Mini Post 3

The Feast and Famine exhibit presents a new perspective on how we view food based off of our society today. It demonstrates a connection that one may not always correlate in regards to food. In retrospect, it brings light to issues regarding race, consumerism, health, etc. These views and issues that we hold in today's society are also similar to the beliefs of individuals that can be traced back all the way to the Renaissance, as learned in class. These issues are often brushed off, allowing it to have been passed down so many generations and although it may not be a grand topic as it may have been in the past, these issues are still prevalent and should be addressed. Yet, many people hate to discuss the seriousness and horrible truth in society, for they don't want to confirm to situations that have happened over the years. Tying this subject matter with art allows for the viewer to identify and address these problems that is being showcased to them and bringing food into the equation, can bring understanding on how more common these issues can be.

The Liberation of Lady J and UB, Renee Cox

Renee Cox created The Liberation of Lady J and UB to explore the ideas of racism and sexism that exists in branding in our society. Competing with many different companies that were being put forth to consumers were difficult, which allowed for advertising to be developed. Aunt Jemima and Uncle Ben is being advertised on the food products presented in the photo on the left. They were characters that were created based off of the reflection of ideas and views that developed in society in the past. In today's society, individuals don't see the true meaning that these characters have tugged along throughout these years. For example, Uncle Ben is a slang word used in the past that is not so pleasant, while Aunt Jemima is a former slave. Now, presenting these characters as presented on the left, allows for the audience to perceive them as the heroes they are. Creating this super hero character allows for them to be liberated compared to what these old characters say and what they meant and why they are still present in today's world.

Chris Thorsons Boxed In and Harvest Fresh

We are also presented with this social construct developed purposely by manufacturers. Chris Thorsons pieces Boxed In and Harvest Fresh capture the glamorized idea society has on what is good and bad to consume. Although the potatoes presented may appear raw, dull and malnourished, they in fact have beneficial factors than the fruit presented in the box. We see the bright colors and big grown fruit and believe it is ripped and will be delicious! Yet, this contradicts the claim because it is grown larger and with more prominent colors due to the chemicals pumped into these fruits, stripping away the true nutritional factors that were intended. Bringing an understanding of the misconception that has been passed over the years.

Chris Thorsons Boxed In and Harvest Fresh

Post 4

Qui Ying, Spring Dawn in the Han Palace,1500-1550

This piece by Qui Ying was painted during the Ming Dynasty. The painting shows women in the court of the Han dynasty. Ying painted the “Spring Dawn In The Han Dynasty” on a long handscroll and this influenced the work of many artists that came after him. Qui Ying studied artwork from the Tang dynasty while he was working for an art collector and he reflected his understanding of the artwork from that period on to his painting,“Spring Dawn In The Han Dynasty”(Stokstad p.815). Stokstad describes his work, “ Qiu’s graceful and elegant figures— although modeled after those in Tang works—are situated within a carefully described setting of palace buildings. They engage in courtly pastimes, such as chess, music, calligraphy, and painting. With its antique subject matter, refined technique, brilliant color, and controlled composition, Spring  Dawn in the Han Palace brought professional painting to another level”(Stokstad p.815). Ying was one of the most notable painters of the Ming Dynasty.

Dong Qichang, The Qingbian Mountains, 1617

This piece by Dong Qichang was painted during the Ming Dynasty. The painting “The Qingbian Mountains”  was based on a work by an artist Dong Yuan. Dong Yuan was from the tenth-century, although it was based on his work, Dong still added a unique sense of style. It painting had visuals of foreground, middle ground, and mountains, everything being spacious (Stokstad p.820). All the elements seemed to be compressed to the surface of the picture.  Something peculiar about the picture is that there are six diagonally arranged trees, symbolizing foreground and reassuring the theme(Stokstad p.820). Stokstad describes the work and states, “The tallest tree of the foreground grouping anticipates the high peak that towers in the distance almost directly above it, while the forms of the smaller foreground trees, especially the one with the darkest leaves, are repeated in many variations across the painting. At the same time, the ordinary-looking boulder in the foreground is transformed in the conglomeration of rocks, ridges, hills, and mountains above. This double reading— both abstract and representational, on the surface and into space—parallels the work’s dual nature as a painting of a landscape and an interpretation of a traditional landscape painting”(Stokstad p.820). Qiachang introduced a new style that people were fascinated by.

Kim Hongdo, Roof Tiling, 18th Century

This piece by Kim Hongdo was painted during the Joseon Dynasty. The painting “Roof Tiling” showcased the everyday lives of the commoners. Different from other artists primarily painting and showcasing the nobility, Kim had other interests. Roof Tiling is one of a series of 25 albums that would generally display laborers working during one of there roofing projects. Stokstad describes the work and states, “ At lower right a carpenter smooths a propped up board with his plane, while two colleagues perch on the roof itself, one about to hoist up a bundle of materials and the other catching a tile that has been heaved to him from below. The seventh man, leaning on his staff at upper right to survey the work, is presumably the roofers’ supervisor. The circular figural composition animates the compressed foreground tableau and organizes the viewer’s examination of the carefully detailed workers, whose depiction is energized by active poses and expressive faces” (Stokstad p.826). Kim tells a story in his artwork and viewers of his artwork try to decipher the story he is trying to tell.

Sesshu, Winter Landscape, c.1470s

Sesshu has been regarded as one of the best Japanese painters of all time. Sesshu was on path to become Zen monk at a monastery, instead of choosing the religious ritual path he specialized in art (Stokstad p.832). Diving deeper, Sesshu trained at Shokokuji, this was where Shubun studio was located (Stokstad p.832). Having mentioned Sesshu being interested in art, he worked in the painting atelier for 20 years. This piece by Sesshu was painted during the Muromachi Period.  The painting “Winter Landscape” It depicts a cliff descending from mists located around the rocky hills. Stokstad describes Sesshu’s work and states, “Jagged brushstrokes delineate a series of rocky hills, where a lone figure makes his way to a Zen monastery. Instead of a gradual recession into space, flat, overlapping planes fracture the composition into crystalline facets. The white of the paper is left to indicate snow, while the sky is suggested by tones of gray. A few trees cling to the rocky land. The harsh chill of winter is almost palpable” (Stokstad p.832). His style of painting made showed his dedication to art.

Nagasawa Rosetsu, Bull and Puppy, Late 18th Century

This piece painted by Nagasawa Rosetsu, one of the most famous students of Okyo. Rosetsu added his own uniqueness to the style of his teacher. He would put create odd juxtapositions in his painting which surprised many of his admirers. One of his well known BULL AND PUPPY shows the odd juxtaposition that he creates in his artwork. Stokstad describes the work and states, “The bull is so immense that his mammoth body exceeds the borders of the screen, an effect undoubtedly influenced by new optical devices. The tiny puppy, white against the dark gray of the bull, helps to emphasize the bull’s huge size through its contrasting smallness. The puppy’s relaxed and informal pose, looking happily straight out at the viewer, gives this powerful painting a humorous touch that increases its charm ”(Stokstad p.841). Rosetsu uniqueness stood out  in his painting thus making him stand as artist.

Works Cited

Stokstad, Marilyn, and Michael Watt Cothren. Art History. Sixth ed., II, Pearson, 2018.

Tania Arik Extra Credit: "Life Lessons" from the Brooklyn Museum

Suzuki Harunobu, Courtesan Standing on a Veranda,
circa 1767

Suzuki Haranobu from Japan was born during the Edo period; that being the period in which most of his work was done. From class lectures, his art comes off as very big. Although it may seem that way, the museum visit has taught me otherwise. As well as the fact that his work is done on color woodblock. Which is achieved through the dedication of time and detail. Another intriguing aspect of the "Courtesan Standing on a Veranda,"is the woman in it. In the back of the woman are the shadows of musicians, which indicate that the woman has left the party. To be alone. The purpose of this artwork was to reveal the misery that overwhelms people who value and become attached to "worldly things."

Zhang Jian-Jun, Water Fire, 1992

Similarly, Jian-Jun's Water and Fire piece tells a story, as well as a lesson to the audience. His work is meant to reveal the different substances of life, such as the yin and yang. In Chinese philosophy, water and fire are part of the major elements, together forming the "wu xing." Representing a life-force also known as "qi." In Jian-Jun's two circles, the black one was set on fire and he painted the lower one to resemble water, which looks wet even after it dries. Showing us that although two things may look as if they do not fit together, they all come together to make what is known as "life."

Kang Seok Young, Untitled, 1992

In this untitled word, Korean ceramicists decide to once again, use porcelain. He uses many techniques to shape it differently and makes the material appear in a very white matter. He begins by pouring the liquid into a mold. Before the material dries up, he takes it and bends it to change its shape. His work is displayed next to other porcelain pieces. They are put next to each other to emphasize the fact that they are all made from the same material. Yet, one appears to be much more recognizable to us, as they resemble pieces that we have seen in-class lectures. This adds to the uniqueness of the object. Shall I say this is another life story? In which, humans come in different shapes and sizes. Yet are all made of the same "material."

Brooklyn Museum

Head from Sphinx

I always find it interesting that statues that were placed outside in the past have eroded noses, and that particular place comes off before anything else. As well as the eyes sometimes, the most fragile part of the body. This piece in particular was called the Female Sphinx and I thought it was lovely because it was of course a woman and she has no eyes. Something about her just drew me, and her having no eyes made her even more gorgeous. She relates to the small period where we focused on Egyptian art, the information on her said her eyes were “pried out” which speaks to the fact of European colonizers ruining some artifacts for trophies. 

Francis Guy

Winter Scene in Brooklyn

There’s a few copies of this piece and I’ve only ever seen copied images of this, and seeing it in person was such an experience compared to seeing printed versions. The awesome thing about this piece is that it is on Fulton Street in Brooklyn not far from the current waterfront and it’s amazing how much things can change in one generation, and how people can experience and see it all. 

Elektra KB 

This was a piece in the feminist gallery, and it read “I was never yours”. The image included a large female character above a group of KKK members holding a flag. I feel like this relates to slavery in the sense that women were sexually abused brutally, as well as black women were forbidden trophies during the era of the KKK. This relates to the more modern, contemporary art portion of our class. 

Martina Michelato


Extra Credit


Brooklyn Museum








In the Brooklyn museum on the second floor this piece of art caught my eye very much. It reminded me of carnival in the Dominican Republic where people wear masks similar looking to this to scare children away as part of the festival. Meanwhile this face represented the guardians used inside the temples of Japan, whose jobs were to scare off evil that was trying to enter the temple.. This is from the 13th century and is from Japan and was given as a gift of Mr. and Mrs. Alastair B. Martin, the Guennol Collection.








This is the Houses of Parliament, Sunlight Effect by Claude Monet,


1903. This painting caught my attention because it reminded me about what we are learning in class about impressionism. How the light effect is hitting the painting mainly in the corner of the painting and how it perfectly reflects against the water. Also how the colors mix in to make a soothing tone for the person viewing the painting. The painter must of used multiple colors to create this color and blend.







This painting was on the second floor and is also from Japan. It caught my attention because it was such a nice painting filled with beautiful women. These women are all nicely dressed and are surrounded by what seems to be cherry blossom trees which are stunning. These women are also accompanied by children who are also beautifully dressed. I like how there is color but also the use of grays to not make the picture too bright but just right, it still captures the eye but humbly. This painting is by Kitagawa Utamaro between 1753-1806.

Post 4

Art is a sense of communication. It allows individuals from different cultures and different times to communicate with each other via images, sounds, and stories. Art can be defined as cultural documents; which provide insight into past and existing cultures, helping us to understand the life and values of other individuals.

Llama, 15th century

The llama is very important in Peruvian culture. The llama was thought to have a link with the sun, rain and fertility. A white llama was sacrificed to the sun every morning. This cultural practice such as sacrifice and offering to the gods is not one that is seen in society anymore. This provides individuals with a view on how individuals lived their lives in a religious manner.  

Baby Carrier, Eastern Sioux, 19th century 

The Sioux Baby carrier is decorated with symbols of protection and well-being. These were made by the mother who was pregnant and getting ready to have the child. On the baby carrier, there are many symbols that are believed to protect the baby. One of the symbols on the baby carrier was the thunderbird. The thunderbird is capable of protecting against both humans and the evils of the supernatural world. The llama was a sacred animal within this culture and was used as a sacrifice for the gods. This baby carrier is meant to spiritually and physically protect the child. 

Sowei Mask from the Sherbo District, Mende, 1880-1886

This Sowei mask represents ideal female beauty for the Mende people. The mask is only worn by a senior member of the Sande women's society at the initiation ceremony of young girls into the society. This indicates that these young girls are transferring into women. The Sande society has a backwards view on the roles of men and women. The men are the musicians at the ceremony and carve the sowei masks that are worn by the women. The women dance the masquerade. This dance honors the female ancestors of the past and welcomes the new generation of young women into society. The intricate details of the mask have many symbolic meanings. The small lips and eyes indicate modesty and that the voice will be used for things of importance not like gossip or slander. The long forehead indicates wisdom and generosity. As these young girls transition to women, they become wiser. The hat worn by the mask shows the creation of women of sophistication, wealth and power. This meant that they would attract husbands of similar ranks and wealth. 

Nikisi Nkondi, Congo, 19th century

The Nikisi Nkondi was made by the Kongo people. This was an object used by chiefs, elders, and diviners to help administer justice in their communities. Nkondi means "hunter" which means that they can hunt down and attack wrong doers, witches or enemies. The Nkondi is meant for divine protection of a society. This figure can act as an oath taking image as an avenger or guardian if any evil has been committed. This figure was shown to be a symbol of protection over a society. 

Blolo Bla (Female Spirit Spouse)

In comparison to the Nikski Nkondi, which was a public object, the Blolo bla was for private use. This was sculpted to represent an idealized individual and represents physical, moral and spiritual ideals of beauty. If an individual's marriage is failing, Baule spirituality explains it as an other-worldly lover who is making trouble for the living person who is the object of their affection. In order to rectify the marriage, the person is supposed to imagine what this spirit spouse looks like and pays an artist to produce a sculpture that will flatter the spirit. When the spirit is flattered, this means that the spirit will assist the individual his or her lover to have a more productive and healthy life, marriage and family. The statue takes the burden of their failing marriage off of the individual and therefore places it onto the spirit that is embodied in the statue. This helps individuals in a psychological manner since it allows a person to free themselves from any guilt they may have. The statue of the female spirit spouse has her hands placed on her stomach; this is symbolic for a woman's ability to bear and nurture children. The position the statue is standing in indicates a woman's physical strength as well as her mental one. A woman is patient and able to think or wait before acting. The figures small eyes and mouth indicate that she will not pry into other peoples business nor use her mouth to gossip. The small breasts on the statue symbolize female beauty rather than to sexualize a woman.

Art is a means of preserving culture that is no longer prevalent in todays society. Art can reflect a societies belief and cultural values. This allows individuals later on to look back at the past cultures and gives insight into the past values and compare them with the values of today. 

POST 4

Sesshu “Winter Landscape”





Sesshu is one of Shubun’s pupil, He is regarded as one of the greatest japanese painters of all time (Stokstad 832). Stokstad says “Although Shubun and his followers completed training to become Zen monks at the monastery, they specialized in art rather than in religious ritual of teaching” (Stokstad832). Taking a look at his painting we can see how cultural practices influence his artwork. Looking at his work we can see that there is a trail that leads to a Zen monastery. The work is split by a ragged line down the near the middle of the painting showing snow where the monastery is, and of the other side jagged steep rocks and mountains. The painting is grim the sky is gray giving a feel of the harsh winter they are experiencing. Yet even in this harsh winter we see a man traveling towards the monastery. A testament to the motivation and strength of belief in the Zen monastery that is the center of this artwork.








Taiga “View of Kojima bay”






This painting by Taiga was a piece that gave insight into the area which he was painting. This artwork is interesting because it has two chinese people standing to the right of the mountain in a Japanese city. Stokstad says “Because the city of Kyoto was far from the watchful eyes of the government in Edo, and the emperor resided there with his court, it enjoyed a degree of privilege and independence not found in any other Japanese city” (Stokstad 841). This allows for the influence of chinese culture in Taiga’s painting. The political problems they faced at the time because of a repressive shogunate had the city of Kyoto protest in a civil manner where they would drink chinese influenced tea (Stokstad 841). This painting is a painting of a real Japanese place by including the two chinese people in the painting he is portraying that they have become a part of Japan.








TATTOOED NATIVE OF NUKAHIVA





In the Marquesas islands the art of tattooing was very popular. It was a widespread ancient practice. As Stokstad says “e process of tattooing involves shedding blood, the most tapu (sacred) substance in Polynesia. In the Marquesas, the process for a young man of high social rank began around age 18; by age 30 he would be fully tattooed. Because of the sacredness and prestige of the process, some men continued to be tattooed until their skin was completely covered…” (Stokstad 887). This is previous quote shows how important and integral tattooes where in their culture. Men and women were tattooed and it symbolizes strength courage and sexual attractiveness. The man in the picture has a tattoos all over his body and his weapon is an indication that he is from the Marquesas Islands. His body is completely covered with tattoos and he is posed as if he was modeling for a picture. He is shown in a manner that praises his tattoos. He is only wearing a thin cloth to show all the tattoos on his body.









THE FOUNDING OF TENOCHTITLAN






In this painting which is believed to have been commissioned by Antonio Mendoza, a Spanish Conquistador, meant to be sent to the Holy Roman Emperor Charles V so that the emperor could learn about his new colony it tells the story of the Aztec Empire (Stokstad 853). The painting has the layout of the city. Four quadrants separated by waterways show the outlay of the city. The eagle standing on a cactus in the center is the founding of the city. It is said that when the founders were looking for a place to establish their new city they were looking for an eagle that was standing on a cactus. When they found that they founded Tenochtitlan. The page is surrounded by the years (Stokstad 853). On the bottom is shows people battling the Spanish conquered the Aztecs. This style of painting is from an Aztec culture The drawing also shows how the quadrants were managed by leaders. A sophisticated city with an organized government. An image of the Aztec culture this drawing relates to the history of the Aztec empire, and the conquering of it when the Spanish conquistadors conquered it.

Post 2

The Renaissance was a great period in European history. A period of enlightenment and artistry. Some of the greatest works of our history derived from this period. The renaissance lasted for two centuries from the 15th to the 17th centuries. This period saw the rise of patronage at an unprecedented scale, allowing for artwork to flourish. People would sponsor artists, and commission works to show their economic status. Those found to be outstanding artists at that time and today are Leonardo Da Vinci, Michaelangelo, and Jan Van Eyck.


Leonardo Da Vinci’s “Mona Lisa,” is considered one of the greatest artworks in the world. Leonardo Da Vinci is exceptionally talented in what he does. He was not only an artist, he was also an inventor. When one looks at the Mona Lisa they see a simple lady. The background is eerie and unrecognizable. Most of the portraits of women at that time were women of high socio-economic status. Stokstad supports the previous sentence when he writes “This was an unusual portrait for its time. Leonardo abandoned the long-standing Italian tradition of painting wealthy wives in profile view, wearing the sumptuous clothing and jewelry that signified their status and their husbands’ wealth “ (Stokstad 645). Mona Lisa seems to just be a normal lady, no jewelry or fancy clothing. Leonardo uses techniques that are differentiated him from his peers at his time. What was popular Leonardo would break all the rules. The Mona Lisa is a masterpiece of artwork that will be remembered throughout all human history. Her stare is captivating to all those who look at this painting. It is mysterious, she is mysterious, just like the landscape in the background. This artwork absolutely embodies the idea of all parts working together to complement each other.


Double portrait of Giovanni Arnolfini and His Wife.” Jan Van Eyck


Continuing, let’s take a look at Jan Van Eyck’s “Double portrait of Giovanni Arnolfini and His Wife.” Jan Van Eyck painted this in 1434. This is a painting of a wealthy merchant. A common practice at the time was for the new rising wealthy people of the renaissance to have themselves painted in a portrait. The man painted in the painted was Giovanni Arnolfini and his wife, as the title suggests. He gained his wealth from selling luxury fabrics to the Burgundian court (Stokstad 575).. Taking a look at his portrait we see the symbolism of the importance of fabrics and clothing to the painter. Both the man and woman in the portrait are wearing expensive luxurious fabrics in the painting. Giovianna is wearing a fur coat and an extravagant top hat. The chandelier is beautiful and a centerpiece in the painting. The woman’s dress is full and flowing on the floor. There is also religious symbols in the painting pointed towards their piety. With all the luxuries afforded to Giovanni the Church at the time was still a major influencer as Stokstad writes “the picture resonated with sacred meaning. The Church still provided spiritual grounding for men and women of the Renaissance. The crystal prayer beads hanging next to the convex mirror imply the couple’s piety, and the mirror itself—a symbol of the all-seeing eye of God—is framed with a circular cycle of scenes from Christ’s Passion”(Stokstad 575).













This piece here is “David,” by Michelangelo, one of his most famous works of art. “David” was created from an 18 foot tall marble block (Stokstad 659). This piece of art was so admired by all that is was to be placed in the city square (Stokstad 659). This was clearly admired by those who witnessed its beauty and magnificence. The significance of this sculpture is showing the pre-battle David, how he is staring and standing nude thinking about what the inevitable battle will lead to. This artwork was a Florentine commission, the sculpture was a perfect emblem for the Florentines, as Stokstad says “This David stands for the supremacy of right over might a perfect emblem for the florentines who had recently fought the forces of milan siena and pisa and still faced political and military pressure” (Stokstad 659).


Donatello "David"


This sculpture created by Donatello is an additional view of David. The David created by Michelangelo portrayed David before the battle, this one portrays him after battle victorious. As Stokstad states “David was a potent political image in Florence, a symbol of the citizens’ resolve to oppose tyrants regardless of their superior power, since virtue brings divine support and preternatural strength, and we will see other Florentine Renaissance renderings of this biblical hero” (Stokstad 618). This artwork was moral support for the people of Florence. Made with bronze David is standing on Golaith’s head. A beautiful artwork exceptional at what is trying to be portrayed. That is that the righteous will prevail over the tyrants during a time of major military and political tension.





WORKS CITED:Stokstad, Marilyn, and Michael Watt Cothren. Art History. Pearson, 2018.

Post 4

The Forbidden City, 25-8 on page 331 or 816

The Forbidden City in Beijing represents the conflicting and deep history of China. Built-in the time period when the Mongols invaded China, the architecture was a part of their city plans. During the Ming dynasty, the Mongols copied the foundations of the ancient Chinese culture as they planned, setting down symmetry and balance which reflects the ancient Chinese beliefs: Daoism, the harmony of the universe. The buildings reflected the old traditions of scholars separating themselves from the common population. However, the scholars were separating themselves from the government as well.



The Forbidden City, Kuai Xiang, 1925



One of China’s many neighbors, Japan, an architecture was created in the most creative era: the Momoyama period. The European weapons were introduced during Japan’s civil wars and brought three significant leaders: Oda Nobunaga, Toyotomi Hideyoshi, and Tokugawa Ieyasu. A new style of architecture sprung up to defend against the new weapons and one of the architectures was the Himeji Castle in Hyogo.

The Himeji Castle, 26-9 on page 334 or 839.

This castle reflects the artistic traditions of asymmetry, sleek lines, abstraction, and boldness while using natural materials. Perched high up into the air, the castle offers a clear view of the landscapes on all sides, which of course was great for spotting enemies, but also reflects the traditional aesthetic Zen landscapes.
Far South of Japan and a tad to the East, there lies Australia. Their arts were recognized as stylistic or geometric, the geometry style frequented in bark cloth, tattoos, and ceramics. Their art were either decors or used for religious practices. Their religion consists of the concept Dreamtime and it refers to the time before humans existed. Basically, the Dreamtime is a Minecraft flatlands world and the Spirits were the players terraforming the landscapes to their hearts’ desires. The Spirits emerged from the lands and oceans and are believed to be found in particular places. On a eucalyptus bark is the artwork of Three Dancers and Two Musicians.

The Himeji Castle Akamatsu Norimura 1333





Three Dancers and Two Musicians, 28-3 on page 373 or 878
Like their neighbor in Australia, Polynesia’s arts are emphasized on religion and religion only. Polynesia’s master artists were also ritual specialists and thus Polynesia’s art culture are recognized through carvings on stone, wood, and human bones.. Wooden houses were built and turned into meeting houses and were homages to the ancestors; the dead were believed to be gods.

Te-Hau-Ki-Turanga (Maori Meeting House), 28-11 on page 380 or 885


Te-Hau-Ki-Turanga is the oldest meeting house and it was built by Rukupto, who designed and built the house for his elder brother who had died. The elder brother was considered to be the founder of New Zealand, and the house symbolizes his body and the ancestors supporting the village. The ridge pole were considered to be his backbone, rafters the ribs, the face in a gable mask, and slanting bargeboards the protective arms. The ancestors were the supporting protection for the house, covering the ridge pole, the wall planks, and the ends of the rafters. The elder child were the more sacred child because they were considered to have the most “spirit” in the family, so the death of Rukupto’s brother was devastating. Designing and building the meeting house was a way to show the importance of genealogy.




Te-Hau-Ki-Turanga Raharuhi Rukupō 1840


On the other side of the world, the Americas offers a history of their own. In the Valley of Mexico lies the extinct Aztec Empire, brought to ruins by the Spanish. While the Aztec Empire was thriving and coexisting with the Spains, the King of Spains, Holy Roman Emperor Charles V requested an art book about the Aztecs. The most significant example from the book was The Foundings of Tenochtitlan. 

The Founding of Tenochtitlan, 27-3 on page 349 or 854.





The artwork here signifies the culture of the Aztecs. The central figure within the x’ed box is a reference to the story of why the founders decided to settle in Central Mexico. Within the said box is the precinct where many buildings are and the temple on the upper triangles. This is significant since it shows that they are civilization and they have monuments important to them. To the right of the eagle and the cactus and the stone is a skeleton, and this represents the sacrifices the civilians made for their gods to keep the world alive. The blue borders represent the landscape and how they expanded their city on the water. Then at the bottom of the Inked art piece is the soldiers of Aztec going out to conquer more lands, defend their lands, and fight for their gods. The two temples near them are the two temples that the sun sets onto depending on the time of year.



The Founding of Tenochtitlan Aztec Empire 1325






Citation Stokstad, Marilyn, and Michael Watt Cothren.Art History.Sixth ed,.II, Pearson,2018.

Post 4 - Winmari Paulino

Shen Zhou, Poet on a Mountain Top, 1496

The Ming Dynasty ruled China from 1368–1644. During this period, there were many trends in art that were birthed, the ‘literati aesthetic’ being one of the most prominent. The literati aesthetic was mostly correlated to government figures who were educated. Ironically, one of the most well-known literati painters of this period, Shen Zhou, had no interest in being affiliated with the government. Literati paintings can be simply concluded as expressions of nature coupled with meaningful calligraphy and we look to Zhou’s Poet on a Mountain Top as a prime example. Dong Qichang, a literati theorist, states that in order to properly train to become a painter in this field one must “‘read ten thousand books and walk ten thousand miles’” (Stokstad 818). Now, unlike some trends in art, these painters is pressure for the artist to make an exact replica of what they see; instead, they are expected to express themselves through their brushing technique. Zhou’s piece is a prime example of this -- although, of course, the image is not the most accurate to reality, the technique throughout the piece is consistent and uniform. All in all, this was a time of peace and spirituality -- and it was expressed through other mediums, as well. For instance, there was a great emphasis on the building of gardens to places of leisure where they could practice “calligraphy, poetry, and painting, the three arts most valued by scholars in China” (Stokstad 819).

Sesshu, Winter Landscape

Although the presence of art was already strong, there was a clear development during the Muromachi period (1333-1570s). Not unlike Chinese art, Japanese art was never characterized by perfection. In fact, it “manifested a taste for asymmetry, abstraction, boldness of expression, and humor” (Stokstad 831). This period was strongly linked to Zen Buddhism. Even though, Zen monks were usually artistically inclined, art was not their life’s priority; however, there was a shift during this era. For example, there came a point where temples had their own painting studios to be able to meet the demand for paintings. We can look to Sesshu’s Winter Landscape as a sample for the art in this period. It is evident that this piece carries no kind of symmetry throughout. Again, an eccentric use of the brush can be observed. Even with no spatial technique within the image, the image of a cold winter is painted clearly.

Wampum Belt, 1680s

Needless to say, the arrival of Europeans brought major changes upon Native Americans, in this case, the Woodlands peoples in specific during the seventeenth century. The Natives traded their knowledge on survival skills such as agriculture, fishing, and hunting, as well as furs. In return, the Europeans provided them with items that the Natives had yet to encounter such as “metal tolls, cookware, needles, and cloth and they especially prized European glass beads and silver.” Up until this point, Natives had only been exposed to copper, crystal, and shell. These new materials allowed them to experiment with the creation of different items that would turn out to be useful, we can look to the Wampum Belt as an example. Unsurprisingly, this is not our typical belt. This specific belt was used to “commemorate an unwritten treaty when the land that is now the state  of Pennsylvania was  ceded  by the Delawares in 1682, is especially prized” (Stokstad 861). This belt served as a binding contract and aided in keeping order.

Asmat Ancestral Spirit Poles (BISJ), 1960

The honoring of ancestors plays a big role in New Guinea’s culture. Those who live along the river, the Asmat, were strong believers that those who died remained in the village in spirit which is why they built the pictured Asmat Ancestral Poles. They believed these poles captured the spirits of past warriors and headhunters. Of course, wood is used to build these poles, but the process by which the wood is acquired is quite interesting -- “the felling of a tree is a ritual act in which a group of men attack the tree as if it were an enemy” (Stokstad 881). The figures represent the individual who passed and deceased children. Additionally, the poles are positioned by the water to assist their spirits to reach safan, “the realm of ancestors.”

Kente Cloth, Asante, 1980

During the eighteen century, Ghana was mostly ruled by the Asante Empire. However, there was a turn in the nineteenth century. The British forced the Asantehene, the kings of the Asante, to share their power as they ruled from Kumasi. Fortunately, Ghana gained independence and Asante Empire became a state of its own within Ghana. Asante households were most recognized for their Kente cloth. The woven nature of the fabric is no coincidence as the word, kente, comes from the word Asante word used for “basket.”  Surprisingly, kente cloth is still highly valued to this day and has become part of traditional wear for Ghanians. 

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Winter Landscape, Sesshu 1470s

Winter Landscape by Sesshu was completed in the 1470s. Sesshu had trained for 20 years as a Zen monk painter under Shubun. When Sesshu returned from China he stayed in the provinces to avoid the civil war that was taking place in Kyoto, Japan. This painting differs from the previous paintings he made in China which were of Shubun style. In this painting Sesshu uses sumi-e painting. Sumi-e painting is made from using Chinese ink which is created from burning pine twigs and mixing it with resin. In this painting he uses jagged brush strokes to depict a series of rocky hills where a figure makes his way to a Zen monastery. He uses overlapping planes to show the composition of the hilly land. The white is on the painting to show the snow from the harsh and cold climate and the sky if gray showing the cloudy weather. Zen Buddhism played a large role in Japanese arts because they believed in Nirvana or achieving enlightenment. Painting nature or the landscape allowed artists to truly encourage a deeper experience and understanding of nature.

Bull and Puppy, Nagasawa Rosetsu 

  

By the middle of the eighteenth hundreds schools of independent artist emerged in Kyoto to satisfy demands for naturalistic style paintings that reflected this fascination. The most influential was founded by Maruyama Okyo who had perfected methods to incorporate western shading and perspective. He used this style in a more Japanese decorative way to create a new volume of East Asian painting. Okyo's most famous pupil was Nagasawa Rosetsu who created the Bull and Puppy. In this painting he uses six large panel screens to portray a bull and a puppy. The bull is so large that it takes up most of the space on the panels. However the small puppy still stands out because of its white shade against the dark gray shade of the bull. The puppy's relaxed tone increases the charm of the painting. Nagasawa was a master at surprising viewers with odd and humorous compositions.

Battle Scene, Hide Painting , Mandan 1797-1800

The Great Plains were known for the residence of Native Americans in United States history. This painting is created on a buffalo hide robe that was presented by Lewis and Clark by the Mandan. It depicts a battle they fought against the Sioux Indians near North Dakota. The painting depicts a full conflict that was fought by five indian nations and shows warriors in 22 different parts. The party is led by a man with a pipe and an eagle-feathered headress. It shows the warriors armed with bows and arrows, clubs, lances, and flint-knock pistols. The creator of this painting used red, green, black, yellow, and brown pigments and a porcupine quill to draw all these illustrations. This paining shows the similarity for many native american paintings. Many different tribes used hides of animal skin to paint on. They also showed art by making fancy headresses, blankets, pots, etc.

Tattooed Natice of Nukahiva

Tattooing in Oceania was widespread and ancient. They would use similar tools used to decorate Lapita pottery, which means their was some symbolic meaning in marking pottery and the human skin. The people in this region used chiseled bones to create a sharp point in order to apply the ink. The Polynesians who were descendants of the Lapita people brought tattooing along with them throughout the Pacific. Although the people eventually split up and resided in different areas of the world, spirals and rows of triangles became the hallmark of the Maori tattoos. The people of the Polynesian islands would tattoo young men of high social rank around the age of 18. By 30 years old their body would be completely tattooed to show prestige and matureness. This tradition remained sacred for women as well who would get tattoos on their hands, ankles, lips, and behind the ears. 

Kente Cloth, Asante 1980

The Asante empire located in the country of Ghana was known for its prized Kente Cloth. Kente is the Asante word for basket which acknowledges the woven like nature of the fabric. Asante weavers, usually men, worked on double heddle looms which allowed them to create long strips of cloth with vertical stripes that alternate with horizontal bands and geometric shapes and patterns. These strips of cloth were then woven together to form one large rectangle of Kente cloth. these patterns were also intentionally made random so the cloth was more dazzling and less predictable. Kente cloth is still worn by the royal family and it is very expensive. This type of art differs from western style of art because it is more fabric and sculpture based. African American art involved many more sculptures to depict different actions and events. Western art did not incorporate sculpting to such a high degree. African American art also had more art made by weaving cloth and making unique blankets and clothing.

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Rock Garden, Ryoanji Kyoto

Zen Dry Gardens was a form of art, unlike most others. It wasn’t a form of painting or drawing and it was more of a piece of architectural masterwork. Monks have used these in their attempts to reach enlightenment. “In addition to daily meditation, they engaged in manual labor to provide for themselves and maintain their temple properties” (Stokstad, 832). The trees and plants growing outside the actual garden are still part of the garden as they contribute to the scenery. This is called “borrowed Scenery”.  These gardens were prominent in the fifteenth century and were primary in Japan. Later on, Chinese art began to influence the way people made the gardens to create a more art-like setting. The Rock Garden in Ryoanji, Kyoto has rocks appearing out of the floor. Then the sand around it is raked into a circular pattern as if disseminating from the rock. This represents the ocean and its many islands that come out of the ocean floor.  Others see it as mountains that rise into the sky or the stars in the sky. The ability of these gardens to be interpreted in many ways is part of the art in the sense that everyone can see it differently. Many people in today’s modern society still make zed gardens for themselves to relax and meditate.

Marquesas Dancer

The Polynesians were well known for tattooing. The Marquesas Islands were the most tattooed of the Polynesians.  To the Polynesians, blood was a sacred substance and thus at the age of 18 -30 a young man would get their tattoos (tattoos piece skin causing bleeding).  These tattoos were sacred and had meanings to the individual. They would represent status, family, accomplishment or other things that occurred in the individual’s life.  Women could also get tattoos. They had special houses in which the ceremony would be done, and the tattoos would then be given. It became a major part of the Marquesas culture. They take pride in their tattoos.  Similar traditions/tattoos can be seen in that area of the world such as Samoa, Hawaii, and other islands.

Machu Pichu, Peru Inca 1450-1530

Machu Pichu was a city in Peru for the Inca civilization. During its time, it was a city, but now it is one of the world's most famous pieces of architecture.  Stokstad describes the Machu Pichu’s surrounding, “At almost 8,000 feet above sea level, it straddles a ridge between two high peaks in the eastern slopes of the Andes and looks down on the Urubamba River” (Stokstad, 858). When looking at the way the city was built, it was well thought out. It had a set place for meetings for leaders. It also was set up so that the views of the surrounding areas were easily accessible, and the view was beautiful. The stones were cut and fit nearly perfectly with one another to create strong walls. The walls used only frictional force to hold it together since they didn’t have access to modern glues like mortar.  It was phenomenally constructed for both beauty, practicality, and protection.

Wampum Belt: William Penn's Treaty With Deleware

The Wampum is mainly associated with early Americans. “The Iroquois and Delaware peoples used wampum to keep records (the purple and white patterns served as memory aids) and exchanged belts of wampum to seal treaties” (Stokstad 861). Wampum looks as if it was a belt that was worn around the waist. It is also very flashy as the beads and shells shine. Stokstad explains that few wampums used for treaties are still in existence. The one in the picture shown was from when the Delawares ceded the land that we now know as Pennsylvania. The figure on the Wampum shows two people holding hands. This could represent a form of equality and agreement. From history, we then find out that this treaty failed as the Quakers and Delawares eventually began to fight and have a violent relationship once again. Either way, this is a very important part of American history and tradition.

Korambo, 20th century, Kinbangwa Village,
Sepik River, Papua New Guinea

The Korambo is a ceremonial house that was used in Papua New Guinea. This house is made only for the men. It is a way for the men to have group sessions without the interference of women. They would be able to plan and have a clan identity that was only for the men. When building the Korambo every step of the process is associated with a ceremony that is held early while the women and other boys not in the cult are sleeping. One of the ceremonies can even last up to 6 months and consisted of dancing for long hours throughout the night. These ceremonies are very similar to other cultures where they have ceremonies for boys who reach an age of maturity and then become men. Once the boys have reached this point, they will be allowed to enter into the Korambo, meaning that they are now men.

Citation

Stokstad, Marilyn, and Michael Watt Cothren.Art History.Sixth ed,.II, Pearson,2018.

Extra point post - Gengshuo Ge

The Tour at the Brooklyn Museum

      Last week, we had a tour at the Brooklyn Museum, and it really impressed me because I saw many autographs that we learned in the textbook, and I was really interested in the following three. They are Sazai hall - Temple of Five Hundred Rakan by Hokusai, Pierre de Wiessant, Monumental Nude by Auguste Rodin, and Houses of Parliament, Sunlight Effect by Claude Monet.

Sazai hall - Temple of Five Hundred RakanKatsushika Hokusai
1832

      First, let us have a look at Sazai hall - Temple of Five Hundred Rakan, and it was a part of Thirty-six Views of Mount Fuji, and it was created by Hokusai. Although it was not famous as The Great Wave, it was still worthful for us to have an in-depth discussion. For the subject, we can find there are three layers of view; the closer one was that people took a view of the Fuji and people had a rest on the floor; the middle one was the view of the lake; the farther one was the view of the Fuji. The three layers of view created a peaceful scene, and it attracted many people to have a trip to Tokyo. Then, for the composition, we can find that Hokusai used the linear perspective, which was learned from European arts because of the Western colonists and trades. From the floor and the roof and the direction of people’s sights, we can see they were all focused at the Fuji, which was the vanishing point, and this was the new way that Hokusai created in Ukiyo-e.

Pierre de Wiessant, Monumental Nude

Auguste Rodin

1886, cast 1983

      Then, for the Pierre de Wiessant, Monumental Nude, it was a part of The Burghers of Calais by Auguste Rodin, and it embodied the realism though Rodin lived in the years that impressionism was the mainstream. This sculpture depicted that the city of Calais had been under siege by the English, and the English king commanded six prominent citizens to die for the withdrawal. Although the Queen released these six citizens, Rodin still chose to show the scene that they were waiting to be executed. From the emotion on the face, we can see that he was anguished and suffering; from the contorted gesture, we can find he was thinking about his death and sacrifice. Rodin did not create him as a hero, but he chose to depict him as a person from the lowest level of the society, and he was the man who fought against the dominant side, which could embody the realism. 

Houses of Parliament, Sunlight EffectClaude Monet
1903

      Last but not least, let us have a look at Houses of Parliament, Sunlight Effect, which is an impressionist painting by Claude Monet. Monet was the leader of impressionism, and he focused on the light effect at a particular moment, which might be the reason that the subject matters were the same for many paintings but with different light effects, which was quite different from the Renaissance paintings. This painting was one of the nineteen Houses of Parliament, and we can find that Monet weakened the details of the architecture, but he focused on the sunlight and the reflection in the water. Monet captured the fleeting moment of the light effect, and he made the parliament partly hidden and partly visible, which is just like Stokstad and Cothren commented, “He records the ephemeral play of reflected light and color and its effect on the eye, rather than describing the physical substance of forms and the spatial volumes they occupy” (Stokstad and Cothren 1003). 

Work Cited

Stokstad, Marilyn, and Michael Watt Cothren. Art History. Sixth ed., II, Pearson, 2018.