremonally escorted to freshly copies shrine, old shrine is dismantled- like Japanese culture, shrine is ancient but constatnly renewed
• Only Shinto priests and imperial family allowed in- closed off building, no windows

Horyuji Compound, Asuka period, 7^th century BC; Buddhist temple

• Buddhism arrives from China and Korea and complements Shintoism 
• Prince Shotoku founded the temple and was a promient influencer of Buddhism
• Oldest wooden temple in the world
• Looks like large residential compound 
• Main compound consits of rectangular courtyard surrounded by covered corridors, one of which contains a gateway
• within the compound are 2 buildings- kondo (golden hall) and 5 story pagoda
• large kondo balances the tall slender pagoda because of asymmetrical layout

Hungry Tigress Jataka, Panel from Tamamushi Shrine, Horyu-Ji.  650 CE.  Lacquer on wood. Asuka Period

• Depicts stories of previous lives of Buddha- moral instructions for how to live your life- Jakata takes helped popularize Buddhism in Japan
• Buddha wonders in wilderness and encounters starving lions and filled with compassion sacrifices himself to them- extreme version of self-sacrifice 
• Buddha appears 3 times, harmonized by the curves of the rocky cliff and tall sprigs of bamboo
• Theme of global ancient world and iconography of divine/enlightened figures
• The elegantly slender rendtions of the figure and the somewhat abstract treatment of the cliff trees and bamboo represents an international Buddhist style that transmitted to Japan via China and Korea

Phoenix Hall, Byodo-in,  Pure Land Buddhist temple, Heian period, c. 1053 CE, Uji mountains, Kyoto Prefecture

• Expresses palace of Buddha in western setting- Western Paradise of the Pure Land, divine place to go after death and easy to attain
• Roof looks like wings of mythical bird; the thin columns give the Byodin a sense of airness, as though the entire temple could easily rise up through the sky to Amida's Western Paradise
• Inside is wooded Buddha

Scene from the Tale of Genji, 12^th century, handscroll, ink and colors on paper; Heian Period

• Illustrated hand-scroll of the Tale of Genji about 100 years after the novel was writted
• Heian court valued refinement
• Relationship between humans and nature- depicted figures in the court with images of nature to reflect the mood of the situation 
• Figured do not show their emotion of their faces, rather rendered with few simple lines and their feelings are conveyed by colors, poses, nature
• A seeminly happy situation, the birth of a baby, is composed in such a way to give rise to the idea that their place in soceity forced them into unfortuante situation
• Reflects sadness of situation through composition 

Monk Sewing, early 14^th century. Ink on paper, Kamakura Period

• Zen- desire to go back to meditation and everyday tasks become focus of mediation
• Sewing seems mundane but becomes meditation and leads to enlightenment 

 Colossal Head, San Lorenzo, Mexico.  Olmec culture, c. 900-400 BCE

• Techincal virtuosity- huge basal blocks for the large works of sculpture were quarried at distant sites and then transported to San Lorenzo; heads range from5 to 12 feet weighing more than  20 tons
• Heads portray adult males wearing close-fitting caps with chin straps and large, round easpools. 
• Fleshy faces have almond shaped eyes, flot noses, thich lips, and downturned moths- each face is different suggesting that they represented specific individuals

Temple of the Feathered Serpent, Teotihuacan, Mexico.  After 350 CE

• Temple and shrine architecture- this pyramid was the focal point of the city's principal religious and polical centers, could accomodate more than 60,000 people
• 7 tiered structure used talud-tablero (slope and panel) contruction- hallmark Teotihaucuan style- talud- sloping base- supports tablero; rises vertically, supported by frame
• undulating feather serpants float in a watery space punctuated by reliefs of aqautic shells abstract

 Bloodletting Ritual, Teotihuacan, 600-700 CE

• Spiritual content of painiting; iconography of power and authoirty
• artists used fresco technique- applied pigments directly on damp lime plaster, once paint applied, walls were polished to give smooth, shine, durable surface
• style was like a sculpture- flat, angular, and abstract 
• features procession of similararly dressed figures, mythologcal animals, or repeating images, patterns 
• Elaborately dressed man enriches and revitalizes earth with own blood- scatters seeds or blood from right hand symbolizing giving new life 
• Weight of elaborately decorated and size gives rise to idea that man is priest 

Base of North Acropolis and Temple I, Tikal, Guatemala, Maya, 5^th century CE

• Kings of Tikal buried in funerary pyramids in the Borth Acropolis
• Temple contains Ruler A's tomb in limestone bedrock below Temple I
• The base has 9 layers reflecting the belief that the underworld has 9 layers
• Everything structured by cosmos and nature- temples look like mountains because they were considered the most sacred- asciension, going up to god, and then they also built on top of older structures. Vertically steep, not everyone was welcome
• Ritual performaces on the narrow platgorm at the top of the pyramid would have been visible throughout the plaza

Portrait of Lord Pakal, Palenque, Mexico (after Tikal during Classic Period).  Maya, mid-7^th century CE, stucco and red paint; from Paka's tomb- Temple of Inscriptions

• Found in his sarcophagus
• Iconography of power and authority-
• A stucco portait of Pakal (the shield) shows his has a young man wearing a diadem of jade a flowers
• Sloping forhead and elongated skull, large curved nose are characteristic of the Maya ideal of beauty
• Well respected 

 Earspool, Sipan, Peru, Moche Culture, 2^nd-5^th century CE

• Reflects theme of sacrifice; earspools found in tomb of Warrior Preist- the prinicpal figure during ceremony of sacrifice- drinking blood
• Central figure bursts into 3D, while his companions showin in profile remain flat- all adorned with tiny gold- and-turquoise earspools, simper versions of the objects they themselves adorn
• Reveals central themes of Moche art and capacity for naturalism and attention to detail 

Pueblo Bonito, Chaco Canyon, New Mexico, 830-1250 CE.

• Important center of Ancentral Puebloan civilization
• Largest known "great house" which was built in stages- eventually comprised over 800 rooms in 4 or 5 stories arranged in D shape
• within the D were Kivas, round semisubmerged pit house where men performed religious rituals and intructed youth in their responsibilities
• top of kivas formed the floor of the communal plaze
• Was the main hub of a netowork of wide, straigh roads that radaited to some 70 other communities