In this assignment, you will construct a timeline using the timeline template, placing the cultures covered in this week’s reading in the appropriate place on a chronological t

In this assignment, you will construct a timeline using the timeline template, placing the cultures covered in this week’s reading in the appropriate place on a chronological timeline and global map.

ART102 – Art History II

Timeline Activity

Due Date: Points: 100 Overview: In this assignment, you will construct a timeline, placing the cultures covered in this week’s reading in the appropriate place on a chronological timeline and global map. Instructions: You will use the Timeline template throughout the course. You will submit your progress at the end of each unit. There are several steps to completing this assignment:

• Select an appropriate piece of art to represent each of this week’s civilizations. • Place images representing Native American Cultures (1300 – 1980), Oceania

through 1980, and Africa (1800 – 1980) art in the appropriate places on the timeline and add corresponding dates for each culture.

• On the slide devoted to each culture: o Drag the star to the corresponding part of the world map. o Provide three sentences in your own words describing three ‘big-picture’

ideas, or significant traits of Native American Cultures (1300 – 1980), Oceania through 1980, and Africa (1800 – 1980) art.

Note: The work from this week’s reading is from two different continents. Place the star on your map on the place of origin of the particular piece(s) you’ve selected. Requirements:

• Use the Timeline template. • Choose an appropriate picture that represents Native American Cultures (1300 –

1980), Oceania through 1980, and Africa (1800 – 1980) art. • Write three complete sentences in your own words describing three ‘big-picture’

ideas of Native American Cultures (1300 – 1980), Oceania through 1980, and Africa (1800 – 1980) art.

Be sure to read the criteria below by which your work will be evaluated before you write and again after you write.

ART102–Art History II TimelineActivity

Evaluation Rubric for Timeline Assignment

CRITERIA Deficient Needs Improvement

Proficient Exemplary

0 points 1 – 9 points 10 points Picture Depicting Cultures

No pictures were provided.

Inaccurate or inappropriate choice of pictures to represent cultures.

Accurate and appropriate choice of pictures to represent cultures.

Dates for the Cultures

Doesn’t move the stars or has the incorrect locations and has many errors for the dates on the timeline and slides specific for cultures.

Moves the stars to locations on the map and may have an error for the dates on the timeline and slides specific for cultures.

Moves the stars to the correct locations on the map and has accurate dates on the timeline and slides specific for cultures.

0 – 19 points 20 – 35 points 36 – 53 points 54 – 60 points Big-Picture Ideas/Traits

Doesn’t provide any big-picture ideas or provides inaccurate big- picture ideas/traits of the cultures.

Provides some accurate big- picture idea/trait that represents the cultures. May be missing key ideas/traits of the cultures.

Provides almost all accurate big- picture ideas/traits that represent the cultures. May be missing key ideas/traits of the cultures.

Provides all necessary accurate and well-written big-picture ideas/traits that represent the cultures.

0 points 5 points 10 points Written Length

Doesn’t have any writing on the slides.

More or less than three sentences or incomplete sentences per culture.

Writes three sentences per culture.

0 – 5 points 6 – 7 points 8 – 9 points 10 points Clear and Professional Writing

Errors impede professional presentation.

Significant errors that do not impede professional presentation.

Few errors that do not impede professional presentation.

Writing and format are clear, professional, and error-free.

Overview:
Instructions:
Requirements:

Chapter 36

NATIVE AMERICAN CULTURES, 1300 TO 1980

Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.

Learning Objectives

Describe the extent of Aztec power in the period before the Spanish conquest.

List the chief subjects of Aztec art.

Analyze what the architecture and reliefs of Tenochtitlán reveal about Aztec society.

Explain the close relationship between Inka engineering and Inka art, architecture, and urban planning.

Compare preconquest Maya books with the later Native American decoration of ledger books.

Recall major monuments of Southwest Native American societies.

Describe the role played by masks in the arts of nations of the Northwest.

Explain how the design and decoration of totem poles relate to their function in Haida culture.

Debate the impact of US government actions on the arts and cultures of Plains societies.

MAP 36.1

36.1 Mixteca-Puebla and Aztec sites in Mesoamerica.

MAP 36.2

36.2 Inka sites in Andean South America.

MAP 36.3

36.3 Later Native American sites in North America.

Figure 36.1

36.1 The founding of Tenochtitlán, folio 2 recto of the Codex Mendoza, from Mexico City, Mexico, Aztec, ca. 1540–1542. Ink and colors on paper, 1' 7/8"  8 5/8". Bodleian Library, Oxford University, Oxford.

Figure 36.2

36.2 Mictlantecuhtli and Quetzalcoatl, folio 56 of the Borgia Codex, from Puebla or Tlaxcala, Mexico, Mixteca-Puebla, ca. 1400–1500. Mineral and vegetable pigments on deerskin, 1' 1 1/4"  1' 1 1/2". Biblioteca Apostolica Vaticana, Rome.

Figure 36.3

36.3 Reconstruction drawing with cutaway view of various rebuildings of the Great Temple, Tenochtitlán, Mexico City, Mexico, Aztec, ca. 1400–1500. C  Coyolxauhqui disk (fig. 36.4).

Figure 36.4

36.4 Coyolxauhqui, from the Great Temple (fig. 36.3) of Tenochtitlán, Mexico City, Mexico, Aztec, ca. 1469. Stone, diameter 10' 10". Museo del Templo Mayor, Mexico City.

Figure 36.5

36.5 Tlaltecuhtli, from the Great Temple of Tenochtitlán, Mexico City, Mexico, Aztec, 1502. Andesite, painted with mineral colors, 13' 9"  11' 10 1/2". Museo del Templo Mayor, Mexico City.

Figure 36.6

36.6 Coatlicue, from Tenochtitlán, Mexico City, Mexico, Aztec, ca. 1487–1520. Andesite, 11' 6" high. Museo Nacional de Antropología, Mexico City.

Figure 36.7

36.7 Inka man working with a khipu, illustration in the Codex Murúa, 1615–1616. Ink and colors on vellum, 1' 11 1/4"  1' 3 1/4". J. Paul Getty Museum, Los Angeles.

Figure 36.8

36.8 Machu Picchu (looking northwest), Peru, Inka, 15th century.

Figure 36.9

36.9 Remains of the Temple of the Sun (surmounted by the 16th-century church of Santo Domingo), Cuzco, Peru, Inka, 15th century. Left: general view of the exterior (looking north); right: detail of the interior masonry.

Figure 36.9A

36.9A Llama, alpaca, and woman, from near Lake Titicaca, Bolivia, Inka, ca. 1475–1532. Silver with gold and cinnabar, 9 1/2" high. American Museum of Natural History, New York.

Figure 36.10

36.10 Detail of a kiva mural from Kuaua Pueblo (Coronado State Monument), New Mexico, Ancestral Puebloan, late 15th to early 16th century. Interior of the kiva, 18'  18'. Museum of New Mexico, Santa Fe.

Figure 36.11

36.11 Photograph taken on January 9, 1948, in Mesa Verde National Park (fig. 18.37) of a Navajo mother weaving a blanket on a loom while her daughters assist her by preparing wool for the loom.

Figure 36.12

36.12 Otto Pentewa, Katsina figurine, New Oraibi, Arizona, Hopi, carved before 1959. Cottonwood root and feathers, 1' high. Arizona State Museum, University of Arizona, Tucson.

Figure 36.13

36.13 María Montoya Martínez and Julian Martínez, jar with feathers and avanyus, San Ildefonso Pueblo, New Mexico, ca. 1934–1943. Black-on-black earthenware, 1' 2 1/4"  1' 6 5/8". Museum of Fine Arts, Houston (gift of Miss Ima Hogg).

Figure 36.14

36.14 Eagle transformation mask, closed (top) and open (bottom) views, Alert Bay, Canada, Kwakwaka’wakw, late 19th century. Wood, feathers, and string, 1' 10"  11". American Museum of Natural History, New York.

Figure 36.15

36.15 War helmet mask, Canada, Tlingit, collected 1888–1893. Wood, 1' high. American Museum of Natural History, New York.

Figure 36.16

36.16 Bill Reid (Haida), assisted by Doug Cranmer (Namgis), re-creation of a 19th-century Haida village with totem poles, Queen Charlotte Island, Canada, 1962.

Figure 36.16A

36.16A Bill Reid, The Raven and the First Men, Haida, 1978–1980. Yellow cedar, 10' 1/8" high. Museum of Anthropology, University of British Columbia, Vancouver.

Figure 36.17

36.17 Chilkat blanket with stylized animal motifs, Canada, Tlingit, early 20th century. Cedar bark and mountain goat wool, 6'  2' 11". Southwest Museum of the American Indian, Los Angeles.

Figure 36.18

36.18 North Wind mask, Alaska, Yupik Eskimo, early 20th century. Wood and feathers, 3' 9" high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Memorial Collection, gift of Nelson Rockefeller).

Figure 36.18A

36.18A Buffalo-hide robe with battle scene, Mandan, from the upper Missouri River, North Dakota, ca. 1800. Buffalo hide with deerskin fringe, porcupine quills, and mineral pigments, 8' 6"  7' 10". Peabody Museum of Archaeology, Harvard University, Cambridge.

Figure 36.19

36.19 Karl Bodmer, Hidatsa Warrior Pehriska-Ruhpa (Two Ravens), 1833. Engraving by Paul Legrand after the original watercolor in the Joslyn Art Museum, Omaha, 1' 3 7/8"  11 1/2". Engraving: Buffalo Bill Historical Center, Cody.

Figure 36.20

36.20 Honoring song at painted tipi, in Julian Scott Ledger, Kiowa, 1880. Pencil, ink, and colored pencil, 7 1/2"  1'. Charles and Valerie Diker Collection.

Discussion Questions

Why did the Spanish destroy so much of the native arts of the Americas?

How did Inka architects strategically use their landscape and local materials?

How did Aztec religion shape its society’s art and architecture?

Contrast the main features of Native American Art of the Pacific Northwest with that of the Navajo.

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Chapter 37

OCEANIA BEFORE 1980

Learning Objectives

Describe the relationship of Dreamings and the X-ray style in Australian art.

Explain where one would find a bisj pole as well as the pole’s purpose.

List the central architectural features of an Iatmul village.

Analyze the role of ancestors in the art and architecture of Oceania.

Interpret the form and function of the Dilukai figures.

Describe the likely purpose of the colossal monolithic sculptures on Rapa Nui (Easter Island).

List the uses of barkcloth in the art of Oceania.

Explain the purposes of tattooing in Polynesia.

Discuss the arts produced for the Hawaiian kings.

MAP 37.1

37.1 Oceania.

Figure 37.1

37.1 Raharuhi Rukupo and others, interior of the Te Hau-ki-Turanga wharenui (meeting house), Poverty Bay, New Zealand, Polynesia, 1842–1845. Reconstructed in Te Papa Tongarewa, Museum of New Zealand, Wellington.

Figure 37.1a

37.1a Maori meeting houses symbolically represent an ancestor’s body. Carved wood freestanding pou tokomanawa support the ridge beam, and poupou relief panels represent ancestors in frontal positions.

Figure 37.1b

37.1b The lead sculptor, Raharuhi Rukupo, who was also chief of the Rongowhakaata clan, included his self-portrait at the entrance to the wharenui. His face and body are covered with elaborate Maori moko tattoos.

Figure 37.1c

37.1c Some of the ancestor figures are female, and the stitched lattice tukutuku panels are the work of female fabric artists, but women were not permitted to enter the Maori men’s community house.

Figure 37.1A

37.1A Composite animal-human figurine (Ambum Stone), from Ambum Valley, Papua New Guinea, Melanesia, ca. 1500 bce. Graywacke, 7 7/8" high. National Gallery of Australia, Canberra.

Figure 37.2

37.2 Auuenau (male ancestor figure), from East Alligator Rivers, Northern Territory, Australia, ca. 1913. Ocher on bark, 4' 10 5/8"  1' 1". Museum Victoria, Melbourne.

Figure 37.3

37.3 Asmat bisj poles, from Omade