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. 

Stone of Five Suns

Stone of Five Suns

In this piece, it looks as it was carved from stone. The overall piece kind of looks as if it could be used as compass. The face in the center looks as if it could represent something important. The carvings of the piece are extremely detailed. It's like each carving in the piece has some sort of meaning behind it.

This piece was created at Teotihuacan. The story behind this piece involves two gods sacrificing their bodies to create new material for the world. One god arose to the Pyramid of the Sun, while the other God arose to the Pyramid of the moon. Then they both went in  bonfire. In the end they both became the sun and the moon. To repay the Gods, humankind had to provide human sacrifices in order to keep the fifth sun. Not only is this piece called the Stone of Five Suns. It's also called the Aztec Calendar Stone. The piece is made from stone, hence it is in the name of the work. There is really no actual author named for this piece, but it was created by the Azetcs.

The Two Fridas Description

The Two Fridas by Frida Kahlo (1939)

In one of her most popular and well-known works, Frida Kahlo's 1939 painting, The Two Fridas, was created as a  result of the emotionally and physically painful aftermath of her and Diego Rivera's bitter and messy divorce.

The double self-portrait carries heavy symbolism that references not only Rivera, but other aspects of Kahlo's life as well. As a duel-heritage citizen, prior to their marriage, Khalo dressed in European attire, however due to Rivera's passionate nationalism, Kahlo dressed in more traditional Mexican clothing to appeal to her husband's liking better. The two styles are portrayed as the 'two Fridas.' She had always felt that the Frida on the right was the one that Rivera loved, hence the picture of him in the locket in that figure's hand. The heart of the figure is also whole while the figure on the left is damaged and 'broken' because of Rivera's love for that version and the connection between his love versus the disconnection between his love and the version on the left. The scissors in the hand of the left Frida also symbolize the severing of the ties between her and Rivera.

Kahlo and Rivera's relationship are not the only represented in the massive oil painting however. The blood on the white dress is a reference to her fertility. 17 years prior to her creation of The Two Fridas, she was in a bus accident that left her with severe injuries. Over the years, Kahlo underwent many surgeries and suffered chronic pain. The injuries are also believed to have been the cause of several miscarriages throughout Kahlo's life, symbolized by the blood's location in the painting.

Overall, the composition generates a rather sad and tragic scene in which Kahlo was forced to endure every day for the rest of her life.

Gateway of the Sun Description

Picture by Mhwater

     This gateway in Taihuanaco, Bolivia depicts a smoothly carved stone gateway with low and high relief carvings at the top of the arch. Upon closer inspection one will see that the main figure in the middle is larger then the others and also appears to have a more ornate headdress than the other figures. The size difference in the figures most likely is meant to show that the larger figure is a one of power and might even be a depiction of a god. The smaller figures are depicted as having their own ornate headdresses and what may be tails or cloaks, this may point to the gateway being part of an old temple where ceremonies were held. The fact that the bottom part of the gateway is smooth may have to do with the wear of time or it may have been kept smooth on purpose in order to draw more attention to the carvings at the top of the arch.

     The large figure at the top is a depiction of the sun-god and may actually be the God Viracocha, whom was said to have created all things, but researchers lack enough evidence to prove this. The figure is one of ceremony as it is holding ceremonial staffs with feline and condor heads on either end of the them. The smaller figures are meant to be his close servants and it is unclear if they are human or not. Due to lack of evidence surrounding this gateway there have been many theories about what its' meaning is and why is was built. Some historians believe it to have been built as a gateway to another realm while others theorize that it was made to be a calendar.

Citations:
Smithfield, Brad. "The Gate of the Sun: A megalithic solid stone structure, confusing experts ever since its discovery." 19 April 2017. The Vintage News. 1 November 2018. <https://www.thevintagenews.com/2017/04/19/the-gate-of-the-sun-a-megalithic-solid-stone-structure-confusing-experts-ever-since-its-discovery/>.    

O'Riley, Michael Kampen. "Western Polynesia: Tonga and Samoa." O'Riley, Michael Kampen. Art Beyond the West. Ashville: Pearson Prentice Hall, n.d. 278.

Raimondi Stela Description

Raimondi Stela, Chavin de Huantar c. 460-300 BCE

This is a drawing of the Raimondi Stela that was originally drawn by Antonio Raimondi. This drawing depicts the Staff God of the Chavin de Huantar (900-200 BCE) as shown through the figure holding the two ornate staffs. There is a lot of line work and ninety degree intersections. most of the lines are fairly straight with occasional curvature that serves to create more detail for the figure. The god is shown with four heads with three stacked on top of the central head about one-third of the way up from the bottom. Their is sharp and precise symmetry between the left and right sides of the image and this balance of symmetry was a key component in Chavin art.

This piece shows several of the characteristics of Chavin art including the perpendicular intersections, simple lines repeated upon themselves to create a complex image, and symmetry. The piece also shows the technique of Chavin artists of using other animalistic ideas for body parts. The god is depicted with other heads for hair and with the heads sprouting serpentine appendages. This image creates a sort of illusion with the heads that was part of Chavin ceremonies that would be conducted with hallucinogenic snuffs. As a piece in total, it depicts the Chavin connection to abstraction and complexity.

Resources:
Fig. 1. Raimondi Stela, The Staff God. 2012, drawing, 6'5"*2'5". Wikimedia Commons,https://commons.wikimedia.org/wiki/File:Raimondi_Stela_(Chavin_de_Huantar).svg
(accessed November 6, 2018).

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.