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.