AP ART HISTORY 2015-2016 1 AP ART HISTORY IMAGE SET SNAPSHOT #1

IMAGE SET identification: Apollo 11 stones. . 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 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. Tassili n’

Ajjer, . 6000-4000 B. C. E. Pigment on rock. This work is also a drawing possibly meant for communication or storytelling.

Camelid sacrum in the shape of a canine. Tequixquiac, central . 14,000- 7000 B. C. E.

Bone. This work is also meant to represent an animal from the region the piece comes from.

Resources:

YouTube video: http://youtu.be/xpXZPN5s_8o

Article on the drawings: http://arthistorypart1.blogspot.com/2008/01/prehistoric-rock-art-in-

africa-apollo.html

Article on the drawings: http://www.metmuseum.org/toah/hd/apol/hd_apol.htm

Article on the time period: http://www.melkakunture.it/museum/tukul1-04.html

AP ART HISTORY 2015-2016 3 AP ART HISTORY IMAGE SET SNAPSHOT #1 Khamaria Shanks & Image set: Apollo 11 stones. Namibia. 25,500-25,300 B.C.E. Charcoal on stone.

There are a total of seven slabs that were found in the Apollo 11 in the mountains of southwestern

Namibia. These stones are the oldest scientifically dated rock art in African history. The stones were made of grey-brown quartzite, and the drawings were done with charcoal. The stones are engraved with geometric lines and representations of animals. The cave was named after the Apollo 11 spaceship in

1969, by the German archaeologist Dr. Wolfgang Eric Wendt He was researching the area known as the

“Goachanas” by the locals. The stones are 5”x4 ¼” with drawings of animals that aren't very easy to identify but, have been interpreted as felines. There are some that have been identified as a Zebra,

Ostrich, or a Giraffe. It is said that these slabs were not from the cave walls of Apollo 11; they were brought from somewhere else. There isn't any hard evidence showing that, that is the case.

Possible Themes: natural world, and belief Possible Subthemes: Life, private/public Resoursces: Khan Academy: https://www.khanacademy.org/test-prep/ap-art-history/global-prehistory- ap/paleolithic-mesolithic-neolithic/a/apollo-11-stones British Museum website: http://www.britishmuseum.org/research/research_projects/all_current_projects/african_rock_art_image _project/introductions/origins_of_art_in_africa.aspx

AP ART HISTORY 2015-2016 4

IMAGE SET Identification: Camelid sacrum in the shape of a canine. Tequixquiac, Central Mexico. Unknown Artist. 14,000-7,000 BCE. Bone.

Snapshot: Created before the establishment of the Mayan or Aztec Empire, the Camelid sacrum in the shape of a canine is thought to have been originally intended as a mask used in the religious ceremonies of the Mesoamericans. Though the artist is unknown, scholars have gathered enough information from similar prehistoric cultures to speculate that the mask was probably used specifically for fertility ceremonies. The bone from which it was carved, the sacrum, is found in the lower back between the hip bones of the pelvis; according to the ancient

Egyptians, because of its position at the end of the spine, the sacrum was like a spiritual head, and a link to the afterlife; in addition, there was a long lasting belief upheld by many cultures that the sacrum played a significant part in reproduction. The camelid was an American relative to the camel; it is now extinct, but it was a major staple in the diet of the Mesoamericans. They would try to use every part of the animal, including the bones. The canine was chosen as a symbol of fertility likely because of its natural ability as a hunter, and their way of life was centered on hunting and gathering. It is important to mention, that the mask not only served as a symbol to those who participated in or witnessed the ceremony, but was also believed to have AP ART HISTORY 2015-2016 5

been inhabited by an animal spirit. It was held that the spirit would enhance the wearer's abilities.

Because of the time of its creation, this canine mask is a somewhat solitary case that gives a look into the religious beliefs and practices of the Mesoamericans, especially pertaining to life, fertility, and the afterlife.

Possible Themes: Connections between cultures and people, multiple parts that make a whole, religious beliefs and culture Possible Subthemes: Life Cycles, religious ceremonies, humanity and nature with god

Resources: Camelid sacrum in the shape of a canine flashcard: http://www.flashcardmachine.com/ap- arthistory250images.html Class website: http://lhsarthistory.weebly.com/u1.html Khan Academy Video: http://youtu.be/KQm4MLy2ET4 http://www.mesoweb.com/features/jpl/113.html AP ART HISTORY 2015-2016 6 AP ART HISTORY IMAGE SET SNAPSHOT #4

IMAGE SET full ID: Running Horned Woman. Tassili n’Ajjer, Alergia. 6000-4000 B.C.E. Rock Painting

Image:

Snapshot:

The Running horned woman is a in Tassili n’Ajjer, Algeria. It was found in 1928, and was created by the Nok people between 6000-4000 B.C.E. It was painted in a time period when the art was mostly for communication and depicted climate change, animal migration, and human evolution. It depicts a large woman with horns on her head running; her size and position give the assumption that she is most important.

The horns on her head are believed to sybolize power. The background depicts smaller figures, some with out heads, leading us to believe they are lesser to her. They all appear to be running in the same direction, and it seems as if the woman is leading them. Scholars have speculated it is representing a relgious ceremony, and convey’s themes of faith and unity amoung the people and their God. This unity is shown through the people running with their God and trusting her to show them the way. Over time, though, the meaning trying to be conveyed has likely been changed because there is no writing telling us exactly what the picture means. The artist used rocks as their canvas and natural paints, because there was nothing else they could’ve used. The pigments were extracted for ochreous schist and they used many engraving techniques. Its signaficant because it shows that these people were intelligent to invent paint and use this art as a form of communication.

AP ART HISTORY 2015-2016 7 AP ART HISTORY IMAGE SET SNAPSHOT #4

Snapshot continued (if needed)...

Possible subthemes: Tribal Culture, Humanity

Possible connections with other works in the IMAGE SET: 2. Great Hall of the Bulls. , , Paleothlic Europe. 15,000-13,000 B.C.E. Rock Painting. This work was painted with the same materials even though its in a different part of the world.

Resources: Khan Acadamy: http://www.khanacadamy.org/test-prep/ap-art-history UNESCO: http://whc.unesco.org/en/list/179

AP ART HISTORY 2015-2016 8

IMAGE SET Identification:AP ART HISTORY IMAGE SET SNAPSHOT #5 -

Beaker with ibex motifs. Susa, . 4200 3500 B.C.E.

Painted terra cotta.

Snapshot:

bushel Supposedly created around the Neolithic era, this ambiguously marked

is unknown in many aspects other than its use of burying the dead. Due to its

ritualthin structure, the vessel was not built for regular usage, but rather, ceremony and

, which makes sense due to the precedent of practical workmanship. The

beaker’s most defining point is notably the mountain goat. The goat’s design comes

down to merely triangles, but the details. of its beard and tail are still clear with its

accentuated horns encircling the ibex Many speculate the ibex is a symbol of a

specific clan within the Susa society, which one could infer allowed the society to

preserve their selves into the afterlife. Notably, it could also be a guide for the dead

towards the afterlife. Above the goat is a band of, what some assume to be,

greyhound dogs due to their elongated forms. Their stretched legs are

interchangeably interpreted as running or a reclined position, which could

exemplify movementis into the afterlife or forever resting, respectfully. Outlining the

topherons of the beaker a ring of birds with thin, long necks, which are comparable to

. These various animals are indicative of a tribute to nature or even as an AP ART HISTORY 2015-2016 9

offering to the gods for good fortune agriculturally since the greyhound and the

heron both symbolize good fortune- . Essentially, the piece itself could represent four

main themes: tranquility, self preservation, superstition, and respect simply

because of the wide interpretationsw of each aspect in the piece. The Susa society is

one of the earlier societies and hile many origins of the bushel are unknown, it

providesPossible athemes: slight insight into early Mesopotamian societies.

Possible subthemes: Religion Unity and respect. -preservation

individualism. , superstition, self , life cycle, and

Resources:

https://www.khanacademy.org/humanities/prehistoric-

art/neolithicKhan Academy:-art/v/susa- ibex

http://www.louvre.fr/en/oeuvre -notices/bushel-ibex-motifs

The Louvre:

http://contentdm.lib.byu.edu/cdm/ref/collection/Saskia/id/5205Saskia Digital Collection:

AP ART HISTORY 2015-2016 10 AP ART HISTORY IMAGE SET SNAPSHOT #5

IMAGE SET full ID: Beaker with ibex motifs. Susa, Iran. 4200-3500 B.C.E. Painted terra cotta.

Image:

Snapshot:

This piece of ceremonial art was created by the first inhabitants of Susa in prehistoric times, between 4200-

3500 B.C.E. around the Neolithic Stone Age. The burial of the beaker with the dead was a form of ceremony, celebration, and respect for the dead. Ceramics were produced in Iran beginning in the eighth millennium

B.C.E. Susa is located where modern day Iran presides, and this beaker emulates the ancient Susa culture with its specific decoration that reflects the prehistoric Orient's agricultural communities. The beaker is made out of terra cotta, a readily available material, and is designed with paint. Because of the thinness of the beaker, it has been inferred that the piece was strictly ceremonial and not made for everyday functions. The artistic significance of this piece comes from the intricate, hand painted designs on the outside of the beaker.

Paleolithic and Neolithic cave paintings featuring animal imagery were found across Asia, including the mountains of Iran. This patter of drawing of animals on art is seen on the beaker with ibex motifs from Iran.

The piece demonstrates thin dogs, like greyhounds, wading birds, and a strong mountain goat (ibex). The beaker possesses a variety of artistic painting techniques, including circular, linear, and geometric forms. The animals represented are not shown in a naturalistic manner, instead they consist of very stylized shapes. The shapes that make up the animals are contrasting in nature- take the goat for example. The horns are highly exaggerated and curved, while the goat's body is basically made of two sharp triangles. The curvature of the AP ART HISTORY 2015-2016 11 AP ART HISTORY IMAGE SET SNAPSHOT #5 dogs' legs leave whether they are reclining or running up to interpretation. The necks of the wading birds introduce a linear aspect to the piece as well. While there are other shapes and images on the beaker which have an unknown meaning to modern art connoisseurs, the importance of animals to Susa culture cannot be denied after studying the beaker with ibex motifs. The importance of animals to the design of this piece most likely alludes to deeper meanings, beliefs, and ideas the animals symbolized in Susa culture. For example, it has been stated that the ibex was a symbol of power, which would explain why it was such a prominent figure in the work of art. Even though the beaker was meant to be buried with the deceased as part of ceremony, the people of Susa still showed respect for the dead and their culture by creating art that symbolized important aspects of Susa life.

Possible subthemes: Beliefs, Animal Symbolism, Respect of the Dead, Cycles of Life and Death, Agrarian Lifestyle Possible connections with other works in the IMAGE SET: Not required Resources: The Louvre's website: http://www.louvre.fr/en/oeuvre-notices/bushel-ibex-motifs Khan Academy: https://www.khanacademy.org/humanities/prehistoric-art/neolithic-art/v/susa-ibex Glendale Curriculum: http://seco.glendale.edu/~rkibler/susabeakeribex.html http://www.mhhe.com/socscience/art/timelines/ancient_near_east/html/susa.html Pictures: https://www.flickr.com/photos/profzucker/12905662123 https://www.pinterest.com/pin/166422148705577618/

AP ART HISTORY 2015-2016 12

AP ART HISTORY IMAGE SET SNAPSHOT #5

IMAGE SET identification: Beaker With Ibex Motifs. Susa, Iran. 4200-3500 B.C.E. Terracotta and paint.

Snapshot: This beaker, found in present day Susa, Iran, was created by the ancient Susa village group in order to help celebrate the dead. It was created just before Mesopotamia rose and therefore just before writing was starting to be used. Because of this, archeologists are unsure why the beaker and many others like it were found buried with the dead but it is assumed it was for celebratory and ceremonial reasons. The paintings on the piece are simple yet stylized at the same time, and uses many different shapes to convey ideas. It includes geometrical patterns of mountain goats (ibex), dogs, and birds. This could possibly mean these animals took a spiritual role in the community. It is known that the ibex represents strength and power, so this is a common conclusion. Also, the Susa people lived in a fertile location and were skilled agriculturally. This could point to the painting of animals as well. The beaker is handmade and very thin, and its delicate nature speaks to its ceremonial use by the Susa people. The grave sites where this piece and many others like it were found on a very large mound; which explains the abundant use of terracotta. The town of Susa, , was mentioned in the Book of

Daniel and the Book of Esther. And the reason these beakers were found was because an archeologist was looking for the tomb of Daniel, but instead came upon this cemetery. AP ART HISTORY 2015-2016 13

AP ART HISTORY IMAGE SET SNAPSHOT #5

Possible Themes: afterlife, history, society

Possible Sub-themes: belief, identity, life/death

Resources:

Khan Academy Video: https://www.youtube.com/watch?v=eeNfDr4ojZg

Louvre Museum: http://www.louvre.fr/en/oeuvre-notices/bushel-ibex-motifs

Mhhe Website: http://www.mhhe.com/socscience/art/timelines/ancient_near_east/html/susa.html

AP ART HISTORY 2015-2016 14

Image Set Identification: Anthropomorphic stele. Arabian Peninsula. Fourth millennium B.C.E.

Sandstone

Snapshot: These slabs of sandstone were carved and manipulated to appear like faces by an unknown source, and we now call them anthropomorphic steles. Anthropomorphism is taking an inhuman thing and giving it human characteristics. During 4,000 B.C.E. very little was known about God(s) or religion. The artworks depict religious ideas from the people of the Arabian peninsula, and how they viewed a higher being. Their higher being looks similar to a humans, but is distinctly different from actual humans. You notice that they either lack noses or have over exaggerated ones, have no actual bodies, but just faces, and have small, oval mouths. The ancient slabs are sandstone because it is a very abundant resource in the Arabian Peninsula. This creates a monotone color scheme, therefore less emotion is conveyed. It is hard to tell how these people felt about death just by looking at the plain structure, but it is possible that they believe in an afterlife due to the fact that they even bothered to place these figures at the site of a grave.

Themes: religion, life and death,

Subtheme: burial rituals AP ART HISTORY 2015-2016 15

Resources: http://www.aramcoworld.com/issue/200202/art.rocks.in.saudi.arabia.htm http://m.stylemagazine.com/news/2013/nov/06/exhibition-revealing-history-ancient-arabian- penin/ http://www.asianart.org/exhibitions_index/prehistoric-arabia https://trello.com/c/83kLXbXA/226-anthropomorphic-stele-el-maakir-qaryat-al-kaafa-4th-mill- b-c-e-national-museum-ryadh

AP ART HISTORY 2015-2016 16

Image Set Identification: Anthropomorphic stele. Arabian Peninsula. Fourth millennium B.C.E. Sandstone.

Snapshot: The Anthropomorphic Stele is a group of large sculptures made of sandstone whose

creator is unknown. Made in the fourth century B.C.E. near Ha’il in Saudi Arabia, these large

sculptures depict a human like figure, which is why it is described as anthropomorphic. The

human faces are very basic and show that the creator may have had crude tools when carving

them. They are thought to have been used in some sort of religious or burial ceremony, as the

religions of this time believed heavily in the importance of ceremonies to do things like help

their family into the afterlife. Almost all of the religions at this time were based on this kind of

thinking. The sculpture is made of sandstone because it was probably a very accessible

resource to the ancient people of the Middle East. These sculptures could also be of a powerful

person and could have been used at his grave to mark his importance in society and to

remember him. Standing 6 ft in height this sculpture is on display at the Asian Art Museum in

San Francisco.

Possible Themes: Religious importance, ceremonies and traditions of ancient people AP ART HISTORY 2015-2016 17

Possible Subthemes: Life after death, symbols, religion changing over time

Resources: http://www.theguardian.com/culture/2010/aug/10/louvre-saudi-arabia-exhibition http://beforeitsnews.com/strange/2012/11/mysterious-ancient-artifacts-discovered-in-saudi-desert- legendary-city-of-gerrha-found-2445510.html

Video about sculpture: https://www.youtube.com/watch?v=3PkBhgHZDpU http://www.nelson-atkins.org/art/exhibitions/roads-of-arabia.cfm

AP ART HISTORY 2015-2016 18

3300–2200

Image Set ID: Jade cong. Liangzhu, . c. B.C.E. Carved jade.

Snapshot -historic

: While the specific use of these pre carved jade tubes is unknown,

the sheer amount of them in tombs (sometimes dozens for the most grand) from the

Chinese Liangzhu culture makes it obvious they were important. Generally seen in

grand tombs of the obviously elite, they must have held meaning. Many of the tombs

had large numbers of them as well, and they vary greatly in size/length. Thehold wide

scale use of the Jade Cong may stem from the power jade was believed to . It

was specifically believed to have powers of healing, creativity, rituals, and most

relevantly spiritual connection. They may very well have been seen as spiritual

conduits due to the round and hollow shape of the center, as well as the religious

imagery relevant at the time (mainly clouds and eyes which relate even more to

couldn’tdeath and the spirit world). Especially as they were buried with the dead, they

have been for continualpieces public viewings. And, as only the very wealthy

could afford to commission art in large chunks of carved jade, they wouldn’t

have been used or observed in any common place. Besides the expensive material it

would have also taken a large amount of time to craft, thus jacking up the cost even

more. Though it seems to have been worth it we don’t have records of what he AP ART HISTORY 2015-2016 19

Liangzhu culture believed was so important about these traditional burials. Only by

using the imagery so carefully carved into the stone and knowledge passed down we

can assume the Jade Cong were held close by the wealthy or elite to bring them

closer to their spiritual, desired peace in death.

ritual.

Possible Themes: Spirituality, connectivity, death,.

Possible Subthemes: Gods, nature, jade, wealth

Resources: https://www.khanacademy.org/humanities/art-

asia/imperialKhan Academy-china/neolithic Article: -art-china/a/jade-cong-and-bi

https://www.khanacademy.org/humanities/art -

asia/imperialKhan Academy-china/neolithic Video: -art-china/v/jade-cong

http://www.britishmuseum.org/explore/highlights/highlight_objects/asia/j/jade_cThe British Museum:

ong.aspx

http://www.asia.si.edu/explore/china/jades/gallery.asp

Smithsonian:

AP ART HISTORY 2015-2016 20

AP ART HISTORY IMAGE SET SNAPSHOT #10

IMAGE SET Identification: Tlatilco female figurine. Central Mexico, site of Tlatilco. 1200-900 B.C.E. Ceramic

SNAPSHOT: This figurine, among the collection of others found at excavation sites where the city of

Tlatilco once was, is made out of carved clay. Lots of these figurines were found at excavation sites, over what were discovered to be grave sites. The burial of these figures with humans also means they were a valued piece of art, and most likely held a religious meaning within the former citizens of Tlatilco. This suggests the city of which these were produced in was not especially wealthy. Since, the earth around them was clay, they were using what was readily available to them, as opposed to a prized material, which they might not have had available to them at all. These female figurines are not uncommon.

However, male figurines are rarely found. This provides evidence of how women were glorified in

Tlatilco culture, and how much femininity was prized in the culture, which was most likely matrilineal. A matrilineal culture also stresses the important roles woman took on in these hunter-gatherer societies. The abundance of woman figures suggests that they are of a great importance in society, most likely for their natural beauty. The wide hips and skinny waist signify the most attractive aspects of a woman in society.

These ceramic figurines do not only signify women’s aesthetic beauty, but also attribute a woman’s AP ART HISTORY 2015-2016 21

fertility and maternity. (In other words, the very nature of being a woman is represented in the clay.)

These paternal attributes can be seen in the wide-hips of the figurine that even day suggests a smoother birth. The woman also clearly has two heads, 3 eyes, and of course one body. This feature represents the

Tlatilco’s ideas about duality. Duality emphasizing multiple pieces being able to come together harmoniously, which was valued in the culture. The purpose of this piece was to express woman as beautiful and to provide a comfort for the afterlife.

Possible Themes: nature, aesthetic beauty, femininity Possible Subthemes: identity, role of women Possible Connections with other works in the IMAGE SET: 18. King Menkaura and queen. Old Kingdom, Fourth Dynasty. C. 2490-2472 B.C.E. Greywacke.

Recources: About Education: www.about.com Khan Academy: www.kahnacademy.org Liv Education: www2.liv.edu Museum of Fine Arts: www.mfa.org

AP ART HISTORY 2015-2016 22

AP ART HISTORY IMAGE SET SNAPSHOT #11

IMAGE SET Identification: Terra Cotta Fragment. Solomon Islands, Reef Islands. Lapita.

1000 BCE. Incised Terra Cotta.

Snapshot: These Terra Cotta Fragments portray a human face surrounded by repetitive and

symmetrical designs, as was characteristic of most art produced by the Lapita tribe. The Lapita

peoples were the first to produce pottery in the Pacific, and are known primarily for their ceramics and their intricate geometric designs. Although much of the art produced was intentioned for functional use rather than decoration, they often depicted anthropomorphic

(human-centered) and zoomorphic (animal- centered) designs. The fragments are thought, based on other recovered articles of Lapita art, to have been used for cooking, serving, and storing food. Other ceramics such as these could also have been used for burial rituals, in which the deceased was thought to be treated as if (s)he was living until they began to deteriorate, and then placed, decapitated, into a burial jar. The head was then buried separately. Due to the complexity of terracotta pottery production, archeologists and historians speculate that art of tribes in the

Solomon Islands had been produced previous to the time in which the first fragments were created. These earlier art forms were most likely made out of perishable material, unlike AP ART HISTORY 2015-2016 23

terracotta. The Lapita peoples presumably transitioned from the use of wood and other decomposable materials to terracotta clay not only because it was durable (able to withstand time), but also because it was versatile and cheap to attain and produce. Before the clay was fired, the designs were inscribed on the clay using a tooth-like implement, and many simple stamps to create complex patterns. These designs often focused on human and animal forms that were thought to depict the gods of the tribe. Because the Lapita peoples lived primarily off of fishing and canoe building, the ceramics produced were most likely used for trading to other tribes and establishing themselves as a superior peoples.

Possible Themes: Knowledge of the human body, understanding of the gods, basic human needs, the tribal community, belief, and the economy through trade.

Possible Subthemes: Nature, humanity/life, idolatry/representation of gods through animals, and identity.

Resources:

Met Museum: http://metmuseum.org/toah/hd/lapi/hd_lapi.htm

Britannica: http://www.britainnica.com/art/Lapita-ware

Lapita History: https://en.wikipedia.org/wiki/Lapita_culture