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| ============= AP Art History Study Guide ============= | ============= AP Art History Study Guide ============= | ||
| + | * Credit, SimpleStudies.org, | ||
| + | * This study guide is super long, probably our longest so it might be slightly buggy to jump across until u have the entire thing loaded in. | ||
| - | ====== Unit One: Prehistoric Arts ====== | + | ====== Unit 1: Prehistoric Arts ====== |
| - Apollo 11 Stone (Namibia. 25000 B.C.E Charcoal on stone) | - Apollo 11 Stone (Namibia. 25000 B.C.E Charcoal on stone) | ||
| Line 1036: | Line 1038: | ||
| - Example of an ancient Constantinian basilica | - Example of an ancient Constantinian basilica | ||
| - Roman Chrisitians chose it as the basis of their new churches | - Roman Chrisitians chose it as the basis of their new churches | ||
| - | ====== 60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-2 ====== | ||
| - | |||
| - Content: | - Content: | ||
| Line 2108: | Line 2108: | ||
| - Content: | - Content: | ||
| - Two symmetrical square madrasas | - Two symmetrical square madrasas | ||
| - | ====== 60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3 ====== | ||
| - | |||
| - Square prayer hall at the end of porticoed courtyard {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | - Square prayer hall at the end of porticoed courtyard {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-3_f45131af97f6423098137aa715ad9d0d: | ||
| Line 4228: | Line 4226: | ||
| - Thought to be a spirit | - Thought to be a spirit | ||
| - Spiritual knowledge and how to be a wife | - Spiritual knowledge and how to be a wife | ||
| + | - - Ikenga (shrine figure). (Igbo peoples (Nigeria). c. 19th to 20th century C.E. Wood) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Context: | ||
| + | - Made by Igbo people in Nigeria | ||
| + | - Began in 19th century | ||
| + | - Lives in remote inland area where they are isolated and independent from other tribes | ||
| + | - Content: | ||
| + | - An “ikenga” is carved wooden figure that has a human face and animal attributes | ||
| + | - Horns symbolizes aggressiveness and ambition | ||
| + | |||
| + | because they believe that ram fifth with the head and head initiates good actions | ||
| + | |||
| + | - Most Ikenga holds swords=to show power | ||
| + | |||
| + | - The figure is carved to resemble whoever commissioned it | ||
| + | |||
| + | - Form: | ||
| + | - Carved wooden figures | ||
| + | - Masculine sculpture genre are so much taller and wider | ||
| + | - All have ram horns but vary in size | ||
| + | |||
| + | - Function: | ||
| + | - Celebrates the Igbos belief in the importance of individual achievement | ||
| + | - A source of strength and power for the owner | ||
| + | - Emphasize the power of the right hand usually because they hold a sword on right hand | ||
| + | - They are also meant to symbolize the significance of that person in society or past accomplishments of the person | ||
| + | - Usually get burned with the owner | ||
| + | |||
| + | - Lukasa (memory board). (Mbudye Society, Luba peoples (Democratic Republic of the Congo). c. 19th to 20th century C.E. Wood, beads, and metal) | ||
| + | - Context: | ||
| + | - Start of 1500s, Luba people began to emerge as a powerful nation in central africa | ||
| + | - Content: | ||
| + | - Wooden plank that has metal beads and other beads specifically placed to make patterns in touch in visualization to discuss the history of the Luba people {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Designed specifically to tell a story and remember the past easily for those who are trained to able to do so | ||
| + | - Form: | ||
| + | - Varied in size but small enough to hold | ||
| + | - Function: | ||
| + | - Used as a way to record and remember important times and events in Luba people’s society | ||
| + | - Men of memory could only read it | ||
| + | - Readers must hold it in their left hand and trace patterns with their right index fingers | ||
| + | |||
| + | - Aka elephant mask. (Bamileke (Cameroon, western grassfields region). c. 19th to 20th century C.E. Wood, woven raffia, cloth, and beads) | ||
| + | - Context: | ||
| + | - Kuosi-elite masking society that owned and wore these includes: royal family, wealth title holders and warriors | ||
| + | - Content: | ||
| + | - Intended to worship the elephant-this animal was always seen as a symbol of sovereignty and royal authority {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Beads imported from venice and middle east represent great wealth and status | ||
| + | - Black beads- relationship between living and the dead | ||
| + | - White beads-ancestors and medicines | ||
| + | - Red Beads-life and women | ||
| + | - Triangular pattern of beads-similar to the configuration of a leopard’s spots: this animal was also seen as a great symbol of power and authority: required a lot of respect | ||
| + | - Form: | ||
| + | - Composed of colored cloth and beads | ||
| + | - Round eyes with read beads and white cloth-strong navy blue tones in the cloth | ||
| + | - cowrie shells decorated on the face and rest of mask | ||
| + | - 2 long panels and represent the elephant trunk-woven raffia fiber adorns the edges of the trunch | ||
| + | - Geometric designs | ||
| + | - 2 circles=elephant ears | ||
| + | - Function: | ||
| + | - This piece of art was meant to be used in performance-the wearer also wore a tunic and a decorative headdress very dramatic- many ppl wore these masks and emerge from a large palace compound | ||
| + | - Purpose was to emphasize the complete power and dominance of the Bamileke King | ||
| + | |||
| + | - Reliquary figure (byeri). (Fang peoples (southern Cameroon). c. 19th to 20th century C.E. Wood) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Fangs lived in rainforest: Equatorial Africa | ||
| + | - Fang ppl believe ancestors had power even in afterlife so they worshipped and preserved men who found lineages and women who were successfully given birth to many children | ||
| + | - These figures sits on top of reliquary boxes: nomadic culture of | ||
| + | - Content | ||
| + | - Head is symbolic of infant with the body of an adult | ||
| + | - Highlights the continuous cycle of the human development | ||
| + | - Enlarged head- intelligence | ||
| + | - Bulging belly button and high forehead- a recently born baby | ||
| + | - Bulging muscles | ||
| + | - Infants form a link between living and the dead | ||
| + | - Expressionless face | ||
| + | - Symmetrical body | ||
| + | - Elongated torso | ||
| + | - Downcasted eye | ||
| + | - Closed mouth | ||
| + | - Popular hairstyle of men at that time | ||
| + | - Form | ||
| + | - Reduced Geometric forms | ||
| + | - Wooden carved figure | ||
| + | - Abstract | ||
| + | - Function | ||
| + | - Guarded family reliquary boxes( container for holy relics) | ||
| + | - Express spiritual ideas | ||
| + | |||
| + | - Veranda post of enthroned king and senior wife (Opo Ogoga). (Olowe of Ise (Yoruba peoples). c. 1910--1914 C.E. Wood and pigment) | ||
| + | - Context | ||
| + | - Shows influential style that has been in Yoruba for centuries | ||
| + | - Most important of the four veranda post commissioned, | ||
| + | - Content: | ||
| + | - Depicts the King seated | ||
| + | - Senior wife behind him, crowning him, is in large scale to show her importance | ||
| + | - A junior wife is at his feet along with a trickster god, Esu, playing the flute and a fan bearer (now missing) | ||
| + | - Exaggerated proportions | ||
| + | - Interrelationship with the other figures and open space between them | ||
| + | - Conveys a close relationship between the King and the Queen | ||
| + | - Patterns of beads in queen’s bracelet repeated in the King’s crown | ||
| + | - Form: | ||
| + | - One of the four carved wooden posts., painted with an unknown pigment | ||
| + | - Function: | ||
| + | - Veranda post | ||
| + | - Structural support for palace at Ikere | ||
| + | |||
| + | ====== Unit 7: West and Central Asia ====== | ||
| + | |||
| + | - Petra, Jordan: Treasury and Great Temple. (Nabataean Ptolemaic and Roman. c. 400 B.C.E.--100 C.E. Cut rock) | ||
| + | - Context: | ||
| + | - believe that the tombs were probably constructed when the Nabateans were wealthiest between the second century B.C.E. and the early second century C.E. | ||
| + | - Content: | ||
| + | - Their architecture reflects the diverse and different cultures with which the Nabateans traded, interacted | ||
| + | - Many of the tombs contain niches or small chambers for burials, cut into the stone walls {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - No human remains have ever been found in any of the tombs, and the exact funerary practices of the Nabataeans remain unknown | ||
| + | - The treasury was exceptional for its figurative detail and ornate Hellenistic architectural orders | ||
| + | - Form: | ||
| + | - The entire city has been carved into the rock face | ||
| + | - The ability of ancient people to carve such a large building still confounds modern engineers | ||
| + | - The Treasury’s façade is 24.9 x 38.77 high | ||
| + | - The style most clearly embodies the Hellenistic style and reflects the influence of Alexandria, the greatest city in the Eastern Mediterranean at this time. | ||
| + | - Its architecture features a broken pediment and central circular building on the upper level | ||
| + | - This architectural element originated in Alexandria. | ||
| + | - Ornate Corinthian columns are used throughout | ||
| + | - Above the broken pediments, the bases of two obelisks appear and stretch upwards into the rock | ||
| + | - Function: | ||
| + | - Functioning city that had all the necessary facilities to be one | ||
| + | |||
| + | - Buddha. (Bamiyan, Afghanistan. Gandharan. c. 400--800 C.E. (destroyed in 2001). Cut rock with plaster and polychrome paint) | ||
| + | - Context: | ||
| + | - Bamiyan Valley in Afghanistan was a stop on the Silk Route: along with fertile land, ideal location for merchants and missionaries to stop {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - plurality and lax nature of buddhist worship created pretext for buddhist cave architecture : 1000 buddhist caves along 1300 meters of cliff face in Bamiyan | ||
| + | - destroyed in 2001: taliban' | ||
| + | |||
| + | Bamiyan was muslim by 10th century yet maintained statues | ||
| + | |||
| + | - only niches and faint outlines remain | ||
| + | |||
| + | - Content: | ||
| + | - 2 monumental figures carved into the cliff face facing the valley | ||
| + | - western buddha (Buddha Vairochana) stood 175 ft tall | ||
| + | - eastern buddha (Buddha Shakyamuni) stood 120 ft tall | ||
| + | - described by writings of Chinese monk as covered in metal and other semi-precious decorative materials | ||
| + | - statues wore wooden masks covered in brass featuring facial features | ||
| + | - pigments were applied to the stucco | ||
| + | |||
| + | - Form: | ||
| + | - High Relief Sculpture | ||
| + | - Carved into cliff face but feet and head in the round | ||
| + | - Circumambulation | ||
| + | |||
| + | - Function: | ||
| + | - For worshippers to circulate | ||
| + | |||
| + | - The Kaaba. (Mecca, Saudi Arabia. Islamic. Pre-Islamic monument; rededicated by Muhammad in 631--632 C.E.; multiple renovations. Granite masonry, covered with silk curtain and calligraphy in gold and silver-wrapped thread) | ||
| + | - Context: | ||
| + | - It is believed that the Kaaba is created by Abraham and his son Ismail | ||
| + | - Symbolic of the journey and triumph of Muhammed | ||
| + | - He was driven our of Mecca but upon his return he wiped the Kaaba of idols and returning it to a shrine dedicated to Ibrahim and the Muslim faith {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - The stone is thought to have been given to Ibrahim by the Angel Gabriel | ||
| + | - Content: | ||
| + | - interior of the Kaaba is fitted with a marble and limestone floor. | ||
| + | - This black brocade cloth that is hung around the Kabba is known as the Kiswah. | ||
| + | - The Kiswah is elegant and coated in elegantly done Calligraphy. | ||
| + | - The Calligraphy is of important verses “ayats” from the Quran. | ||
| + | - Intense modifications have been done to the Kaaba | ||
| + | - The area around it is has been expanded multiple times to compensate for the growing amounts of people participating in the pilgrimage | ||
| + | - This was done by the second caliph ‘Umar (ruled from 634-44) | ||
| + | - In 683 CE the Kaaba was set on fire during a civil war | ||
| + | - It broke apart and was reconstructed by Ibn Zubayr | ||
| + | - He used wood and stone and followed the original dimensions | ||
| + | - Umayyad caliph al-Walid ruled from 705-15 CE ornately decorated the Grand Mosque, that surrounds the Kaaba, with mosaics that surrounds the Kaaba. | ||
| + | - Form: | ||
| + | - The medium is black granite masonry | ||
| + | - It is about 13 meters high and the sides are 11 meters long | ||
| + | - Function: | ||
| + | - Every Muslim faces the direction of the Kaaba and Mecca when they are praying and they pray five times a day. | ||
| + | - establishes the universal direction of prayer for all Muslims. | ||
| + | - It is also the location where the Muslim population takes a very important religious pilgrimage. Hundreds of Thousands of Muslims travel to Mecca and circumvent the Kaaba five times. | ||
| + | - Most Muslims hope they can take this pilgrimage once in their lives and it is one of the five pillars of Islam. | ||
| + | |||
| + | - Jowo Rinpoche, enshrined in the Jokhang Temple. Lhasa, Tibet. (Yarlung Dynasty. Believed to have been brought to Tibet in 641 C.E. Gilt metals with semiprecious stones, pearls, and paint; various offerings) | ||
| + | - Context: | ||
| + | - Buddha Shakyamuni aka Siddhartha Guatama {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - The sculpture has undergo restoration/ | ||
| + | - Content: | ||
| + | - Rinpoche=”Precious One” in Tibetan | ||
| + | - Housed in the Jokhang temple in Lhasa tibet | ||
| + | - Seated against a resplendent gold and jeweled throne and with his legs in the lotus position or padmasana | ||
| + | - Left hand is in mudra of meditation | ||
| + | - His right hand is the gesture of calling the earth to witness | ||
| + | - Signifies Buddha’s enlightenment | ||
| + | - Form: | ||
| + | - Statue is made of gilt metal | ||
| + | - The effect is an image of gold hue with blue hair | ||
| + | - Function: | ||
| + | - Cultural significance | ||
| + | - To act as the Buddha’s proxy after his parinirvana or departure from the world | ||
| + | - Believed that Yarlung brought it to tibet as part of her marriage | ||
| + | |||
| + | - Dome of the Rock. (Jerusalem. Islamic, Umayyad. 691--692 C.E., with multiple renovations. Stone masonry and wooden roof decorated with glazed ceramic tile, mosaics, and gilt aluminum and bronze dome) | ||
| + | - Context: | ||
| + | - A part of the ismalic religion | ||
| + | - Significant to the three of the albrahamic faiths | ||
| + | - The talmud | ||
| + | - The bible | ||
| + | - The Quran | ||
| + | - Dispute over the 3 religions about this structure | ||
| + | - Modified several times the Ottoman sultan {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Content | ||
| + | - Dome on a rock | ||
| + | - Has 2 ambulatories | ||
| + | - An octagonal exterior wall | ||
| + | - Arabic scripture | ||
| + | - Form | ||
| + | - Stone masonry | ||
| + | - Wooden roof | ||
| + | - Glazed ceramic tile | ||
| + | - Mosaic | ||
| + | - Gilt aluminum | ||
| + | - Bronze dome | ||
| + | - Function | ||
| + | - Religious associations | ||
| + | |||
| + | - Great Mosque (Masjid-e Jameh). (Isfahan, Iran. Islamic, Persian: Seljuk, Il- Khanid, Timurid and Safavid Dynasties. c. 700 C.E.; additions and restorations in the 14th, 18th, and 20th centuries C.E. Stone, brick, wood, plaster, and glazed ceramic tile) | ||
| + | - Context: | ||
| + | - The mosque visually embodies the visual tastes and political dynasties of the Persian empire | ||
| + | - Nizam al-Mulk commissioned the dome in 1086 | ||
| + | - It has urbanized over time in order to accommodate the growing populous | ||
| + | - Content: | ||
| + | - Calligraphy covers the arches and walls | ||
| + | - Has towering minarets for the call for prayer | ||
| + | - Hypostyle hall and vaults (some ribbed to bring in light and ventilation) | ||
| + | - The undersides are carved with intricate geometric designs | ||
| + | - Bricks and stucco motifs and tilework along with calligraphy {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Isfhans’s covered bazaar connects to the mosque | ||
| + | - Form: | ||
| + | - Made up of a large central courtyard surrounded by two story arcade | ||
| + | - Brick piers and columns which support the roof system | ||
| + | - The mosque is a four iwan design | ||
| + | - Inscriptions on the walls | ||
| + | - Centrally planned | ||
| + | - Makes use of gold and blue | ||
| + | - Function: | ||
| + | - To bring people to prayer away from busy streets | ||
| + | - Unite the community | ||
| + | - The location makes it the center gathering and transportation | ||
| + | - Commercial activity | ||
| + | |||
| + | - Folio from a Qur’an. (Arab, North Africa, or Near East. Abbasid. c. eighth to ninth century C.E. Ink, color, and gold on parchment) | ||
| + | - Context: | ||
| + | - Huge part of daily Muslim’s lives | ||
| + | - Very high value and prosperity in Islam | ||
| + | - It was a luxury have such a fine inscripted object | ||
| + | - The scribes illustrated them were highly valued in the community | ||
| + | - Content: | ||
| + | - Human and animal form depictions wee considered inappropriate on sacred objects and motifs | ||
| + | - The Qur’an consists of the divine revelation to the Prophet Muhammad in Arabic {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - The words on the Qur’an translate as rays of light for the people who read and recite the recitations Piece from “The Spider” a text in the Qur’an | ||
| + | - Form: | ||
| + | - It is part of the Qur’an which is the sacred text of Islam | ||
| + | - The Qur’an is written on parchment in blank ink with a broad-nibbed reed pen | ||
| + | - Kufic is the type of calligraphy used in the manuscript | ||
| + | - The Qur’an is read from left to right | ||
| + | - Function: | ||
| + | - Used for sacred rituals and recitations | ||
| + | - Heavily decorated for ceremonial purposes | ||
| + | - The Qu’ran is the central part of Islam and the Islamic faith revolves around this book | ||
| + | |||
| + | - Basin (Baptistère de St. Louis). (Muhammad ibn al-Zain. c. 1320--1340 C.E. Brass inlaid with gold and silver) | ||
| + | - Context | ||
| + | - Muhammad ibn al-zain was either egypatian or syrian | ||
| + | - Bowls used at religious ceremonies | ||
| + | - Content | ||
| + | - Shows people hunting | ||
| + | - Battle scenes | ||
| + | - Maluk hunters verus Mongol enemies {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Shows the conflict of the two groups | ||
| + | - Decorated with fish,eels, crab, frogs and crocodiles | ||
| + | - Form | ||
| + | - Brass inlaid with gold and silver ( difficult task) | ||
| + | - Very expensive materials at the time | ||
| + | - Functions | ||
| + | - Was to wash or purify themselves for the ceremony | ||
| + | - Later was used for royal baptisms | ||
| + | |||
| + | - Bahram Gur Fights the Karg, folio from the Great Il-Khanid Shahnama. (Islamic; Persian, IlKhanid. c. 1330--1340 C.E. Ink and opaque watercolor, gold, and silver on paper) | ||
| + | - Context | ||
| + | - Part of the translated book of kings Shahnama, | ||
| + | - Content {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Represents the ideal king | ||
| + | - Shows mix of chinese and european influences | ||
| + | - Bahram wears a crown and halo( is the ancient Iranian king of the Sassanian Dynasty) | ||
| + | - European fabric for the clothes | ||
| + | - Form | ||
| + | - Had calligraphy | ||
| + | - Overlapping planes | ||
| + | - Illuminated manuscript | ||
| + | - Flat colorscript is continuous | ||
| + | - Function | ||
| + | - Recounts the tale of Bahram Gur | ||
| + | |||
| + | - The Court of Gayumars, folio from Shah Tahmasp’s Shahnama. (Sultan Muhammad. c. 1522--1525 C.E. Ink, opaque watercolor, and gold on paper) | ||
| + | - Context | ||
| + | - An angel tells Gayumars that his son will be killed by the Black Div ( the demon, Ahirman) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - A part of the translated book of kings Shahnama, | ||
| + | - Content | ||
| + | - Depicts the king Gayumars enthroned in front of his new kingdom | ||
| + | - The left is his son Siyamaki | ||
| + | - To the right is his grandson Hishang | ||
| + | - In a semicircle his court appears before him | ||
| + | - They are all wearing court attire( leopard skin | ||
| + | - Form | ||
| + | - Ink, watercolor and gold on paper | ||
| + | - Function | ||
| + | - To depict the enthroned king Gayumars | ||
| + | - Depicts the harmony between man and nature | ||
| + | |||
| + | - The Ardabil Carpet. (Maqsud of Kashan. 1539--1540 C.E. Silk and wool) | ||
| + | - Context | ||
| + | - Named after town of Ardabil in North iran | ||
| + | - Home to the shrine of Sufi Saint, Safi-al Din Ardabili | ||
| + | - Followers grew after his death {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Highly prized in Iran v. | ||
| + | - Content | ||
| + | - Prayer carpet | ||
| + | - Medallion in the center | ||
| + | - Mosque lamps hanging from both sides | ||
| + | - corner squishies have pendants | ||
| + | - Borde- rectangle spaces for calligraphy | ||
| + | - Wool carpet | ||
| + | - Four line inscriptions | ||
| + | - A short poem | ||
| + | - Masquad - court official in charge with making the prayer mats | ||
| + | - Form | ||
| + | - Wool and silk | ||
| + | - Natural dyes( pomegranate and indigo) | ||
| + | - Function | ||
| + | - For prayer | ||
| + | |||
| + | ====== Unit 8: South, East, and Southeast Asia: ====== | ||
| + | |||
| + | - 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) | ||
| + | - Context: | ||
| + | - Located on a hill in the countryside; | ||
| + | - Emperor Ashoka (famous for converting Buddhism) recompense for slaughtering of thousands in battle | ||
| + | - Ashoka divided up those remains into many different locations throughout India including Sanchi | ||
| + | - 4 gateways added around 75-100 B.C.E | ||
| + | - Content: | ||
| + | - Exterior parts: Chatra-triple umbrella structure symbolizing the 3 jewels of Buddhism: the Buddha, Dharma (doctrine) and Sangha (community) | ||
| + | - Central pillar symbolizes the cosmic axis; supports the chatra | ||
| + | - Dome symbolizes dome of heaven enclosing the earth | ||
| + | - Upper level walkway: aka medhi; elevated terrace; 16 ft above ground | ||
| + | - Form: | ||
| + | - Stone and sandstone (stupas)=domed structured; evolved from earthen mounds containing relics | ||
| + | - The Stupa evolved into a pagoda form | ||
| + | - Function: | ||
| + | - Site for worship and meditation | ||
| + | - Devotees walk around in clockwise fashion | ||
| + | - Venerated as a symbol of the Budda’s final movements | ||
| + | |||
| + | - Terracotta warriors from the mausoleum of the first Qin emperor of China. (Qin Dynasty. c. 221--209 B.C.E. Painted terra cotta) | ||
| + | - Context: | ||
| + | - During Emperor Qin reign, he introduced standardization of currency, writing measurements and more {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - He connected cities and states with advanced systems of road and canals | ||
| + | - He was also credited with continuing the construction of the Great Wall | ||
| + | - Content: | ||
| + | - Army includes warriors, infantry men, horses, chariots, and all their attendant armour and weaponry | ||
| + | - There are unusually high amount of mercury around this place | ||
| + | - Historians may have believe that the emperor may have set up a system of mercury rivers: some evidence points to the fact that he believed in the life-giving power of mercury | ||
| + | - Form: | ||
| + | - Emperor Win lined his burial complex with a treasury of riches and piles of precious gemstones said to represent the star, moon and sun | ||
| + | - All had unique faces | ||
| + | - Function: | ||
| + | - The First Emperor ascended to the throne of Qin state at the age of 13; he began to plan his burial and underground palace and army to carry/ | ||
| + | - Made to guard the tomb | ||
| + | |||
| + | - Funeral banner of Lady Dai (Xin Zhui). (Han Dynasty, China. c. 180 B.C.E. Painted silk) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - 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 | ||
| + | - Content: | ||
| + | - It is comprised of 4 horizontal registers | ||
| + | - Heavenly Realm: | ||
| + | - Wider and longer than the other registers; two men stand guarding the gate to the heavenly realm; deity with dragon | ||
| + | |||
| + | > body and human head; pink sun and crescent moon which were used to portray the supernatural aspect of the heavenly world | ||
| + | |||
| + | - Lady and her attendants: | ||
| + | - Portrait of Lady Dai in an expensive embroidered silk robe; leaning on a staff; standing on a platform; Two servants in front of her and three being; She is focal point of this register; she is standing on a bi or a disk with a whole, thought to represent the sky | ||
| + | |||
| + | - Body of Lady Dai with Mourners: | ||
| + | - Sacrificial funerary rituals; there are large containers and vase-shaped vessels; two rows of mourners are present | ||
| + | |||
| + | - Underworld: | ||
| + | - Two huge black fish; red snake; two blue goat; being in the underworld symbolize water and death | ||
| + | |||
| + | - Form: | ||
| + | - Painted silk | ||
| + | - Made from wood and has lacquered exterior and interiors | ||
| + | - The dimension of coffin is 256x118x114 cm | ||
| + | |||
| + | - Function: | ||
| + | - Display wealth | ||
| + | - A burial shrouds that assisted the soul on it's journey to the afterworld | ||
| + | |||
| + | - Longmen caves. (Luoyang, China. Tang Dynasty. 493--1127 C.E. Limestone) | ||
| + | - Context: | ||
| + | - 800,000 people worked on site | ||
| + | - Inscription states that Empress Wu Zetian was the patroness; used her private funds to finance the project {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Buddhism transmitted to China by chance and intermittently | ||
| + | - Content: | ||
| + | - Includes 110,000 Buddhist stone, statues, and more than 60 stupas and 2800 inscriptions on steles | ||
| + | - Central Binyang cave-508 C.E.; previously painted | ||
| + | - Fengxian Temple: Vaircana Buddha has monk attendants (bodhisattvas) and guardians | ||
| + | - Form: | ||
| + | - Bodhisattvas- enlightened ppl who delayed entrance to paradise to help others reach enlightenment | ||
| + | - Smiling Buddha/ | ||
| + | - high relief: sculpture are carved into existing limestone | ||
| + | - Function: | ||
| + | - Record the lineage of the patriarchs who passed on Buddhism | ||
| + | - Asserted sovereignty and power | ||
| + | - Used for assimilation | ||
| + | |||
| + | - Gold and jade crown. (Three Kingdoms Period, Silla Kingdom, Korea. Fifth to sixth century C.E. Metalwork) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Korea was split into 3 kingdoms and this crown was found in the Silla Kingdom which took up most of the southeast territory | ||
| + | - This piece shows the connection that korea had with the Eutrasian steppe; they used the same burial techniques as the Chinese | ||
| + | - Connection to the outside world and influence of other cultures | ||
| + | - Content: | ||
| + | - Have 3 branches coming from headband which represents sacred tree that once stood in the ritual precinct of Gyeongju: connected heaven and earth | ||
| + | - The two antlers coming off the piece represent the reindeer that were native to the eurasian steppe | ||
| + | - Gold disk and jade pieces were called gogok: these are supposed to be ripe fruits that represents the land fertility and abundance | ||
| + | - Form: | ||
| + | - Made from gold and jade; granulated meal suggest idea of trade | ||
| + | - Function: | ||
| + | - Placed in burial mounds when royal family members died; worn by high ranking people | ||
| + | |||
| + | - Todai-ji. (Nara, Japan. Various artists, including sculptors Unkei and Kaikei, as well as the Kei School. 743 C.E.; rebuilt c. 1700. Bronze and wood (sculpture); | ||
| + | - Context: | ||
| + | - Has been destroyed during military unrest {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Reflects combination of Buddhist and politics | ||
| + | - Great Buddha took 6 years to complete: annual ritual cleaning ceremony of statue | ||
| + | - Content: | ||
| + | - Massive hall (hondo) is located at its center or the daibutsuden=great buddha hall | ||
| + | - Supported by 84 cypress pillars | ||
| + | - 2 nine story pagodas (multi-tiered towers; an evolution of stupa) a lecture hall and quarters were added later by the monks | ||
| + | - The guardian kings: no guardian figures: one on either side of the gate; 2 massive wooden sculptures; intricate swirling drapery, fierce forbidding looks and gestures; powerful/ | ||
| + | - The Great Budda: massive bronze statue; sits atop of a lotus petals which contains historical content; reflective of the elegant naturalistic style of the Nara era | ||
| + | - South Gate: 2 stones are the same size; roof supported by huge pillars; nandai men | ||
| + | - Form: | ||
| + | - Great Eastern temple: referred to its location: on eastern edge of city of Nara (Japan’s capital) | ||
| + | - Function: | ||
| + | - Commissioned by emperor Shomu; promote spiritual unity among Japanese provinces to unite them under his rule | ||
| + | |||
| + | - Borobudur Temple. (Central Java, Indonesia. Sailendra Dynasty. c. 750--842 C.E. Volcanic-stone masonry) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Context: | ||
| + | - at one point in the year, the sun comes up and perfectly aligns with top dome- not on equinox | ||
| + | - Content: | ||
| + | - stupas on top have buddhas inside, buddhas face outward, base = kamadhatu- 160 reliefs of sin, middle = radhitu- | ||
| + | |||
| + | transition from life to heavens, top = arupadhatu- abode of gods | ||
| + | |||
| + | - Form: | ||
| + | - three levels, square base, round top, sculptures, reliefs, bottom is most ornate, top is least ornate, | ||
| + | |||
| + | - Function: | ||
| + | - made to represent the path of life, enlightenment, | ||
| + | |||
| + | - Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia. (Hindu, Angkor Dynasty. c. 800--1400 C.E. Stone masonry, sandstone.) | ||
| + | - Context: | ||
| + | - Became Cambodian Flag | ||
| + | - Built by King Suryavarman II aka protector of the sun | ||
| + | - Content: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Ancient Sanskirt and khmer texts say that temples should be in harmony with nature | ||
| + | - they planned it accordingly to sun and moon; the central axis should be aligned with planets; plan of the universe or mandala | ||
| + | - Structure: expansive enclosure wall separates the | ||
| + | |||
| + | temple grounds from the moat; temple is comprised of 3 passageways running around temple | ||
| + | |||
| + | - galleries and central sanctuary marked by 5 stone towers | ||
| + | |||
| + | - Decoration: 1200 square meters of carved bas-relief | ||
| + | |||
| + | - Churning of the Ocean of Milk: | ||
| + | - Shows the beginning of the time and creation of universe | ||
| + | - Devas (Gods fighting asura (demons)) to save the earth amirta (elixir of life) | ||
| + | - Playing tug a war with Naga (shake) to churn oceans | ||
| + | - Once elixir is released Indra (king of Gods) is seen descending to collect it | ||
| + | |||
| + | - Form: | ||
| + | - Largest religious monuments (400 kilometer large) | ||
| + | - Contains various capitals of Khemer empire | ||
| + | |||
| + | - Function: | ||
| + | - Dedicated to Vishnu= protector or preserver | ||
| + | |||
| + | - Lakshmana Temple. (Khajuraho, India. Hindu, Chandella Dynasty. c. 930--950 C.E. Sandstone) | ||
| + | - Context: | ||
| + | - Built by the Chandella kings in their newly-created capital of Khajuraho | ||
| + | - Content: | ||
| + | - Central deity is Vishnu in his 3 headed form known as Vaikuntha who sits inside the temple inner womb chamber {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Sculpture has a harmonious integration with the architecture | ||
| + | - Figures=sensuous with revealing clothing | ||
| + | - Depicts idealized female beauty; sculptures of loving couples=mithuna (state of being a couple); erotic poses symbol his regeneration | ||
| + | - Form: | ||
| + | - Made of five store and ashlar masonry | ||
| + | - Nagara style Hindu Temple | ||
| + | - Consist of a shrine known as vimana and a flat roofed entry porch known as mandapa | ||
| + | - Shrine of Nagara temples includes a base platform and large superstructure known as sikhara which viewers can see from a distance | ||
| + | - Function: | ||
| + | - Residence of a God | ||
| + | - Devotees approach the temple from the east and walk around (Circumambulation) | ||
| + | |||
| + | - Travelers among Mountains and Streams. (Fan Kuan. c. 1000 C.E. Ink and colors on silk) | ||
| + | - Context: | ||
| + | - Only surviving work by Fan Kuan; painted during Song Dynasty | ||
| + | - Neo-Confucianism: | ||
| + | - Content: | ||
| + | - Boulders in foreground; rocky outcroppings covered in trees; 2 men driving donkeys with firewood | ||
| + | - Temple partially hidden in forest; Gritty rick takes up ⅔ of picture; in the background central peak flanked by smaller peaks | ||
| + | - Contains immense details | ||
| + | - Long waterfall on right balanced by mountain on left | ||
| + | - Man seen as small and insignificant in vast natural world | ||
| + | - Form: | ||
| + | - 7 feet long hanging scroll | ||
| + | - Take advantage of seale to increase grandeur and monumentality of mtns by decreasing the size of ppl. | ||
| + | - Function: | ||
| + | - Expresses cosmic vision on man’s harmonious existence in vast/ | ||
| + | - Shows the Neo-Confucian search for absolute truth in nature | ||
| + | |||
| + | - Shiva as Lord of Dance (Nataraja). (Hindu; India (Tamil Nadu), Chola Dynasty. | ||
| + | |||
| + | c. 11th century C.E. Cast bronze) | ||
| + | |||
| + | - Context: | ||
| + | - Nataraja is a depiction of the god Shiva as the cosmic dancer who performs his divine dance to destroy a weary universe and make preparations for the god Brahma to start the process of creation {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | |||
| + | - Content: | ||
| + | - IT combines shiva;s roles as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never- ending cycle of time. His upper right hand holds the damaru. His upper left hand holds the agni. | ||
| + | - The symbol implies that, through belief in Shiva, his devotees can achieve salvation | ||
| + | |||
| + | - Form: | ||
| + | - It's decorative and representational | ||
| + | |||
| + | - Function: | ||
| + | - It’s used to praise Shiva | ||
| + | |||
| + | - Night Attack on the Sanjô Palace. (Kamakura Period, Japan. c. 1250--1300 C.E. Handscroll (ink and color on paper)) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Commemorates a 12th century incident | ||
| + | - Made surin the Kamakura period | ||
| + | - Sanjo palace incident just part of the Heiji insurrection 1159-60 | ||
| + | - The scroll was part of another set | ||
| + | - Content: | ||
| + | - Vibrant color and outline | ||
| + | - Characters appear multiple times | ||
| + | - Narrative scene | ||
| + | - Tangled mass of bodes; lone archer leads escape from burning palace with commander on horseback | ||
| + | - Form: | ||
| + | - Emaki-Japanese handscroll | ||
| + | - Example of Otoko-e “men painting” | ||
| + | - The action moves from right to left: strong diagonal lines emphasizes movement | ||
| + | - Written introduction | ||
| + | - 25 feet long: get progressively chaotic | ||
| + | - Function: | ||
| + | - Designed to be unrolled and viewed up close | ||
| + | - Informative about the Heiji Rebellion | ||
| + | - Important reference painting to study bc it's very detailed | ||
| + | |||
| + | - The David Vases.(Yuan Dynasty, China. 1351 C.E. White porcelain with cobalt- blue underglaze) | ||
| + | - Context: | ||
| + | - Blue porcelain was imported from Iran | ||
| + | - Vases were purchased by David {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Content: | ||
| + | - Tall white vessels decorated with blue stylized dragons, birds, clouds, and floral designs | ||
| + | - Elephant = head shaped handles | ||
| + | - Neck and food of vase= leaves and flowers | ||
| + | - Inscription: | ||
| + | - Form: | ||
| + | - Glazed: cobalt blue paint | ||
| + | - Porcelain= white ceramic | ||
| + | - Very fine white clay 1300 degrees shimmery finish | ||
| + | - Firing technique oxidizes it | ||
| + | - Function: | ||
| + | - 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 | ||
| + | |||
| + | - Portrait of Sin Sukju (1417--1475). (Imperial Bureau of Painting. c. 15th century | ||
| + | |||
| + | C.E. Hanging scroll (ink and color on silk)) | ||
| + | |||
| + | - Context: | ||
| + | - Sin Sukju is a scholar and politician that rose to status of Prime Minister in 1445 | ||
| + | - Rank badges are typically made of embroidered silk and it indicated rank of anyone from local official to the emperor {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | |||
| + | - Content: | ||
| + | - Depicts Sin 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 | ||
| + | - 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 signity | ||
| + | - Detail on face contrasts with simplicity of attire | ||
| + | |||
| + | - Form: | ||
| + | - The portrait is facing slightly to the right | ||
| + | - This is a hanging scroll made from ink and color on silk | ||
| + | |||
| + | - Function: | ||
| + | - Meant to honor the accomplishments of the distinguished court member and eventual prime minister | ||
| + | |||
| + | - Forbidden City. (Beijing, China. Ming Dynasty. 15th century C.E. and later. Stone masonry, marble, brick, wood, and ceramic tile) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Context: | ||
| + | - Palace operated for over 500 years; was originally built to solidify power | ||
| + | - The 4th son of the Ming Emperor usurped power from his older brother and seized control | ||
| + | - In order to solidify his power he moved the capital from Nanjing to Beijing | ||
| + | - The Qing dynasty which ruled after Ming Dynasty continued after Ming Dynasty continued this as HQ of the royal court | ||
| + | - Content: | ||
| + | - Palace is divided into an inner and outer court | ||
| + | - Outer: used for state affairs and only men were allied inside | ||
| + | - Inner: contained living spaces and was focused on domestic life for imperial family | ||
| + | - Main building in the outer court is the hall of supreme harmony where the important decisions of state are made | ||
| + | - Main buildings from the inner court are the emperor’s residence known as the Palace of heavenly purity and the empress;s residence is known as the palace of Earthly Tranquility | ||
| + | - Form: | ||
| + | - Red walls and yellow glazed rood tiles located in the heart of beijing | ||
| + | - City=960 meters ling and 750 meters wide | ||
| + | - 98 buildings and a moat that is 50 meters wide | ||
| + | - The design of the Forbidden city follows the ideal cosmic order in confucian ideology | ||
| + | - Living quarters were determined by social status | ||
| + | - Function: | ||
| + | - Palace served as hime to the Chinese emperor and his court | ||
| + | |||
| + | - Ryoan-ji. Kyoto, Japan. (Muromachi Period, Japan. c. 1480 C.E.; current design most likely dates to the 18th century. Rock garden) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Inspired by the aspects of Japanese and Chinese cultures | ||
| + | - Shinto: worship of deities in nature | ||
| + | - Zen Buddhism: emphasize meditation as a part toward enlightenment | ||
| + | - Content: | ||
| + | - Zen Dry Garden: | ||
| + | - Japanese rock gardens characterized by minimalistic perspectives and abstracted forms | ||
| + | - Enclosed courtyard small stones white sand with series of moss islands from which rocks protrude | ||
| + | - Asymmetrical arrangement | ||
| + | - The white sand racked in wavy patterns: acts as water/ | ||
| + | - Wet Garden: | ||
| + | - Contains a tea house | ||
| + | - Water symbolizes purification: | ||
| + | - Hojo=main building of the monastery, the abbot’s residence | ||
| + | - Form: | ||
| + | - Zen Buddhism Temple with 23 sub temples | ||
| + | - Function: | ||
| + | - Built under the patronage of the Kosokana family | ||
| + | - Zen dry garden served as centers for meditation; encourages contemplation | ||
| + | |||
| + | - Jahangir Preferring a Sufi Shaikh to Kings. (Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Jahangir wanted to bring together distant lands | ||
| + | - Used many different aspects of European art | ||
| + | - Artists wants to sign his name so he put himself in the painting | ||
| + | - Very strong belief in religion so that they made the two holy men bigger and more important than everyone else | ||
| + | - Content: | ||
| + | - Shows the 4th emperor of the Mughal Dynasty Jahangir: gold flames come out of his head which lead into a gold circle | ||
| + | - Moon and sun= represents the ruler' | ||
| + | - Seated on a stone inlaid platform and is connected to a hourglass | ||
| + | - Embroidered blue carpet with intricate designs | ||
| + | - Has the Shaikh or the holy man, who has been put on almost the same level as Jahangir himself | ||
| + | - Form: | ||
| + | - Mixture of gold, ink, watercolor on traditional asian paper | ||
| + | - Function: | ||
| + | - Was in an album that had alternating patterns and calligraphy scriptures | ||
| + | |||
| + | - 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) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Built by Shah Jahan (5th Mughal ruler) | ||
| + | - Tomb for his favorite wife=mumta 2 who died in childbirth | ||
| + | - Content: | ||
| + | - Enter via forecourt; pass through the gateways inlaid red sandstone | ||
| + | - Long water channel (with fountain jets leads to Taj; surrounded by gardens | ||
| + | - Taj set on raised panel at north end of gardens | ||
| + | - Exterior: topped by bulbous dome and 4 minarets of equal height: minarets are usually for mosques, here they are ornamental instead of functional | ||
| + | - Interior: hasht bihisht (8 levels) floorplan references eight levels of muslim paradise; eight halls and side rooms connect to a central space in a cross axial form | ||
| + | - Form: | ||
| + | - Decoration: walls are inscribed with quranic verses; white marble is carved and inlaid with semi-precious stones: pietra dura technique using italian methods | ||
| + | - Mughal architecture tended to use red stone for exterior and white marble for decorations or interiors of tombs or holy places | ||
| + | - Function: | ||
| + | - Mausoleum and gardens for mumta Jahan | ||
| + | |||
| + | - White and Red Plum Blossoms. (Ogata Korin. c. 1710--1716 C.E. Ink, watercolor, and gold leaf on paper) | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Epitomizes Japanese Art | ||
| + | - Part of what is known as the Rimpa movement or school of korin | ||
| + | - Movement is known for the combination of naturalistic monumental presence, dynamism and sensuality | ||
| + | - Initially inspired by chinese literature but shifted to nature nad naturalistic chinese motifs | ||
| + | - Invented by Honami and Koetsu: painted on screen and fans | ||
| + | - Content: | ||
| + | - Painting is abstract and naturalistic | ||
| + | - The gold leafs background denies viewers of any sense of the time or geographic location | ||
| + | - The stream has an un-naturalistic metallic color but has swirls that show that water is moving | ||
| + | - Sharp tapered contour lines gives the work and non-naturalistic upward tilt | ||
| + | - Form: | ||
| + | - Pair of 2 folds screens | ||
| + | - Colors and gold leaf on paper 156x172.2 cm | ||
| + | - Techniques=ink and watercolor | ||
| + | - Tarashikomi-diluting/ | ||
| + | - Function: | ||
| + | - Establish Korin’s reputation | ||
| + | - To preserve and perpetrate the values and characteristics of the Rimpa movement | ||
| + | - Traditional Japanese folding door | ||
| + | |||
| + | - Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji. (Katsushika Hokusai. 1830--1833 C.E. Polychrome woodblock print; ink and color on paper) | ||
| + | - Context: | ||
| + | - Part of series of prints done by Hokusai: called 36 views of Mount Fuji | ||
| + | - Kasuchika Hokusai: went by many names; discovered western prints from Dutch trade; created Japanese variant of linear perspective {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Dutch influence in low horizon and prussian blue | ||
| + | - Mount Fuji: highest mountain in Japan; considered sacred | ||
| + | - 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 foreground dwarfing small mountain in distance; inclusion of men and boats amist powerful waves | ||
| + | - Personification of nature, seems intent on drowning the figures on the boats | ||
| + | - Form: | ||
| + | - Polychrome woodblock print made of ink and color on paper | ||
| + | - Ukiyo-e print style | ||
| + | - Function: | ||
| + | - Hokusai responding to boom in domestic travel and corresponding markey for images of Mount Fuji | ||
| + | |||
| + | - Chairman Mao en Route to Anyuan. (Artist unknown; based on an oil painting by Liu Chunhua. c. 1969 C.E. Color lithograph) | ||
| + | - Context: | ||
| + | - This painting was used as a way for the communist party in China to thank Chairman Mao for his support throughout the years {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - At this time there was a large amount of conflict over power so Mao had these paintings done to help regain control | ||
| + | - SHows Mao on his way to lead the miners strike of 1922 | ||
| + | - This created the bond of Mao with the communist party | ||
| + | - Content: | ||
| + | - Shows young Mao Zedony (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 which shows he is ready to conquer anything in his way | ||
| + | - Form: | ||
| + | - This is based on an oil painting that was done on canvas | ||
| + | - Color lithograph: method of printing using a smooth stone or metal | ||
| + | - Function: | ||
| + | - The communists party in China wanted to portray Mao as a new revolutionary leader; wanted to gain more followers | ||
| + | |||
| + | ====== Unit 9: The Pacific ====== | ||
| + | |||
| + | - Nan Madol. (Pohnpei, Micronesia. Saudeleur Dynasty. c. 700--1600 C.E. Basalt boulders and prismatic columns) | ||
| + | - Context: | ||
| + | - Saudeleur Dynasty: an early example of centralized political system in western pacific, placed high importance on agriculture and God (fertile land) {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Sacred sea deity (Killed Turtles for them) | ||
| + | - Inhabitants= Reef of Heaven | ||
| + | - Dynasty fell in 1628 | ||
| + | - Content: | ||
| + | - A system of crisscrossing canals, Luxurious palaces | ||
| + | |||
| + | for the rulers and smaller houses surrounding for servants | ||
| + | |||
| + | - Contained a variety of specialized islets: some for constructing canoes, holding sacred eels, and preparing coconut oil for sacred ceremonies | ||
| + | |||
| + | - Form: | ||
| + | - Carved basalt from volcanic plugs, transport stones 5-50 tons from mountain to reefs | ||
| + | - Nan Model translates to space between | ||
| + | - Did not use concrete, used a criss crossing pattern of horizontal logs called stethoscope and perpendicular to post and lintel. | ||
| + | |||
| + | - Function: | ||
| + | - Served as a home to over 1000 inhabitants | ||
| + | - Remote Location meant not many resources were used towards military | ||
| + | |||
| + | - Moai on platform (ahu). (Rapa Nui (Easter Island). c. 1100--1600 C.E. Volcanic tuff figures on basalt base) | ||
| + | - Context: | ||
| + | - Easter Island is called Rapa Nui by the people who lived there {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Maoi means statue; Ahu means platform | ||
| + | - Original Location: shown on a stone platform, orongo-stone village on Rapa Nui, by the ocean | ||
| + | - All statues are turned with back to the sea | ||
| + | - Content: | ||
| + | - Carvings on the back of some statues that are believed to have been made at a later time | ||
| + | - Low relief; a red top red hat-higher status, coral shell eyes | ||
| + | - Form: | ||
| + | - Made from chiseled stone, 14 are made from basalt while the rest are made from volcanic tuff, about 887 moai on Easter Island | ||
| + | - Originally painted with red and white designs, height of the statute range from 8-70 feet tall; old statue are larger and more detailed/ | ||
| + | - Majority of statues share features such as: elongated ears, heavy eyebrow ridge, oval nostrils, emphasized clavicle, protruding nipples, thin arms that lie against the body, barely any arms. Stern expression. | ||
| + | - Function: | ||
| + | - Represent human spirits ancestors, made by a high status | ||
| + | |||
| + | - ‘Ahu ‘ula (feather cape). (Hawaiian. Late 18th century C.E. Feathers and fiber) | ||
| + | - Context: | ||
| + | - This cape was retained by Captain Cook’s widow and inherited by the descendants of her cousins, Rear Admiral Issac {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | |||
| + | Smith | ||
| + | |||
| + | - Cook arrived in Kealakekua Bay on 01.26.1779 which was at the same time as Makahiki seasonal festivals | ||
| + | |||
| + | - Kalaniopuu (chief) greeted cook in a ceremonial way and gave him his cloak | ||
| + | |||
| + | - Last bird spotted in 1930 | ||
| + | |||
| + | - Content: | ||
| + | - A feather cloak-yellow and red: Red associated with Gods and chiefs across Polynesia, Yellow= valuable because of their scarcity in the Hawaiian Island | ||
| + | - Feather cloaks and capes were symbols of power and social standing Hawaiian culture | ||
| + | |||
| + | - Form: | ||
| + | - Made with feathers and olona fiber | ||
| + | - Feathers were attached to the nesting in overlapping rows | ||
| + | - Exterior=red feathers from the’ iui bird; black and yellow feathers are from the oo bird | ||
| + | - Dimensions: 64x15.5 inches | ||
| + | - 500,000 feathers=some birds had only 7 usable feathers | ||
| + | - Coconut fiber were used as the based | ||
| + | |||
| + | - Function: | ||
| + | - Male nobility wore feathers cloaks/ | ||
| + | |||
| + | - Staff god. (Rarotonga, Cook Islands, central Polynesia. Late 18th to early 19th century C.E. Wood, tapa, fiber, and feathers.) | ||
| + | - Context: | ||
| + | - Wooden and humanistic head on top and end has naturalistic phallus {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Missionary cut of the phallus bc it’s indecent; they also convinced Rartongan people to embrace christianity and abandon their own faith | ||
| + | - Producing barkcloth was a demanding complicated process | ||
| + | - Content: | ||
| + | - 12 feet long; elongated body topped by carved head; head makes up about | ||
| + | |||
| + | ⅓ of wood carving: smooth, stylized large eye, pointed chin, closed mouth | ||
| + | |||
| + | - A line of smaller figures were carved just below the head | ||
| + | |||
| + | - Small figures alongside larger ones=characteristic of Polynesian Art | ||
| + | |||
| + | - Most of the figures are encased in Barkcloth: clothing and protection | ||
| + | |||
| + | - Form: | ||
| + | - Reference to Tangaroa as a god of fertility | ||
| + | - Barkcloth wrapping: polynesian believed cloth was needed to protect deity’s spiritual force; | ||
| + | - Red feathers and pearls on the wooden head act as a symbol of mana | ||
| + | - If wrapping was off then deity would leave and staff god would be useless | ||
| + | |||
| + | - Function: | ||
| + | - Symbol of manara or soul of the God; protects ancestral power of “mana” or deity of the society | ||
| + | |||
| + | - Female deity. (Nukuoro, Micronesia. c. 18th to 19th century C.E. Wood. | ||
| + | - Context: | ||
| + | - Nukuoro is a micronesian atoll (ring shaped coral reef) in western pacific | ||
| + | - It was settled in the 8th century C.E. by polynesians traveling in Canoes from Samoa | ||
| + | - Nukuoro culture retained Polynesian influences such as social structures and the practice of carving humans | ||
| + | - Content: | ||
| + | - Deities were believed to inhabit animals, piece of woods, and wood figures called tino aitu {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Sacrifices to the figurine occurred each year during harvest | ||
| + | - Lack of facial details and the flexed legs provide a “blank canvas” ready to take on a deity’s vital force | ||
| + | - Stylized human figures | ||
| + | - Form: | ||
| + | - Sculpture, wooden, 40 cms | ||
| + | - Made from the BreadFruit Tree, Pumice was used to make it shiny | ||
| + | - Function: | ||
| + | - Religion purposes | ||
| + | - Used for a special annual harvest rituals | ||
| + | - Placed in temples, decorated with jewels | ||
| + | |||
| + | - Buk (mask) (Torres Strait. Mid- to late 19th century C.E. Turtle shell, wood, fiber, feathers, and shell) | ||
| + | - Context: | ||
| + | - Torres strait is between Australia and Papua New Guinea and has many small uninhabited islands | ||
| + | - Diego de Prado found turtle shell in 1606 {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Very dependent on ocean life so fishing was vital to survival | ||
| + | - Language of the island is Kala Lagaw Ya | ||
| + | - Island became Christianized: | ||
| + | - Content: | ||
| + | - Significant performances | ||
| + | - Honoring/ | ||
| + | - Bird could be a mythological totem connected to a family | ||
| + | - Form: | ||
| + | - Heated individual hawk bill, sea turtles shell plates so they become flexible and could be bent to create desire shape | ||
| + | - Each plate then had to be pierced around the edges so that maker could use fiber to thread plates together | ||
| + | - Connected plates=formed 3D appearance | ||
| + | - Function: | ||
| + | - Ceremonial significance; | ||
| + | |||
| + | - Hiapo (tapa). (Niue. c. 1850--1900 C.E. Tapa or bark cloth, freehand painting.) | ||
| + | - Context: | ||
| + | - Cloth is from Niue, a small polynesian island country located 1500 miles northeast of New Zealand, located next to Tongo, Samoa and Cook Islands; allowed for lots of trade with Christian missionaries in the region {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Tapa cloth traditionally seen as women’s art as it is a type of weaving and works with soft materials | ||
| + | - Content: | ||
| + | - Certain designs were designed for people with high social status/rank | ||
| + | - Different culture and islands would present similar pieces of cloth to places they travel to by boat | ||
| + | - Form | ||
| + | - Fine lines, detailed geometric design such as spirals, concentric circles, squares, triangles, and diminishing motifs | ||
| + | - Along the edge=representation of plants | ||
| + | - Function: | ||
| + | - Tapa used for clothing bedding and wall hangings, displayed on special occasions | ||
| + | |||
| + | - Tamati Waka Nene (Gottfried Lindauer. 1890 C.E. Oil on canvas) | ||
| + | - Context: | ||
| + | - Lindauer and his patron: Henry Patridge | ||
| + | - He tend to paint well known Maori in Maori clothing for Europeans purchases but painted unknown Maori in European clothing when commissioned by their families {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Painted in 1890-3years after he died | ||
| + | - Content: | ||
| + | - Maori man-indifenous people of New Zealand | ||
| + | - A Rangatira or Chief of the Ngati Hao ppl in Hokianga-from the Ngapuhi tribe | ||
| + | - Important war and peacetime leader | ||
| + | - Estimated to be born in 1780s and died in 1871 | ||
| + | - He converted to the Wesleyan faith and baptised in 1839 choosing to become Tamati Waka after Thomas Walker | ||
| + | - Form: | ||
| + | - Cloak: a Kahu Kiwi: from Kiwi birds | ||
| + | - Earring of Greenstone or pounamu | ||
| + | - Both are considered prestigious treasures | ||
| + | - weapons=tewhatewha which are adorned with feathers and has a finely carved hand grip with an abalone or paua eye | ||
| + | - mana=connection to power and prestige | ||
| + | - moko=facial tattoos | ||
| + | - Background=foliage mountains and sky | ||
| + | - Function: | ||
| + | - Preserving the person in history | ||
| + | - Bring the presence of ancestors into the living world-so the painting does not only show the image/ | ||
| + | |||
| + | - Navigation chart (Marshall Islands, Micronesia. 19th to early 20th century C.E. Wood and fiber) | ||
| + | - Context: | ||
| + | - Micronesians in Northwest Pacific are renowned for navigational skills {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - Religiously guarded their charts | ||
| + | - Showed that they traded between different tribes and islands | ||
| + | - Content: | ||
| + | - Chat is form of a Rebbelib | ||
| + | - Composed of wooden sticks: horizontal and vertical | ||
| + | |||
| + | acts as supports and the diagonal and curved ones represents wave swells | ||
| + | |||
| + | - Shells represents where the islands are | ||
| + | |||
| + | - Form: | ||
| + | - Wooden sticks bound leaves and connected by shells representing Marshall islands | ||
| + | |||
| + | - Function: | ||
| + | - Used for navigation | ||
| + | - Different charts represents differing degrees of geographical measurements | ||
| + | |||
| + | - Malagan display and mask. (New Ireland Province, Papua New Guinea. c. 20th century C.E. Wood, pigment, fiber, and shell) | ||
| + | - Context | ||
| + | - Malagan are concerned with honoring/ | ||
| + | - Often used representation of fish/birds since it alludes to specific myth | ||
| + | - Figures were collected by Hughe Hastings family, Deputy commissioner for western Pacific while he was on tour of New Ireland in 1882-83 | ||
| + | - Content: | ||
| + | - Mask can represents many things: Dead ancestors, spiritual double of an individual or the various bush spirits associated with the area | ||
| + | - Form: | ||
| + | - Different mask made of same materials and pigment | ||
| + | - Function: | ||
| + | - Commonly used at funeral sites; send a farewell off the to the dead; celebrate the achievements/ | ||
| + | - Also used as a sort of copyright; when someone buys a piece, the seller gives up his right to use that particular style again | ||
| + | |||
| + | - Presentation of Fijian mats and tapa cloths to Queen Elizabeth II. (Fiji, Polynesia. 1953 C.E. Multimedia performance (costume; cosmetics, including scent; chant; movement; and pandanus fiber/ | ||
| + | - Context: {{60a174e467e8ec74d0a64d6a_SS-AP-Art-History-part-5_c7bcc5241fec4021a61da52b8d31a9ed: | ||
| + | - On Dec. 1753, queen visited kingdom of Tonga, which was the only pacific nation to retain a Monarchy and was protected by british government | ||
| + | - Cloth is presented as a gift in special ceremonies | ||
| + | - Queen Elizabeth witnessed many Fijian traditions and participated in Kava Ceremony | ||
| + | - Content: | ||
| + | - Procession of women: skirts made of barkcloth and mats | ||
| + | - Tapa mats were made from bark of mulberry tree | ||
| + | - Mend tend to the trees but only women can make the actual fabric | ||
| + | - Bark is cut into strips and beat with a hammer | ||
| + | - Women beat them together to form long plain sheets | ||
| + | - Designs were painted onto cloth by hand | ||
| + | - Form: | ||
| + | - Black and white photo of women wearing skirts | ||
| + | - Women skirts=painted with geometric patterns; men are wearing white clothing | ||
| + | - Function: | ||
| + | - Presented as gifts to important people | ||