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42 Cards in this Set
- Front
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Title: Guan Yu Captures General Pang De
Artist: Shang Xi Location: Style: Ming Period Date: ca. 1430 CE Media: Hanging Scroll Dimensions: Significance: 1. Blue green style color scheme with yellow gold complementary colors 2. Represents a moment in the history of Guan Yu 3. The use hierarchy of scale to place emphasis of importance on the victor |
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Title: Kumgang Mountains Artist: Chong (Jeong) Son (seon) Location: Style: Joseon (Chosen) Style/Period Date: 1734 CE Media: Hanging Scroll Dimensions: Significance: 1. Landscape has four names (seasons) a. “Diamond mountains” (spring) b. “The place where a spirit dwells” c. Great mountain of colored leaves d. Stone bone mountain 2. Represents a “true view” during springtime 3. Culturally significant because they are geologically interesting. |
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FAVE Title: Scroll Six: Entering Suzhou along the Grand Canal From “The Qianlong Emporer’s Southern Inspection Tour” Artist: Xu Yang Location: Style: Qing Period / Official Style Date: 1770 CE Media: Dimensions: Significance: 1. Scroll six of a set of twelve. 2. A small section of a single scroll 3. European influence shown through the buildings being rendered in perspective. |
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Title: A book from heaven (The Sky) Artist: Xu Bing Location: Style: Modern Date: 1988 Media: Dimensions: Significance: 1. Theartwork envelops the viewer with words 2. Thecharacters are meaningless, made up 3. Possibly a reaction tolanguage based propaganda. |
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Title: CeramicVessel Artist: Location: Nagano Prefecture, Japan Style: Jomon 10,500 – 300 BCE Date: Middle Jomon Period, 2500 – 1500 BCE Media: Earthenware Dimensions: ~ 2ft tall Significance: 1. “TheFlame Vessel” Ties to Animacy theme (being “always on fire”) 2. Elaborationof decoration shows which period of progression of style in the period it wasmade 3. Jomon meaning “cord”shown by the marks in the clay made from lightly pressing cord or rope into theclay. |
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Title: Dotaku (bell) with Incised figural motifs Artist: Location: Kagawa prefecture, Japan Style: Late Yayoi Period Date: 100 – 300 CE Media: Bronze Dimensions: ~1.5 ft tall Significance: 1. Likelyonly decorative 2. Earliestpictorial representations of objects 3. Funerary offerings |
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Title: Haniwa (“Clay circle”) Warrior figure Artist: Location: Gunma Prefecture, Japan Style: Late Kofun Period Date: 5th - 6th Century CE Media: Low-temp Fired Clay Dimensions: ~4ft Tall Significance: 1. Started out as clay cylinders, moving on to the use of molds. 2. Cylinders served as stands for bowls to place offerings 3. Moved from a functional style to a more animate artistic style |
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FAVE Title: Amaterasu Shrine Main Hall Artist: Location: Ise, Mie Prefecture, Japan Date: (first built) 5th Century CE Media: Kofun Period Dimensions: Significance: 1. reconstructed every 20 years a. To maintain purity of the shrine b. Done strictly in traditional fashion, no advanced tools or techniques 2. Principal Shinto shrine a. Amaterasu is the principal shrine of the Shinto shrine complex 3. Building is built for and houses the Sun Goddess, Amaterasu |
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Title: Horyu-ji Kondo (Golden Hall) Artist: Location: Nara, Japan Style: Early Nara Period Date: 680/711 CE (Originally constructed 607 CE) Media: Dimensions: Significance: 1. Reconstructed asymmetrically 2. The Kondo became more prominent in Japanese design than the Pagoda because of familiarity. 3. Architectural style is diffused from Chinese design. |
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FAVORITE Title: Hungry Tigress Artist: Location: Horyuji Kondo, Nara, Japan Style: Early Nara Period Date: ca. 680 CE Media: Lacquer on Wood Dimensions: Significance: 1. Jatakas tale(One of Buddha's previous lives) 2. It no longer physically exists, burned in a fire in 1949. Photograph only evidence of its existence. 3. A continuous narrative, representing multiple moments in a story, meaning each image is a representation of the buddha's previous self. |
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Title: Tale of Genji Kashiwagi Chapter Scene Artist: Location: Style: Heian Period Date: 12th Century CE Media: Handscroll Dimensions: Significance: 1. Very dramatic narrative, a theme among the scrolls of the tale of genji. 2. Oldest narrative written by a woman 3. Most frequently illustrated piece of literature. |
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Title: Amida Descending over the Mountain Artist: Location: Style: Kamakura Period Date:13th Century CE Media: Hanging Scroll Dimensions: Significance: 1. Buddha that presides over the western paradise 2. Amida only appears at the point of death if you say his name aloud. 3. Representative of universal salvation, appealing to the servants and peasants of the time. |
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Title: Xiangyen Zhixian Sweeping with a Broom Artist: Kano Motonobu Location: Style: Muromachi Period Date: ca. 1513 CE Media: Dimensions: 5.5 x 3 ft Significance: 1. Important piece of artwork within the Kano School 2. Not a hanging scroll, it is in architectural decoration, painted onto panels in a monastery on sliding doors. 3. Kano school was known for architectural decoration |
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FAVORITE Title: An exiled Emporer on Okinoshima (six fold screen) Artist: Location: Date: Momoyama Period ca. 1600 CE Media: Ink, color, gold & silver on paper Dimensions: Significance: 1. Currently installed at the Kimbell in Fort Worth. 2. Artwork is meant to be read from right to left 3. Art piece that is likely meant to humiliate the former emperor, representing how much power the Shogunate had over the imperial family at the time. |
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Title: Taian Teahouse Artist: Sen No Rikyu Location: Kyoto, Japan Date: Mommaya period ca. 1582 Media: Dimensions: Significance: 1. Wabi-sabi “Traditional Authenticity” 2. Entrance is a crawling entry, designed to humble the entrant into the tea house as a ceremonial gesture. 3. Represents a symbol of peace, a barrier from the wars and conflicts of the outside world. |
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FAVE Title: Boat Bridge Writing Box Artist: Honami Koetsu (rinpa School) Location: Date: Edo Period ca. 17th Century Media: Lacquered wood with sprinkled gold and inlay Dimensions: Significance: 1. Likely a collaborative piece, but attributed to Koetsu of the Rinpa School 2. Representation of the schools style of combining mediums into one piece of work. 3. Inspired by a poem about a bridge built of a boats (pontoon bridge) |
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Title: The great wave of Kanagawa Artist: Katsushika Hokusai Location: Date: Edo period ca. 1826 – 1833 CE Media: Woodblock print Dimensions: 10 x 12 in Significance: 1. A landscape that brings you alive 2. Represents nature vs nature 3. From a viewer’s perspective, they become part of the imagery and part of the dramatic action of the piece. |
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Title: Yam Mask Artist: Abelam Culture Location: Papua New Guinea (Melanesia) Date: undated Media: Painted cane fibers Dimensions: Significance: 1. Amask that a yam wears, not a mask that represents a Yam 2. Longyam – Embodied Ancestors, short yams are for eating 3. Mask used in annualfestivals, that celebrate the ancestors |
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Title: Bisj Poles Artist: Asmat Culture Location: Irian Jaya (Melanesia) Date: Early – Mid 20th Century Media: Wood, pigment, plant fibers Dimensions: Significance: 1. Created to initiate a headhunting party 2. Represent the people who were slain and eventually those who will be slayed 3. Prominent individual within the village will commission younger members to build a new pole for when they feel it’s time to go head hunting. |
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Title: Canoe Prow and Splashboard
Artist: Trobriand Island Culture Location: Papau New Guinea (Melanesia) Date: 19th - 20th Century Media: Dimensions: Significance: 1. Ritual training, ritual exchange (Kula) 2. Represents ancestors, lineage of the person creating the canoe 3. Used a symbol of recognition between the two-people involved in the exchange that is to take place, so that one may recognize when the other arrives. |
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Title: Bai (Men's Clubhouse)
Artist: Belau Culture Location: Carolina Islands (Melanesia) Date: 20th Century Media: Dimensions: Significance: 1. The primary gable at the entrance has horizontal banding with symbols that form a narrative of the clan’s history, like the Egyptians in regards to their royalty. 2. Inclusion of the Dilukai as a measure of tradition by males to emphasize that women practice chastity. 3. The bai served multiple purposes, ceremony, arbitration, etc. |
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Title: Ku (Kuka'ilimoku or God of War)
Artist: Hawai'in Culture Location: Polynesia Date: late 18th – early 19th century Media: Dimensions: ~2.5ft tall Significance: 1. Tiki are representations of gods 2. Installed within the Heiau (temple) 3. Attributed to the unification of the Hawai’ian islands. |
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Title: Moai on Ahu
Artist: Rapa Nui Culture Location: Easter Island (Polynesia) Date: c. 1000 – 1500 CE Media: volcanic tuff, red scoria Dimensions: Significance: 1. Ahu is the platform in which the Moai are erected. 2. The Moai located closer to the interior of the island are ones that never made it to their final destination. 3. They do not face outward from the coast, instead face inward towards the interior of the island. |
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Title: Self Portrait
Artist: Te Pehi Kupe Location: Polynesia Date: Maori Culture, 1826 Media: Dimensions: Significance: 1. Portrait is only of the tatoo, which represents the person, nothing else mattered. 2. HIS right side of the face represents the Patriline identity, while the left represents the matriline identity. 3. Specific patterns represent specific details of the person’s identity, such as Te Pehi’s detail of being a master carver. |
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Title: Altar 4
Artist: Olmec Culture Location: La Venta, Mexico Date: ca. 900 – 400 BCE Media: Basalt Dimensions: 5x11' Significance: 1. Man, is not being eaten by the jaguar, but emerging from the jaguar. Representing emerging from a cave. 2. The emergence from the cave likely a ritual performed by the ruler to continue the life-giving process of growth of food for the people. 3. Altar is located further into the complex, likely signifying that one would need special access to enter such an area. |
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Title: Temple of the Feathered Serpent God(Quetzalcoatl)
Artist: Teotihuacan Culture Location: Teotihuacan, Mexico Date: 3rd Century CE Media: Dimensions: Significance: 1. Thetemple likely used for performing specific ceremonies or rituals 2. Featheredserpent head’s eyes would have held obsidian to reflect light. 3. 260 serpent heads totalcarved on the temple, likely representing the 260 days of the ritual calendar. |
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Title: Goddess of Tetitla Complex
Artist: Teotihuacan Culture Location: Teotihuacan, Mexico Date: 650 – 750 CE Media: Dimensions: Significance: 1. For the elites, art for those high in status 2. Representative of a life giving deific figure 3. Known as the “spider woman” |
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Title: Mural of Pinturas Sub-1 Artist: Maya Culture Location: Sand Bartolo, Guatemala Date: 100 BCE (preclassic period) Media: Dimensions: Significance: 1. Represents an important piece in the creation narrative of the collection of murals. |
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Title: Lintel 17 (Bird Jaguar IV & Lady Mut B'alamBloodletting)
Artist: Maya Culture Location: Yaxchilan, Honduras (Mexico) Date: ca. 730 CE *Late Classic Period Media: Dimensions: Significance: 1. Bloodletting:Ritualistic draining of blood to contact ancestors. a. Femaleversion – pulling a rope with thorns to make her tongue bleed. b. Maleversion – Draining blood from the penis. c. Autosacrifice – Self-sacrifice, self-inflicted extreme suffering to show theirworth to their ancestors. 2. Ritualperformed by the king and queen to maintain the cycle of growth and prosperityfor their people. 3. Was strictly aperformance to show the level of dedication to their deities and ancestors. |
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Title: Raimondi Stela
Artist: Chavin Culture (early horizon) Location: Chavin de Huantar, Peru Date: First Millenium BCE Media: Incised green diorite Dimensions: 7 ft tall Significance: 1. Represents a “Staff God” 2. A composite figure, human like body, but features like claws on the feet. 3. Representation of power of nature, control over nature. |
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FAVE?
Title: Embroidered Funerary Mantle Artist: Paracas Culture Location: Southern Coast of Peru Date: First Century CE Media: Camelid Wool & Cotton Dimensions: Significance: 1. influenced by chavin staff god 2. high status craftsmen crafted this likely 3. Bodily contortions of the figures are likely representing flight. |
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Title: Colibri (Hummingbird)
Artist:Nasca Culture Location: Nasca Plain, Peru Date: ca. 500 CE Media: light clay and calcite exposed beneath dark pebbles Dimensions: Significance: 1. Most likely represent underground water flow 2. Lines are likely earlier, geoglyphs likely came later. 3. May not have been used as a communication to deific entities, but likely were meant to be seen from an angle, such as from a specific point on a mountain. |
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Title: Portrait sitrrup-spout vessel
Artist: Moche Culture Location: North Coast of Peru Date: 5th - 6th Century CE Media: Dimensions: 1.5' Tall Significance: 1. Made from mold, originally a hand mold 2. Possibly an offering for the afterlife 3. Possibly either a portrait of the deceased themselves or an attendant or someone who would be helpful to them in the afterlife. |
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Title: Earspool
Artist: Moche Culture Location: Lord of Sipan Tomb, Peru Date: 300 CE Media: Dimensions: 3” tall Significance: 1. Lordof Sipan “Warrior Priest” a. Incharge of sacrificing 2. Earringportrays what the warrior priest is wearing to perform the rituals he would betasked with in life. 3. A nose ring crafted in amirror image of the blade headdress is worn by the priest. |
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Title: Gateway of The Sun
Artist: Tiwanaku Culture Location: Tiwanaku, Bolivia Date: 375 – 700 CE Media: Dimensions: Significance: 1. Carvedfrom a single piece of stone, similar to the colossal head and stone coins inother regions of the world. 2. Notthe original location, was moved from an unknown place. 3. Likely the location itresides in was meant to be the location of a temple, but it never came tofruition. |
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Title: Pendant in the form of Bat-faced Man
Artist: Tairona Culture Location: Northeastern Colombia Date: After 1000 CE Media: Gold Dimensions: 5.25” tall Significance: 1. Seenas the pinnacle of artwork that Tairona could create. 2. Createdvia lost wax method. 3. Gold was not local totheir region, was traded to them from the Andes regions. |
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Title: Burial Mask
Artist: Ipiutak Culture Location: Point hope, Alaska Date: ca. 100 CE Media: Ivory Dimensions: 9 ½ in. wide Significance: 1. Ivoryfrom Walrus tusks (Yay!! ...oh wait..) 2. Maskplaced upon a recently deceased shaman/spiritual leader before burial. a. Concernlikely to prevent reanimation or ward off angered spirits. 3. Removed from the face,and buried at the knees with the body, unknown reasons. |
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Title: Trans-Pecos
Artist: Location: Lower Pecos, Texas Date: ca 2000 BCE Media: Dimensions: Significance: 1. Itis called the “oldest book in north America” 2. Deitieswithin the composition are represented with some type of animal quality. 3. Initially thought to bedone over time in layers, but may have in fact been composed as a balancedcomposition. |
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Title: Great Kiva
Artist: Ancestral Puebloan Culture Location: Chaco Canyon, New Mexico Date: 828 – 1126 CE Media: Dimensions: Significance: 1. Date measured precisely from the use of tree rings in timbers used in the construction of the Kiva. 2. Ritual space, semi-subterranean, circular space referred to as a men’s counsel space. 3. Opening in the roof contains a ladder, as representation of going from the outer world and into the underworld. |
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Title: Bowl with two cranes and geometric forms
Artist: Mimbers Culture Location: New Mexico Date: ca. 1250 Media: Black on White Ceramic Dimensions: 1.5' Diameter Significance: 1. Bilateral Compositions a. Two sided composition 2. Intentional hole placed within a. “Kill hole” 1. Placed on the head of the deceased after making hole to allow the spirit to be released 2. Goes against the “order” of things to provide something function to the deceased, as they have no use for it. 3. Believed that much like the person, the bowl has a spirit, just as other inanimate objects. |
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Title: Serpent Mound
Artist: Middle Mississippian Culture Location: Ohio Date: ca. 1070 Media: Dimensions: 1200' long Significance: 1. Effigymound a. Effigyof a serpent, the mound is the effigy 2. signifiesrain a. agriculturalfertility 3. Ritual pathway |
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Title: Incised Shell Gorget
Artist: Middle Mississippian Culture Location: Tennessee Date: ca. 1250 – 1300 CE Media: Dimensions: 4 in. wide Significance: 1. A pendant style art piece worn, meant to draw attention to the face. 2. Made from a shell not native to the area, likely traded from the coast. 3. Represents likely a high status warrior running after decapitating an enemy. |
