1. Origins of Art
1.1. What is Anthropology
1.1.1. **Anthropology** is considered to be the study of the development of human societies snd cultures.
1.1.2. **Four field approach:** Physical, archeology, linguistic, and cultural anthropology.
1.1.2.1. Archeology: the investigationof human past by means of excavating and analyzing artifacts.
1.1.2.2. Linguistic: the study of human language in the past and the present.
1.1.2.3. Physical/biological: the study of human biological evolution, primates, and human bio cultural variation.
1.1.2.4. Cultural: the study of cultural variation among humans.
1.1.3. **Cultural relativism:** the belief that efforts at understanding other lifeways are not successful if we view those customs in their own traditional context.
1.1.4. **Ethnocentrism:** the belief that one owns culture is superior and more andvanced than undeveloped cultures.
1.1.5. **Historical Particularism:** the concept that cultures develop in specific ways because of their unique histories.
1.1.6. **Participant Observation:** a strategy involving both participation in and observ ation of the daily life of the people being studied.
1.1.6.1. Ex: Classroom
2. Performance
2.1. Amazonia
2.1.1. Piro Women
2.1.1.1. Pinted linear designs on pots, mens robes, bags, and skirts.
2.1.1.2. Rite of pasdsage of piro women
2.1.1.2.1. Community invited to celebrate a girls year of seclusion
2.2. Solomon Islands
2.2.1. Body ornaments
2.2.1.1. Bands, combs, rings, pins, pendants, straps, scented leaves.
2.3. China
2.3.1. Chinese clothing customs
2.3.1.1. strictly enforced
2.3.1.2. Hat knobs show sign of rank
2.3.1.2.1. Stone or glass insignia
2.3.1.3. Precious stones as markers of identity
2.4. Papua New Guinea Highlands
2.4.1. Costumes and performance
2.4.1.1. Feathered headdress
2.4.1.2. painted faces
2.4.1.3. oiled bodies
2.4.1.4. shell ornaments
2.4.2. Symbolism of display festivals
2.4.2.1. Melpa bright displays friendship and fertility
2.4.2.2. Dark displays aggression and strength
2.4.3. Festivals, feasts, and friendship
2.4.3.1. Many symbolic exchanges
2.4.3.1.1. Red and Black held significance
2.4.3.2. O'Hanlon of British Museum
2.4.3.2.1. Annual festivals sites of important exchange
2.5. Britain
2.5.1. British Military Displays
2.5.1.1. Glamorous and colorful
2.5.1.2. Different ranks and displays
2.5.1.3. function to stir patriotism, fear and courage
2.5.2. Types of parades
2.5.2.1. Bearing the retreat
2.5.2.2. Edinburgh Tattoo
2.5.2.3. Trouping the colour
3. Archeology
3.1. Methodology in Peru
3.1.1. Developing meaning of Nazca Pottery
3.1.1.1. Images of ceramics codes in pictorial language
3.1.1.2. they explain sacred relationships between man and nature
3.1.1.3. explains cosmological ideas and social process
3.1.2. Sacred Geography: Animated landscape of mountains and water deities that utilize themes of agriculture and warfare using animals and figures in ceremonial performances.
3.2. Moche Inconography
3.2.1. This work identifed certain human and other fgures and objects as motifs that recurred in certain combinations, apparently as “scenes.”
3.2.2. A theme eventually identifed as the “Sacrifce Ceremony” illustrates the methodology.
3.2.3. in scenes of fghting, the warriors all wore elaborate costumes with similarities and variations that did not correspond to victors and vanquished; they used maces and shields but not the lethal slingshots and spears shown in hunting scenes; warriors with naked captives carried bundles of weapons and fghting costume like trophies.
3.3. Nasca Inconography
3.3.1. 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.
4. Work of Art
4.1. Anthropology as a western construct
4.1.1. Religion: beyond christianity
4.1.2. Economic: beyond capitalism and markets
4.2. Universal theories on art and artifact
4.2.1. Clive Bell
4.2.1.1. Believed art based on "significant form"
4.2.2. Raymond Firth
4.2.2.1. Patterns have meaning: Pattern is the regularity that people percieve that enable them to predict and understand world of experience
4.3. Nilotic herding people of Southern Sudan
4.3.1. Cattle are pride and joy, and food
4.3.1.1. used socially and ritually
4.3.2. Cattle are used as a canvas and they shape their horns
4.4. Complex cosmology
4.4.1. Art and artifacts function well to explain deep complex things
4.4.1.1. Origins
4.4.1.2. Morality
4.4.1.3. Values
4.4.2. Cosmology of Sanctum Houses
4.5. Power of Art
4.5.1. Alfred Gell
4.5.1.1. Agency of art: its power to act in society
4.5.1.2. Technological enchantment
4.6. Kula exchange
4.6.1. Men exhanged Kula rings linking other islands together
5. Classical Art
5.1. Obsession with Ancient Greece
5.1.1. British Museum and Parthenon Marbles (1929)
5.1.1.1. Has become iconic of Greek national identity
5.1.1.2. Greek statues also used to proliferate racial superiority.
5.2. Biblical Antiquity
5.2.1. European claim classical heritage to ancient civilization.
5.2.1.1. Christianity founded in the Middle East.
5.2.2. In two areas: Ancient Egypt and Acient Mesopotamia
5.2.3. French conections and British Ancient Egypy collections.
5.2.3.1. France invaded Egypt
5.2.3.2. collection confiscated by British during Napoleonic War
5.2.4. Painters used Egyptian style to depict grandiose scenes from biblical history.
5.2.5. Hellenomania
5.2.5.1. Fetishism of Ancient Greek art
5.2.6. Zeitgeist
5.2.6.1. spirit of the age, spirit of a culture
5.2.6.2. is created in struggle of competing forces.
6. Oriental Art
6.1. Problems with Islamic Art
6.1.1. Islamic art that is portrayed is identified as **decorative** and not fine art
6.1.1.1. Louvre Abu Dhabi
6.1.2. Viewed as homogeneous
6.1.2.1. denies diversity of islamic world
6.1.3. Museums do not honor Muslim connections
6.1.4. Caligraphy in Muslim countries are fine art.
6.2. Orientalism
6.2.1. **Edward Said** (1978) is framed theorist on Orientalism
6.2.1.1. A way of coming to terms with the orient that is based on the orient's special place in European Western Experience.
6.2.2. European cultures and the Orient
6.2.2.1. Clash of civilizations
6.2.2.2. Enemy of Europe
6.2.2.2.1. Egyptians and Babylionians oppressed israelites.
6.2.3. Binary opposition of Orient and Western Culture
6.2.3.1. Christian values vs. non Christain values
6.2.4. 18th century and Orientalism
6.2.4.1. Europe believed it was Greek culture.
6.2.5. **Theorist Perspective:** Hegel believed Asian and European had distinct "world spirit".
6.2.5.1. Asian less developed
6.2.5.2. Lacking self awareness
6.2.6. European art classification of Asian art
6.2.6.1. Despite unfavorable view of Asian art, it was still collected and exhibited.
6.2.6.2. Art historians believe they produced little fine art
6.2.6.2.1. Decorative art
6.2.7. France and Britain Islamic Art
6.2.7.1. Timeless way of life
6.2.7.2. identified as "Islamic art"
6.2.7.2.1. Art historians linking to Medieval Europe
7. Primitive Art
7.1. Savages and Anthropologist
7.1.1. Europeans create "the other" and **"primitive"** society
7.1.1.1. **Primitive** used by British to describe Aboriginal peoples.
7.1.2. Tradition of condescension non-Western cultures
7.1.3. Savage in popular literature
7.1.3.1. Shakespeare's Caliban
7.1.3.2. Thomas Hobbes Brutal Savage
7.1.3.3. Jean Jacque Rousseau Nobel Savage
7.1.4. Development of primitive and savage concepts.
7.2. Perspectives from Anthropology
7.2.1. Invention of the **"primitive man"**
7.2.1.1. Developed theories of contrasting societies
7.2.1.1.1. Political
7.2.1.1.2. Belief or Religious life
7.2.1.1.3. Artistic Expression
7.2.2. Europe classification and development
7.2.2.1. Analysis developed into disciplines
7.2.3. **Unilineal cultural evolution:** All cultures naturally evolve through the same sequence of stages from simple to complex.
7.2.4. Speculative theories
7.2.4.1. Higher cultures influenced lower
7.2.4.2. Higher cultures degenerated from exposure
7.3. Evolution, Diffusionism, and Speculation
7.3.1. European civilizations analysis of evolution of art forms.
7.3.1.1. Europe represented later staged of evolution
7.3.1.2. Cultural theorist believed analysis of specific practices are shard across culture.
7.3.2. Evolution
7.3.2.1. Pitt Rivers evolutionary analysis 1874-1884
7.3.2.1.1. Founded Oxford University Museum
7.3.2.1.2. Believed contemporary savages represent early stages.
7.3.2.2. **Typology:** arranging artifacts from around the world in sequence
7.3.3. Diffusionism
7.3.3.1. Exotic peoples global borrowing of art forms and motifs.
7.3.3.1.1. Popular from 1930s-1960s
7.3.3.1.2. Diffusionof alternative to evolutionist theories
7.3.3.2. **Curvilinear** style: diffused from Solomon Islands to Papuan people and Trobriand Island
7.3.3.3. **Tami** style: Diffused from Melanesia to Melenesia and New Guiana
7.3.3.4. **Beak** style: Originated from Hindu Elephant God, Ganesh via Indonesia New Guinea and Solomon islands.
7.3.3.5. **Korwar** style: Originated from Cambodia to new Guinea
7.3.3.6. **Malanggan** style: Originated in Indian Hindu temples to Papua and Melanesia.
8. Form and Meaning
8.1. **Formalism:** identify principles of composition, such as organic unity among elements, balanced sense of symmetry, and recurring shapes
8.2. Clive Bell and formalism
8.2.1. "stir our aesthetic response"
8.2.2. No historical, cultural, or personal context needed in anaylsis
8.3. **Ethnology:** the analysis and comparison of ethnographic data across cultures.
8.3.1. Franz Boas explains artistic work
8.3.1.1. appreciation of basic formal qualities
8.3.1.2. Males: symbolic art
8.3.1.3. females: formal art
8.4. Bill Holm analysis of form
8.4.1. Two-dimensional formline
8.4.2. **Formline:** continuous primary connnected line pattern delineating main shape.
8.5. Claude Levi-Strauss
8.5.1. **Structuralist:** deep inherit universal patterns of human mind that culture is built on.
8.5.2. Ethonology of split representation
8.6. **Potlach:** festival to bestow titles inherited by ancestors and raise prestige using mask and ceremonial regalia.
8.7. **Tsetseka:** four day ritual full of meaning and symbolic gestures in which a youth is initiated into the cannibal society.
8.7.1. **Hamatsa:** Cannibal spirit who lives in the spirit world