The Great Goddess Description

The Great Goddess mural

The Great Goddess, a large mural, was found in a pyramid in Teotihuacán. One of its most striking elements is the central figure, the goddess. By sheer size alone, the emphasis is placed on the goddess, and the eye is most naturally drawn to her. The shapes that can be implied to make up her body are filled with elaborate patterns and floral designs. Her face seems to be that of a bird's, with a beak and two large, unsettling eyes. She is adorned with an extravagant headdress from which a tree grows, though the tree may be behind her. She is flanked by two small, disproportionate human figures, who seem to be interacting with their environment. They each wear a headdress that seems to be derivative of hers.

As is typical of Mesoamerican artwork, there is an incredible amount of elaborate details in this piece. The lines form organic shapes and there are no sharp or harsh edges present. There are multiple small areas with different patterns throughout the piece. The bottom of the mural shows a pattern of various lines, shapes, and colors; the pattern is reflected over the Y-axis. While the majority of the piece itself seems to be almost perfectly symmetrical, the tree behind the goddess is the only element that is not. There is a fairly limited color palette: warm reddish-brown, pale turquoise, pale blue, and yellow. Despite the hints of cooler hues throughout the piece, the overall feeling is warm and earthy.

Sources:

Aleto, Thomas. "Great Goddess of Teotihuacan." https://commons.wikimedia.org/wiki/File:Great_Goddess_of_Teotihuacan_(T_Aleto).jpg. 23 May 2007.

Chief of the Undersea Description

Attribution: By Emancipator at the English Wikipedia, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=2242464

This sculpture is Chief of the Undersea by Bill Reid. It is made of bronze and hovers over a pool of water. The dorsal fin of the whale and the rest of the body are similar in length. The bronze sculpture was based off of a smaller, wooden carving of the same whale. Reid was not able to create the Chief of the Undersea due to medical illnesses. However, he was still credited for the sculpture. Three artists helped to make Reid's small carving of the whale, at a much larger scale. At over 18 feet, the killer whale shows great detail. Reid is part of the Haida Tribe and brings much of the tribes influence into this sculpture. The Haida Tribe often uses varying sized line work and carvings.

The sculpture rests at the Vancouver Aquarium in British Columbia. In the early eighties, the sculpture was gifted to the aquarium. Most of Bill Reid's work is seen in museums, so having the sculpture out in the public's eye is a treat worth marveling at.

The Teaching Vase Description

This piece is titled The Teaching Vase.  It dates back to Mesoamerican time, and while it is still undetermined, researchers have narrowed the vases place of origin down to either Mexico or Guatemala.

Depicted around this ceramic piece are a series of 5 characters, those being Itzam or the ah k'unun and four students. Ah k'unun means "royal librarian or royal man of the holy books" in Mayan language. In other words, Itzam was what is referred to as a Deity.

Itzam can be seen referencing scrolls and folded codex pieces placed in front of him as he meets the gaze of nervous, onlooking students. It is important to note that their faces are still primarily solemn though, for they understand the seriousness within the opportunity of being a deity's pupil.

While the quality of the vase has decreased overtime, the line work seen is still outstanding. The varying thickness of the lines indicates a steady yet confident hand. The asymmetry of the entire piece, ranging form the lopsided rim to the cartoon-esque illustrations, creates a very natural and familiar look for the vase.

Sources:

“Codex-Style Vessel with Two Scenes of Itzam Instructing Young Pupils.” Kimbell Art Museum, www.kimbellart.org/collection/search/view/556?text=maya.

Kunze Axe

 Both images taken of the "Kunz Axe" from the American Museum of Natural History in New York.

This exquisite ceremonial object is currently on loan to the American Museum of National History in New York city. The ax is carved from decorative jade. The enlarged head seems to indicate the creator wanted put special emphasis on the anthropomorphic face that seems to resemble that of a feline of some kind, knowing the reverence many precolonial meso-american cultures had for jaguar I would wager that it what it is meant to resemble. Notice the carving on the torso. The two hands are grasping what seems to be some kind of knife pointing down in a way that resembles the downward thrusting motion of a ceremonial knife into the intended sacrifice.

This ritualistic ax was first described in 1890 George Fredrick Kunz, from which the artifact gets its name. The Kunz Axe depicts a figure as a half man half jaguar. Such figures are very common in the artistic works of the Olmec culture and is commonly referred to by anthropologists and archaeologists as the werejaguar. It is commonly believed the the werejaguar is most likely a depiction of an Olmec god. Given the prevalence of this figure throughout the Olmec culture it can be assumed the god in question must have been an important one.

Sources:https://www.amnh.org/exhibitions/permanent-exhibitions/hall-of-mexico-and-central-america/kunz-axe, https://uncoveredhistory.com/mexico/the-olmec-children-of-the-were-jaguar/

Fisherman Description

Fisherman made by the artist Wu Zhen (Chinese, 1280-1354) has remarkable elements. The line work on the leaves are curved along with the line work used on the branches on the tree to make the tree it self more lively. The artist uses a simple color pallet by only using ink on paper. Zhen gives the boat more vertical line structure for the boat while using curved line work on the fisherman on the boat. The value of the color of the art piece is manly dark with the lightness of the paper. This piece has an increasing amount of space.

The color of this piece only uses of black ink. The texture of the artist used on used on the mountain side gives a more realistic affect by adding the the vegetation growing on the side of the mountain. The why the artist painted the sea gives the since that the sea is at a stand still. The artist painted where there is very little movement going on. The tree limbs pointing down and very little movement of the boat and the sea would emphasize ow there is very little movement going on. The meaning of the righting on the right hand side is how the fisherman is ready to go back home after a long day of fishing. The stamps show how many individuals have owned this art work in the past.  

Source: https://www.metmuseum.org/toah/works-of-art/1989.363.33/

Portuguese Merchants and Trading Vessels

Portuguese Merchants and Trading Vessels is an early 17th century Japanese paper screen. The paper screen shows traders from the south, also known as namban byobu or southern barbarians. The piece shows the traders dressed in rather outlandish and gaudy hats and clothes compared to the other individuals seen in the piece. It is rather difficult to find the main character, assuming the subject is not the traders ship. The usage of color and shape is very pleasing, as it allows for a distinction between all of the defining areas of the image such as the land, sea, and clouds.

The most defining feature of this image is the superior usage of space between all of the components. This allows for each individual featured to be clearly different from the others around them. Along with this, the usage individual usage of color on each individual adds to the contrast of the image making for better personalization between the characters. With all of these components coming together as one, the unity and balance of this image makes it stand out among the other paper screens that would have been created along with it.

Paradise Under the Sea Description

Shigeru Aoki is a Japanese painter known mostly for combining Japanese legends and religious subjects in the late 19th century, early 20th century. This painting, Paradise Under the Sea 1907, is a telling of a Japanese legend of Prince Fire-fade who fell in love with the God of the Sea's daughter. The painting is in a tall, narrow frame and there is a woman on either side of the piece being split by a vase and a tree causing the piece to feel balanced and give it a sense of unity.  The colors tend to be muted and dark with the light blue of the dress on the right being one of the brightest things in the painting which guides the viewers eye to it and then up into the bright yellow light above the prince's head on a vertical path upwards. Everything seems to have a dark blue tint as if everything is underwater. The tree is cut off at the top into a round shape so the leaves stop suddenly to show a warm orange color. These colors stand out because it has no blue tint over it like the rest of the piece including the warmer colors such as the deeper reds to on the woman's dress and the bottom of the tree. There is not a lot of empty space in the piece with it being so long and narrow, the space seems full. 

Shigeru used a diving suit and a helmet to make sketches of light and color under water which reflect in the way the light diffuses on the women's wet, translucent dresses as well as the shadowy skin of the prince. He keeps true to his Japanese roots by keeping with his legends and myths but he shows his fascination with western art with the feathery brush strokes being fully visible, especially on the red dress. The composition of the piece as well as the theme are a reflection of his interest in English painters but the brushstrokes and nature sketches are a French Impressionist thing to do. He showed his interest in the western forms of art while also staying true to his Japanese heritage with his legends and ideals.