1. Form
1.1. Connoisseurs of form
1.1.1. Formalism
1.1.1.1. identify principles of composition, such as organic unity among elements, balanced sense of symmetry, and recurring shapes.
1.1.1.1.1. Form
1.1.1.1.2. Color
1.1.1.1.3. Texture
1.1.2. In western art forms were considered or assessed universal human values. Rich traditions of native people like the ones in Northwest Coast. were valued and studied by the anthropologists
1.1.3. Aesthetic values increase in the artist of the 19th century
1.1.3.1. against art-historical interest
1.1.3.1.1. Iconography
1.1.3.1.2. Symbolic content
1.2. Form in Northwest Coast Art
1.2.1. Franz Boas
1.2.1.1. Based on cultural relativism
1.2.1.2. Artistic forms have deeper meaning
1.2.1.2.1. Male
1.2.1.2.2. Female
1.2.1.3. Form is
1.2.1.3.1. Universal Principle
1.2.1.3.2. Geometric
1.2.1.3.3. Representational
1.2.2. William Fagg
1.2.2.1. Objective to identify the value of pieces of art based on
1.2.2.1.1. Truth
1.2.2.1.2. Values
1.2.2.1.3. Feelings
1.2.2.2. African art has universal and tribal value
1.2.3. In dealing with Western art, formalism assumed the connoisseur to be the best judge of what was signifcant, in terms of universal aesthetic values. A similar approach was taken to exotic art, after it had been brought to the attention of connoisseurs by the Primitivist art movement of the early twentieth century. William Fagg of the British Museum was a notable advocate of formalism whose search for “meaning in African art” was an exercise in connoisseurship, Burt, Ben. page 86 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 2022-11-01 20:59:08.
1.2.4. Ethnology
1.2.4.1. analysis and comparison of ethnographic data across cultures
1.3. Structure in Northwest Coast Art
1.3.1. Masking culture
1.3.1.1. persons have their faces artificially transformed
1.3.1.2. Reflected roles in social hierarchy
1.3.1.3. person and impersonation
1.3.2. Claude Levi-Strauss
1.3.2.1. Critiqued diffusionism
1.3.2.1.1. Poor methodology
1.3.2.1.2. weak evidence
1.3.2.2. Structuralist
1.3.2.3. Split representation
1.3.2.3.1. Two profiles joint at the head
1.3.3. Colors used
1.3.3.1. Black
1.3.3.2. Red
1.3.3.3. Blue-Green
1.3.4. Formline
1.3.4.1. continuous primary connected line pattern delineating main shape
1.3.4.1.1. Isolated tertary spaces
1.3.5. Structuralist
1.3.5.1. deep inherit universal patterns of human mind that culture is built on
1.4. Structure in Northwest Coast Culture
1.4.1. Importance of eating in this culture is important. The soul cannot be freed if the body is not destroyed. everytime you eat the soul is transfefred to the one doing the eating
1.4.2. Ceremonies
1.4.2.1. Secular Spring
1.4.2.2. Sacred winter
1.4.3. Animal representation
1.4.3.1. killer whales, wolves, bears, hawks, eagles, salmon, and ravens
1.4.3.2. Special animals, because they regurgitate
1.4.3.2.1. Wolves and Owls
1.4.4. Meaning of Hunger
1.4.4.1. Greed
1.4.4.1.1. unrestrained hunger
1.4.4.2. Immorality
1.4.4.2.1. Desires that can create conflicts
1.4.4.3. Children
1.4.4.3.1. Constant need of feeding, consumign all the food
1.4.4.4. Believe that by controlling hunger, they control social issues
1.4.5. The Big House
1.4.5.1. Ceremonial place
1.4.5.1.1. Tsetseka
1.4.5.1.2. Tsetseka
1.4.5.2. Structure
1.4.5.2.1. Roof
1.4.5.2.2. Ground
1.4.5.2.3. Interior
1.4.5.2.4. Walls
2. Meaning
2.1. Reading symbols
2.1.1. Heraldry
2.1.1.1. tradition of graphic emblems that represent the histories and prerogatives of high-status individuals, families, and corporate bodies in Europe
2.1.1.1.1. Family Crests
2.1.1.1.2. Coats of Arms
2.1.2. Britain on heraldry to establish many of their distinguished royal families, military, merchants, houses, etc. Each symbol has a meaning connected to the individuals. some symbols were specially used to exactly depict what type of group they were.
2.1.3. U.K. Heraldry
2.1.3.1. Lion
2.1.3.1.1. Kinf of beasts
2.1.3.2. Unicorn
2.1.3.2.1. Purity
2.1.3.3. Shield
2.1.3.3.1. Celtic Representation
2.1.3.3.2. Scottish representation
2.1.3.4. Crown
2.1.3.4.1. Royalty
2.1.4. Tis iconographic code, described in many books on heraldry, is both explained and legitimated by its long history. Coats of arms, badges, and other insignia derive their motifs from obsolete military equipment of the medieval aristocratic armored cavalry. By the late ffteenth century, as the armor used in tournaments became inefective in warfare with the advent of frearms, its distinctive forms were increasingly used as graphic designs, not just by the aristocracy but by the rising merchant class. Burt, Ben. page 99. 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 2022-11-01 21:27:14.
2.2. Explicit Meaning
2.2.1. Imagery
2.2.1.1. visually descriptive or figurative language, or visual symbolism
2.2.2. Animals
2.2.2.1. Helped define the view of the world and nature of the human society
2.2.2.2. Creatures artifacts symbolized power in the hierarchy over their realms
2.2.3. Merchants
2.2.3.1. Appear a lot in their art, because it had a lot of meaning to them. as conquerors and as traders of goods
2.2.4. King of Benin
2.2.4.1. forms
2.2.4.1.1. King of Home
2.2.4.1.2. King of Land
2.2.4.1.3. King of the Bush
2.2.4.1.4. King of the Forest and Wild Animals
2.3. Limits to Iconography Analysis
2.3.1. Fantastic Beasts
2.3.1.1. Beaver
2.3.1.2. Sculpin
2.3.1.3. Hawk
2.3.1.4. Eagle
2.3.1.5. Killer Whale
2.3.2. Franz Boas
2.3.2.1. There was no specific meaning for their representation. artists didn't have a unified symbolic interpretation. they were compared to the British Heraldry, publicly accepting its symbolism
2.3.3. Haplin
2.3.3.1. Contradicts Franz Boas
2.3.3.2. Meaning transforms with the pass of times
2.3.3.3. Symbolic of the continuous evolving experiences with non-human beings
2.3.3.4. Not like Heraldry
2.4. Hidden Meanings
2.4.1. Not everything can be explained with words. Sometimes it is impossible to explain spiritual experiences with words. as there are things that we feel that can't be measured of explained without other having the same experience
2.4.2. Visual mediums of communication
2.4.3. artefacts have deep meanings that their makers and users apprehend at some level of understanding that they cannot put into words, beyond dropping useful hints through the more superfcial meanings they are able to talk about. Tis approach has produced some very illuminating and plausible studies of local art traditions, if we can believe the analyst rather than the people concerned. Burt, Ben. page 107 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 2022-11-01 22:04:17.
3. Performance
3.1. Showing Off
3.1.1. At a basic level, people attire themselves and each other to help them perform their roles in society, enhancing their bodies artistically to communicate who and what they are. Costume is a virtually universal way of distinguishing men from women, and in taking the dominant public roles, men have used the most elaborate ways of diferentiating their rank and status. Burt, Ben. 112 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 2022-11-01 22:18:43.
3.1.2. Amazonia
3.1.2.1. People dress up to descrive or represent something.
3.1.2.1.1. Role
3.1.2.1.2. Status
3.1.2.1.3. Adult or Child
3.1.2.1.4. Men or Women
3.1.3. Showing off is a way of placing yourself out there in front of a crowd and representing something. for that you need to show your richness and your values. Many tribes show off their power and values to other tribes and travelers so they can be identified from other tribes
3.1.4. Solomon Islands
3.1.4.1. Body ornaments
3.1.4.1.1. Band
3.1.4.1.2. Rings
3.1.4.1.3. Pendants
3.1.5. China
3.1.5.1. Clothing Customs
3.1.5.1.1. Strictly enforces by the states control
3.1.5.1.2. Shows the hierarchy of power
3.1.5.1.3. Ceremonial Protocol
3.1.5.1.4. Hat Knobs or "Mandarin Buttons"
3.2. Parades
3.2.1. Papua New Guinea Highlands
3.2.1.1. Colors
3.2.1.1.1. Black and darker colors
3.2.1.1.2. Colorful and vibrant colors
3.2.1.2. Clothing
3.2.1.2.1. Feathers
3.2.1.2.2. Painted faces
3.2.1.2.3. Oiled bodies
3.2.1.2.4. Shell ornaments
3.2.1.3. Meant to impress the audience, display strength, deter others from attacking, and was a successful way to identify themselves from other tribes. Facilitating trade and other connections. But also represented their traditional past and shifts overtime in the tribe
3.2.2. Britain
3.2.2.1. Military display
3.2.2.2. Glamorous and Colorful
3.2.2.3. Royal weddings and Funerals
3.2.2.4. Types
3.2.2.4.1. Power
3.2.2.4.2. Tradition
3.2.2.4.3. Solidarity
3.2.3. If costumes can distinguish people, they can also unite them in displays of solidarity, coordination, and strength that may impress even those who do not understand the body symbolism. Whatever the artistic efect of an individual, such costumes realize their full potential in group performances. Burt, Ben. page 114 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 2022-11-01 22:31:14.
3.3. Art of Impersonation
3.3.1. Impersonations is a way of expressing someone or something without it being there. Used in traditions as the avatar of the gods, or the rite of ascension for individuals in the tribes. bringing the spirit realm into the audience so they can experience their power.
3.3.2. Papua New Guinea
3.3.2.1. Rites, and ritual practices
3.3.2.1.1. can take around 10-20 years
3.3.2.1.2. create cyclical stages building up water spirits arrival
3.3.3. Niger Delta, Nigeria
3.3.3.1. Mascaraed impersonating the water spirits
3.3.3.1.1. Masked dancer
3.3.3.1.2. unmasked
3.4. Performance by Proxy
3.4.1. Shadows of puppets
3.4.1.1. silhouettes in a cloth screen
3.4.1.2. cut and painted
3.4.1.3. portrays the epics of god, kings, heroes, giants and demons.
3.4.2. Performance for times and places
3.4.2.1. Holidays
3.4.2.2. births
3.4.2.3. weddings
3.4.2.4. Spiritual cases
3.4.2.5. Sponsored by community leaders
3.4.3. Story and subversion
3.4.3.1. anti-colonial stories
3.4.3.2. Stories change to fit the community's needs
3.4.3.3. performers stand behind to move the puppets and have singers and musicians to aid the experience
4. Archeology
4.1. Archeological Methodology in Peru
4.1.1. Periods of phases
4.1.1.1. Changes in styles in successive layers of cultural remains placed in chronological order.
4.1.2. Horizon
4.1.2.1. period shared over many localities
4.1.3. Cultures
4.1.3.1. Moche
4.1.3.2. Nasca
4.1.4. Sacred Geography
4.1.4.1. animated landscape of mountains and water deities that utilize themes of agriculture and warfare using animals and figures in ceremonial performances.
4.1.5. Pottery
4.1.5.1. contained sacred relations and storical events and rituals
4.2. Moche Iconography
4.2.1. Pottery and Mythology
4.2.1.1. Contained sacrificial rites and ceremonies
4.2.2. Scenes
4.2.2.1. certain human and other figures and objects as motif that recurred in certain combinations.
4.2.3. Sacrificial Ceremonies
4.2.3.1. Showed how it was done in a story
4.2.3.2. Warriors' captive being tortured and killed
4.2.3.3. fighter shared costume and weapon
4.2.4. Ritual and sacred geography
4.2.4.1. The moche adapted and adopted the dominant culture changing its values and rituals
4.2.4.2. During the birth of Christ, December 24th moche tribes undergo a ritual. four days of preparation for the fight. During the final day individuals fist fight with a judge to regulate the aggression so that they ritual of cleanesing the evil and impurities of the city for a year dissipate
4.3. Moche Culture
4.3.1. Temple of the moon
4.3.1.1. Pots showed people tortured and suffering
4.3.1.2. Signs of torture and mutilation
4.3.1.3. reconciliation with the deity of water
4.3.2. Rituals to deposit sacrificial victims in the sea renewed connection with sacred deities. Especially water deities.
4.3.3. As for the sacrifcial victims, unburied skeletons have been excavated in the Temple of the Moon, a huge complex of mud-brick buildings of many layers. A set of about seventy skeletons of young men, showing signs of partly-healed injuries, throat-cutting, and mutilation, lay among deposits from fooding that could only have occurred during the rains of a severe El Niño season. Frequent images of creatures afected by this periodic climate disruption also imply a special concern for its efects. Many pots also showed images of people sufering atrocious tortures, implying that the Moche shared later expectations that sufering placated the deities. Burt, Ben. page 134. 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 2022-11-01 23:22:06.
4.4. Nasca Iconography
4.4.1. Unlike Moche
4.4.1.1. No story telling in pottery
4.4.1.2. flat images of lines
4.4.1.3. pottery itself had forms that assimilated humans or animals
4.4.2. Hunt for significance
4.4.2.1. Nasca artistic culture lost its link with their original meaning of images
4.4.2.2. Because of the Christianity settlement many of their deities were turned into evils.
4.4.3. Unlike the Moche images, the Nasca images did not appear to form scenes, but motifs were often combined to form very complex designs. Te researchers identifed separate motifs according to such categories as humans, living creatures, deities, severed heads, plants, objects, and geometric designs, each with subcategories, including different human roles and creatures such as land animals, birds, fsh, and insects. Even at this stage, there were challenges in drawing analogies between motifs and the things they might represent. Identifying actual animals and plants from very stylized images required an understanding of the local environment that archaeologists might not share with local people, either ancient or modern. Burt, Ben. page 135. 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 2022-11-02 17:19:55.
5. The Work of Art
5.1. Art in Anthropology
5.1.1. Deeper meaning
5.1.1.1. Religion
5.1.1.1.1. Beyond Christianity and gods
5.1.1.2. Economics
5.1.1.2.1. Beyon capitalism and markets
5.1.2. Pattern
5.1.2.1. regularity that people perceive that enable them to predict and understand world of experience
5.1.3. Anthropology is a Western discipline that makes its business the interpretation of all cultures in terms that allow comparisons between them, but it has never really come to terms with the category of art. It has taken Western concepts such as religion and economics and redefned them in terms that go beyond Christianity and capitalism, or even gods and markets, in order to gain insights not only into exotic societies but also, by comparison, into the Western tradition. As a result, it has become a truism in anthropology that such categories of human activity intersect each other in society: there is economics in politics and religion in both, once we know how to look for it. Maybe art is in there too, if we choose to approach it in this way. Burt, Ben. Page 141. 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 2022-11-02 18:01:47.
5.1.4. Nilotic Sudan
5.1.4.1. Cattle are their pride, joy, and food
5.1.4.2. Worship cows
5.1.4.2.1. Fatness
5.1.4.2.2. Horns Shape
5.1.4.2.3. Sheen of their hides
5.1.4.2.4. Color patterns
5.1.4.3. Morals and aesthetic values related to their cattle
5.2. Art in Cosmology
5.2.1. Papua New Guinea
5.2.1.1. Complex Cosmology
5.2.1.1.1. Origins
5.2.1.1.2. Morality
5.2.1.1.3. Values
5.2.1.2. Origin story of Mountain Ok Sanctum Houses
5.2.1.2.1. Women once were the power of the tribe, as their founder was a woman, and its ancestors. But they changed places with husband and brother. Sanctum became for men and only men. but women kept the power to reproduce humanity
5.2.1.2.2. Displayed bones from animals
5.2.1.3. Conceptual and symbolic importance
5.2.2. Relics represented relationship within men and tribes
5.2.3. To develop Firth’s theme, artefacts are particularly efective in helping to make basic cosmological principles visible, signifcant, and comprehensible to members of their societies of origin and, with interpretation, to others. Burt, Ben. page 145. 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 2022-11-02 17:58:50.
5.3. Art at Work
5.3.1. Rejection of Western aesthetic criteria
5.3.1.1. Art as part of social relations not a reflection of social relations
5.3.2. Power of art
5.3.2.1. Polynesian tattoos
5.3.2.1.1. Different in males and females to identify them and show their culture values
5.3.2.2. Patterns affect the way we understand things
5.3.2.2.1. Art that works to create society
5.3.3. Alfred Gell
5.3.3.1. Technical Enchantment
5.3.3.1.1. Enchantment of cultural significances by the employment of forms and patterns that had certain psychological effects
5.3.3.1.2. technical function of artifact in society
5.3.3.1.3. Not about aesthetic value, but about the power of the artifact itself
5.3.4. The Trobriand islands
5.3.4.1. Magical power of woodcarvers
5.3.4.1.1. Skill made work more valuable
5.3.4.1.2. Wood carving skills elicits emotional response
5.3.4.2. Artisans in the tribe made
5.3.4.2.1. Aesthetic magic
5.3.4.2.2. Yam Houses
5.3.4.2.3. Canoes
5.3.4.3. Kula Canoe Ceremony
5.3.4.3.1. Canoe represents inherent magical wisdom of certain creatures
5.3.4.3.2. Kula focused on masculine and feminine values
5.3.4.3.3. Kula Exchange
5.4. Art in Cosmic Agency
5.4.1. Walbiri Australian Aboriginals
5.4.1.1. Visual forms have special power to show patterns of meaning and describe
5.4.1.1.1. Levels of reality
5.4.1.1.2. Experience
5.4.1.1.3. Different aspects of the world
5.4.1.2. Importance of dreams
5.4.1.2.1. Personification of creatures, plants, and natural forces
5.4.1.2.2. gods created the world through dreams. passed down god by god, into animals, and then humans who kept on dreaming of a different world.
5.4.1.3. Walibiri Designs
5.4.1.3.1. Designs created by women
5.4.1.3.2. Simple line shapes
5.4.1.3.3. Lines
5.4.1.3.4. Circles
5.4.1.3.5. U shape
5.4.1.3.6. Meaning connected to how much the person knew about the dreamtime
5.4.2. Beyond Words
5.4.2.1. Formal patterns gave their art meaning
5.4.2.2. Layers of meaning revealed inner realities
5.4.3. Men most important work was to transform themselves into their ancestors
5.4.3.1. Able to decipher message from their ancestors
5.4.3.2. Avatars of the gods to bring messages and visions of the future