World Art: An Introduction to Art and Artefacts

1. Chapter 3

1.1. While calligraphy was considered fine art in Muslim countries, the west viewed them as decorative art (Burt, 42). The west viewed Islamic art as homogenous and did not include other Muslim countries who later converted.

1.2. The Chinese valued text and calligraphy and viewed that as fine art rather than an idealized imitation of nature from the west (Burt, 48). The Chinese would create and sell art they considered to be low valued to suit the taste of the west.

2. Chapter 4

2.1. British condescendingly described Aboriginal people as “primitive” (Burt, 53). They believed their civilized society to be much more evolved and superior, claiming these “savages” needed control and guidance.

2.2. Pitt Rivers explained the evolution process of human culture through typology (Burt, 56). He arranged artefacts in sequence, grouped by functional type, and showed the progression of the instruments due to environmental changes.

3. Chapter 5

3.1. Artefacts that were found buried under many sedimentary layers over time were used as a way of dating other similar objects found in other areas that were buried in a similar fashion (Burt, 69).

3.2. It was believed that societies used to be matriarchal, and women were worshipped for their powers in reproduction (Burt, 74). Sculptures of women were found, such as the Willendorf Venus, which appeared to represent a pregnant woman.

4. Chapter6

4.1. Levi Strauss brought up the concept of split representation that is found in Northwest Coast artefacts. It was a “dualistic relationship between object and design,” such as a person wearing a mask or painting their face (Burt, 92).

4.2. The interior of a house played a symbolic role in the cannibal spirit ritual performance (Burt, 94). The center pole linked three different worlds together, where it represented power and prestige.

5. Chapter 7

5.1. In Benin, images of animals represent the hierarchy of power. The Leopard, for example, is seen as the king (Burt, 103). They are found on artifacts such as the brass plaque from the palace of Benin (Burt, 104).

5.2. Forge analyzed paintings from the Sepik, Papua New Guinea and found more meaning between the relationships of designs rather than the designs itself (Burt, 108). It focused on the relationship between men and women.

6. Chapter 11

6.1. There has been a gender bias when valuing artifacts. Artifacts produced by men were viewed as prestigious, while those created by women were seen as crafts (Burt, 162)

6.2. Elite art collectors justify their collection as having intellectual value. The scarcity and originality of the artefacts increases their value (Burt, 167).

7. Chapter 13

7.1. Haida initially traded fur with the Europeans. When their supply ran out, they began to carve objects out of argillite specifically catering to the European taste (Burt, 190).

7.2. Frank McEwan introduced sculpting in Shona. He guided them to create objects that appealed to the West and tried to claim them as being authentic (Burt, 198).

8. Chapter 1

8.1. Europeans had their own biased concept of art and judged the style and subject of a painting or sculpture. The elites believed beautiful images of a painting were superior to artefacts (Burt, 11)

8.2. Cultural relativism is the idea that one should not hold another culture’s standards and beliefs up to their own. Rather, we should try to understand them in their own context.

9. Chapter 2

9.1. The British took possession of the Parthenon sculptures, claiming they salvaged it from the neglect of the barbarous Turks (Burt, 23). They knew how to appreciate the sculptures and described them to be symbolic of western civilization.

9.2. Mesopotamia and Egypt became important biblical connections to European art. The Louvre of France competed with the British museum in acquiring antiquities from these regions (Burt, 28).

10. Chapter 8

10.1. People wear costumes and ornaments on their body to communicate their role in society. In Solomon islands, dolphin teeth was a sign of wealth and other shells were considered to have spiritual powers (Burt, 114).

10.2. In Britain, they wore colorful costumes when marching in their parades (Burt, 118). Parades like Trooping the Colour was meant to celebrate the monarch’s birthday and bring out national pride (Burt, 119).

11. Chapter 9

11.1. Moche iconography, found in Peru, had specific scenes drawn on their ceramics. It is known as the “sacrificial ceremony” where men within the same community would fight against each other (Burt, 130).

11.2. Nasca iconography did not have specific scenes but rather complex designs of plants, animals, and objects (Burt, 135). Some believe they symbolized spiritual beings.

12. Chapter 10

12.1. In Niantic Sudan, people prized their cattle. It was not only a source of food but a symbolic entity. They often decorated their bodies in cattle design (Burt, 143). They appreciated their aesthetic beauty and would decorate them with tassels and shaped their horns.

12.2. In the Trobriand Islands, people carved Kula canoes, with each part of the canoes being symbolic for the voyagers (Burt, 150). The details in the canoe carvings itself had meaning and were associated with their cosmology.

13. Chapter 12

13.1. Europeans started to appreciate primitive art in the 1900s. But some were still not being recognized as works of art on their own, but rather, as just an influence to western art (Burt, 178).

13.2. The Museum of Mankind was opened in 1970 to house the ethnographic collection. It was trying to move away from Eurocentric primitivism and educate and provide insight into other cultures (Burt, 185).

14. Chapter 14

14.1. Edward Curtis took photographs of Native Americans, intending to recognize and preserve their traditional culture, but it did not show their suffering (Burt, 206).

14.2. The British founded schools in India to teach and improve their art. They believed the Indians had inferior taste and encouraged nature inspired, western fine art (Burt, 213).

15. Chapter 15

15.1. Minority cultures have been exploited by the west. Globalization has pressured them into selling their culture and, as a result, reduced the quality of artisan artwork (Burt, 223).

15.2. The irony of western institutions is that they try to spread a certain style of art but at the same time are trying to preserve the diversity of different cultures (Burt, 225).