A Section of the Dresden Codex

The Dresden Codex, made of bark paper and fine stucco

A viewer cannot be helped but to be drawn to this piece as it immediately pulls one in with a sense of familiarity. If someone has never seen this piece before, they may find themselves pondering over the question of why as they become enamored with its unique combination of beautiful and distinct lines and use of color as an accent. After looking for awhile it may click, that the feeling of familiarity was stemming from common artwork in today's society: comics and storytelling. From the clear use of registers and implied boxes, this section of the Dresden Codex seems to tell a story through images and animation, which ultimately leads to the desire to learn the story it portrays.

The Codex is not just a story, but an entire book from pre-Columbia Mayan times, dating back to the 13th or 14th century, the oldest known book from the Americas. Believed to have been written by eight different people, the Codex is one of only four Mayan books still in existence.

Made up of 39 leaves, the Dresden Codex contains calendars, astrological phases, ceremonies, and much more, all in images, numbers and hieroglyphics.

Currently in the Saxon State and University Library in Dresden, Germany, the Codex is believed to be a copy from another book produced 300-400 years prior to its creation.

Source: https://www.wdl.org/en/item/11621/

Queen Mother Pendant Mask (Nigeria)

Before Research:

This piece provides a striking first impression with symmetrical features and an interesting mixture of textures. There are delicate veins running through the piece because of the material used, ivory, and there is added texture for the hair and the designs circling the head, giving a sense of balance and unity. The face has an air of strength and power, the eyes are heavy and open and even though the face is oval and smooth the gaze is strong along with the nose and mouth. 

After Research:

This piece is an early 16th century pendant mask carved from ivory representing Iyoba Idia, mother of Oba Esigie, and it would have been worn on ceremonial occasions as well as a pendant on a belt as a memorial to Iyoba Idia after her death. It is one part of a pair of nearly identical works. Iron inlays for the pupil and rims of the eyes intensify the gaze of the piece. The top of the pendant is decorated with bearded heads of the Portuguese which is a symbol of the good trade and alliance with the Portuguese. There are mudfish symbols are alternating with the Portuguese faces which is a primary symbol of Benin kingship and they represent an ability to survive in water and on land.

Sources:

Clarke, Christa. "Queen Mother Pendant Mask (Iyoba) (Edo Peoples)." Khan Academy. Last modified 

2016. https://www.khanacademy.org/humanities/art-africa/west-africa/nigeria/a/ 

queen-mother-pendant-mask-iyoba-edo-peoples. 

"Queen Mother Pendant Mask: Iyoba." The Met. https://www.metmuseum.org/art/collection/search/318622.

Tattooed Marquesan warrior

Before Research

This piece is eye-catching because it is a representation of a tattooed individual, something uncommonly seen in art history classes. The piece portrays a Marquesan warrior in a contrapposto stance. In one hand, he is holding a bag, and in the other, he is holding what appears to be a scepter/staff that rests on his shoulder. From head to toe, the warrior is covered in intricate tattoos; in a way, the piece of art contains more art on the subject itself. Different sections of his tattoos are made of lines forming various geometric patterns. There seems to be a disconnect between his body and his head; his body is stocky and muscular, but his face is slender and angular. His face and facial hair appear more European than Polynesian.

After Research

While the textbook does not specifically discuss this piece, it does offer insight into the significance of tattoos in Polynesian culture. Tataus, as they are called, are based on the ancient art form of body painting. Tattoo artists, called tubuka, skillfully used the line work of the tattoos to compliment the contours of the human form. The various geometric patterns and imagery translate ideas, such as warfare and killing (O’Riley). This permanent form of body art lends credit to the warrior’s status in his society.

Reference

Kampen O’Riley, Michael. Art Beyond the West: The Arts of the Islamic World, India and Southeast Asia, China, Japan and Korea, the Pacific, Africa, and the Americas. 2nd ed. Upper Saddle River. Pearson, 2013.

Aztec Calendar Stone

By Rob Young from United Kingdom - Aztec Calendar Stone, CC BY 2.0©

Before Research: This is the Aztec calendar stone also known as the Sunstone. Notice the lolling tongue and snarling face, such features were extremely common in their statues and wall carvings. Notice the intricate craftsmanship, the intricate layers that were chiseled into the stone, made all the more impressive considering the civilizations never advanced passed the bronze and copper stage of metallurgy. It was their belief that the gods maintained the ongoing existence of universe and that the continued existence of the gods was reliant on the faith and continuing human sacrifices made by their mortal worshipers. This belief extended to their artwork. The priesthood would commission artisans to create such monument to please the gods and in turn that would keep the gods sustained and themselves alive.

After Research: Standing at over 358 cm (11.7ft) tall, and made of a solid basalt, the Calendar Stone is one of many such monuments that the Aztecs erected and used to honor their gods. Within the center of the Calendar stone was a depiction of an unknown god with a still beating heart grasped within his claws. Who this god or if it is a god isn't exactly know, though the leading theorieis that the head belongs to Tonatiuh, the sun god. Surrounding that are four squares and the leading theory is that they represent the four previous eras that ended each ended with the destruction of human civilization to different apocalyptic disasters.

Source(http://www.lared-latina.com/sunstone.html, http://www.mexicolore.co.uk/aztecs/calendar/calendar-stone, lared-latina.com/sunstone.html, truman.edu/~marc/webpages/nativesp99/aztecs/aztec_template.html)

Crane and Pine Tree with Rising Sun

  

Initial Reaction: 

This piece in-particular caught my attention. The first thing that stands out about this piece was how the base of the tree is cut off showing that the tree has no end. It is fascinating how the artist brush work used on the leafs on the tree to give them a more puffy - cloud like attribute. This piece has some what of a light color palette. The colors the artist choose are easy on the eyes and adds more volume to the piece. It is intriguing how the artist gave the sun in the background a dissipating aspect as if the artist was trying to create a sunrise or sunset.  

After Research:  

The "Crane and Pine Tree with Rising Sun" is an early 19th century Japanese painting created by Suzuki Kiitsu. In the Japanese culture, the crane represents good fortune and long life span. Just as the Crane, the pine tree also represents good fortune and longevity. The red circle that is present in the art piece is called the Hinomaru "circle of the sun" has been incorporated into the Japanese flag since the Edo period. Suzuki Kiitsu ensured the future of Rinpa Art into modern times. Suzuki was a firm believer in keeping to tradtion when it came to his art work.  

Sources:

New York. The Metropolitan Museum of Art. "Designing Nature: The Rinpa Aesthetic in Japanese Art," May 26, 2012–January 13, 2013. New York. The Metropolitan Museum of Art. "Birds in the Art of Japan," February 2, 2013–July 28, 2013.

Bark Cloth with Naturalistic Impressions of Fish Description

© Auckland Museum CC BY

Before Research: 

The above piece is a decorated bark cloth found in the Tonga Islands, unfortunately the artist is unknown. The piece depicts rows of very stylized fish, most likely influenced by the fact that they lived on an island and fishing was probably their main source of food. The bark cloth itself is positioned as a vertical piece with alternating lines of flowers and fish. The fish, in form, seem very simplistic but each fish is given special care and no two fish are the same. Given the nature of the bark cloth and the area this was most likely given to one of the fishermen, probably one that has just come of age or has just completed a rite of passage.

After Research:

Bark cloths, also known as Tapa Cloths, were made by the women of Tonga and were very important given that they were used for rites of passage and to signify partnerships between families or political figures. These decorated bark cloths are made by placing the cloth over a wood carving, by rubbing dye onto the cloth it would take the image of whatever was on the wood. Given that each one was different, as each woman had her own style, there were different values to each one and a difference on the importance of it and whether it would be used in ceromony or partnership. Bark cloths were also used to tell narrative stories, as opposed to just using them to show their environment.

Reference:

O'Riley, Michael Kampen. "Western Polynesia: Tonga and Samoa." O'Riley, Michael Kampen. Art Beyond the West. Ashville: Pearson Prentice Hall, n.d. 219-220.

The Red Fudo

 Red Fudo

Before Research:

The tone of the image is what first draws the viewer in. Fudo is looking very intense and lost in thought, while his disciples are almost playful with the imagery that the artist took. The line usage is also very striking, for instance take the details in the dragon on the sword or the usage of the flames behind Fudo. The detail is also very striking, just look at Fudo and the detail done to his hair and clothing, it's so clear and distinctly done. Finally, the color usage is very interesting. It is unclear if the saturation is due to aging or if it was intentional, but regardless of that facet, the colors used on Fudo, his disciples, and the flames behind Fudo all add quite a bit to the tone of the image and help to declare the intensity shown by the Red Fudo.

After Research:

The Red Fudo depicted here is formally known as Fudō Myō-ō and is one of the major deities within Japanese Esoteric Buddhism. It is theorized that his angry demeanor is to remind those that view him of the demons within hell. His rope that he is holding is used to tie up and subdue demons while the sword is meant to cut through ignorance with the dragon around it meaning a cleansing lightning. He is also seated upon rocks thus referring to the "Fudo" in his name which directly translates to "Immovable". The flames behind him are meant to purify the mind and melt away material desires. So even though he appears to be an angry demon or perhaps a chaos deity, he is actually meant to help souls find enlightenment via Buddhism.

References:

Schumacher, M. (n.d.). Fudo Myo-o (Fudou Myou-ou) - Wrathful Messenger Who Protects & Serves Dainichi Buddha, Japanese Buddhism Art History. Retrieved October 7, 2018, from http://www.onmarkproductions.com/html/fudo.html

Kunz Axe - Olmec Culture

Initial Reaction:

The sculpture is based off the human form - having an upright stance with all of the appropriate body parts. However, the mouth seems to be distorted and more animalistic. It looks as though the mouth is much larger than it should be and that there are tusks included. The head of the sculpture is a much larger proportion, than it should be, compared to the body. The head takes up the same amount of space as the body - in reality, the body would take up the majority of the space. The expression of the sculpture seems to be content, while the mouth shows more aggression. The whole piece is a gray-green tone. The line work is smooth and precise, with natural cracks in the stone giving it a more earthy feel. Difference in the depth of sculpting between the head and body makes the body parts more difficult to depict. If the carving of the arms and feet were as deep as the eyes and nose, it would be easier to visualize the body. The figure looks to be holding an object, but it may just have its arms crossed in a peculiar way.

After Research:

Kunz Axe of the Olmec culture (c. 1000 BCE). The sculpture is considered to be a votive; an object used in rituals. It was made of jadeite due to the Mesoamerican people considering it to be a valuable material. Jadeite is a hard stone and to carve into it is a task. It would have taken the sculptor a long amount of time to carve this statue. The sculpture is considered a half-human and half-beast. The mouth is typically compared to that of a jaguar, but is always considered to be that of an animal instead of a human. The sculpture was created based on either an Olmec god or important tribe leader. The initial reaction about the sculpture possibly being a human-animal hybrid was correct. Post-research helps one appreciate the piece more. Knowing the hard work and time it would have taken to get this sculpture to the product it is now, without modern tools, is astonishing.

Sources:

Video - https://smarthistory.org/kunz-axe-olmec/

Book - Art Beyond the West: Second Edition by Michael Kampen-O'Riley

Mato Tope (Four Bears), Mandan Chief

Upon first glance, your eyes are immediately drawn to the texture of this piece. The fringe cascading down the sleeve creates a lofty sensation, while the abundance of said fringe simultaneously creates a sense of weight in the arm. The feathers found throughout the piece seem to lack this airy quality, but the ombré from the white base to a black tip does spark visual interest.

Judging by the powerful stance that Mato Tope is depicted striking, its reasonable to say the artist responsible for creating this did so with a great amount of respect. That being said, this appears to be painted in an extremely westernized style. Perhaps this was done by an American painter. Ironically enough, this piece looks vaguely similar to that of the 1836 Hans Holbein portrait of Henry Viii. Both depict the men in extremely similar poses, one that suggests strength, power, and possible royalty.

After further research on the piece, it was discovered that this was painted by an American artist. His Name was George Catlin, and he specialized in Native American portraits and paintings of the Old West. His initial attraction to the fashion of Natives encouraged his portraits, all of which depict individuals in heavily detailed garments like Mato Tope's. 

An interesting element to touch on about his work is that it seems to be respectfully accurate. What is meant by this is that is his figures are posed and oriented in the piece in a very strong and important manner. His accuracy in the depiction of the location on the other hand often received flack. It was questioned whether or not the locations were as extravagant as he claimed, and if he was even as welcomed as he said. It is also important to note that he claimed to be the first white man to ever capture certain tribes chiefs in a portrait, but historians are skeptical. 

The Princeton Vase

The Princeton Vase

Initial Reaction:

Despite the age of the piece, the piece to this day is surprisingly visible. Another interesting factor of this piece is that it is actually a vase. In the picture it looks like something done on paper, but the title of the piece itself gives it away. The linework in this piece is very clean for such an old piece. The color choices that this artist used is most likely monochromatic. Of course there are other colors above the piece, but it is not certain if it is because from ageing for the most part. Overall the piece is very unique.


After Research:

This is a Maya vase, and this old piece is called The Princeton Vase. The author is unfortunately unknown. However, some scholars would name the unknown author, the Princeton Painter. This piece was one of the best ceramic pieces in the Americas. The time period for when this piece was made and introduced would be from 600-900 AD. This piece appeared to be produced in Guatemala.






Sources:
Kerr, Barbara, and Justin Kerr. "The way of God L: the Princeton Vase revisited." Record of the Princeton Art Museum 64 (2005): 71-79.

Image: This media file is in the public domain in the United States. This applies to U.S. works where the copyright has expired, often because its first publication occurred prior to January 1, 1923. See this page

for further explanation.

Lizard (Aboriginal)

Initial Reaction

This piece has no true lines and that different colored dots are used to make the image. The piece has a wide range of vibrant colors and the contrast between them helps the images of the lizard and the flowers to stand out. The detail on the lizard is created through the use of outlines. It is outlined in both yellow, orange, and a pale peach like grey. The contrasting main body is composed of reddish orange and deep purple dots. The piece stands out due to the detail that the artist was able to achieve through the use of dots.

After Research

The use of dots in Aboriginal art has a specific and meaningful purpose known only to those who are initiated into their culture. The dot usage was created to help disguise the true meaning of the pieces of art to outsiders and the art itself is an expression of sacred stories that vary from tribe to tribe. The artists did not want other tribes to understand what the sacred story behind the piece was so they used dots to encode this sacred meaning. This painting in particular has no given author or title as Aboriginal artists cannot credit their work because there is no Aboriginal written language. The artist that painted this would also have to have been granted permission by a tribe official to paint it as all art depicting Aboriginal culture has to be permitted. In addition, the artist cannot change any part of the sacred meaning in their depiction or alter the way in which it is depicted. 

Sources For Image and Research:

Poulter, Jessica. "10 Things You Should Know About Aboriginal Art." Last modified October 23, 2016. https://theculturetrip.com/pacific/australia/articles/10-things-you-should-know-about-aboriginal-art/