AP Art History - Lauren Garrett

Great Pyramids (Menkaura, Khafre, Khufu) and the Great Sphinx. Giza, Egypt.

2560 BCE

These pyramids were used as tombs for kings, and the contents of them can be used for studying the religious and cultural importance of death and the afterlife to the Egyptians. The Sphinx also represents the mythology and the deities, showing wisdom and strength. Finally, the architecture itself is just amazing - the power to create and move the bricks to create these pyramids was immense, especially for the time period. (no space for references, references included in separate document)

The Code of Hammurabi. Babylon (modern Iran). Susian. c. 1792 - 1750 B.C.E. Basalt.

1792 BCE

The code of Hammurabi is important because it was the first written legal code, making laws inscribed instead of just judged based on tradition. The Babylonians believed that Hammurabi was divinely influenced, so the image shown in this stele shows that. Also, the cuneiform on the stele was representative of the advancements in writing that had been made in this time period. Finally, this artwork shows how writing and artwork were being integrated - this is both a law document and a work of art.

Tutankhamun's tomb, innermost coffin. New Kingdom, 18th Dynasty. c. 1323 B.C.E. Gold with inlay of enamel and semiprecious stones.

1323 BCE

Tutankhamun was an important king because he was so young when he ruled, taking the throne when he was nine y/o. His tomb and coffin were covered in gold and semiprecious stones, showing the importance and riches that are bestowed upon kings. Also, the elaborate decorations of his tomb, death mask and coffin itself highlight the importance placed on death and the afterlife by the Egyptians. Finally, the works placed in the tomb and written on the walls show a strong devotion to gods/deities.

Last Judgment of Hu-Nefer, from his tomb (page from the Book of the Dead). New Kingdom, 19th Dynasty. c. 1275 B.C.E. Painted papyrus scroll

1275 BCE

Hu-Nefer was a royal scribe in the Egyptian government around 1300 BCE; this was seen in the quality of his Book of the Dead that was found in his burial tomb. This piece of art shows a page from this book, showing Anubis's judgement of Hu-Nefer. It is assumed that he is judged favorably because the papyrus's pictures continue, showing Hu-Nefer with Osiris, the main Egyptian god. These pictures/pages from Books of the Dead are representative of the Egyptian belief of judgment and the afterlife.

Lamassu from the citadel of Sargon II, Dur Sharukin (modern Khorsabad, Iraq). Ne-Assyrian. c. 720 - 705 B.C.E. Limestone.

720 BCE

The Lamassu are large stone statues that stood at the gates of the palace of Assyrian King Sargon II. They are winged bulls with human heads, fierce guardians that display the king's power and dissuade harmful visitors. They are extremely detailed and appear to be moving from the side, although stationary from the front.

Terra cotta warriors from mausoleum of the first Qin emperor of China. Qin Dynasty. c. 221–209 B.C.E. Painted terra cotta.

221 BCE

The presence of this army tells much about not only the mental state of the genius first emperor but also about the innovations, riches and dedication of the Qin to unifying China under one powerful ruler. Each warrior is unique, modeled after a real person. The emperor was only 13 years old when he ordered this army to be created in order to try to protect him from or death. Today, this stands as one of the most iconic symbols of the Qin and serves as a testament to the resplendence of the era.

Funeral banner of Lady Dai (Xin Zhui). Han Dynasty, China. c. 180 B.C.E. Painted silk.

180 BCE

This banner was found in the burial tomb of the wife of an elite official and documents her funeral as well as serving as protection in the afterlife. This was a fairly clear representation of Chinese upper class life, and this banner is also the first known portrait in Chinese art. Because only the elite could afford a funeral with the pomp and circumstance depicted, one can infer much about their lives from this banner. Also, the afterlife scenes help show Chinese superstitions and beliefs.

Buddha. Bamiyan, Afghanistan. Gandharan. c. 400-800 C.E. (destroyed in 2001). Cut rock with plaster and polychrome paint.

400

These statues stood over the Bamiyan Valley and showed off the international influence on the area during the time of the Silk Road, when many travelers crossed through the area and helped to spread Buddhism. It also showed how sculptors helped to make their religion match their landscape, using stucco finishes to create a smooth yet impressive presence. Unfortunately, the Taliban had the statues destroyed in 2001. This shows the religious oppression that has sense swept into the area.

Santa Sabina. Rome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wooden roof.

422

This basilica helps historians understand Christian architecture and the influence of religion on building design. Details such as light entry, columnal design and remnants of mosaics that can still be seen give historians clues as to how architects in the early centuries CE planned and designed, as well as being able to compare evolution of church designs over time. Finally, this basilica helps showcase the wealthiness of Emperor Constantinople's Byzantine empire with its gold/jeweled interior.

Hagia Sophia. Constantinople (Istanbul). Anthemius of Tralles and Isidorus of Miletus. 532-537 C.E. Brick and ceramic elements with stone and mosaic veneer.

537

The Hagia Sophia is an Islamic mosque, designed to be a symbol of the Byzantine empire. Each of their forms - confidence, spirituality and proportion - represent artistic beliefs and motifs of this empire and this time period. The color scheme - mainly blue and yellow - and the round, symmetrical patterns are indicative of Islamic architecture, and the gold inlays help to show the vast richness of the empire. Also, this structure itself shows the importance given to religion at this time.

Jowo Rinpoche, enshrined in the Jokhang Temple. Lhasa, Tibet. Yarlung Dynasty. Believed to have been brought to Tibet in 641 C.E. Gilt metals with semiprecious stones, pearls, and paint; various offerings.

641

This statue portrays the original Buddha in his position of Enlightenment; many believe this to have been sculpted from the living Buddha himself and therefore the most accurate depiction. It travelled from India to China to Tibet as part of a princess's wedding dowry. Today, pilgrims travel to pay homage to the statue, believing that being in its presence brings positive energy. He is also believed to help the sick and dying to die peacefully if their names are burned in his presence.

Dome of the Rock. Jerusalem, Palestine. Islamic, Umayyad. 691-692 C.E., with multiple renovations. Stone masonry and wooden roof decorated with glazed ceramic tile, mosaics, and gilt aluminum and bronze dome.

691

This building is one of the first Islamic buildings that was ever built as a religious focal point, although it was not (and is not) a mosque. Today, it is located on the holiest platform in the world, the Haram al-Sharif. In the center of the building is a large rock, which is known as the place where Abraham almost sacrificed his son Isaac OR as the site from which Muhammad visited heaven. This building also contains some of the earliest verses of the Qur'an.

Great Mosque. Córdoba, Spain. Umayyad. c. 785-786 C.E. Stone masonry.

785

This mosque is one of the oldest structures that remain from Islamic rule of the Iberian peninsula. It was originally built as a Roman temple and has been converted throughout history with pieces of each ruling dynasty being left behind. Examples are the horseshoe arch that is symbolic of the Visigoths, the mihrab (prayer niche) of the Muslims and the columns of the Romans. This makes the Great Mosque a truly unique, interesting blend of historical empires, peoples, cultures and religions.

Mesa Verde cliff dwellings. Montezuma County, Colorado. Ancestral Puebloan (Anasazi). 450-1300 C.E. Sandstone.

1000

These are the leftovers of houses that were lived in by the Anasanzi people; they were built into the sides of cliffs and canyons and were able to be entered using a removable rope ladder. These houses allow archaeologists to learn about these ancient cultures, especially from home layouts, murals found within and ancient home details like pottery left there. Finally, even the state of the ruins left behind allow us to make inferences on why the culture left and declined.

Travelers among Mountains and Streams. Fan Kuan. c. 1000 C.E. Ink and colors on silk.

1000

This painting shows the very Daoist philosophy of human deference to the beauty and amazement of nature. Although probably missed originally, one can see humans driving donkeys as tiny forms next to the vast, detailed, beautiful landscapes around. This work also shows the amazing natural diversity of Taiwan in the varying trees, and the brushwork and shade style is very typical of the southeast Asian region. Studying this work helps to understand the mindset and the style of the time period.

Shiva as Lord of Dance (Nataraja). Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century C.E. Cast bronze.

1050

This sculpture portrays Shiva, one of the Holy Trinity of Hindu gods that periodically destroys the world to rebirth it. The style of this work shows the creativity given to the human form and allows viewers to see also the importance of physical movement and dance in Hindu traditions. And the metal out of which it is made - bronze - dates it well, showing that it was created during the Chola age of India during which metalwork was practiced and refined.

Bayeux Tapestry. Romanesque Europe (English or Norman). c. 1066-1080 C.E. Embroidery on linen.

1066

The Bayeux Tapestry shows medieval feudal Europe in many details, including clothing, weaponry and class distinctions. It showcases the Battle of Hastings and events leading up to it, also showing the instability of the time period. Beyond just telling historians about an important English battle, this helps showcase how stories were told at this time, giving insights into textile production methods as well as storytelling types.

Great Serpent Mound. Adams County, southern Ohio. Mississippian (Eastern Woodlands). c. 1070 C.E. Earthwork/effigy mound.

1070

This piece is a massive earthworks piece that was created by the Mississippian tribe. Snakes were considered supernatural, and the shape of this mound could hint at a spiritual purpose. However, it could also serve as a calendar with the head showing the summer solstice's sunset and the tail showing the winter solstice's sunrise. It could even also be a monument to the appearance of Halley's Comet. Understanding the purpose of this mound can help us understand the ancient culture that built it.

Bahram Gur Fights the Karg, folio from the Great Il-Khanid Shahnama. Islamic; Persian, Il'Khanid. c. 1330-1340 C.E. Ink and opaque watercolor, gold, and silver on paper.

1330

This illustration tells one of the stories of the Shahnama, or Persian Book of Kings. It tells of Bahrum V, a Sasanian King, who fights and defeats a Karg (horned wolf) to free India from its rule. Although the tale was written down during the time of the Sasanians, the Mongol empire (who conquered the Sasanians) began illustrating and producing books with silver and gold over watercolor paints. This writing not only combines cultures but symbolizes the triumph of royalty over chaos.

Alhambra Palace. Granada, Spain. Nasrid Dynasty. 1354-1391 C.E. Whitewashed adobe stucco, wood, tile, paint, and gilding.

1354

This palace is an architectural wonder, showing off strong planning, aesthetic details and beautiful additions - gardens, fountains and intricately designed hallways. It was built by the last Islamic dynasty that ruled Spain and shows Islamic architecture, with high arches, chiseled mosaics and blue-and-tan stucco coloring. Gold plating in the ceiling in some rooms as well as a collection of interconnected pathways showcase the wealthiness and intelligence of the Muslim royalty.

Ruler's feather headdress (probably of Motecuhzoma II). Mexica (Aztec). 1428-1520 C.E. Feathers (quetzal and cotinga) and gold.

1428

This is a traditional headdress of an Aztec ruler, one of the largest and most important ancient civilizations. These feathers are from quetzal birds, showing the wealth and power of the emperor to be able to get these feathers. The colors and size show his importance, and the uniqueness of the resources available. When the conquistadors arrived and saw this splendor, they plundered it for their own -- by studying ancient cultures, we can try to understand the causes of these historical events.

City of Machu Picchu. Central highlands, Peru. Inka. c. 1450-1540 C.E. Granite (architectural complex).

1450

Machu Picchu today is the ruins of a city that was once a luxury destination for the emperor and his family to impress guests and rule. Its terraces shows the genius of the Incan people in making their difficult landscape habitable, and the stone channels used for draining and irrigation also help us learn today about the advances that this culture made. Social dynamics and religious aspects can also be seen in the temples and building layouts. By studying these, we can understand this culture.

Forbidden City. Beijing, China. Ming Dynasty. 15th century C.E. and later. Stone masonry, marble, brick, wood, and ceramic tile.

1480

The Forbidden City served as the center of Chinese society for hundred of years. It is a cultural relic and historical emblem of the opulence and traditional values of the Chinese ruling class. It is designed in accordance with Confucian design parameters and clearly separates itself into domestic, state and worshipful life. Different renovations and additions over time have also added layers that scholars can study to see the differences in each time period of Chinese history since creation.

The Ardabil Carpet. Maqsud of Kashan. 1539-1540 C.E. Silk and wool.

1539

Carpets are a traditional form of Islamic art, and this particular one was created for a shrine of a Sufi saint. It is made of wool instead of silk so that it does not lose its color. The design features intricate linework as well as two lamps appearing to hang from a medallion, probably like those of a shrine to create unity within the shrine itself. This is an example of a very Islamic art form that was used for worship and veneration, showing off the skilled artisanship of these workers.

Monticello. Virginia, U.S. Thomas Jefferson (architect). 1768-1809 C.E. Brick, glass, stone, and wood.

1768

This building is a testament to American Neo-Classicism as seen in the pillars and dome that are reminiscent of Greek architecture. It is also essential to American history given that a U.S. president designed it architecturally, giving significant weight to its designs. Finally, this building is featured on the American nickle, so it is an important symbol of American history that can be seen every day.

'Ahu 'ula (feather cape). Hawaiian. Late 18th century C.E. Feathers and fiber.

1780

These capes were worn by high-ranking officials in the Hawaiian society, and usually were either ceremonial or for battle. The red colors symbolized the gods, and the yellow colors symbolized opulence since the feathers were scarce. Later, these were given to the first European visitors to Hawaii as a symbol of friendship. Scholars looking to study Hawaiian or Pacific Island culture in general would be able to glean much about lifestyle and societal structure from studying these capes.

Staff god. Rarotonga, Cook Islands, central Polynesia. Late 18th to early 19th century C.E. Wood, tapa, fiber, and feathers.

1800

The staff god is a stick in anthropomorphic form wrapped in barkcloth with some carvings and images on it. They may represent a deity - Tangaroa specifically, the creator - or just sexuality and reproduction. These were created by both men and women, with men doing the majority of the core and the figure carving and women covering the staff in cloth; both genders are represented on the staff itself. This gives an insight into the society - perhaps it was less patriarchal than its counterparts.

Liberty Leading the People. Eugène Delacroix. 1830 C.E. Oil on canvas.

1830

This painting is a historic reminder of French patriotism, done in the dramatic style of Romanticism. The content is an extended metaphor about the Revolution and the inclusion of everybody, led onward by Lady Liberty herself. Ultimately, this work of art has come to have cultural significance for its message that anyone can fight for their freedom and their rights.

The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm). Thomas Cole. 1836 C.E. Oil on canvas.

1836

This landscape uses the Rococo-an color technique of pastel hues to create light and airiness, giving a softness and realistic-ism to the artwork that has allowed Thomas Cole to be remembered as one of the best American landscape artists ever. This work shows the beauty of the wilderness, appreciated more because he was not born in America. Yet he also shows manifest destiny by portraying the "wild" left half as evil and scary and the "tame" right half as safe- a remnant of 19th century beliefs.

Palace of Westminster (Houses of Parliament). London, England. Charles Barry and Augustus W. N. Pugin (architects). 1840-1870 C.E. Limestone masonry and glass.

1840

This building today houses Parliament, the legislature of the United Kingdom, and thus serves the British government well. However, an artistic analysis sees that this showcases modern-day Gothic architecture with beautiful exterior spires and large stained windows. This is in line with the general trend in the 1900s of reversion to previous times - just as Neo-Classicism was a revival of a past art style, so do these Houses of Parliament showcase another past art style being revived.

Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On). Joseph Mallord William Turner. 1840 C.E. Oil on canvas.

1840

This picture, although it appears colorful at first, shows the horror of slavery in the context of slaveship owners needing to get rid of the weaker slaves in order to keep them from needing to pay insurance. The bodies can be seen along the bottom, having washed ashore. By making this a semi-landscape painting, Turner shows that nature will wreck its revenge on the slave ship as a form of karma, but it will also wreck the slaves' corpses because nature is apathetic.

Navigation chart. Marshall Islands, Micronesia. 19th to early 20th century C.E. Wood and fiber.

1850

This chart allows the islanders to travel between the 1000+ islands in Micronesia by showing their navigational knowledge in an easy-to-memorize fashion.The diagonal lines show wave swells, and shells and rocks on the charts show coral outcroppings. Charts weren't used on actual voyages and aided with training new navigators or refreshing voyagers before beginning their trip. Studying these gives a lot of information about just how aware and intelligent this culture was about their surroundings.

Hiapo (tapa). Niue. c. 1850-1900 C.E. Tapa or bark cloth, freehand painting.

1850

Hiapo are bark cloth artwork from the island of Niue, south of Samoa. They came to feature detailed line decorations with heavy geometry and human figures. They also included writing names along the edges of the cloth. They were used generally as bed blankets or clothing but were also specifically created for funerals or birthdays. They were made almost exclusively by women and were used by females as a sort of money to barter; this is a good insight into the culture of these islands.

Aka elephant mask. Bamileke (Cameroon, western grassfields region). c. 19th to 20th century C.E. Wood, woven raffia, cloth, and beads.

1885

This mask was part of an original, ceremonial costume in which a leopard dancer and an elephant dancer paid homage to the ruler. These masquerades were put on by a society of warriors called the Bamileke, and they reported directly to the king; this was a subtle way of humbling the most powerful of men in the tribe. The beadwork has also raised questions about pigmenting, style, etc., but it is unique and through studying it, the handicraft of African civilizations can be better understood.

Painted elk hide. Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Reservation, Wyoming. c. 1890-1900 C.E. Painted elk hide.

1890

Many North American nomadic tribes painted on the hides of animals they hunted to record stories, both mythical and historical. These paintings were then used in every day life as clothes, teepees (homes) or curtains, and usually showed either hunt stories or deeply spiritual, religious subject matter. Through reading and deciphering these paintings, historians and viewers can see what each tribe placed importance on as well as how their lifestyles were and which rituals defined them.

Power figure (Nkisi n'kondi). Kongo peoples (Democratic Republic of the Congo). c. late 19th century C.E. Wood and metal.

1890

This is an example of a nkisi, a power figure (or charm) used to create agreements or guard against evil. They are usually filled with something - such as nails, claws, seeds, etc. - that have a symbolic meaning; this particular example has nails, which could have symbolizing the settling of a murder case. If the agreement was broken, the nkisi would avenge it. Studying works like this allows art scholars to understand their culture and the way that certain functions were carried out.

Female (Pwo) mask. Chokwe peoples (Democratic Republic of the Congo). Late 19th to early 20th century C.E. Wood, fiber, pigment, and metal.

1895

This mask is from a ceremonial dance, created to honor fertile women. Although it would have been worn and created by men, it is meant to celebrate motherhood and females in general. The face represents the founder of the Chokwe lineage, and, thus, is reverent and respectful. Artifacts like this allow scholars to understand that this society, while not matriarchal, was certainly respectful and appreciative of its women; it is yet another way of understanding how these ancient cultures lived.

Malagan display and mask. New Ireland Province, Papua New Guinea. c. 20th century C.E. Wood, pigment, fiber, and shell.

1900

The Malagan masks are used at funerals to represent past ancestors, spirits or the ges (spirit twin) or to showcase the excitement of life. Ownership of a mask also meant ownership of the rituals associated with it and the style of that mask. Figures also usually accompanied the dead to honor and send them off into the afterlife. Because of this, funerals were elaborate and expensive. The masks and figures eventually became symbols of identity and functioned like a cultural trade facilitator.

Lukasa (memory board). Mbudye Society, Luba peoples (Democratic Republic of the Congo). c. 19th to 20th century C.E. Wood, beads, and metal.

1900

The lukasa function as memory boards, enabling special readers to recount stories. Each one is different, with different designs carved in and with a variety of bead clusters on it that "tell" the story. This was used to remember history, mythological stories or even royal lineage. Because of these important meanings, the lukasa were essential to their culture. By studying and learning about them, even as basically as looking at media, scholars can learn about the Luba and their lifestyles.

Great Mosque of Djenné. Mali. Founded c. 1200 C.E.; rebuilt 1906-1907. Adobe.

1906

This building is actually an ancient mosque built between 800-1250 CE where it served as a cultural hub and powerful symbol of affluence for the community around it. Today, its third rebuilding stands in Mali and serves as a gathering point for an annual festival called Crepissage. It is a designated World Heritage Site (UNESCO) and serves as a way for scholars to learn not only about ancient Islamic culture but also about Sudano-Sahelian life in general.

Vietnam Veterans Memorial. Washington, D.C., U.S. Maya Lin. 1982 C.E. Granite.

1982

The Vietnam Veterans Memorial appears like two walls, both sloping to meet, representing an open wound waiting to heal, covered in 58,000+ names of American military personnel who died in the Vietnam War. The viewer is overwhelmed by the size of the walls, and their reflectivity forces viewers to confront the reality that this event is not just in the past. This memorial gives families a concrete place to see their loved ones remembered and leave items, paying honor to their sacrifice.

Androgyn III. Magdalena Abakanowicz. 1985 C.E. Burlap, resin, wood, nails, string.

1985

This piece represents the dehumanization in the 1900s, reflective of the author's time in the hospitals during World War II. Each figure is hollow and has no sexually identifying features; it is merely a bent back, sitting directly on the floor. The burlap back implies human structure in a vertebrae, etc. Because the figure is so hollow, viewers can interpret it as a representation of the totality of war's destruction - the body has no identity and is sitting to mourn this loss.

A Book from the Sky. Xu Bing. 1987-1991 C.E. Mixed-media installation.

1987

This installation consists of a book of Chinese characters literally surrounding the viewers, mounted from above and the sides. Although many viewers might not be aware, the artist actually invented 1000+ new characters that make the piece nonsensical in literal meaning. This piece, created during the Cultural Revolution, makes an individual statement that looks traditional but lacks the propagandal meaning that the artist was taught - instead the focus is on the inundation of information.

Dancing at the Louvre, from the series The French Collection, Part I; #1. Faith Ringgold. 1991 C.E. Acrylic on canvas, tie-dyed, pieced fabric border.

1991

In this piece, the artist adds to her story quilt about a black woman and seeks to retell history more faithfully by including black history and female contributions to a backdrop that is almost exclusively white-male dominated. Through creating her story as a quilt, Ringgold calls to mind her heritage, since quilting was used during the Underground Railroad, and to touch on the importance of female quiltmaking in building relationships. This piece seeks to question all aspects of society.

Rebellious Silence, from the Women of Allah series. Shirin Neshat (artist); photo by Cynthia Preston. 1994 C.E. Ink on photograph.

1994

This photograph is from a series about the complex identities of Muslim women, both within their own cultures and in the Western eyes. The words on the woman's face are from female poets' works about martyrdom and female heroism. The veil represents both religious empowerment and oppression, both real and assumed. The gun represents the power of females and can be taken in with her intense gaze as a double meaning on the word "shoot". This is intended to desexualize the body and "look back".