Apollo 11 stones. Namibia. c. 25,500�25,300 B.C.E. Charcoal on stone.
stylized feline cat could be part of a larger
piece shamanism- journey to heal others with help from
spiritual world animals are connectors between spiritual
and physical worlds
Great Hall of the Bulls. Lascaux, France. Paleolithic Europe.
15,000�13,000 B.C.E.Rock painting.
strict profile movement different
styles-different artists? animals depicted were not
hunted artist was familiar with horse form
Camelid sacrum in the shape of a canine. Tequixquiac, central Mexico.
14,000�7000B.C.E. Bone.
worn as masks in ritual practice sacrum considered
your second head, sexual manner entering and exiting of
life
Running horned woman. Tassili n�Ajjer, Algeria. 6000�4000 B.C.E.
Pigment on rock.
stylized- horns, extended belly, small hands and feet, no
facial features fertility ritual deity in human
form, profile
Bushel with ibex motifs. Susa, Iran. 4200�3500 B.C.E. Painted terra cotta.
signifies end of nomadic period beginning of funerary
art looks like it had practical use decorating
practical things to create art stylized animals only for
decoration, not rituals
Anthropomorphic stele. Arabian Peninsula. Fourth millennium B.C.E. Sandstone.
naturalistic eyes, nose, mouth form is abstract
used as grave markers holds double-bladed dagger
Jade cong. Liangzhu, China. 3300�2200 B.C.E. Carved jade.
faces on corners-eyes and mouth took years to
create-durable and expensive found near graves, possibly
used for funerary art
Stonehenge. Wiltshire, UK. Neolithic Europe. c. 2500�1600 B.C.E. Sandstone.
henge-prehistoric monument consisting of circle of stone
altar-structure upon which offers are made bluestone-
cultural name for a number of building stone varieties
lintel- horizontal block between two vertical supports
heelstones- single large block of sarsen standing outside
earthwork sarsens- solidified sandstone boulder
mortise and tenon- joint, 90 degree angle trilithons-
structures consisting of two large vertical stones supporting
horizontal stone
Tlatilco female figurine. Central Mexico, site of Tlatilco. 1200�900
B.C.E. Ceramic.
double face-diprosopus buried under floors of houses
along with pots, masks, musical instruments could be used
for fertility purpose not childbearing waist
ancient mesoamericans believed that physical abnormalities were
spiritually marked, access to the spiritual worlds
Terra cotta fragment. Lapita. Solomon Islands, Reef Islands. 1000
B.C.E. Terracotta (incised).
abstract face elongated face, eyes, nose, mouth
Lapita are ancestors of Polynesia vessel or
pottery may have been first people to use tattooing based on
geometric design
Alexander Mosaic from the House of Faun, Pompeii. Republican Roman.
c. 100B.C.E. Mosaic.
Mosaic built Alexander is fighting nemesis,
Darius Mosaic from Pompey Thought to be copied from
Hellenistic painting utilizes shading to convey idea of
volume and perspective
Boxer at Rest (Seated Boxer). 100 B.C.E. Hellenistic Period. Bronze.
First stature to depict a relaxed figure Appeals to
ethos, feel bad for beat up boxer sad expression, and mixed
metals give impression of bruising older subject than usual
art of the time One of the few Greek statues that was
remade in marble and then melted down
Ludovisi Battle Sarcophagus. Late Imperial Roman. c. 250 C.E. Marble.
became fashionable to bury instead of cremate
political instability at the time sculptor portrayed
Roman as strong goths were defeated
Fountain (second version). Marcel Duchamp. 1950 C.E. (original
1917).Readymade glazed sanitary china with black paint.
Duchamp was rejected by fellow artists Dada
movement Duchamp wanted viewers to question his work
Spiral Jetty. Great Salt Lake, Utah, U.S. Robert Smithson. 1970 C.E.
Earthwork:mud, precipitated salt crystals, rocks, and water coil.
during environmental movement earthwork
Smithson was frustrated with how art was sold He didn't
think people would see his art in real life
Yaxchil�n. Chiapas, Mexico. Maya. 725 C.E. Limestone (architectural
complex).Lintel 24. �Lady Xoc and King Shield Jaguar II
Bloodletting� -Lintel 25. �Lady Xoc�s Vision�
lintels above doorway after bloodletting, she has
visions of serpent god that prove worthiness rulers must
shed blood in order to maintain order in cosmos sacrifice
mirrors the mayan story of creation when gods let their blood to
create human race
Templo Mayor (Main Temple). Tenochtitlan (modern Mexico City,
Mexico). Mexica(Aztec). 1375�1520 C.E. Stone (temple); volcanic stone
(The Coyolxauhqui Stone);jadeite (Olmec-style mask); basalt (Calendar Stone).
Redesigned at least 7 times 2 twin temples, (Halaoc,
water and rain, as well as Huitzilopochti, patron of Aztec and god
of sun and war Center of Tenochititlan
City of Cusco, including Qorikancha (main temple/church and convent
of SantoDomingo) and Walls at Saqsa Waman (Sacsayhuaman). Central
highlands, Peru. Inka.c. 1440 C.E. Sandstone.
shaped like puma- Incan symbol of might and strength
42 lines radiating from temple of sun, connecting to capital and
shrines social status based on where you live
Qorikancha-built with no mortar Walls were head of
puma, able to move during earthquakes
City of Machu Picchu. Central highlands, Peru. Inka. c. 1450�1540
C.E. Granite(architectural complex).
stonework-legendary tight fitting 600 terraces
provided place for maize and kept city from falling water
system several temples, 16 fountains temple of sun
showed solstice through light
Bandolier bag. Lenape (eastern Delaware) tribe. c. 1850 C.E. Beadwork onleather.
made by women, worn by men involves both outsider
trade and insider reciprocal giving in the wake of threats
to tradition, the bags demonstrated continued creativity of
Lenape reflects cultural interconnectedness floral
designs come from Canadian nuns
Transformation mask. Kwakiutl, Northwest coast of Canada. Late 19th
centuryC.E. Wood, paint, and string.
Usually animal becomes mythical being or another animal
Transformed, mask shows face for ancestor Used during
Potlach, where host displays mask and gives away gifts.
Mask conveys social position, worn by dancers Family
geneology
Black-on-black ceramic vessel. Maria Mart�nez and Julian Mart�nez,
Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century
C.E. Blackware ceramic.
decorated for serving use Santa Fe railroad made metal
pots accessible once ancient fragments were found,
tradition was encouraged slip-watered down clay, buffs with
riverstone
Conical tower and circular wall of Great Zimbabwe. Southeastern
Zimbabwe. Shona peoples. c. 1000 � 1400 C.E. Coursed granite blocks.
Tightly built rocks, no negative space Built to blend
into surroundings, 18 foot diameter, 30 feet high
Most likely a palace of some sort Europeans did not
believe blacks could have built it First sight of social
class seperation
Great Mosque of Djenn�. Mali. Founded c. 1200 C.E.; rebuilt 1906 �
1907. Adobe.
hypostyle hall-many pillows, narrow spaces forming rows, allows
for large structure minaret-tower from which faithful are
called to pray mihrah-specific prayer niche on quibla
wall
Wall plaque, from Oba�s Palace. Edo peoples, Benin (Nigeria). 16th
century C.E. Cast brass.
lost wax casting costume made of coral- oba only
person allowed to own coral Oba is largest, in the
middle quatrefoil motifs- 4 petal flowers demonstrate
European influence of cross Lined in palace as timeline of
royal lineager
Sika dwa kofi (Golden Stool). Ashanti peoples (south central Ghana).
c. 1700 C.E. Gold over wood and cast-gold attachments.
On founding day of group of states, this stool fell into Osei
tutu's lap sacred stool contains soul of unified people and
signifies other worldly approval of their community and king's
power king's attire is similar to the stool stool is
placed on its side to prevent the transfer of energy War of
Golden Stool- british wanted the stool for the queen, mother of king
finally stood up among the men when king died, the stool
was blackened and hidden in a shrine
Ndop (portrait figure) of King Mishe miShyaang maMbul. Kuba peoples
(Democratic Republic of the Congo). c. 1760 � 1780 C.E. Wood. Brooklyn Museum
portraits of king from DRC idealized king- 1:3 head to
body ratio, cross legged, carved hairline "prime of
manhood"-no flaws, king represents kingdom therefore must be
ideal double spirit-for king's absence during journey
injuries to king would show up on statue point of
contact with spirit after his death
Power figure ( Nkisi n�kondi ). Kongo peoples (Democratic Republic of
the Congo). c. late 19th century C.E. Wood and metal. (Similar one on right)
worshiping device magical stuff put in abdomen
spikes are symbolic of promise that you will not break law
maintain social order among Congo, hunts down law breakers
nkisi-represent the ability to both contain and release
spiritual forces seriousness of matter represented through
peg or nail
Portrait Mask (Mblo)Portrait mask (Mblo). Baule peoples (C� te
d�Ivoire). Late 19th to early 20th century C.E. Wood and pigment;
Mblo- dance of celebration with skits man
commissioned/ wore mask to represent a female relative
dancer used slow movements to represent dignified elders
combined idealized features of youth, wisdom/status of age, and
stylized hair downcast eyes represent respect
Female (Pwo) mask. Chokwe peoples (Democratic Republic of the Congo).
Late 19th to early 20th century C.E. Wood, fiber, pigment, and metal.
Idealized face with big eyes and big lips Elaborate
hair, and jewelry Men made and male dancers wore, along
with wooden breasts. represent a woman that everyone knew
from hair as identifier Dance was slow and fluid to show
mad respect. Only used for entertainment.
Bundu Mask Bundu mask. Sande Society, Mende peoples (West African
forests of Sierra Leone and Liberia). 19th to 20th century C.E. Wood,
cloth, and fiber.
Stylized face with small features, big forehead, fat face for
fertility made by men, worn by woman used in
ceremony for girls to become women Work on top of head like
a hat Shows inner beauty of the girls
Ikenga (shrine figure) Igbo peoples, Nigeria c. 19th -20th c.
Sculpture contains spirit of the man who commissioned it
no use once the man was dead owner offers sacrifices to
ensure success, most devout men feed it everyday depicts
naturalistic forms horns symbolize power and
aggression
Lukasa (memory board). Mbudye Society, Luba peoples (Democratic
Republic of the Congo). c. 19th to 20th century C.E. Wood, beads, and metal.
Used by experts in history of Luba Recounting history
requires dance and song touches board's beads, shells and
pegs nmonic device to recount history and used to solve
current problems the state faces
Aka elephant mask. Bamileke (Cameroon, western grassfields region).
c. 19th to 20th century C.E. Wood, woven raffia, cloth, and beads.
Metropolitan Museum.
6 feet long Used available colors Sign of
political power and wealth "Government" regulated
how many were made Elephants represent power and smart
thinking Used in funerary things and royal parties
Males wore it to dance
Veranda post: equestrian figure and female caryatid. Olowe of Ise
(Yoruba peoples). Before 1938 C.E. Wood and pigment.
Architectural support in Yoruba Palace Shows woman
allow men to rule Woman is largest figure Society
gives power through female's side
Night Attack on the Sanj� Palace. Kamakura Period, Japan. c.
1250�1300 C.E. Handscroll (ink and color on paper)
Designed to be unrolled and examined closely Has
written introduction shows history of overthrow of unjust
rulers previous emperors were kidnapped and royal families
murdered 7 meters long
Nan Madol. Pohnpei, Micronesia. Saudeleur Dynasty. c. 700 � 1600 C.E.
Basalt boulders and prismatic columns.
Large city built on coral reef created to worship
eels Large system of canals and tunnels Only high
priests lived here Not sure why it was abandoned
Took thousands to build and years of work.
Moai on platform (ahu). Rapa Nui (Easter Island). c. 1100 � 1600 C.E.
Volcanic tuff figures on basalt base.
heavy eyebrow ridge, elongated ears, oval nostrils, emphasized
clavicle probably commissioned by high status individual
images relating to island's birdman cult later added to
back bears witness to loss of confidence in efficacy of the
ancestors after deforestation and ecological collapse
�Ahu �ula (feather cape). Hawaiian. Late 18th century C.E. Feathers
and fiber.
olona fibers-strongest fibers on earth men create
netting while chanting (year long process) women collect
feathers (500,000-800,000) birds had connection to
gods dangerous to wear enemy's cloak because it contains
their mana cape symbolizes tapu based on patron's
ancestry
Staff god. Rarotonga, Cook Islands, central Polynesia. Late 18th to
early 19th century C.E. Wood, tapa, fiber, and feathers. DETAIL.
[Note: search for Atua rakau when searching.]
stylized ears, chin, eyes fallice symbolizes
fertility wrapped tapu protect beholder of staff
from mana of god or contain mana in staff Shift to
Christianity in 1820, staff gods were brought back to Europe and
destroyed or fallice was cut off
Female deity. Nukuoro, Micronesia. c. 18th to 19th century C.E. Wood.
(Goddess Kawe)
Each deity was associated with a real person or deity
placed in temples and decorated Had a large harvest
festival and statues were given sacrifices of food dancers
danced for plentiful harvest any rotten or old statues were
remade and replaced Resting place of a god or deity
Buk (mask). Torres Strait. Mid- to late 19th century C.E. Turtle
shell, wood, fiber, feathers, and shell.
worn as part of costume along with large grass skirt
multi sensory events, danced by firelight mana when
wearing mask funeral ritual and male initiation
performers reenacted ancestors and heroes created new
memory
Hiapo (tapa). Niue. c. 1850 � 1900 C.E. Tapa or bark cloth, freehand painting
Made by pounding tree bark Usually geometric
patterns differnt textiles were made to show rank
Hung on wall usually but could be used for clothing
Displayed on birthdyas and weddings used to wrap images
of deities
Navigation chart. Marshall Islands, Micronesia. 19th to early 20th
century C.E. Wood and fiber.
Created from palm tree branches and coconut fibers.
Used to navigate oceans Coratatols: Rounded shape of
islands surrounded by coral like a lagoon shells as
islands 34 atools, 100 islands horizontal sticks
were for supports, all the others represented current or winds.
Malagan display and mask. New Ireland Province, Papua New Guinea. c.
20th century C.E. Wood, pigment, fiber, and shell. [Note: search for
Tatanua when searching for the mask.]
death in community-funeral-mourning period-malagan ceremony-
revealing of display-initiation of young men ceremony is
weeks long with feasts and performances send souls of
deceased into realm of dead, restores balance to community
process of gift-giving and payment of debts masks were
destroyed after ceremony, family of deceased owned rights to
design
Presentation of Fijian mats and tapa cloths to Queen Elizabeth II
during the 1953- 54 royal tour, silver gelatin print, 16.5 x 22 cm
Large celebration Queen given tapa clothes
Flowed by large dances and offerings music and dance
followed Huge party Huge feast for all people