art history

ART CREATED USING BONE, SHELL, WOOD, CORAL, FIBER, AND STONE EUROPEANS ARRIVED 16TH CENTURY PACIFIC ART INFLUENCED BY THE SEA SCULPTURES REPRESENTING FORCES IN THE SUPERNATURAL WORLD WERE OFTEN PROTECTED; MANA EACH COMMUNITY HAS A DIFFERENT WAY OF CONDUCTING SPIRITUAL EXERCISES AND COMMANDING A SOCIAL STRUCTURE PACIFIC ARTISTS PERFORMED USING COSTUMES, DANCE, SONG, AND COSMETICS RITUAL PERFORMANCES HAVE DIFFERENT PURPOSE (CELEBRATION, WAR) SYMMETRY OF RELATIONSHIPS VALUED HISTORICAL BG MEN CARVED WOOD, WOMEN SEWED AND MADE POTTERY TAPA: WEAVING OF BARK CLOTH, OR TAPA DESIGNS ADDED; RESULT IS A CLOTH/FABRIC OF REFINED GEOMETRIC ORGANIZATION AND INTRICATE PATTERNING CULTURES MICRONESIA (NUKUORO, POHNPEI, MARSHALL ISLANDS) HAWAII  COOK ISLANDS  POLYNESIA (NIUE) NEW ZEALAND PAPUA NEW GUINEA  FIJI  EASTER ISLAND  VOCAB: MOAI: LARGE STONE SCULPTURES FOUND ON EASTER ISLAND SUMMARY: MANY OBJECTS PORTABLE, USED FOR CEREMONY, MADE OF WOOD/BARK; LARGE WOODEN OBJECTS

COMMISSIONED BY SHAMAN OR WORSHIPPER INTERDISCIPLINARY; WIDE VARIETY OF MEDIA, MATERIALS, AND PERFORMANCES ADDRESSES THE SPIRITUAL WORLD MEANT TO BE USED RITUALS INITIATE COMING OF AGE, LEADERSHIP; ELEMENTS IN CONTACT W ANCESTORS GLOBAL IMPACT HISTORICAL BACKGROUND AFRICANS BELIEVE THAT ANCESTORS NEVER DIE AND CAN BE ADDRESSED; SENSE OF FAMILY; RESPECT FOR ELDERS; REPRESENTATIONS OF FAMILY ANCESTORS FERTILITY; STRONG CULTURAL TRADITIONS YIELDING A GREAT VARIETY OF ARTISTIC EXPRESSION AFRICAN AFFAIRS WERE LARGELY INTERNAL STRUGGLES BC OUTSIDERS WERE HELD BACK BY NATURAL BARRIERS LIKE THE SAHARA DESERT AND THE INDIAN OCEAN COLONIZATION BROUGHT AFRICAN CULTURAL AFFAIRS IN DIRECT CONTACT W THE REST OF THE WORLD; MARKETED AT A GLOBAL SCALE TODAY AFRICAN ARTISTS WORKED ON COMMISSION; LIVED W PATRONS UNTIL WORK WAS COMPLETE; APPRENTICESHIP; GUILDS; PROMOTED THEIR WORK AND ELEVATED THE PROFESSION MEN WERE BUILDERS/CARVERS; WOMEN PAINTED WALLS AND CERAMICS ART OF FARMING COMMUNIT

JAPAN SHELTERED; LITTLE FOREIGN INTERFERENCE OPENED IN 1854; UKIYO-E PRINTS; FAME IN NINETEENTH CENTURY JAPANESE ARTISTS WORKED ON COMMISSION; FOR RELIGION OR ROYAL COURT MASTERS RAN WORKSHOPS; PAPER AND INK; MASTER CREATED COMPOSITION, ASSISTANTS WORKED ON COLOR AND DETAILS PAINTING HIGHLY ESTEEMED; PRACTICED BY ARISTOCRATS ZEN BUDDHISM IMPORTED FROM CHINA IN THE LATE TWELFTH CENTURY REJECTS WORLDLINESS, MATERIALISM, AND PHYSICAL ADORNMENT AUSTERITY, SELF CONTROL, COURAGE, LOYALTY MEDITATION IS KEY TO ENLIGHTENMENT; TEACHES INTUITION THROUGH INTROSPECTION, RATHER THAN THROUGH BOOKS/SCRIPTURE; WARRIORS/ARTISTS ADAPTED THIS PHILOSOPHY JAPANESE ARCHITECTURE AND SCULPTURE ZEN PHILOSOPHY IS REFLECTED; SIMPLE ARCHITECTURAL DESIGNS; MADE OF WOOD, MEANT TO HARMONIZE WITH ITS NATURAL ENVIRONMENT FLOORS OVERLAID WITH STRAW MATS; ZEN GARDEN; SERVE FOR SPIRITUAL REFRESHMENT AND CONTEMPLATION DEEP RESPECT FOR THE NATURAL WORLD; SHINTOISM BELIEVES IN SPIRITS JAPAN IS HEAVILY FORESTE

CHINESE PERIODS NAMED AFTER DYNASTIES QING DYNASTY COLLAPSED IN 1911; CHAOTIC RULE UNDER THE REPUBLIC; JAPANESE INVASION IN THE 1930S; COMMUNIST FORCES; INTERNAL STRUGGLES; CULTURAL REVOLUTION JAPANESE INVADED KOREA; DIVIDED THE NATION IN TWO; KOREAN WAR CHINA  CALLIGRAPHY IS THE CENTRAL ARTISTIC EXPRESSION IN TRADITIONAL CHINA; EMPERORS ACCOMPLISHED CALLIGRAPHERS, PAINTERS, AND POETS  ARTISTS WORK UNDER THE PATRONAGE OF RELIGION OR STATE  LITERATI, A COUNTERCULTURE, A GROUP THAT PAINTED FOR THEMSELVES; HIGHLY INDIVIDUALIZED WORKS, DID NOT CARE FOR PUBLIC OPINION DAOISM/CONFUCIANISM  PHILOSOPHIES OF ANCIENT CHINA  DOMINATE ALL ASPECTS OF CHINESE ART  DAOISM; WANDER; ESCAPE SOCIETAL PRESSURE; ACHIEVING SERENITY; ONENESS WITH NATURE; EMPHASIZE INDIVIDUAL EXPRESSION; YIN/YANG  CONFUCIANISM; BEHAVIOR, RELATIONSHIPS, AND DUTY; SYSTEM OF MUTUAL RESPECT; THEMES OF LOYALTY, MORALITY, GENEROSITY AMD HUMANITY; RESPECT FOR TRADITIONAL VALUES  CHINESE ARCHITECTURE 

INDIA INVASIONS  HOMOGENEOUS CULTURE  BUDDHISTS, HINDUS, MUSLIMS, ETC.  ONE OF THE MOST DIVERSE COUNTRIES  RULERS SUPPORTED ARTS, PATRONS  COMMISSIONED BUILDINGS, SCULPTURES, MURALS  ART IS A TEAM EFFORT ARTISTS TRAINED AS APPRENTICES IN WORKSHOPS  HIGHLY ORGANIZED  BUDDHISM  BUDDHA SOUGHT FULFILLMENT TRAVELING THROUGH THE COUNTRY SIDE LIFE FULL OF SUFFERING, ENDLESS CYCLE OF BIRTH AND REBIRTH  BUDDHIST END THIS CYCLE; RELEASE OF THE SOUL  DEVOTION TO GOOD WORKS, CHARITY BUDDHIST ICONOGRAPHY  THE LION, THE WHEEL, THE LOTUS, EMPTY THRONE  DEPICTIONS OF BUDDHA  COMPACT POSE, SEATED  DRAPERY VARIES REGION TO REGION NO JEWELRY; DISPLAYS REJECTION OF COURTLY LIFE STUPA MOUND SHAPED SHRINE PRAY ACCORDING TO THE SUN'S COURSE COSMIC SYMBOLISM HINDU GOOD LIFE THROUGH PRAYER, GOOD DEEDS, RELIGIOUS DEVOTION; BREAKS CYCLE OF REINCARNATION HINDU ARCHITECTURE SEXUAL ALLUSIONS DOMINATE DIVINE COUPLES; ACCENTUATE CURVES AND LINES OF THE BO

Chairman Mao en Route to Anyuan . Artist unknown; based on an oil painting by Liu Chunhua. c. 1969 C.E. Color lithograph.  Striding atop a mountain peak wearing a look of determination on his face, Chairman Mao en Route to Anyuan shows a young Mao Zedong  Chinese Communist revolutionary, founding father of the People's Republic of China, and leader of China from 1949-76 Liu Chunhua celebrated Chairman Mao and his longstanding commitment to Communist Party ideals. Painted in 1967 at the dawn of the Great Proletarian Cultural Revolution, this work uses socialist realism to portray Chairman Mao as a revolutionary leader committed to championing the common people. During the Cultural Revolution (1966-76), artists focused on creating portraits of Mao, or “Mao paintings,” which represented Mao’s effort to regain his hold after bitter political struggles within the party. the movement aimed to quell criticisms of Mao in drama, literature, and the visual arts. More broadly, i