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Art History > Unit 5 - Art of Indigenous Americas > Flashcards

Unit 5 - Art of Indigenous Americas Flashcards

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1
Q

Chavin de Huantar: Identifiers

A

Location: Peru
Date: 900-200 BCE

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2
Q

Chavin de Huantar: Form Old Temple

A

• Built by Chavin people (pre date Inca)
• Old temple: built 900 BCE, inward facing U shape with central court
* obelisks & stone monuments w/ low relief carvings
* maze of passageways, chambers & water conduits

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3
Q

Chavin de Huantar: Form New Temple

A

• constructed between 500 and 200 BCE
• relief sculptures more block life form
• long staircase led to upper landing
• below- sunken rectangular court
• hidden passageways & platforms allowed priests to miraculously appear before audiences

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4
Q

Chavin de Huantar: Function Lanzon Stela

A

• to honor a god: likely to ensure good harvest
• Lanzon means ‘great spear’ but likely refers to an agricultural tool, not a weapon

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5
Q

Chavin de Huantar: Function Nose Ornament

A
  • nose ornament: septum piercing, common in the Andes
  • upward looking eyes: shows wealth, power, and allegiance to Chavin religion
  • formed by hammering and cutting gold
  • transforms wearer into supernatural being during ceremonies
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6
Q

Chavin de Huantar: Content

A

• Lanzon: deity, human & animal features, fangs and talons (jaguar + caiman), eyebrows & hair made up of snakes
• deliberately confusing
• contour rivalry: 2 faces sharing one mouth

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7
Q

Chavin de Huantar: Context

A

• Andean Highlands of Peru: 10,330 ft. in elevation
• Near 2 mountains that allow passage between desert coast (west) & Amazon jungle (East): 2 rivers join into one, seen as powerful phenomenon
• chavin declined in 200 BCE: site influenced many people 700 years, worshippers & spread artistic style

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8
Q

Mesa Verde Cliff Dwellings: Identifiers

A

Style: Anasazi
Location: Colorado
Date: 450-1300 CE

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9
Q

Mesa Verde Cliff Dwellings: Form

A

• 1.62 miles above sea level
• made of stone, mortar, and plaster
• largest archaeological site in US: over 600 dwellings - 3 to 4 stories high
• logs build into walls to make beams for ceilings - access floors through ladders
• mostly built during 12th century
• climb cliff walls using toe holds

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10
Q

Mesa Verde Cliff Dwellings: Function

A
  • pueblo built into sides of a cliff, housed 100 people
  • largest: cliff palace: 150 circular rooms, 20 circular rooms
  • house organized around Kivas: wood-beamed roof, roof supported by 6 engaged support columns of masonry, shelf-like bench, fire pit/hearth, ventilation shaft, deflector, sipapu
  • clans moved together for mutual support and defense
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11
Q

Mesa Verde Cliff Dwellings: Content

A
  • mural 30 red against white wall theory:
  • geometric shapes represent landscape
  • red band at bottom is earth
  • white represents sky
  • top of red band forms horizontal line that separates sky and earth
  • triangle peaks are mountains
  • rectangle in sky: clouds, rain, sun, or moon
  • dotted lines represent cracks in earth
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12
Q

Mesa Verde Cliff Dwellings: Context

A
  • farming done on the plateau above pueblo; everything had to be imported into structure; water seeped through sandstone and collected in trenches near reaer of structure
  • low winter sun penetrated pueblo; high summer sun did not enter interior, stayed cool
    Anasazi
    ○ Inhabited from 450 CE-1300 CE
    ○ Sedentary farmers – beans,
    squash, corn
    ○ Trade amongst many different
    groups, extending down into
    Modern day Mexico
    ○ Abandoned in 1300
    ■ Drought

● Mesa Verde means Green Table
● Rediscovery in 1888
○ Preservation for tourism
■ Mesa Verde National Park

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13
Q

Yaxchilan- Structure 40: Form

A
  • overlooks main plaza
  • 3 doors lead to a central room decorated with stucco
  • roof remains nearly intact, with a larger roof comb
  • ## corbel arch interior
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14
Q

Lanzon Stone: Function

A
  • served as cult figure
  • center of pilgrimage however few had access to it
  • stone acted as oracle? point of pilgrimage
  • importance of acoustics in underground chamber
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15
Q

Relief Sculpture: Content

A
  • shows jaguars in shallow relief
  • located on ruins of stairway at Chavin
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16
Q

Nose ornament: Context

A
  • elite men and women wore ornaments as emblems of their ties to religion and eventually buried with them
  • chavin religion related to appearance of fire large-scale precious metal objects; new metallurgical process
  • technical innovations express whole other nature of religion
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17
Q

Yaxchilan- Structure 40: Identifiers

A

Style: Mayan
Location: Mexico
Date: 725 CE

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18
Q

Yaxchilan- Structure 40: Form

A
  • 3 doors led to central room decorated with stucco
  • overlooks main plaza
  • roof remains intact, large roof comb (ornamented stone tops on roofs)
  • corbel arch interior
  • narrow, not meant to hold many people
  • intricate lattice work
  • carved lintels on underside of doorways
  • painted: remnants of blue and red, very detailed
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19
Q

Yaxchilan- Structure 40: Function

A

*advertise Bird Jaguar IV power dynastic lineage and thus right to rule
*built by ruler Bird Jaguar IV for his son, who dedicated it to him

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20
Q

Yaxchilan- Lintel 25: Content

A
  • bloodletting: loss of blood + burning incense = hallucinations, desired to gain access to other realm
  • Lady Xook kneels before a vision serpent from whose mouth emerges a figure, commemorate husbands rise to throne
  • holds a bowl w/ ceremonial items, runs a rope with thorns through her tongue, burns paper on a dish as gift to netherworld
  • commemorate accession of Shield Jaguar II to the throne
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21
Q

Lintel 25: Function

A
  • honor and feed the gods
    keep order in cosmos
  • act of rebirth
  • intended to relay a message of refoundation of site– long pause in buildings history
  • Shield Jaguars building program throughout city may have been a attempt to reinforce his lineage and right to rule
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22
Q

Great Serpent Mound: Identifers

A

Style: Mississippian
Location: Ohio
Date: 1070 CE

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23
Q

Great Serpent Mound: Form

A
  • southwest ohio
    1300 ft. long, 1-3 ft. in height
  • largest serpent effigy
  • not the only one ever made
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24
Q

Great Serpent Mound: Function

A
  • atypical, no artifacts
  • burials nearby
  • no evidence to suggest Gr. Serpent Mound is for burial
  • used to mark seasons, time, when to harvest? Lunar phases? compass or Halley’s comet?
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25
Q

Great Serpent Mound: Content

A
  • head is at east and tail at west
  • 7 winding coils
  • oval shape?: enlarged eye, hollow egg, frog about to be swallowed, appendages??? no one knows
  • head aligns with summer solstice, tail points to winter solstice sunrise
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26
Q

Great Serpent Mound: Context

A
  • many mounds enlarged and changed over the years
  • effigy mounds popular in Mississippian culture
    associated with snakes and crop fertility
  • whoever built it: settled people, maize, beans, squash, stratified society, labor force, no written records
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27
Q

Templo Mayor: Identifers

A

Style: Aztec
Location: Mexico
Date: 1375 - 1520 CE

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28
Q

Templo Mayor Reconstruction Main Temple: Form

A
  • pyramids built one atop the other, final form encases all previous pyramids
  • step-like series of setbacks, no smooth surfaced
  • covered in stucco
    *2 grand staircases leading to twin temples: dedicated to deities, water/rain - agricultural fertility, patron deity of Mexico- warfare, fire , sun
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29
Q

Templo Mayor Reconstruction: Function

A
  • Tlaloc Temple: North, Mountain of Sustenance, or Tonacatepetl, produced high amounts of rain, thereby allowing crops to grow, Tlaloc = god of rain, agriculture
  • Huitzilopochtli Temple: South, symbolic of Coatepec, god of sun and war
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30
Q

Templo Mayor Reconstruction: Context

A
  • Tenochtitlan laid out on grid, city seen as center of world 1325
  • modern day Mexico City, Island in Texcoco
  • Templo Mayor rebuilt 6 times 1325-1519, corresponded with different rulers, destroyed by Spanish in 1520
  • destruction of temple and reuse of stones by Spanish asserted political and spiritual dominance over conquered civilization
  • 4 major quadrants: Templo Mayor at center, reflects Mexica cosmos (4 parts around navel of universe axis mundi)
  • electrical workers discover in 1978
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31
Q

Templo Mayor- Coyolxauhqui: Form

A
  • found at base of stairs
  • originally painted, carved in low , circular relief, 11 ft. in diameter
  • “bells on her cheeks” - golden bells on her cheeks - how it was named
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32
Q

Templo Mayor: Coyolxauhqui: Function

A
  • portrays moment in myth after Huitzilopochtli vanquished Coyolxauhqui and threw her body down the mountain
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33
Q

Templo Mayor: Coyolxauhqui: Content

A
  • Female deity
  • feathers in hair, elaborate earrings, sandals and bracelets
  • serpent belt w/ skull attached to back
  • monster faces found at joints - connect to other deities- trouble & chaos
  • naked, sagging breasts, stretched belly: mother
  • decapitated & dismembered
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34
Q

Templo Mayor- Coyolxauhqui: Context

A
  • coyolxauhqui and brother plotted death of their mother, Coatlicue- became pregnant after tucking feathers down bosom
  • coyolxauhqui chopped off mother’s head, child Huitzilopochtli, popped out of severed body fully grown, clothed- dismembered Coyolxauhqui, who fell dead at base of shrine
  • stone represents dismembered moon goddess, Coyolxauhqui, who is placed at base of twin pyramids of Tenochtitlan
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35
Q

Coyolxauhqui: Context Cont.

A
  • celebrated Huitzilopochtli’s triumph over Coyolxauhqui and 400 brothers
  • War captives: painted blue and killed on sacrificial stone, bodies rolled down staircase to fall atop Coyolxauhqui monolith
  • reenact myth: for enemies powerful reminder to submit to Mexica authority
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36
Q

Templo Mayor- Calendar Stone: Form + Function

A
  • monolith
  • 12 ft. in diameter
  • originally painted
  • placed on the ground

Function: to mark time using cultural symbols

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37
Q

Templo Mayor- Calendar Stone: Content

A
  • in center - face - Tonatiuh, Sun God: represents origin of cosmos, wearing ear spools, open mouth- tongue represents a sacrificial blade, clawed hands may hold human heart
  • record of 5 eras or suns: 5th era called “four movement”
  • 2 fire serpents meet at bottom carrying sun across sky, associated with time/solar calendar
38
Q

Templo Mayor- Calendar Stone: Context

A
  • made by 2 gods agreeing to sacrifice themselves: sun brought into creation by 2 gods sacrificing themselves
  • gods killed themselves willingly, that humans need to be feeding through offering: animals, bloodletting, humans
  • aztecs felt they needed to fee sun god humans hearts an blood
  • tongue at center of stones coming from gods mouth is a representation of sacrificial flint knife used to slash open victims
39
Q

Templo Mayor- Olmec-style Mask: Form

A
  • made of jadeite
  • made over 1000 years prior to Mexica/Aztec
  • simplified facial features: pronounced nose, full lips, thin slits for eyes
40
Q

Templo Mayor- Olmec-style Mask: Function

A
  • burial suggests Mexica found it precious and historically significant
  • olmecs known for 20 ton stone heads represented rulers
    also knows for making and trading rubber
41
Q

Templo Mayor- Olmec-style Mask: Context

A
  • offerings buried at Templo Mayor: water (coral, shells, crocodile skeletons, vessels) and sacrifice (human skull masks, sacrificial knives)
  • shows aztecs collected and embraced artwork from other cultures, including early Mexican cultures such as Olmec and Teotihuacan, shows aztecs had a wide ranging merchant network that traded historical items
42
Q

Ruler’s feather headdress: Identifiers

A

Style: Aztec
Location: Mexico
Date: 1428 - 1520 CE

43
Q

Ruler’s feather headdress: Form + Function + Content

A

Form: made up of more than 450 male quetzal tail feathers, males produce only 2 feathers each
* number 400 symbolizes eternity

Function: Ceremonial headdress of ruler
* part of an elaborate costume

Content: pure gold ornaments

44
Q

Ruler’s feather headdress: Context

A
  • only known Aztec feather headdress in the world
  • feathers indicate trading across Aztec Empire
  • headdress possibly part of a collection of artifacts given by Motecuhzoma to Cortez for Charles V of the Holy Roman Empire
  • replica- Mexico City: original is in Vienna
  • amanteca- feather workers taken to create Christian art for Spanish
45
Q

City of Cusco: Identifiers

A

Style: Inkan
Location: Peru
Date: 1440

46
Q

City of Cusco Plan: Form

A
  • in the shape of puma, a royal animal
  • modern plaza in place where puma’s belly would be
  • head, a fortress; heart, a central square
  • capital of empire, 11200 ft. elevation
  • 2 section: upper (hana) and lower (hurin), parallel to social division, then divided into 4 sections
  • each made of stone to fit
47
Q

City of Cusco- Saqsa Wayman: Form

A

*stones much larger than those used in Cusco
* part built by mit’a (labor tax), all able-bodied people of empire owed Inka
* ashlar masonry
* ramparts contain stones weighing up to 70 tons, brought from quarry 2 miles away

48
Q

City of Cusco- Qorikancha: Function

A
  • “golden house”
  • most sacred shrine: worship of sun “inti” : Qorikancha: golden enclosure once was the most important temple in the Inkan world
  • in the hurin (lower part of city)
  • at center point of empire
49
Q

City of Cusco- Saqsa Wayman: Function

A
  • fortress that looks down on city of Cusco
  • never finished, building interrupted by conquest?
  • unsure of function
50
Q

City of Cusco- Curved Wall and Church: Function

A
  • religious and secular uses
  • girls and young women worked as acallas (chosen women) weave cloth for gods and nobles
  • young men- educated and raised in Inca culture
51
Q

City of Cusco- Qorikancha: Content

A
  • fine masonry reserved for most important buildings
  • walls covered with sheets of gold
  • inside was garden that represented mini world: gold, silver jewels, people, animals, plants
  • spacing among stones allows for movement during earthquakes
52
Q

City of Cusco- Qorikancha: Context

A
  • Spanish conquest: Qorikancha changed into Christian monastery of Santo Domingo, build around and on top of original shrine
  • melted down metals of mini garden
  • placed at convergence of 4 main highways and connected to 4 districts of empire; temple cemented symbolic importance of religion, uniting divergent cultural practices that were observed in vast territory controlled by Inkas
53
Q

Silver and Gold Maize Cobs: Identifiers

A

Style: Incan
Location: Peru
Date: 1440 - 1553 CE

54
Q

Silver and Gold Maize Cobs: Form

A
  • repousse technique
  • hollow and delicate
  • lifesize
  • individual kernels shows corn ready to be harvested but still in husk
55
Q

Silver and Gold Maize Cobs: Function

A
  • garden - offering to ensure successful harvest
  • full-sized metal sculptures placed alongside actual plants in Qorikancha garden
  • part of compact version of cosmos controlled by Inca State
  • symbolizes natural world is a possession of Inca, divine right to rule across Andes
  • vast range of ecosystems encompassed by empire
  • plants and animals in golden garden could not have grown and survived at every level of empire only at specific altitudes
  • maize = one of the most important foods, principal food source in the Andes
56
Q

Silver and Gold Maize Cobs: Content

A
  • gardens in courtyards of important temples
  • mini llamas, corn, flowers, etc.
  • Inca art favored abstract, geometric + naturalistic small scale metal objects
57
Q

Silver and Gold Maize Cobs: Context

A
  • spanish desired gold and silver
  • after defeat of Inca in 1530s Spanish raided and looted objects & sent them back to Spain
  • maize was celebrated by having sculptures fashioned out of sheet metal
  • black maize was common in Peru; oxidized silver reflects that
58
Q

Machu Picchu: Identifiers

A

Style: Incan
Location: Peru
Date: 1450-1540

59
Q

Machu Picchu: Form

A
  • overlooks Urubamba River
  • 3 days walk from Cusco 8000 ft. high
  • system of stone channel drains: rain and spring water, channelled into stone fountains, one outside of the door of emperor’s compound
60
Q

Machu Picchu: Content

A

*each stone individually carved to fit
* earthquake proof
* thatched roof
* 200 buildings, mostly houses, temples, palaces, and baths and observatory in trapezoidal shape
* entryways and windows trapezoidal
* people farmed on terraces

61
Q

Machu Picchu: Function

A
  • royal estate/retreat for first Inca emperor Pachacuti Inca Yupanqui: hosts feasts, perform religious ceremonies, administer affairs of empire, marked land for family after death
  • housing for elite, retainers, maint. staff, religious shrines, fountains, terraces 15th century Inka rulers
  • peaceful center, remote, prob not sued for administrative purposes in Inkan world
62
Q

Machu Picchu: Context

A
  • discovery 1911 yale professor hiram binham iii
  • covered by jungle but known to locals, he excavated it
  • emperor would only reside and site for part of year like beach houe
  • show of imperial power
    NE- high status residences
    SW- emperor’s compound
62
Q

Machu Picchu Observatory: Form

A
  • 2 parts: upper curve stone enclosure w/ windows and niches
  • june winter solstice- white granite boulder
  • first morning rise of constellation Pleiades
  • cave beneath with niches: refer to place of underworld
  • highest point at Machu Picchu
63
Q

Machu Picchu Observatory: Function

A
  • used to chart sun’s movements; aka Temple of the Sun
  • left windows: sun shines through on morning of winter solstice
    *right windows: sun shines through on morning of summer solstice
  • devoted to sun god
  • adjacent to royal residence
  • ruler claimed to be both descendant of sun and sun itself: divine right to rule, obligation of royal family- perform rituals that maintained relationships w/ supernatural forces that drove existence
  • emperor and family involved in religious function of empire
64
Q

Machu Picchu Intihuatana Stone

A
  • hitching post of sun: aligns with sun at spring and autumn equinoxes, when sun stands directly over pillar creates no shadow
  • Incan ceremonies held in concert with this event
  • carved boulder once found throughout Inca empire, only remaining
  • inca believed stone held the sun
65
Q

All-T’oqapu Tunic: Identifers

A

Style: Incan
Location: Peru
Date: 1450-1540 CE

66
Q

All-T’oqapu Tunic: Form

A
  • spun finely, 100 thread/cm
    *single piece of cloth
    *slit in the middle for head, folded in half and sides sewn for arms
    *use animal wool for bright colors, easier to dye (alpaca)
  • cochineal red and indigo blue: very high status and prized, high level of skill
67
Q

All-T’oqapu Tunic: Function

A
  • royal gifts: to be worn by royal household, burned as a precious sacrifice to sun god Inti
  • wearing elaborate garment indicates status of individual
  • may have been worn by Inkan ruler
68
Q

All-T’oqapu Tunic: Content

A
  • black and white checkerboard: tunic pattern worn by Inca army, shows Sapa Inca military might
  • T’oqapu are square geometric designs
  • some designs related to various people, places or roles
69
Q

All-T’oqapu Tunic: Context

A
  • Textiles: very important before Inca came to power
  • more valuable than gold or gems
  • many different patterns
  • fibers collected as part of tax system
  • acallas- chosen women performed religious rituals
    *Qompi- finest cloth
  • Inca preference for abstract designs, standardization of designs, expression of unity and order
70
Q

Bandolier Bag: Identifers

A

Style: Delaware Tribe
Location: Lenape
Date: 1850 CE

71
Q

Bandolier Bag: Form

A
  • heavily beaded pouch with slit on top
  • held at hip level with strap across chest Crossbody
  • constructed of trade cloth cotton, wool, velvet, or leather
  • colorful beads, silk ribbons, red wool fringe
  • made by women
  • animal hide
  • porcupine quills
    *trade w/ europeans influenced
72
Q

Bandolier Bag: Function

A
  • made for men and women; objects of prestige
  • compliment to ceremonial outfits, status symbol
  • more than 1 bag at a time
  • still worn today
73
Q

Bandolier Bag: Content

A
  • abstract, symmetrical
  • white beads acted as contour lines, contrasting colors- celestial meaning maybe cardinal directions
74
Q

Bandolier Bag: Context

A
  • beadwork not done in Americans before European contact
  • beads and silk ribbons imported from Europe
  • bags contained Native American and European motifs
75
Q

Transformation Mask: Identifiers

A

Style: Kwakwaka’wakw
Location: Canada
Date: 1875 CE

76
Q

Transformation Mask: Form

A
  • brightly painted
  • metal tools changed form
  • bilaterally symmetrical
  • red cedar wood
  • months/years to make
  • birdlike exterior face; when opened, reveals a second human face on interior
77
Q

Transformation Mask: Function

A
  • display social status/rank
  • family symbols
  • ancestral entities + supernatural forces embody masks when worn by dancers
  • worn by native people of Pacific Northwest, centered on Vancouver Island
  • worn overhead as part of a complete body costume
78
Q

Transformation Mask: Content

A
  • trickster supernaturals: knowledge to disobey conventions
  • thunderbird- can cause thunder w/ wings and lighting from eyes, can become human
  • during ritual performance, wearer open and closes mask using strings, mask reveals face of ancestor
79
Q

Transformation Mask: Context

A
  • modern day Canada
  • could be used at potlatch, often used in winter initiation rites ceremonies
  • Kwakwaka’wakw: 4 clans; killer whale, raven, eagle, wolf, clans divided into groups- numayn- share common ancestor
80
Q

Transformation Mask: Context Cont.

A
  • colonization caused mask to change- metal tools
  • potlatches banned 1885-1950
  • considered immoral by Christian missionaries
  • canadian govt. though this hindered economic development b/c people stopped working during celebration
  • masks confiscated- destroyed or in private collections
81
Q

Hide Painting of Sun Dance: Identifers

A

Style: Eastern Shoshone
Artist: Cotsiogo
Location: Wyoming
Date: 1900 CE

82
Q

Hide Painting of Sun Dance: Form

A
  • elks, deer, buffalo hides
  • natural pigments red ocher, chalk, paints, dyes
  • geometric and figural motifs
  • free hand painting and stenciling
    *either wall hanging or robe
83
Q

Hide Painting of Sun Dance: Function

A

*remember the past
* appeal to European/American tourists
* generate revenue and financial support for struggling tribe

84
Q

Hide Painting of Sun Dance: Content Dances

A

*Sun dance- sacred: men dance around a buffalo head, buffalos were sacred: took place near village, central pole- divine connection, honor creator Deity/ensure abundance
*participants: seeking spiritual insight, did not eat or drink
* wolf dance- non-religious: fast paced, faced past not present, drum beat

85
Q

Hide Painting of Sun Dance: Content

A
  • women rest near fire and more men on horses hunt buffaloes
  • warriors on horses shown returning to camp, celebrated with Wolf Dance
  • 2 tipis represent the camp
  • feathered war bonnets made of eagle feathers
  • warriors hunting with bows and arrows white riding, inreality Shoshone men had used rifles for some time
86
Q

Hide Painting of Sun Dance: Context

A
  • long-standing tradition in Great Basin and Great Plains 1800s
  • Cotsiogo member of Eastern Shoshone tribe: Wind River reservation: Fort Bridger Treaty of 1868
  • tribe used to move with seasons
  • 1883- Sun Dance banned under federal law, outlawed until 1935
87
Q

Black on Black Ceramic Vessel: Identifiers

A

Style: Puebloan
Artist: Maria & Julian Martinez
Location: New Mexico
Date: 1950 CE

88
Q

Black on Black Ceramic Vessel: Form

A
  • clay
  • hand made no on wheel or kiln
  • thinner than functional pottery
89
Q

Black on Black Ceramic Vessel: Function

A

*Decorative
*serves as a record of Native pottery techniques
*links modern Pueblo people to ancestral through pottery techniques and materials

90
Q

Black on Black Ceramic Vessel: Content

A

*she and husband julian pioneered style of applying black matte design over polished black
*design based on pottery sherds found at dig site- Bandelier Natl Monument
*natural phenomenon rain clouds, bird feather, rows of corn, flows of rivers
* design are exaggerated due to the round shapes of pot
*Art Deco- bold geometric forms and colors

91
Q

Black on Black Ceramic Vessel: Context

A

*Mari Martinez 1887-1980 lived 20 miles north of Sante Fe New Mexico
* one of the best known Native potters of the 20th century
*before arrival of railroad 1880s, pots used for food storage, cooking, ceremonies
*1910s- selling to non-Native audience
*communal activity
* signature at bottom

Art History (9 decks)

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