5 Flashcards
1
Q
woman I
A
- willem de kooning; oil on canvas; ABSTRACT EXPRESSIONISM
- ferocious woman w/ fierce teeth, huge eyes; large breasts r a satire on women who appear in magazine ads
- slashing of paint onto canvas
- smile is cutout of female smile frm magazine ad
- blank stare; frozen grin
- ironic comment on the banal n artificial world of film n advertising
2
Q
the bay
A
- helen frankenthaler; acrylic on canvas
- COLOR FIELD
- painted directly on unprimed canvas - canvas absorbs paint more directly
- The colors on the canvas don’t have to represent something in particular, but can have a more ambiguous, emblematic quality for the viewer.
3
Q
marilyn diptych
A
- andy warhol; oil, acrylic, silkscreen enamel on canvas; 1962; POP ART
- repeated imagery drains the image of monroe of meaning
- reproduction of many denies the concept of the unique work o art
- cult of celebrity
- left: in color, reps her in life; r: in BnW, reps her death work done 4mo after death)
- private persona of the individual submerged beneath public face – her public face appears highlighted by bold, artificla colors
4
Q
Lipstick (Ascending) on Caterpillar Tracks
A
- claes oldenburg; cor-ten steel, aluminum, cast resin, painted w/ polyurethane enamel; 1969-1974
- intended as platform for public speakers; rallying point for anti-vietnam era protests
- erected secretly
- tank-shaped platform base w/ lipstick ascending – anti-war symbolism
- male n female forms unite: themes of death, power, desire, sensuality
- made of inexpensive n perishable materials
5
Q
narcissus garden
A
- yayoi kusama; installation of mirrored balls; venice (original location)
- 1500 large, mirrored, stainless steel balls placed on lawn under a sign that said “ur narcissms for sale”
- artist offered balls for sale $2/ea - commentary on commercialism n vanity of current art world
- references ancient myth of narcissus - young man who’s so enraptured by his imae that he stares at his image until he becomes a flower
- installation later moved 2 water - stronger connection to ancient myth
- balls move w/ currents of wind n water, reflecting ever-changing viewpoints
6
Q
spiral jetty
A
- robert smithson; great salt lake, UT; EARTHWORK
- mud, salt crystals, rocks, water coil, 1970
- a jetty is supposed 2 b a pier in th water; here it’s transformed into curl of rocks sitting silently in a vast empty wilderness
- coil is an image seen in north american earthworks, cf. great serpent mound
7
Q
House in New Castle County
A
- venturi, rauch, and brown; delaware
- POSTMODERN mix of historical styles
- designed for family of 3
- husband: birdwatcher; large windows facing woods
- wife: musician, hence music room
8
Q
todai-ji
A
- 743 rebuilt 1700
- wood w/ ceramic tile roofing
- nara, japan
- Great Eastern Temple, refers to location on eastern edge of Nara
- influenced by monumental chinese sculptures (cf Longmen)
- nio guardian figures in wood
- Great Buddha (vairocana) in BRONZE, erected as a way of stabilizing japanese population during economic crisis
- Nandaimon (great south gate, main entrance of todai-ji):
- roof supported by huge pillars; unusual in that is has no ceiling (roof exposed from below) + 2 stories r same size
- overall effect is of proportion n stateliness
9
Q
ryoan-ji
A
- 1480 current design 18th cent
- rock garden; kyoto, japan
- microcosm of nature
- zen dry garden:
- gravel acts as water; rocks r mountain ranges; interpreted as islands in a floating sea
- asymmetrical
- focus for meditation
wet garden:
- contains tea house
- water symbolizes purification; used in rituals
- plants r placed in highly organized n structured env symbolizing natural world
10
Q
Night Attack on the Sanjô Palace
A
- 1250 - 1300; handscroll (ink and color on paper)
- elevated viewpoint
- strong diagonals emphasizing movement and action; swift active brushtrokes
- narratives read from right to left as scroll is unrolled
- depersonalized figures
- tangled mass of forms accentuated by japanese armor
- lone archer leads escape from burning palace w/ equestrian japanese commander behind him
- military rule in japan had an interest in the code of the warrior
11
Q
White and Red Plum Blossoms
A
- rinpa style “pa”-school
- ogata korin; watercolor on paper
- YAMATO-E
- stream cuts thru scene; swirls in paint surface indicate water currents - white blossoms left, red right
- tarashikomi technique: paint applied to surface that hasn’t already dried from previous application - creates dripping effect useful in depicting streams or flowers
12
Q
the great wave
A
- Under the Wave off Kanagawa; Hokusai; 1830-1833
- Polychrome woodblock print; ink and color on paper
- 1st time landscape is a maj theme in jap prints
- personification of nature - seems intent on drowning the figures in boats
- mt fuji, sacred mountain to japanese, seems to be one of the waves
- contrasts water n sky w/ large areas of negative space
13
Q
forbidden city
A
- 15th cent; ming dynasty; beijing
- stone masonry, marble, brick, wood, ceramic tile
- so named b/c only royal court could enter
- each corner of the rectangular plan has a tower representing the 4 corners of the world
- focus: hall of supreme harmony, the throne room and eat of power, meant for grand ceremonies
- surrounding wall of City characteristic of a chinese city: privacy within provides protection; containment part of chinese culture
14
Q
funeral banner of lady dai (xin zhui)
A
- painted silk; han dynasty 180 BCE
- T-shaped silk banner covering the inner coffin of the body
- yin symbols at left, yang symbols at right; center mixes the 2 phiolosophies
- painted in 3 distinct regions:
- top: heaven
- middle: earth w/ lady dai about to make her journey to heaven
- bottom: underworld (symbolic low creatures - fish, turtles)
15
Q
Travelers among Mountains and Streams
A
- fan kuan; 1000; ink on silk
- artist isolated himself to be w/ nature and study it for his landscapes - DAOIST
- diff brushstrokes to describe diff kinds of trees
- long waterfall on right balanced by mntn on left
- not pure landscape: donkeys driven by 2 men; small temple in forest; man seen as small and insignificant in a vast natural world
- hanging scroll
16
Q
portrait of sin sukju
A
- 1400s, ink and color on silk
- korean prime minister and soldier
- korean portraits emphasz how the subj made a great contribution to the country + how the spirit of loyalto to king and country was valued by confucian philosophy
- great scholar
- hanging scroll
17
Q
Chairman Mao en Route to Anyuan
A
- artist unknown, based on oil painting by liu chunhua
- 1969, color lithograph
- poster-like; vivid colors; dramatic n obviosu political msg
- art done anonymously - individual artistic fame seen as countercultural in a collectivist society
- mao on way to anyuan to lead miner’s strike (he worked for reforms for miners
18
Q
Terracotta warriors from mausoleum of the first Qin emperor of China
A
- qin dynasty 200s BCE
- lintong, china
- painted terra-cotta
- representation of chinese army marching into the next world
- 6ft tall soldiers - fierce, proud, confident
- DAOSIM seen in individualization of each soldier despite their numbers
- originally colorfully painted
19
Q
longmen caves
A
- limestone; 400s - 1100s; TANG dynasty
- luoyang, china
- caves along banks of yi river; sculptures n reliefs carved from existing rock
- Vairocana buddha having monk attendants, bodhisattvas, guardians flanking
- inscription: empress wu zetian was the principal patroness of the site and used personal funds
20
Q
Gold and jade crown
A
Three Kingdoms Period, Silla, 5th - 6th century; metalwork
- symbolizes geometric trees
- antler forms influenced by siberian shamanistic practices
- very lightweight
21
Q
the david vases
A
- YUAN dynasty 1351
- named after sir percival david, chinese art collector
- white porcelain w/ cobalt blue underglaze
- typical altar set - made for DAOIST temple altar
- dedication o the side of the neck
- blue color imported from iran
- elephant-head-shaped handles
- neck and foot: leaves and flowers; central section: chinese dragons
22
Q
Merovingian looped fibulae
A
Early medieval Europe. Mid-sixth century C.E. Silver gilt worked in filigree, with inlays of garnets and other stones.
- fibula: pin/brooch used to fasten garments; showed prestige of wearer
- CLOISONNE, CHASING
- zoomorphic elements
- small portable objects
23
Q
Lindisfarne Gospels
A
- illuminated manuscript - ink, pigments, gold on vellum
- HIBERNO-SAXON; 700 EARLY MEDIEVAL EUROPE
- written in latin w/ annotations in eng btwn the lines
cross page
- HORROR VACUI - dog-headed snakes, birds
- CLOISONNE in bird bodies
- symmetrical; black bkgrnd makes patterning stand out
- celtic imagery + christian theology
st luke portrait
- sits w/ crossed legs holding scroll n writing instrument
- traditional symbol associated w/ st luke is the calf, a sacrifical animal
incipit page
- incipit - opening words of luke’s gospel
- celtic spiral ornaments
24
Q
church of sainte-foy
A
- conques, france; stone; ROMANESQUE 1000s 1100s
- church built along a pilgrimage road; built to handle the large number of pilgrims - wide transepts, large ambulatory
- massive unadorned interior walls
- cross-like ground plan
25
Q
camelid sacrum in the shape of a canine
A
- 14000 - 7000 BCE
- bone
- bone sculpture from camel-like animal; image of dog/wolf’s skull
- mesoamerican idea: sacrum is a “2nd skull”
26
Q
anthropomorphic stele
A
- 4th millennium BCE
- sandstone
- religious/burial purpose
- resembles human form, but not in itself human
- belted robe frm which hangs a knife or sword
27
Q
jade cong
A
- 3300 - 2200 BCE
- jade
- circular hole placed w/in square
- jades appear in burials of ppl of high rank; jade - virtues like durability, beauty
- abstract designs; main decor is a face pattern
- china NEOLITHIC
28
Q
ambum stone
A
- 1500 BCE
- greywacke
- STONE AGE - stone to carve stone
- composite human/animal figure
- sacred, maybe religious
- anteater?
29
Q
tlatilco female figures
A
- 1200 - 900 BCE
- ceramic
- elaborate details of hairstles, clothing, body ornaments
- deformities
- maybe shamanistic function
30
Q
Terracotta fragment
A
- LAPITA culture; 1000 BCE; terra cotta
- depicts a human face incorporated into the intricate geometric designs
31
Q
apollo 11 stones
A
- 25000s BCE
- charcoal on stone
- profile of an animal done in charcoal
- The earliest history of rock painting and engraving arts in Africa.
32
Q
great hall of bulls
A
- lascaux caves, france PALEOLITHIC
- 15000 - 13000 BCE; pigment on rock
- twisted perspective
33
Q
running horned woman
A
- 6000 - 4000 BCE; rock painting (pigment on rock)
- The painting shows great contrast between the dark and light mediums used. There is also great detail put into the decorations of the woman. Most interestingly, though, there is a transparency to the larger woman and the figures behind her show through.
34
Q
beaker w/ ibex motifs
A
- painted terra-cotta; 4000 BCE
- use of potter’s wheel
- ibex: a type of goat native to the area
- very detailed
35
Q
stonehenge
A
- NEOLITHIC europe; 2000 BCE; sandstone
- wiltshire, england
- post-and-lintel, MORTISE-n-TENON
- ring of megaliths surrounds central horseshoe
- oriented toward sunrise on summer solstice
36
Q
White Temple and its ziggurat
A
- SUMERIAN uruk (modern warka), iraq
- mud brick, 3000BCE
- entire form resembles a mountain
- deity: anu, god of the sky, most impt sumerian deity
- tapers down so rainwater washes off
- small temple on top and removed from the populace; access reserved for royalty and clergy
37
Q
Statues of votive figures
A
- from square temple at eshnunna
- SUMERIAN 2700BCE
- Gypsum inland with shell and black limestone
- figures r diff heights, denoting hierarchy of scale
- halded folded in gesture of prayer
- huge eyes in awe, spellbound
- inscribes on back: ‘it offers prayers’
- figures represent mortals, placed in a temple and praying
38
Q
standard of ur
A
- 2500BCE SUMERIAN
- wood inlaid w/ shell, lapis lazuli, limestone
- from the royal tombs at Ur
- 2 sides, war side and peace side; 2 halves of a narrative
- war: sumerian king descended from chariot to inspect captives brought before him
- peace: procession
- reflects extensive trading network: lapis lazuli from afghanistan, shells from persian gulf, red limestone from india
- figures: broad frontal shoulders, body in profile
39
Q
The Law Code Stele of Hammurabi
A
- 1700s BCE BASALT
- BABYLONIAN (mesopotamian)
- sun god, shamash, enthroned on a ziggurat and handing hammurabi a rope, ring, rod (signs of royal power)
- hammurabi: speaking/greeting gesture
- bas-relief
- 300 law entries placed below the goruping, symbolically given from shamash himself to hammurabi
40
Q
Lamassu
A
- ASSYRIAN, ALABASTER, 700s BCE
- from the citadel of Sargon II, Dur Sharrukin
- 5 legs
- meant to ward off enemies both visible and invisible; averts evil influences / bad luck (APOTROPAIC)
- protective spirits placed at either side of gate as guardians; also bore the weight of the arches above the gate
41
Q
Audience Hall of Darius and Xeres
A
- persian; persepolis, iran; LIMESTONE; 500BCE
- apadana (audience hall) used for king’s receptions
- built by darius I and xerxes I; destroyed by alex the great
- giant lamassu gates, inscribed as ‘the gate of all nations’, announcing this as a great empire
- everything seems to have been built to dwarf the viewer
42
Q
sunken relief
A
carving where outlines of figures r deeply carved into a surface so figures seem to project forward
43
Q
Palette of King Narmer
A
- PRE-dynastic egypt ; greywacke ; 3000BCE
- relief sculpture, depicts king narmer uniting upper n lower egypt
- HIERARCHY OF SCALE (narmer is largest figure)
- hieroglyphics
- narrative
- front: narmer reviews beheaded bodies of the enemy
- back: hawk is Horus, god of egypt; defeated egyptians lie beneath narmer’s feet
44
Q
seated scribe
A
- 2500BCE; OLD kingdom; painted limestone
- created for a tomb as a provision fo the ka
- NOT pharoah: sagging chest n realistic rather than idealist features
- holds papyrus in lap
45
Q
great pyramids
A
- 2500BCE limestone OLD kingdom
- giza, egypt
- giant monuments to dead phoroahs
- each pyramid has adjacent funerary conplex
- pharoah buried within pyramid
- tombs of Menkaura, Khufu, Khafre
great sphinx
- generalized features - head of pharoah/god, body of lion
- carved in situ from a huge rock
- cats r royal animals in ancient egypt b/c saved grain supply from mice
46
Q
King Menkaura and Queen
A
- OLD kingdom; late 2400s BCE; GREYWACKE
- figures attached to block of stone at feet
- wife - simple n affectionate gesture
- menkaura’s powerful physique and stride symbolize kingship
- frontal, proportional, nearly life size
47
Q
Temple of Amun-Re and Hypostyle Hall
A
- NEW kingdom; 1550-1250BCE; near luxor, egypt
- sandstone and mud brick
- huge columns tightly packed together, admitting little light into the sanctuary
- massive sloped pylon gateway > peristyle courtyard > hypostyle hall > sanctuary where few were allowed
48
Q
Mortuary Temple of Hatshepsut
A
- NEW kingdom; 1450BCE; near luxor, egypt
- sandstone
- 1st time the achievements of a woman r celebrated in art history; her body is interred elsewhere
Queen Hatshepsut w/ Offering Jars
- red granite
- male pharoanic attributes: false beard, kilt (male costume); slender proportions and breasts indicate femininity
- inscription on base: shes offering plants to Amun, sun god
49
Q
Akhenaton, Nefertiti, and three daughters
A
- NEW kingdom; 1330BCE; limestone
- state religion changed by akhenaton from amun to aton, symbolized by sun-disk
- ankhs points to king and queen, they r having private relationship w/ new god
- state religion shift indicated by evolving style in egyptian art – amarna style: slack jaws, low hanging bellies
- domestic env new in egyptian art
50
Q
Tutankhamun’s tomb, innermost coffin
A
- NEW kingdom; 1323BCE
- Gold with inlay of enamel and semiprecious stones
- golden mask has smoothly idealized feature of the boy-king
- son of akhenaton; boy-king
51
Q
Last judgment of Hu-Nefer
A
- 1275BCE; NEW kingdom; painted papyrus scroll
- illustration from the Book of th Dead, egyptian book of spells n charms
- god of enbalming, Anubis, leads the deceased named hu-never into a hall where his soul is weighed against a feather; if weigh more, condemned
- osiris, god of underworld, appears enthroned on the right to subject the deceased to a day of judgment
52
Q
Anavysos Kouros
A
- 530BCE; archaic greek, marble and paint
- grave marker
- not a real portrait; general representation of an ideal warrior
- rigidly frontal - emulates stance of egyptian sculpture
- masklike face
- named after young military hero idenfitifed by inscription at base
- ‘archaic smile’ meant to enliven schlpture
53
Q
peplos kore
A
- from the acropolis
- 530BCE; archaic greek, marble and paint
- emerging hand; diff from typical static archaic statues
- named for the peplos, traditionally thought to be one of the garments she’s wearing
- rounded, naturalistic face
54
Q
Doryphoros
A
- Spear Bearer
- polykleitos; 450-440BCE; Roman copy (marble) of Greek original (bronze)
- alternating tense n relaxed elements of body
- spartan ideal of body
- averted gaze
- contrapposto
55
Q
isocephalism
A
tradition of depicting heads of figures on the same level
56
Q
nike
A
ancient greek goddess of victory
57
Q
niobe
A
model of a grieving mom; after boasting of her 12 children, jealous gods killed them
58
Q
panathenaic way
A
ceremonial road for procession built to honor athena during festival
59
Q
portico
A
entranceway to a building having columns supporting a roof
60
Q
zeus
A
king of ancient greek gods; known as jupiter to romans; god of sky and weather
61
Q
stoa
A
ancient greek covered walkway having columns on 1 side and a wall on the other
62
Q
parthenon sculptures
A
- 400s BCE; marble;
- triangular space of pediment
- shows birth of athena from the head of zeus and other deities watching
63
Q
plaque of the ergastines
A
- 400s BCE; marble
- scene from panathenaic frieze depicting panathenaic procession, held every 4yr to honor athena
- **isocephalism
- six ergastines, young women in charge of weaving athena’s peplos, r greeted by 2 priests
64
Q
Victory adjusting her sandal
A
- from the temple of athena nike
- 400s BCE; marble
- deeply incised drapery lines
- graceful winged figure in high relief
- the temple: 4 columsn in front, 4 in back (amphiprostyle)
- built to commem greek victory over persians in Battle of Marathan
65
Q
Grave Stele of Hegeso
A
- Attributed to Kallimachos; 400 BCE; painted marble
- the theme is the treatment and portrayal of women in ancient Greek society, which did not allow women an independent life.
- commemorates sdeath of hegeso, inscription IDs her
- genre scene: woman examining piece of jewelry from jewelry box handed to her by a standing servant; may represent her dowry
66
Q
Winged Victory of Samothrace
A
- 190 BCE; marble; HELLENISTIC greek
- meant to stand in/above a fountain; wet drapery look imitates the water playing on the wet body
- nike is a symbol of victory; maybe built to commemoate naval victory
67
Q
hellenistic vs classical
A
h: wider range of realistic modeling; willingness to show more mvmnt; figures have greater variety of expression
68
Q
seated boxer
A
- 100 BCE; fronze; HELLENISTIC
- rare hellenistic bronze
- old man past his prime; smashed nose, sunken lips
- nude fighter; hands wrapped in leather bands
- blood denoted in copper
- great emotion
69
Q
Athenian Agora
A
- Hellenistic Greek. 600 B.C.E.-150 C.E.
- plaza at the base of the acropolis in athens tht contained commercial, civic, religious, social buildings; ceremonies took place here
- setting for panathenaic festival
- plaza surrounded by important buildings
70
Q
parthenon
A
- 400s BCE; Iktinos and Kallikrates; marble; athens, greece
- greek predilection for algebra and geometry omnipresent in this building’s design
- doric, ionic, ionic elements
- interior built to house massive statue of athena, to whom the building was dedicated
71
Q
Great Altar of Zeus and Athena at Pergamon
A
- 175BCE; marble; pergamon (present day turkey)
- gigantomachy: struggle btwn gods and giants; giants, as helpless tools, were dragged up stairs to worship gods
- gods’ victory offers parallel to alex the grea’ts defeat of persians
- dramatic intensity of figures
- IONIC columns frame monument
72
Q
Niobides Krater
A
- Niobid Painter (anon vase painter); 400s BCE; CLAY; CLASSICAL greece
- 1 side depicts killing of Niobid’s children; she bragged about her fertility to a god whose 2 children kill her 12
- ISOCEPHALISM
73
Q
Alexander Mosaic
A
- from House of Faun, REPUBLICAN ROMAN; roman copy 100 BCE; original 310BCE; MOSAIC
- alex at left: young, brave, assured of success
- darius in center right on chariot: horrified, weakly ceding victory
- crowded, w/ nervous excitement
- complex interweaving of figures
74
Q
temple of minerva
A
- 500s BCE; ETRUSCAN; mud brick or tufa and wood; vulca? ; veii, italy
- little architecture survives; this model drawn from descriptions by vitruvius
- greek influence in columns and capitals
- etruscan variation on greek capitals, called TUSCAN order
- 3 doors represent 3 gods; div of interior into 3 spaces; 4 columns
sculpture of apollo
- placed at peak of temple roof
75
Q
Tomb of the Triclinium
A
- 400s BCE; tufa and fresco; eTRUSCAN
- triclinium: ancient roman dining table, which appears in fresco
- banqueting couples recline
- emotions r of celebration; dancing figures play instruments in celebration (of dead?)
76
Q
Sarcophagus of the Spouses
A
- 500sBCE; terra cotta
- ancient tradition of reclining while eating; represents banquet couch
- The convivial theme of the sarcophagus reflects the funeral customs of Etruscan society
- elite nature of the object itself provides important information about the ways in which funerary custom could reinforce the identity and standing of aristocrats among the community of the living
77
Q
house of the vettii
A
- IMPERIAL roman; stone and resco; pompeii, italy
- atrium w/ impluvium in center
- cubicula radiate around atrium
- peristyle garden
78
Q
colosseum
A
- 80CE; stone and concrete, rome
- real name: flavian amphithreatre
- meant for wild n dangerous spectagles - gladiator combat, animal hunts
- interplay of barrel vaults, groin vaults, arches
79
Q
Treasury and Great Temple
A
- cut rock; petra, jordan; 400BCE-100CE; ROMAN
- petra: central city of nomadic ppl; built along caravan route
“the treasury” - al-khazneh
- greek n roman influence
- greek, egyptian, assyrian gods on facade
80
Q
Chavín de Huántar
A
- Northern highlands, Peru. Chavín.900-200 B.C.E. Stone
- religious capital
- adorned by jaguar sculpture, a symbol of power
- hidden entrance to temple
81
Q
great zimbabwe
A
- exfoliated granite blocks ; shona peoples
- trading center, royal complex
- conical tower modeled on traditional shapes of grain silos; control over food = wealth, power
- wall: walls slope inward toward top
- internal and external passageways r tightly bounded, narrow, long, forcing occupants to walk in single fish
82
Q
great mosque (africa)
A
- djenne, mali ; adobe ; rebuilt 1907
- 3 tall towers, 1 in center is mihrab
- crowning ornaments have ostrich eggs: symbols of fertility and purity
- TORONS: wooden beams projection from walls – act as permanent ladders for maintenance of building
83
Q
adobe
A
baked mixture of clay and straw
84
Q
wall plaque
A
- from Oba’s palace; BRASS; 16th cent
- decorated walls of royal palace in Benin; show aspects of court in Benin culture
- Oba - “king”
- hierarchical proportion
- emphasis on heads; bodies small and immature
- ceremonial scene
85
Q
golden stool
A
- ashanti peoples; gold over wood
- never actually used as a stool - never allowed to touch ground
- new king raised over stool; carried to him on pillow; he alone is allowed to touch it
- taken out on special occasions
86
Q
Ndop
A
- portrait figure of King Mishe miShyaang maMbul; wood; KUBA peoples
- Ndop figures: commemorative portraits of Kuba rulers, presented in an ideal state
- not actual represntation of a deceased king, but his spirit
- sword in LH w/ handle facing out
- acted as surrogate for king in his absesnce
- royal accessories
87
Q
Nkisi n’kondi
A
- wood and metal; KONGO ppls
- spirits embedded in images; can be called upon to bless/harm others
- in order to prod the figure into action, nails and blades r inserted into the work or removed from it
88
Q
portrait mask (Mblo)
A
- Mblo
- wood and pigment; BAULE ppls
- presented at Mblo performances: individual is honored by having ritual dances
- honoree receives mask a agift
- masks commissioned by group of admirers
- idealized representation of a real person
- portraits of real ppl, even if commemorative, r rare in african art
89
Q
female mask
A
(Pwo); late 19th - early 20th; CHOKWE ppls; wood, fiber, pigment, metal
- female masks used by men in ritual dances
- Chokwe masks are often performed at the celebrations that mark the completion of initiation into adulthood. That occasion also marks the dissolution of the bonds of intimacy between mothers and their sons. The pride and sorrow that event represents for Chokwe women is alluded to by the tear motif.
90
Q
bundu mask
A
- sande society; MENDE ppls; 19th - early 20th; wood, cloth, fiber
- ONLY african wooden masks worn by women
- idealized female beauty; worn by women of status
- facial featuress also refer to philosophical and religious concepts
- individuality of each mask is stressed
91
Q
ikenga
A
- shrine figure; 19th - 20th cent; wood; IGBO ppls
- Personal shrines are created in the form of figures known as ikenga to honor the power and skills of a person’s right hand, as the right hand holds the hoe, the sword, and the tools of craftsmanship.
- traditional masculine associations of strength
- enormous horns symbolize power
92
Q
memory board (lukasa)
A
- Mbudye Society, Luba peoples; 19th to 20th century C.E. Wood, beads, and metal
- helps user remember key elements in a story
- reader holds lukasa in LH, traces designs w/ RH index
- lukasas r controlled by mbudye, a council of men n women who interpret the political n historical aspects of Luba society
- symbolize crocodile, which lives on both land n water; metaphor for Luba’s political organization which has 2 interdependent leaders: head of mbudye + chief
93
Q
Aka elephant mask
A
- BAMILEKE ppls; 19th - 20th cent; wood, woven raffia, cloth, beads
- only impt ppl in society can own n wear aka, used at royal court
- The elite Kuosi masking society controls the right to own and wear elephant masks, since both elephants and beadwork are symbols of political power in the kingdoms of the Cameroon grasslands. Masked performances have a variety of purposes. here: performed to support political authority
94
Q
Reliquary figure (byeri)
A
- FANG ppls; WOOD; 19th - 20th cent
- has primarily been reduced to a series of basic shapes—cylinders and circles
- abstraction of human body an attraction for early 20th cent artists
- guardian figure; male
95
Q
Veranda post of enthroned king and senior wife (Opo Ogoga)
A
- Olowe of Ise
- Yoruba; wood and pigment; 1910s
- figures: exaggerated proportions; open space btwn
- king is focal point
- behind him, his wife supports throne; crowns king during coronation; protects him during reign
96
Q
‘ahu ‘ula
A
hawaiian feather cloaks
97
Q
Moai
A
large stone sculptures found on Easter Island
98
Q
nan madol
A
- Pohnpei, Micronesia. Saudeleur Dynasty. c. 700-1600 C.E. Basalt
- ancient city; capital of Saudeleur dynasty
- 92 small artifical islands connected by canals
- islands arranged to take adv of trade wiinds
- city built to separate uper frm lower classes
- king arranged upper classes to live close to him, to keep an eye on them
99
Q
Female deity
A
- from Nukuoro; wood; micronesian
- many kept in religious buildings belonging to the community
- represent individual deities
- simple geometric forms; erect pose; horizaontal lines used to indicate knee caps, navel, waistline
100
Q
navigation chart
A
- wood and fiber; 19th- early 20th; micronesian
- diagonal lines: wind and water currents
- small shells: position of islands
- meant to b memorized prior to voyage
- marshall islands r low-lying and hard to c from distance
101
Q
‘Ahu ‘ula (feather cape)
A
- Hawaiian; feathers and fiber; late 18th
- coat made of 1000s of bird feathers; worn by men
- red: royal color in polynesia
- protected wearer from harm
102
Q
staff god
A
- cook islands; late 18th - early 19th; wood, tapa, fiber, feathers
- wood carvers of Rarotonga
- have an explicit sexual aspect, thus embodying male and female productive and reproductive qualities
- roll of tapa placed around central wooden shaft
- wrapped = god protected
103
Q
hiapo (tapa)
A
- POLYNESIAN; 1850-1900; tapa or bark cloth, freehand painting
- hiapo is the Niue word for tapa/bark cloth
- traditionally worn as clothing b4 importation of cotton
- each set of designs meant to be interpreted symbolically
- tapa take on special meaning
104
Q
Tamati waka Nene
A
- gottfried lindauer; oil on canvas; NZ
- subject: Maori chief n convert to Wesleyan faith
- emphasis placed on symbols of rank: elaborate tattooing, fathers dangling from staff
- Smooth brushstrokes, painted to show kind nature of the chief, compassionate, similar portrait style to the Mona Lisa, painted with tribal face paint to reinforce culture
105
Q
Malagan display and mask
A
- papua new guinea; 20th cent; wood, pigment, fiber, shell
- To serve as visual part of ceremony in which the dead are celebrated and assisted in their transition to the spiritual realm, the ceremonies length can be from months to years so sturdy materials for elaborate structures can withstand long time frame.
106
Q
buk mask
A
- papua new guinea; mid2late 19th cent; turtle shell, wood, fiber, feathers, shell
- turtle shell masks unique to this region (torres strait)
- Turtle-shell masks in the western Torres Strait reportedly were used during funerary ceremonies and increase rites (rituals designed to ensure bountiful harvests and an abundance of fish and game).
107
Q
Presentation of Fijian mats and tapas cloths to ?
A
- fijian
- queen elizabeth II; 1953; multimedia performance + photographic documentation
- enormous tapa cloth made for her visit on the occasion of her coronation as queen
- imagery of royal crowns, geometric patterns, floral motif
108
Q
Moai on platform (ahu)
A
- easter island / rapa nui ; volcanic tuff figures on basalt base ; 1100-1600
- ~900 statues mostly male
- images represent personalities deified after death / commemorates as the 1st settler-kings
