1. Origin of Art
1.1. New worlds and Histories
1.1.1. Discovery of the new territories of the world with the expansion of the European's, Europe developed a sense of Art ,and also found colonies artifacts interesting
1.1.2. Anthropology Methods of study
1.1.2.1. Linguistic
1.1.2.1.1. The study of human language in the past and the present
1.1.2.2. Physical
1.1.2.2.1. The study of human biological evolution, primates, and human bio cultural variation, both past and current.
1.1.2.3. Cultural
1.1.2.3.1. the study of human societies and cultures and their development
1.1.2.4. Archeological
1.1.2.4.1. The investigation of the human past by means of excavating and analyzing artifacts.
1.1.3. The cycle of history was realized, among other things, in a revival of the ancient conventions for painting and sculpture, which required that the appearance of things be idealized to represent the beauty of nature. page 9, Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-09-30 23:04:25.
1.2. Industrial and Intellectual Revolutions
1.2.1. By the late eighteenth century, when they began to invest the wealth of the world in the development of their own manufacturing industries, Europeans were becoming convinced that they had surpassed the achievements of antiquity and were now in the forefront of human development, ready to take charge of the world, intellectually as well as politically. Tis was still subject to divine providence, of course, but there was a shift from acceptance of the divine received wisdom of the theologians to a “natural philosophy” investigating God’s work in a world of ever-widening horizons. Page 11, Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-09-30 23:20:44.
1.2.2. Theories discussed
1.2.2.1. Eurocentric
1.2.2.1.1. focusing on European culture or history to the exclusion of a wider view of the world; implicitly regarding European culture as preeminent
1.2.2.2. Cultural Relativism
1.2.2.2.1. the belief that efforts at understanding other lifeways are not successful if we view those customs in their own traditional context and avoid judging.
1.2.2.3. Ethnocentrism
1.2.2.3.1. The believe of a culture to be superior to other Cultures and Arts
1.2.2.4. Historical particularism
1.2.2.4.1. the concept that cultures develop in specific ways because of their unique histories.
1.2.3. Shift from divine providence to natural philosophy The goal was to research gods work.
1.3. British Museums
1.3.1. Te growth of these collections illustrates the accumulation of European knowledge of ancient and contemporary cultures of the world, and the British Museum’s institutional history reveals the emerging categories into which this knowledge was classifed. Page 14, Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-09-30 23:59:23.
1.3.2. With these showcases of knowledge the Europeans also got more power and also commerce coming through as many people wanted to see the artifacts form other lands.
1.3.3. Redefined classical art
1.3.3.1. the only fine art came from Europe, from places like Rome, Greece, etc.
1.3.4. Promoted notions of European superiority. Focused on Medieval and Renaissance Europe
1.3.5. Ethnographic
1.3.5.1. was a classification for arts and cultures that were not "fine", such as Asia, Egypt, etc.
1.4. Politics and Commerce, Art and Craft
1.4.1. The market in such artefacts developed in parallel with the museums, which have always depended on gifts from collectors wealthy enough to purchase them as well as on purchases from commercial importers, exhibitors, and dealers Page 20 Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-10-02 15:55:15.
1.4.2. Many European contries became wealthy and gain more power over others with the implementation of museums, they controlled people of great power and money giving them advantages and funding for their plans from more explorations
2. Classical Art
2.1. Obsession with ancient Greece
2.1.1. Greece and Rome represented Classical expression of European art forms. Claim superiority over all other traditions of art and expression around the world. (Anth 306, WA2.pdf, Slide 2)
2.1.2. After reconquering Greece they went back home with great treasures, of great value, however these marbles lost their greatness as they were removed from their architectural place and made art pieces for display
2.2. Biblical Antiquity
2.2.1. Te trustees and curators of the British Museum disdained the artistic quality of the sculpture and resented competition for space with their Classical collections, but were obliged by popular interest to provide galleries for them in 1853, as part of the rebuilding of the museum. Page 28, Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-10-02 16:16:32.
2.2.2. Europeans claim heritage to ancient civilizations, developing an interest in the relics of religious heritage. Many of artifacts and art came from Egypt and Mesopotamia, as they were very rich on biblical heritage.
2.2.3. French and British started to imitate some of the architectures from Egypt
2.2.3.1. French and English competed for in acquiring and replicating Ancient Egyptian style.
2.3. Classical Art History
2.3.1. Vocabulary
2.3.1.1. Zeitgeist
2.3.1.1.1. spirit of the age, spirit of a culture
2.3.1.2. Hellenomania
2.3.1.2.1. Fetishism with Greek art
2.3.1.3. Historical particularism
2.3.1.3.1. an anthropological school of thought connected with Franz Boas and his students who focused on a people’s integrated and distinctive way of life in their study of culture.
2.3.2. From the mid-nineteenth century, art historians traced and theorized artistic developments from Classical antiquity through the Middle Ages and Renaissance to the modern world, under the assumption that art was self-evidently a property of a progressively evolving European civilization. Page 28, Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-10-02 16:40:54.
2.3.3. Redefinition of art and increased progress in the world view of art in the public, more than in private spaces. more collections were brought from across the world.
2.3.4. The story of art
2.3.4.1. by Ernst Gombrich
2.3.4.2. 3 main focus
2.3.4.2.1. Story or building
2.3.4.2.2. Story of picture making
2.3.4.2.3. Story of statue making
2.3.4.3. Historical account of the rise and fall of art in Europe, Mediterranean, Middle East, and Asia
2.4. Classicism and Eurocentrism
2.4.1. Cultural relativism
2.4.1.1. the theory that beliefs, customs, and morality exist in relation to the particular culture from which they originate and are not absolute:
2.4.2. Problems with art history
2.4.2.1. personal and cultural judgments
2.4.2.2. ethnocentric perspectives
2.4.2.3. no interest in cultural relativism
2.4.3. One thing about this kind of art history that contrasts with a comparative discipline like anthropology is that it makes little attempt to stand outside the cultural tradition it describes. Page 35, Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-10-02 16:52:51.
2.4.4. Various clash of ideals and identities, anthropologists found hard to make an understanding with art of some cultures due to their perspective of art and ideals.
3. Oriental Art
3.1. Orientalism
3.1.1. Not understood by Europeans, but appreciated and classified as some sort of art
3.1.2. the representation of Asia, especially the Middle East, in a stereotyped way that is regarded as embodying a colonialist attitude.
3.1.3. binary ideology
3.1.3.1. Orient
3.1.3.1.1. Asia and middle east
3.1.3.2. Occident
3.1.3.2.1. West (Europe)
3.1.3.3. treated each other as oil and water, very different ways of thinking and expression
3.1.4. Tis Orient had been the enemy of Europe and its cultural ancestors since the Egyptians and Babylonians oppressed the Israelites, the Greeks fought of the Persians, and the Crusaders attacked the Muslims, continuing in conficts with the Ottomans in the nineteenth and early twentieth centuries. Page 39, Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-10-02 17:07:29.
3.2. Islamic Art
3.2.1. Unlike the religious focus of “Christian art” or “Buddhist art,” “Islamic art” includes artefacts made for nonMuslim purposes, by and for non-Muslims. Unlike the most valued Western art, it is mostly “decorative” as distinct from “fne art.” Islamic art is not a category recognized by Muslims, even by the connoisseurs who treat calligraphy and book illustration much as Westerners treat fne art. Page 42, Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-10-02 17:15:10.
3.2.2. Differentiated from any other art culture, their main art was based on their calligraphy and architectural masterpieces, including the implementation of art into their structures. they were fascinated with geometry
3.2.3. Islamic art that is portrayed is identified as decorative not fine art.
3.2.4. Calligraphy in Muslim countries are fine art.
3.3. Indian Art
3.3.1. Archeological categories during certain periods
3.3.1.1. Brahmanical
3.3.1.1.1. spread of the Aryans
3.3.1.2. Buddhist
3.3.1.2.1. rise and decline of Buddhist religion and art.
3.3.1.3. Muhammadan
3.3.1.3.1. embraces rise of Muhanmmadan power.
3.3.2. Hegelian
3.3.2.1. theory of spirt of a people and periods.
3.3.3. highly regarded as decorative art of ornaments and accessories. it was also said that they had degenerated from art to craft. Indian art has different principles and value more different perspectives of beauty, for example ornaments add richness to them
3.3.4. Indian design seemed to have a coherence of style, which Europe had lost to “illusionist” decoration, which concentrated on naturalistic images rather than aesthetic form. Page 43, Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-10-02 17:34:56.
3.4. Chinese Art
3.4.1. Chinese have tradition of sophisticated philosophy of artistic value. Luxury artifacts were allocated according to official regulation controlling quality and quantity. very proficient in ceramics and porcelain
3.4.2. Major trading nation
3.4.2.1. Trade with Europe
3.4.2.1.1. Opium
3.4.2.1.2. porcelain and ceramics
3.4.2.1.3. Silk
3.4.2.1.4. Tea
3.4.2.1.5. Jade
3.4.2.1.6. Gold
3.4.3. Although Chinese (and Japanese) pictures were dignifed as art by inclusion in the British Museum’s Department of Prints and Drawings in the nineteenth century, Chinese collections there and in the Victoria and Albert were dominated by decorative art, particularly ceramics, and even this was not highly regarded. Page 50, Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-10-02 17:46:59.
3.4.4. Very naturalistic art, and different view of the human and the nature, nature was the main focus and the humans lived within nature, quite opposite compared to Europe views
4. Primitive Art
4.1. Savages and anthropology
4.1.1. Savage and barbarous civilizations
4.1.1.1. Africa
4.1.1.2. The Americas
4.1.1.3. Weak political organizations
4.1.1.3.1. Tribes
4.1.1.3.2. Chiefdoms
4.1.1.4. Any region far from Europe
4.1.2. philosophers and anthropologists believed that all humanity came from the same origin, humanity and races evolved like other species, some developed more than others, western societies were the pinnacle of all humanity
4.1.3. “At some future period, not very distant as measured by centuries, the civilised races of man will almost certainly exterminate and replace throughout the world the savage races.” -Charles Darwin, Descent of Man (1871)
4.1.4. Europe classification and development
4.1.4.1. Disciplines
4.1.4.1.1. ethnology
4.1.4.1.2. ethnography
4.1.4.1.3. socio-cultural anthropology
4.1.4.2. A glimpse to the past
4.1.4.2.1. perspectives
4.1.4.3. Unilineal cultural evolution
4.1.4.3.1. all cultures naturally evolve through the same sequence of stages from simple to complex.
4.2. Evolution, diffusion, speculation
4.2.1. Vocabulary
4.2.1.1. Typology
4.2.1.1.1. arranging artifacts from around the world in sequence.
4.2.1.2. Survivals
4.2.1.2.1. simple forms that survive or slowly change due to items suited to their environment.
4.2.2. Evolution
4.2.2.1. Pitt Rivers
4.2.2.1.1. Believed could demonstrate evolution from primitive to civilized complex materials.
4.2.2.2. Geometric designs developed first.
4.2.3. Diffusion
4.2.3.1. Exotic peoples global borrowing of art forms and motifs.
4.2.3.2. Empathy experienced by other societies led to reproduction and diffusion.
4.2.3.3. High culture spread forms but deteriorated style
4.2.3.4. Low culture enriched by diffusion.
4.2.4. Speculation
4.2.4.1. Art historians hold onto primitive man
4.2.4.1.1. Assumed art forms were like ancestors and static.
4.2.4.1.2. Deemed extraordinarily conservative.
4.2.4.2. Willful ignorance of historical evidence
4.2.4.2.1. Aztec society categorized as primitive.
4.2.4.2.2. These concepts deny achievement of people of the past.
4.3. Identifying cultures, areas, styles
4.3.1. Native North American culture areas are still used more than a century after most of the cultural traits have disappeared with the colonial suppression of local ways of life. The scheme always had a certain unreality, including in the same maps, books, and exhibitions certain Native American peoples who had disappeared or relocated centuries before certain others had been identifed. Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-10-02 19:10:08.
4.3.2. Franz Boas
4.3.2.1. Rejected unilineal cultural evolution.
4.3.2.2. Cultures no static, but dynamic.
4.3.2.3. He denied naïve diffusionism claiming cultural traits survived or died.
4.3.3. complexes/culture areas
4.3.3.1. traits that coincided with each other in certain regional environments.
4.3.3.2. Helped perpetuate stereotypes.
4.3.3.3. Divides them from general population.
4.4. the survival of evolution and diffusion
4.4.1. Rethinking Evolution and Diffusionism
4.4.2. neither primitivist theories nor culture area studies have completely discredited analysis of the evolution and diffusion of artefact design. This was revised and refined in the late twentieth century to distinguish cultural infuences through close examination of artefacts. Barry Craig has called for more studies of local material cultures and the relationships between them based on a methodology for comparison that would reveal patterns of distribution of artefact types and styles, and perhaps the history of their development. Page 65, Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-10-02 19:14:54.
5. Prehistoric Art
5.1. Discovering antiquity
5.1.1. Roots
5.1.1.1. Based records on documents collected from Greeks and Romans.
5.1.1.2. King James Bible Old Testament
5.1.2. Remanence of older humanity
5.1.3. Archeological interpretation trace
5.1.3.1. Culture history
5.1.3.2. Identify artifacts style, time, and place
5.1.4. Theories
5.1.4.1. The Drift
5.1.4.1.1. lived in the wild as hunter and gatherers
5.1.4.2. Stone Age
5.1.4.2.1. period of polished stone and flint
5.1.4.3. Bronze Age
5.1.4.3.1. bonze used for arms and tools
5.1.4.4. Iron Age
5.1.4.4.1. Iron replaced bronze.
5.1.5. Fossils
5.1.5.1. Remnants of animals
5.1.5.1.1. Humans could have some artifacts or other things too
5.1.6. Geologist William Smith
5.1.6.1. Principle of Faunal Succession hypothesis
5.1.6.1.1. he relative positions of strata and the kinds of fossils found in the layers were the same throughout Britain.
5.1.6.1.2. Strata
5.1.6.2. Believed that fossils provided a record of past life and of time’s passage.
5.2. Dawn of art
5.2.1. Assumptions about the artifacts use
5.2.1.1. Some interpretation obvious
5.2.1.1.1. Axes
5.2.1.1.2. knives
5.2.1.2. Remains found make bias assumptions about another cultures.
5.2.2. Made connection with Shamanistic dreams and visions.
5.2.3. When archaeologists deal with artefacts that have survived their makers and users too long for a cultural legacy to be identifed, let alone for them to be questioned about it, and especially in the absence of legible texts, interpretation depends upon drawing analogies with more familiar and better documented cultural traditions, including the archaeologists’ own. Page 70, Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-10-02 19:31:17.
5.3. Prehistoric Myths
5.3.1. Matriarchal Origins
5.3.1.1. Worshipped mother goddess
5.3.1.1.1. venus of Willendorf
5.3.1.1.2. Sarah Baartman aka Hottentot Venus
5.3.1.2. Fertility and reproduction honored and worshipped.
5.3.1.3. foreign gods and goddesses
5.3.2. Women held original positions of power and evolved to male supremacy.
5.3.2.1. justifies patriarchal as common
5.3.3. Patriarchy is the mark of development towards civilization.
5.4. Politics and prehistory
5.4.1. Artifacts and art are extremely political
5.4.1.1. artifacts are valued highly
5.4.1.2. who owns that artifact?
5.4.1.3. Does it represent a community?
5.4.2. Great Zimbabwe Monumental Ruins
5.4.2.1. described as land of golden riches of ancient land awaiting new exploiters.
5.4.2.2. 1929 archeologist proved was entirely indigenous African creation.
5.4.2.3. 1980s Zimbabwe independence from racist tyranny.
5.4.2.4. Director of Museums rapidly published denouncing all archeological studies as imperialist.
5.4.3. creationists. Some Native Americans, like the Lakota scholar Vine Deloria, regard the now widely accepted theory that the frst people to arrive in America came from Asia via the Bering Strait during the Ice Age as having the colonial implication that Native Americans are no more truly indigenous to the Americas than the colonists themselves. It reminds them of earlier colonial theories that they were descended from the Lost Tribes of Israel, or from the medieval Welsh prince Madoc, according to the kind of difusionism that denies the cultural integrity of the colonized. Burt, Ben. World Art : An Introduction to the Art in Artefacts, Taylor & Francis Group, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/fullerton/detail.action?docID=5327726 . Created from fullerton on 2022-10-02 19:39:25.