Art of the Non-Western World Study Guide
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Art in the Stone Age Terminology
Art in the Stone Age Terminology ● Paleolithic- (Greek) ○ Paleo-Old ○ Lithos-Stone. ○ 40,000-9,000BCE ○ Characteristics, Hunter Gatherer, Caves. Migration ● Mesolithic, ○ Meso-Middle ○ Lithos- Stone Age ○ 10,000-5,000 bce ○ Characteristics, Beginnings of Cities, Dog Domestication, Transition to agricultural and animal domestication ● Neolithic, ○ Neo-New ○ Lithos-Stone ○ 8,000-2300 BCE ○ Development of Cities, Animal Husbandry Herding, Agriculture, People Began to stay in one place Mistakes in Art History The saying Goes.. “History is Written by the victors.” Niccolo Machiavelli Mercator Map Projection. https://youtu.be/KUF_Ckv8HbE http://www.npr.org/sections/thetwo- way/2016/01/21/463835225/discovery-of- ancient-massacre-suggests-war-predated- settlements Radio Carbon Dating https://youtu.be/54e5Bz7m3do A process Archaeologists use among others to estimate how long ago an artifact was made. Makapansgat Face Pebble resembling a face, Makapansgat, ca. 3,000,000 bce. This pebble of one of the earliest examples of representation of the human form. Apollo 11 Cave Animal facing left, from the Apollo 11 Cave, Namibia, ca. 23,000bce. Charcoal on stone, 5”x4.25”. State Museum of Namibia, Windhoek. Scientists between 1969-1972 scientists working in the Apollo 11 Cave in Namibia found seven fragments of painted stone plaques, transportable. The approximate date of the charcoal from the archeological layer containing the Namibian plaques is 23,000bce. Hohlenstein-Stadel Human with feline (Lion?) head, from Hohlenstein-Stadel Germany, ca 40,000- 35,000BCE Appox 12” in length this artifact was carved from ivory from a mammoth tusk This object was originally thought to be of 30,000bce, was pushed back in time due to additional artifacts found later on the same excavation layer. -
Research on the Propagation Effect of the Painters Art in the Tang Dynasty
2019 3rd International Workshop on Arts, Culture, Literature and Language (IWACLL 2019) Research on the propagation effect of the painters art in the Tang Dynasty Jin Xiaoyun Art College of Gansu University of Political Science and Law, Lanzhou 730070, China Keywords: Tang Dynasty; painters art; spread; effect; research Abstract: As the highest peak of feudal society development in Chinese history, the glory of the Tang Dynasty is reflected in all aspects, and painting is part of it. Throughout the painters art in the Tang Dynasty, the magnificent and positive spirits are revealed everywhere. It is one of the most brilliant pearls in the history of Chinese art, and it has written generous colour for the splendor of world culture. The creative environment of the Tang Dynasty painters was relatively free and there were many ways of communication. Therefore, many famous art and works were spread at that time, which had a great impact on the people at that time and in later generations. This paper mainly studies the spread and effect of the painters art in the Tang Dynasty. 1. Introduction The Tang Dynasty has achieved unprecedented development in economic, political, and cultural aspects, and which constituted the prosperous Tang Dynasty that the Chinese nation is proud of. The art of painting also showed an unprecedented prosperity in the Tang Dynasty. The painters art of the Tang Dynasty was supported by the famous masters of the Tang Dynasty. Because of the powerful national power and prosperous economy, the scale and artistic reached the level that the former generation could not match. -
THE DIGGING STICK Volume 13, No
~_.THE DIGGING STICK Volume 13, No. 3 ISSN 1013-7521 November 1996 AN ENGRAVED TOUCHSTONE FROM THE FREE STATE Sven Ouzman On the southern banks of the Vaal River in the Boshof District of the Free State is a low eminence peppered with amygdaloidal andesite boulders (Figure 2). Though visually unassuming, this low eminence has a long history of visitation and marking by animals and humans. For example, twenty two of the andesite boulders have been rubbed smooth by rhinoceroses and hippopotamuses seeking to remove ectoparasites from their bodies. In addition, persistent scatters of Later Stone Age lithics at the site provide evidence of human visitation. Evidence of human marking is .... - - - ..... , \ \ \ I I I \ I \ I / \ / ' \ I I / ./' - / I/'\ / / /, \ I ( 1/ \ \ \ \ 1 \ \ \ \ / I \ \ If ~ I I 1-- - I I \ I I '\ : I \ I I \ 1/ \ // / '·f,···, \ / , \ / \ / I / \ / Figure 1. Redrawing of the rhinoceros engraved on the touchstone with rubbed area'shown in black and flake scars indicated by a dashed line. Scale bar is 30 mm. provided by the 263 andesite boulders that bear engraved images of the kind mo~t often ascribed to San hunter-gatherers. The Boshof engraving site covers an area of 7 500 m and features a wide range of imagery including antelope, eland, elephant, geometric motifs, giraffe, hippopota mus, ostrich, rhinoceros and zebra. Many of these images appear true to life but equally, many of the engravings have visual signifiers, such as the impossibly long horns engraved on an antelope, which indicate that southern African rock engravings, like the better-understood rock paintings, relate strongly to San religion. -
Cataloguing Chinese Art in the Middle and Late Imperial Eras
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections. -
Chichen Itza Coordinates: 20°40ʹ58.44ʺN 88°34ʹ7.14ʺW from Wikipedia, the Free Encyclopedia
Chichen Itza Coordinates: 20°40ʹ58.44ʺN 88°34ʹ7.14ʺW From Wikipedia, the free encyclopedia Chichen Itza ( /tʃiːˈtʃɛn iːˈtsɑː/;[1] from Yucatec Pre-Hispanic City of Chichen-Itza* Maya: Chi'ch'èen Ìitsha',[2] "at the mouth of the well UNESCO World Heritage Site of the Itza") is a large pre-Columbian archaeological site built by the Maya civilization located in the northern center of the Yucatán Peninsula, in the Municipality of Tinúm, Yucatán state, present-day Mexico. Chichen Itza was a major focal point in the northern Maya lowlands from the Late Classic through the Terminal Classic and into the early portion of the Early Postclassic period. The site exhibits a multitude of architectural styles, from what is called “In the Mexican Origin” and reminiscent of styles seen in central Mexico to the Puuc style found among the Country Mexico Puuc Maya of the northern lowlands. The presence of Type Cultural central Mexican styles was once thought to have been Criteria i, ii, iii representative of direct migration or even conquest from central Mexico, but most contemporary Reference 483 (http://whc.unesco.org/en/list/483) interpretations view the presence of these non-Maya Region** Latin America and the Caribbean styles more as the result of cultural diffusion. Inscription history The ruins of Chichen Itza are federal property, and the Inscription 1988 (12th Session) site’s stewardship is maintained by Mexico’s Instituto * Name as inscribed on World Heritage List. Nacional de Antropología e Historia (National (http://whc.unesco.org/en/list) Institute of Anthropology and History, INAH). The ** Region as classified by UNESCO. -
Yun Mi Hwang Phd Thesis
SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY Yun Mi Hwang A Thesis Submitted for the Degree of PhD at the University of St Andrews 2011 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1924 This item is protected by original copyright This item is licensed under a Creative Commons Licence SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY YUN MI HWANG Thesis Submitted to the University of St Andrews for the Degree of PhD in Film Studies 2011 DECLARATIONS I, Yun Mi Hwang, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student and as a candidate for the degree of PhD in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. I, Yun Mi Hwang, received assistance in the writing of this thesis in respect of language and grammar, which was provided by R.A.M Wright. Date …17 May 2011.… signature of candidate ……………… I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
Durham E-Theses
Durham E-Theses Neolithic and chalcolithic cultures in Turkish Thrace Erdogu, Burcin How to cite: Erdogu, Burcin (2001) Neolithic and chalcolithic cultures in Turkish Thrace, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3994/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk NEOLITHIC AND CHALCOLITHIC CULTURES IN TURKISH THRACE Burcin Erdogu Thesis Submitted for Degree of Doctor of Philosophy The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. University of Durham Department of Archaeology 2001 Burcin Erdogu PhD Thesis NeoHthic and ChalcoHthic Cultures in Turkish Thrace ABSTRACT The subject of this thesis are the NeoHthic and ChalcoHthic cultures in Turkish Thrace. Turkish Thrace acts as a land bridge between the Balkans and Anatolia. -
Movement, Space, and Identity in a Mexican Body Culture
societies Article From the Calendar to the Flesh: Movement, Space, and Identity in a Mexican Body Culture George Jennings Cardiff School of Sport and Health Sciences, Cardiff Metropolitan University, Cardiff CF23 6XD, UK; [email protected] Received: 20 July 2018; Accepted: 9 August 2018; Published: 13 August 2018 Abstract: There are numerous ways to theorise about elements of civilisations and societies known as ‘body’, ‘movement’, or ‘physical’ cultures. Inspired by the late Henning Eichberg’s notions of multiple and continually shifting body cultures, this article explores his constant comparative (trialectic) approach via the Mexican martial art, exercise, and human development philosophy—Xilam. Situating Xilam within its historical and political context and within a triad of Mesoamerican, native, and modern martial arts, combat sports, and other physical cultures, I map this complexity through Eichberg’s triadic model of achievement, fitness, and experience sports. I then focus my analysis on the aspects of movement in space as seen in my ethnographic fieldwork in one branch of the Xilam school. Using a bare studio as the setting and my body as principle instrument, I provide an impressionist portrait of what it is like to train in Xilam within a communal dance hall (space) and typical class session of two hours (time) and to form and express warrior identity from it. This article displays the techniques; gestures and bodily symbols that encapsulate the essence of the Xilam body culture, calling for a way to theorise from not just from and on the body but also across body cultures. Keywords: body cultures; comparative analysis; Eichberg; ethnography; games; martial arts; Mexico; physical culture; space; theory 1. -
March 21–25, 2016
FORTY-SEVENTH LUNAR AND PLANETARY SCIENCE CONFERENCE PROGRAM OF TECHNICAL SESSIONS MARCH 21–25, 2016 The Woodlands Waterway Marriott Hotel and Convention Center The Woodlands, Texas INSTITUTIONAL SUPPORT Universities Space Research Association Lunar and Planetary Institute National Aeronautics and Space Administration CONFERENCE CO-CHAIRS Stephen Mackwell, Lunar and Planetary Institute Eileen Stansbery, NASA Johnson Space Center PROGRAM COMMITTEE CHAIRS David Draper, NASA Johnson Space Center Walter Kiefer, Lunar and Planetary Institute PROGRAM COMMITTEE P. Doug Archer, NASA Johnson Space Center Nicolas LeCorvec, Lunar and Planetary Institute Katherine Bermingham, University of Maryland Yo Matsubara, Smithsonian Institute Janice Bishop, SETI and NASA Ames Research Center Francis McCubbin, NASA Johnson Space Center Jeremy Boyce, University of California, Los Angeles Andrew Needham, Carnegie Institution of Washington Lisa Danielson, NASA Johnson Space Center Lan-Anh Nguyen, NASA Johnson Space Center Deepak Dhingra, University of Idaho Paul Niles, NASA Johnson Space Center Stephen Elardo, Carnegie Institution of Washington Dorothy Oehler, NASA Johnson Space Center Marc Fries, NASA Johnson Space Center D. Alex Patthoff, Jet Propulsion Laboratory Cyrena Goodrich, Lunar and Planetary Institute Elizabeth Rampe, Aerodyne Industries, Jacobs JETS at John Gruener, NASA Johnson Space Center NASA Johnson Space Center Justin Hagerty, U.S. Geological Survey Carol Raymond, Jet Propulsion Laboratory Lindsay Hays, Jet Propulsion Laboratory Paul Schenk, -
Impact Melt Emplacement on Mercury
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-24-2018 2:00 PM Impact Melt Emplacement on Mercury Jeffrey Daniels The University of Western Ontario Supervisor Neish, Catherine D. The University of Western Ontario Graduate Program in Geology A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Science © Jeffrey Daniels 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Geology Commons, Physical Processes Commons, and the The Sun and the Solar System Commons Recommended Citation Daniels, Jeffrey, "Impact Melt Emplacement on Mercury" (2018). Electronic Thesis and Dissertation Repository. 5657. https://ir.lib.uwo.ca/etd/5657 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Impact cratering is an abrupt, spectacular process that occurs on any world with a solid surface. On Earth, these craters are easily eroded or destroyed through endogenic processes. The Moon and Mercury, however, lack a significant atmosphere, meaning craters on these worlds remain intact longer, geologically. In this thesis, remote-sensing techniques were used to investigate impact melt emplacement about Mercury’s fresh, complex craters. For complex lunar craters, impact melt is preferentially ejected from the lowest rim elevation, implying topographic control. On Venus, impact melt is preferentially ejected downrange from the impact site, implying impactor-direction control. Mercury, despite its heavily-cratered surface, trends more like Venus than like the Moon. -
2016-2017 US Academic Bowl Round 4
USABB Regional Bowl 2016-2017 Round 4 Round 4 First Half (1) In 2017, one type of these items was described as a \bleak, flavorless, gluten-free wasteland," a description that went viral and inspired record sales. One of these items in the shape of its logo is called a (*) Trefoil when produced by Little Brownie Bakers, one of two national manufacturers of these goods. For ten points, name this foodstuff, sold as an annual fundraiser for a youth organization, whose most popular varieties include Tagalongs and Thin Mints. ANSWER: Girl Scout cookies (prompt on partial answers) (1) In this film, Auli'i Cravalho provides the voice of the title character, who sings \If the wind in my sail on the sea stays behind me, one day I'll know." For ten points each, Name this 2016 Disney film, whose title character searches for the demigod Maui to help save her Polynesian island. ANSWER: Moana This is the aforementioned song, sung by Moana as she sets sail on her journey. It earned an Best Original Song Oscar nomination for its writer, Lin-Manuel Miranda. ANSWER: How Far I'll Go This actor and professional wrestler voices Maui in Moana. ANSWER: Dwayne \The Rock" Johnson (accept either or both) (2) The smallest subspecies of these animals is nicknamed \Tuktu" in the Inuktitut language, and their four-chambered stomachs help them digest their namesake (*) \moss." This is the only deer species in which females grow antlers, which they use to defend the patches of lichen they eat in the tundra. For ten points, name these arctic deer also known as caribou who, in legend, fly to pull Santa's sleigh. -
Ap Art History Image Set Snapshot #1 Image
AP ART HISTORY 2015-2016 1 AP ART HISTORY IMAGE SET SNAPSHOT #1 IMAGE SET identification: Apollo 11 stones. Namibia. c. 25,500-25,300 B.C. E. Charcoal on stone. Snapshot: This pre-historic charcoal drawing of an unknown animal is one of the oldest known artworks that originated from the African continent. At the time of its creation it would have been considered nothing more than a drawing, but today this collection of drawings is some of the first evidence we have of early human communication. These stones originate from the Apollo 11 caves in Namibia and were likely meant to illustrate the game that could be found in the region at that time. It is unclear if there is a story being told by the drawings but it is probable that they all display a continuity that could be understood by the people in the region during the time frame of their creation and could be used to communicate some idea. Through very precise carbon dating, these drawings are able to give scientists a timeframe of when changes in human behavior occurred and when social and biological evolution was happening among the human race, as well as show us where humanity’s first hunter and gatherer societies began. This ancient art was what the humans of its day used to communicate with each other and would seem very insignificant at the time, but in today's society this piece lets us study more about humanity’s humble beginnings. AP ART HISTORY 2015-2016 2 AP ART HISTORY IMAGE SET SNAPSHOT #1 Possible Themes: Reverence of Nature, Hunting Possible Subthemes: Animal qualities, Communication Possible Connections with other works in the IMAGE SET: Running Horned Woman.