Eskimo burial mask

A

• composed of 9 carefully shaped parts that are interrelated to produce several faces, both human and animal, as a visual pun.

• refined in the placement and precision of geometric and representational incised designs

• reflect a nomadic lifestyle that required the creation of small, portable, and practical objects.

************************************

[image]

Kwakiutl mask

(Northwest Coast)

A

• the Kwakiutl settled in British Columbia

• USES:
  • Kwakiutl religious specialists (shaman) used masks in healing rituals; they also mimick or take on the role of the clan ancestor,
    
  • Men (not females) also wore masks in dramatic public performances during winter ceremonial season

• Animals and mythological creatures are represented; example of transformation; the mask's human aspect is also exaggerated and has distorted facial parts (animal characteristics)

• moveable mouths: This mask is constructed to open and close rapidly when the wearer manipulated the hidden strings; he appears to "magically transform" from human to eagle
  
• 
  

lodges

(Northwest Coast)

A

• Clans would meet in these log houses that would be marked with totem poles representing their clan

• they used log cabins made of the cedar trees from their environment

totem poles

(Northwest Coast)

A

• monumental sculptures carved from large redwood or cedar trees; 80ft tall with depictions of humans and animals

• USES:
  
  • totem pole in front of an Indian's home would show the ancestry and the social rank of that family.
  • Because the Northwest Coast Indians had no written language, the totem poles were a very important part of their culture. The totem poles allowed them to record stories, legends, and myths through images
  • stories commemorate historic persons, represent shamanic powers, or provide objects of public ridicules

• poles were not as common to the tribes until the white traders brought them iron tools for carving, after which the totem poles became a dominant symbol of the tribes

Chilkat blanket

(Northwest Coast)

A

• these blankets go over the shoulders of individuals; images are repetitive, very strictly organized in a symmetrical arrangement

• made of mountain goat wool spun over a core of cedar-bark string; made by "twining"
  

• The design often represents an animal (such as a bear), but is reordered and modified through complex principles.

****************************

[image]

Mimbres pottery  

(Southwest)

A

• finely painted bowls, is distinct in style and is decorated with bold geometric designs and figurative paintings of animals, people and cultural icons
  

• Done in black and white; simple figural representation; include very fine linework; Bird figures are prominently found on Mimbres pots

• associated with burials, typically with a hole punched out of the center because they practiced "killing" the pot ("killing the soul" before it can move on to the afterlife)

• suggest familiarity and relationships with cultures in northern and central Mexico.

**************(Slide ID)******************

[image]

Cliff Palace, Mesa Verde (Anasazi)

(Southwest)

A

• Sometime in the late 12th century, a drought occurred in their homes and the Ancestral Puebloans moved to Mesa Verde ("Green Flat Rock")- Cliff Palace (Colorado)

• Cliff Palace is wedged into a sheltered ledge to heat the pueblo in the winter and shade it during the summer.
  

• It contains 200 stone-timber rooms plastered inside and out with adobe (sun-dried brick)
  

***********(multiple choice)**************

[image]

"Lightning Man"  kiva mural (Kuaua Pueblo)

(Southwest)

A

• Ancestral Puebloans decorated their kivas with elaborate mural paintings representing deities associated with agricultural fertility
  • Kiva - square or circular semisubterranean structure that is the spritual and ceremonial center of Pueblo Indian life
    • once were roofed  and entrance is with a ladder through a hole in the flat roof
    • stores ritual regalia (the decorations, insignia,orceremonial clothes of any office or order)
  • where preparations for public ceremonies took place

• "Lightning Man" mural - lightning man is on the left and fish and eagle images (as associated with rain) is on the right
  • seeds, a lightning bolt, and a rainbow stream from the eagles mouth
  • all figures are associated with the fertility of the eart and rain

Navaho weaving

(Southwest)

A

• Navajo textiles are highly valued and have been sought after as trade items for over 150 years; originally utilitarian blankets for use as cloaks, dresses, saddle blankets, and similar purposes.

• Done when white men kept pushing Native Americans to the west
  

• used vertical looms with no moving parts. made of wool and cotton; strong geometric patterns; separate color for each cardinal direction
  

*************(multiple choice)************

[image]

Navaho sand painting

(Southwest)

A

• different colored sand put over each other; used for rituals (meant to deliver great harvest);  afterwards, they are just erased; done on the ground to ask the gods for more rain
  

• they put the same designes in their navajo weaving

• Jackson Pollock took interest to these
  

Hopi Katsinas

(Southwest)

A

• Katsina - masked dancer doll that represents benelovent supernatural spirits (called katsinas also) living in mountains and water sources
  • rain-bringing deity who wears a mask painted in geommetric patterns symbolic of water and agricultural fertility
  • rids of bad spirits

• physical records of these dances and the costumes they wore

• Collected by the Surrealists because they believed it expressed the soul, human nature, fears, desires

**************(Slide ID)***************

[image]

Maria Montoya Martinez, Blackware

(Southwest)

A

• the Southwest provided the finest examples of North American pottery

• worked without a potters wheel; formed shapes by hand; then covered with slip, polished, then fired

• Maria Montoya Martinez - revived old techniques
  • black-on-black pieces - matte designs on high-gloss surfaces achieved by extensive polishing and special firing in an oxygen-poor atmosphere
  • "roughed"-on designs
  • elegent shapes with traditional abstract design

**************(Slide ID)*************

[image]

Adena Pipe

(Eastern Woodland)

A

• tubular pipe carved from Ohio pipestone into an effigy (meaning "a portrait of a person") of an ancient American Indian man.
  

• Characteristics show evidence of contact with Central Americans - ear spools
  

• The sculpture reveals wonderful details of clothing, hair-style, and ornaments of the Adena culture

• Tubular pipes were used for smoking tobacco as a part of special ceremonies. Shamans also could have used them as "sucking tubes" through which they believed they could draw evil spirits from the bodies of sick people. The effigy may represent a shaman or medicine man in the act of a ceremonial dance.

• Some think the carving is so naturalistic that it can be said to represent a dwarf with a goiter. The short legs compared to the body simply may indicate that the artist was less interested in the legs, or the artist may have had difficulties representing bent legs while keeping the proportions accurate; it's The decorated loincloth with the feather bustle

***************(Slide ID)**************

[image]

Serpent mound

(Eastern Woodland: Mississippian)

A

• effigy mound - Ceremonial mounds built in the form of animals or birds

• overlooking a creek in Ohio; found in the juncture of two rivers; and it echoed the river

• it measures nearly 1/4 mi from its open jaw, which seems to clasp an oval-shaped mound in its mouth, to its tightly coiled tail; reproduced more than once

• date and meaning is controversial; contained no evidence of burials or temples
  • it was perhaps for a ceremonial pathway (representing the stages it took to make it all the way to the top...afterlife?)
  • Such a large and elaborate earthwork could have been built only by a large labor force under the firm direction of powerful elites eager to leave their mark on the landscape forever

• Serpents, however, were important because they were associated with the earth and fertility of crops

*****************(Slide ID)***************

but its with a different picture than this

[image]

Mississippian shell gorgets

(Eastern Woodland)

A

• Shell gorgets are decorative ornaments typically worn around the neck.  Two holes were drilled in order to thread a leather thong through and the gorgets were carved with symbols drawn from the peoples’ beliefs and stories.

• Mississippian shell gorgets were traded widely

• Designs included animals, humans, birds, snakes, jaguars; powerful totem animals often used

Mississippi effigy jars

(Eastern Woodlands)

A

• characterized by the adoption and use of riverine (or more rarely marine) shell- tempering agents in the clay paste.

• Effigy pots were a mainstay of many Mississippian peoples, although they come in many different varieties. Some come in anthropomorphic shapes, some zoomorphic shapes and others in the shape of mythological creatures

Mississippi birch baskets
(Eastern Woodlands)

A

• Birch was often used for canoes and baskets

***(Slide ID) i think ****************

[image]

Scalp shirt of Lakota Sioux

(Plains)

A

• ceremonial scalp shirts; the beads are porcupine quills, traded

• hair is from family members and other people who donated their hair

beadwork

(Plains)

A

• baby's craddle board?

Hide painting

(Plains)

A

• paintings done directly on the buffalo hide

• the subjects are of horses, fauna, and the arrival of white man; document the lives of the Indians who were captured and the hardships they had to endure

• The Native Americans who hunt buffalo are considered the most nomadic

Ledger drawings

(Plains)

A

• events of captured prisoners

**********(Slide ID)************

[image]

Dome of the Rock, Jerusalem

(Early Islam)

B

***************(Slide ID)****************

[image]

Kairouan (Quirawan), Tunisia

(Early Islam)

B

Great mosque, Damascus

(Early Islam)

B

mihrab (nitch)

(Early Islam)

B

mihrab dome

(Early Islam)

B

minbar (pulpit)

(Early Islam)

B

minaret

(Early Islam)

B

Mosque at Samarra, Iraq

(Early Islam)

B

Ruins of Palace at Mshatta, Jordan

(Early Islam)

B

• animal forms celebration of hunting; was a hunting lodge
• carved lacy stone with animal representations - secular (to get away and enjoy life)

Mausoleums (dome-on-cube) squinch

[*Extra: vs. pendantive]

(Early Islam)

B

• Muslims buried their dead with great pomp circumstance
• weaving aesthetic
• holds dome up; basket weaving???

**************(Slide ID)***************

[image]

Mosque at Cordoba

(Early Islam)

B

• changed into a Christian church
• squinches

************(Multiple choice)*********

[image]

Alhambra

(Late Islam)

C

• the question was something like: "which of the following did the royal families did NOT enjoy at the Palace"
          - great baths
          - domes
          - private gardens with water

Hall of Two Sisters (in Palace of the Lions)

(Late Islam)

C

*********************************

[image]

Hall of Two Sisters: dome with muqarnas

(Late Islam)

C

**********************************

[image]

Madrasa of Sultan Hasan

(Late Islam)

C

Funerary Complex of Sultan Hasan

(Late Islam)

C

****************(multiple choice)***********

[image]

Mosque Complex of Suleyman I (designed by Sinan)

(Late Islam)

C

• it was remodeled after the Hagia Sophia

    Eskimo and Northwest Coast Indians

Characteristics

• LOCATION: north Washington state, British Columbia, and southern Alaska
  
• ENVIRONMENT:  very moist. The pacific ocean causes much rain fall; hospitable area, very cold
  
• MATERIALS: they used much redwood in their art, tools, houses, etc - cedar trees from their environment; very perishable, due to climate; they also used shells
  

• ARTWORK:  of the whole region has a distinctive style, due in part to the extensive coastal trading
  
  • best known art include:
    
    • basketry (including distinctive basket hats and capes)
    • intricate woodcarving (especially ceremonial masks and totem poles)
    • weavings (including the unusual Chilkat blankets).
  • they often used "twining" in their work

Native American art

• TIME: the majority of Native American art happened after the arrival of the Europeans ("Post-Columbian")
• the term "Native American" only pertains to North America, not including South America
• Native American art and architecture are more varied in the US and Canada than in Mesoamerica
  
• North America is divided into regions based on relative homogeneity of lanuage and social and artisitic patterns; the 4 major regions of interest are: Eastern Woodlands, American Southwest, Plains, and Northwest Coast.
  
• CHARACTERISTICS of N.A. art:
  
  • transformation theme
  • art reflects the peoples' reliance and reverence to their environment
    

Southwest Native American

Characteristics

• LOCATION: New Mexico, Arizona, Utah, Colorado

• ENVIRONMENT: dry desert

• Arts include:
  • the katsina dolls of the Hopi
  • sandpaintings and weaving of the Navajo
  • Pueblo pottery
  • Pueblo Cliff Palace in Chaco Canyon
  • basket weaving

• the dominant culture of the Southwest preceding the European's arrival: Ancestral Puebloan, formerly known as Anasazi (to Navajo, Anasazi name is an insult because it means "enemy ancestors")

West African cultures

• no written language; everything passed down
• Portuguese the first to make contact; prior to columbus; they were trying to find shorter route to China
• geography: sahara desert, kalahari desert,
• game hunters in kenya
• source of the nile: lake victoria, goes all the way up to Egype and empties in Mediterranean
• important rivers: Niger R. and Congo R.; important to cultures
• Niger: africa's fertile crescent
• COngo falls directly over the equator: very hot and jungly; "Heart of Darkness"
• African Art: comes late 25000 BCE as late as the rock carvings of the other
• trading center: Jenne-Jeno where the Niger turns to the south

******************************

[image]

Nok culture (Central Sudan) - terracotta heads

(Early Africa)

D

• once used to have bodies
• they had very stylized features very recognizable: triangular eyes, mouth and nose expressed in a consistent manner easly identified
• illegally got
• interesting hair-does; bridge of nose not prominent
  
• holes allow air to escape
• very sophisticated considering no evolution of style
• first developed in wood, perishable; they copied it fromthe wood models
• one has small stool "symbol of throne"
  

read up on this

Jenne-Jeno (Western Sudan)

• important trade center; it was perhaps between the trading routes where the metal work entered into the region long before direct contact from Europe

Clan Mother and offspring, terracotta

(Early Africa)

D

• very popular subject in Africa
• children not a child; are adults, some even have beards; figures represented is mother earth goddess or a female anscestor - importance: ORIGIN (original mother) --- matriliear society (establishing hte first ancestor
• most african kingships are ruled by men, but lineage by women
• many are covered in snakes: mystery; perhaps representing god of water

West African cultures 1000-1800

• 2 important cultures before Euro contact: Ife and Benin
• the artifacts unearthed at a later date in Europe
• there were 2 of the 4 kingdoms in west africa right where land turns southward: modern Niger
• Yoruba: the ancestoral roots; most recognized of all Africa for their sculptures; division for fine sculpture evident in Bronze of Ife and Benin

Ife Kingdom

**************(Slide ID)**************

[image]

Ife king (or Oni), brass

(Early Africa)

D

• alloy, zinc, brass, bronze
• works of art are suprisingly naturalistic; like our own; thought to be related to Greek; they thought they couldn't have developed these forms on their own, very lifelike; falacy
• they were independently developed in this region; was wooden (which are now gone)
• about the royalty and royal figures not suprising because they were the ones who commanded the artisans to do the works
• this one is Ife (Oni) ruler: some aspects are idealized (the head is larger: to symbolize wisdom and power); the body is diminitive, the size is longer, the soft belly

Benin Kingdom

• not to far from Ife culture
• creates foundation of later Yoruba
• they were also metalsmiths; they link their heritage to Ife
• their works: detail in cloth; scarification

Pair of Leopards

(Early Africa)

D

• farely large
• they used variety in subjects
• leopards flank a ruler as emblems of his authority

************(Slide ID)***************

[image]

Stool with Mudfish

(Early Africa)

D

• ruler sat on as throne
• leopards on either side (not always though)
• these are mudfish: symbol of creativity; and fertility of waters and commonly used in Niger delta
• they lived in mud until more rain came

****************************

[image]

Ivory belt mask of a Queen Mother

(Early Africa)

D

• carving in ivory
• this is supposed to be in honor of the mother of a famous king in 16th century; she was significant enough she was given her own palace
• later kings connected their ancestry to her
• in her decorative crown is portuguese men with hats and mudfish
• the Benin traded with Portuguese; they gained much from them; contact with Euros was important bc they brought the metal; reciprocal and beneficial to both groups;
• Africa also made art especially for them; the reason for portuguese and mudfish: god of waters
• eyes are pulled out; semi-precious items were inside
• part of belt buckle; was worn

******************************

[image]

Head of an Oba, (or Benin king) bronze

(Early Africa)

D

• they also made these heads; wealth is associated with how many necklaces they have
• more stylized than ife materials; still suggest face
• images of ancestors and earlier kings
• very cherished as evidence as their right to rule
• royal shrine
• large round hole at top of head; was once there, but now gone
• the rafia weaving: typical of royal headdress
• *extra: Carved elephant tusk: was originally in the hold in the head; had ancestral figures carved into it

Royal Shrine (ikegobo), bronze

(Early Africa)

D

• photo taken in 1914
• gives us an opportunity to fit in in context: used as a demonstration of ruler's ancestry and right to rule
• also, when ruler needed advice, he goes to shrine and request the ancestors provide his answers
• used as a resource for the living
• in addition to big heads and tusks stickingout
• too small to be called an alter - shows the ruler and attendants on either side
• * image below: the plaque may have been part of the "altar"; the ruler brandish 2 weapons: large knife and ceremony staff; attendents flank his side
• all done in bronze
• 3D relief as well as low etching and engraving

******************

[image]

Warrior Chief and attendants, brass

(Early Africa)
D

• Part of Royal shrine; central and main portion
• shows the ruler twice; once on top on his thrown
• and another down below with human and animal skulls all away around
• they look like theyre holding European guns; possibly they really got the guns: contact with them while they were captive?
• they are still made today for tourists

**************(multiple choice)***********

[image]

Ivory Saltcellar

(Early Africa)

D

• Saltcellar lost its cover; ivory tusk; round in the shape of the tusk; shown on 3-4 sides; clearly European Portuguese individuals: for foreign trade
• Saltcellar: not African; important in Euro banquets; salt is very important
• about this time; the Italians were producing it because the status on Euro banquet depended if you were below or above salt (placement at table)
• produced ONLY for European trade

Equatorial West Africa

• talking about just north of Congo River: countries once owned by French
• Fang and Camaroon

Fang (Cameroon) and "Kota" (Gabon)

***********

this image below isn't on there, but the one of "Kota" is *look at it in the recorded lecture

[image]

Guardian figures of ancestor reliquaries (bones)

(Late Africa)

E

• emphasized muscle figures; seated
• mouths open in expression of hostility, very angular
• they were seated because they were guardians of ancestor reliquaries
• sometimes covered in leather; contained ancestor bones; for the same reason: ancestor is the source of power; legitimize the ruler
• angry face because they protect bones; they sat; placed ontop of bones
• differed from the Kota's guardian figures decided instead to make theirs out of wood; made of brass and copper (traded from Euros); they place metal over wood; their style is reduced and minimized; the body is just a simple shape, just legs, big simple head; flat and just placed in reliquary box
• Kota with headdresses and concave face features

Elephant masquerade

(Late Africa)
E

• purely for fun and amusement; today they are just for secular nature than they once were; goodtime party
• these masquerades go back centuries and routed in myth;
• important for cohesion; they communicated myth to younger generation to be passed down
• individuals dress as the characters in the stories and act out events and stories
• this one is based on the elephant; more without meaning and just for good time;
• the elephant part (on the right) is beaded, wide ears shown and long nose; and the whole thing is topped with feathers of a parrot with bright red feathers
• the whole costume, the trunk worn on face to come down

Kongo Art (Democratic Republic of Congo)

******************

[image]

Clan mother and child, carved wood

(Late Africa)

E

• just south of Congo R. 
• female figure again represents clan mother with her child; Clan mother of descendets
• she's noble in her posture; the lines in her chin repeats in the lines in the bossom
• abstracted for the sake of beauty; and wears rafia headdress: represents royal

*******************

[image]

Nail figure (nkisi n'kondi), carved wood with nails

(Late Africa)

E

• they have nails pounded into them; each nail represents a plea to the god represented
• a plea can be good (benefit yourself) or bad (hurt your neighbor); gets the spirits attention so theyre aware that you're their
• grant wish;
• (left) oftentimes wears a cowrid shell on stomach; symbol of a woman; figure is in charge of fertility or men seeking wives
• (right) has more nails; each one is related to a particular request

*********************

[image]

Costume of a sacred Kuba King

(Late Africa)

E

• Congo
• this chief is covered in cowdri shells and beads and rafia
• this pic was 1970; costume
• basket on either side of him; ancestor bones
• wearing this costume sets him apart from everyone else
• more important is his position; he's also on a chair covered in leopard skin
• a hat he wears: beads and cowdri shells important symbol; rattles and makes noise when he moves

Colonial Africa, 1800 to present

West African cultures

• Mali, the coast (Sierra Leone), ivory coast (Ghana) "the gold coast very rich, and Nigeria (home of yoruba)

Dogon (Mali)

• inland niger river
• masquarades very significant; allow dead to move on to the next stage
• their headdresses very distinctive; reminiscent of gazelle and other swift fast animals; very large but light in weight

****************************

[image]

Seated Couple

(Late Africa)

E

• exaggerated length: typical of Mali; long arms, neck, nose
• arm over female touching breast
• gender roles are different: men have bow and arrows, woman have baby

Mende (Sierra Leone)

• coast mende: interesting bc there are female maskers

**********(multiple choice)******

[image]

mask for Sande society (female dancer)

(Late Africa)

E

• they look through rafie not through slits in eyes; adds to height; they look througn the rafia
• mask is right under the face
• this is typical;
• worn for initiation rights for society, suggests idea of butterfly emerge from crysallis
• and also suggests water with the small turtle at the top
• the dancer in full costume; after initiation is they are ready to marry; after they have been circumsized
• has necklaces

Senufo (Ivory coast)

• French
• Senufo and Baule (french name)

[image]

"Beautiful Lady" dance mask, Poro (male) society

(Late Africa)
E

• head and legs splayed out; reduction to the essential elements
• bumps on face represent scarification: sign of beauty in many parts in africa
• body paint, decoration common art forms
• beautiful woman is worn by men society; female male impersonator is terrorize by masculin maskers
• tension btn sexes acted out

Baule Art (Ivory Coast)

• typical is the white paint designating bush spirits

********************

[image]

Male and Female "bush" spirits

(Late Africa)
E

• wood bead and ?
• rids of bad spirits and wandering dead

spirit spouses

(Late Africa)

E

Akan and Asante Art (Ghana)

Akan festival with gold-leaf royal "stool" and gold umbrellas

(Late Africa)

E

Osei Bonsu, "linguist's staf"

(Late Africa)

E

OSEI BONSU made "linguist's staff" and "akua's child"

Akua's child

OSEI BONSU

Yoruba and Igbo Art

****************(multiple choice)********

[image]

Igbo renewal houses (mbari), example of Thunder god, Amadioba, and his wife

(Late Africa)

E

- They built these houses, and then just let them rot after time passed by, they never repaired them, they just "gave it back to the earth"

OCEANIA

Melanesia "Black Islands"

Irian Jaya

bisj poles (Asmat)

(Oceania)
F

Papua New Guinea

Men's ceremonial houses (Iatmul and Abelam)

(Oceania)
F

• culture is also matrilinear
• tatching of poles

Heveche masks (Elema)

(Oceania)
F

• brought to men's house:
• heveche ceremony
• very large masks

*************(multiple choice)************

[image]

Yam masks

(Oceania)
F

• Abelam: yam central to culture; theyre kept in men's houses
• whoever grows the biggest yam is more powerful
• these are woven and painted and placed over the yams

Micronesia

**************(multiple choice)************

[image]

Protective Female Figure on men's ceremonial house

(Oceania)

F

• placed over mens house on gable;
• fertility important; shows that its matrilieal
• European visited and was insulted by it

Polynesia

• takes up a lot of space; almost to the coast of Chile
• Cook islands right in the middle
• broad area of seafaring people going from island to island
• very stratefied: the cultures have clear hierchy with strong male rulers

*************(multiple choice)************

[image]

Feather clock of Hawaii

(Oceania)
F

• feathers twined in fabric

*****************(Slide ID)***************

[image]

War god temple image from Hawaii

(Oceania)
F

• very long headdresses all the way to the ground
• expression is to scare enemy
• powerful limbs appropriate to war god

**************(Slide ID?)***********

[image]

Staff gods

(Oceania)
F

• shows lineage; like totem pole

****************(multiple choice)*************

[image]

Bark cloth

(Oceania)
F

• mulbarry tree; same as silk worm
• they beat and pound it; pattern stamp
• ink placed on surface and reapated again and again on fabric
• woman's dress

Maori of New Zealand

War canoe

(Oceania)
F

• Maori
• rich carving on boats
• prow of boat figure: one has toung out scary face; shells for eyes
• idea was in war time: you make nasty face at enemy to scare them

*************(multiple choice)***********

[image]

Meeting house

(Oceania)

F

New Zealand tattooing

(Oceania)
F

Easter Island

i think this was one there

[image]

Moai, stone sculptures

(Oceania)

F