Ceramic Figurine
This is a ceramic sculpture of the Chinese zodiac symbol, the dragon. The dragon is a sign of the emperor, and is highly valued among Chinese families.
As time went on, ceramic figures were found more and more in households and tombs. The use of green ware became increasingly popular as it was used alongside with grey ware.
Works Cited
Information and Picture: http://gaukartifact.com/2013/03/05/china-han-dynasty/
Sunday, October 19, 2014
Qin and Han Dynasties: Artifact 9
Painting
Unfortunately, I could barely find any information on this work of art. It is dated to the Eastern Han Dynasty and is currently being housed at the Boston Museum of Fine Arts. This painting seems to depict the three leftmost men in deep conversation, while the figure on the far right is looking over his shoulder at something or someone.
Works Cited
Picture: http://commons.wikimedia.org/wiki/File:Gentlemen_in_conversatio
n,_Eastern_Han_Dynasty.jpg
*Go to this website for lectures on Asian art, very awesome!!
http://ieas.berkeley.edu/publications/aparvlectures.html
Qin and Han Dynasties: Artifact 8
Decorated Pillar
"This pillar was used in a brick tomb to hold up the lintel of a doorway. It would have been positioned centrally with doors on either side, creating the impression of a house.
The extraordinary kneeling figure on top was intended to ward off evil. He is oddly proportioned, but complete. His feet appear on the sides of the pillar and his hands are incised on the front. A figure of a bird in flight is stamped between his legs. Two lines of this bird emblem are arranged on each side of the pillar. On the front are two columns climbing dragons. Surrounding the lines of pictorial decoration are borders with a geometric pattern, a common feature of Han tomb architecture."
Works Cited:
Information and Picture:
http://www.britishmuseum.org/explore/highlights/highlight_objects/asia/p/pilaster_from_a_tomb.aspx
"This pillar was used in a brick tomb to hold up the lintel of a doorway. It would have been positioned centrally with doors on either side, creating the impression of a house.
The extraordinary kneeling figure on top was intended to ward off evil. He is oddly proportioned, but complete. His feet appear on the sides of the pillar and his hands are incised on the front. A figure of a bird in flight is stamped between his legs. Two lines of this bird emblem are arranged on each side of the pillar. On the front are two columns climbing dragons. Surrounding the lines of pictorial decoration are borders with a geometric pattern, a common feature of Han tomb architecture."
Works Cited:
Information and Picture:
http://www.britishmuseum.org/explore/highlights/highlight_objects/asia/p/pilaster_from_a_tomb.aspx
Qin and Han Dynasties: Artifact 7
Ceramic Mansion
"This glazed ceramic model of a watchtower shows all the essential features of Han architecture. The basic unit is an enclosure defined by four corner piers with a widely overhanging tile roof supported by a system of cantilevered brackets. In addition, the house has a second roof over the first story, which is elevated on a stepped platform; an exterior staircase; elaborate latticework screens that shield the third story; and a circular central window on the top floor.
A great variety of architectural models were placed in Han tombs for use in the afterlife. This imposing mansion symbolizes the high status of the person buried in the tomb. Stylistically, the date and northern Chinese provenance of this house are confirmed by a number of archaeologically excavated pieces, most notably a green-glazed model of a four-story tower discovered in an Eastern Han tomb in Gaotang County, eastern Shandong Province."
Works Cited
Information and Picture: http://www.metmuseum.org/collection/the-collection-online/search/49519?rpp=30&pg=1&ft=han+dynasty&pos=3
"This glazed ceramic model of a watchtower shows all the essential features of Han architecture. The basic unit is an enclosure defined by four corner piers with a widely overhanging tile roof supported by a system of cantilevered brackets. In addition, the house has a second roof over the first story, which is elevated on a stepped platform; an exterior staircase; elaborate latticework screens that shield the third story; and a circular central window on the top floor.
A great variety of architectural models were placed in Han tombs for use in the afterlife. This imposing mansion symbolizes the high status of the person buried in the tomb. Stylistically, the date and northern Chinese provenance of this house are confirmed by a number of archaeologically excavated pieces, most notably a green-glazed model of a four-story tower discovered in an Eastern Han tomb in Gaotang County, eastern Shandong Province."
Works Cited
Information and Picture: http://www.metmuseum.org/collection/the-collection-online/search/49519?rpp=30&pg=1&ft=han+dynasty&pos=3
Qin and Han Dynasties: Artifact 6
Board Game
"A popular game in the Han dynasty, liubo involves two players who gamble using dice, counters, gaming pieces, and a marked board. The pottery figures exhibited in this case, together with the daily utensils, architectural models, and luxury goods exhibited in the other cases in the gallery, were used as tomb furnishings in ancient China. These figures, which capture a dramatic moment in a heated game, depict Han-dynasty people's leisure activities as well as their desired life in the other world (METMuseum)."
Works Cited
Information and Picture: http://www.metmuseum.org/collection/the-collection-online/search/50484?rpp=30&pg=1&ft=han+dynasty&pos=13
"A popular game in the Han dynasty, liubo involves two players who gamble using dice, counters, gaming pieces, and a marked board. The pottery figures exhibited in this case, together with the daily utensils, architectural models, and luxury goods exhibited in the other cases in the gallery, were used as tomb furnishings in ancient China. These figures, which capture a dramatic moment in a heated game, depict Han-dynasty people's leisure activities as well as their desired life in the other world (METMuseum)."
Works Cited
Information and Picture: http://www.metmuseum.org/collection/the-collection-online/search/50484?rpp=30&pg=1&ft=han+dynasty&pos=13
Saturday, October 18, 2014
Qin and Han Dynasties: Artifact 4
Terracotta Soldier Sword
17 of these swords have been discovered with the terracotta army, having a handle made out of gold and inlaid with turquoise and a blade made of iron. Besides the general, a few officials were found with swords in their hands. "Swords had the highest rank among the weapons in ancient China and were carried by well-known or high-ranking people (DiscoverChina)." The swords would have been kept in a wooden scabbard. To prevent corrosion, the Chinese plated the sword with chromium.
Works Cited
Information: "The Unique Weapons in the Terra-cotta Pits." Discover China
Tours. Discover China Tours, Inc., 2004-2014. Web. 18 Oct., 2014.
Picture: http://www.twincities.com/ci_21852501/eight-chinas-famous-terra-cotta-warriors-are-centerpiece
17 of these swords have been discovered with the terracotta army, having a handle made out of gold and inlaid with turquoise and a blade made of iron. Besides the general, a few officials were found with swords in their hands. "Swords had the highest rank among the weapons in ancient China and were carried by well-known or high-ranking people (DiscoverChina)." The swords would have been kept in a wooden scabbard. To prevent corrosion, the Chinese plated the sword with chromium.
Works Cited
Information: "The Unique Weapons in the Terra-cotta Pits." Discover China
Tours. Discover China Tours, Inc., 2004-2014. Web. 18 Oct., 2014.
Picture: http://www.twincities.com/ci_21852501/eight-chinas-famous-terra-cotta-warriors-are-centerpiece
Friday, October 17, 2014
Qin and Han Dynasties: Artifact 3
Porcelain Sculpture
"This Dehua porcelain sculpture depicts the Bodhisattva Wenshu (Manjusri), portrayed here as a youthful maiden, sitting on her vehicle, the lion.
A granular, sugary-white body covered in a pale pink or creamy glaze characterizes the Dehua porcelain ware, which was produced in the Fujian province. Dehua ware is also known for its colorful depictions of Buddhist and secular figure subjects (Cincinnati Art Museum)."
"There is a famous place in China which is the centre for the worship of Manjushri Bodhisattva - the Wutai Mountain in the province of Shanxi in China.
As written in a sutra, the Buddha predicted that after He passed away in Final Nirvana, Manjushri Bodhisattva would reside on a mountain name Wuting in a country in the east called "Great China", where he would teach the dharma. Hence, Chinese people regard that mountain, now called Wutai Mountain, as a sacred place for worshipping Manjushri Bodhisattva. Many temples dedicated to Manjushri Bodhisattva have been built there (BuddhaNet)."
Works Cited
Information: Cincinnati Art Museum. "Wenshu on a Lion, Dehua Ware." Cincinnati, OH:
Cincinnati Art Museum, 2011. Plaque.
"The Bodhisattva of Great Wisdom." Buddhist Studies: Deities and Bodhisattva.
BDEA/BuddhaNet, 1996-2014. Web. 17 Oct., 2014.
Picture: http://commons.wikimedia.org/wiki/File:Wenshu_(Manjusri)_on_a_Lion,_Dehua_ware,_China,_Qing_dynasty,_19th_century,_porcelain_-_Cincinnati_Art_Museum_-_DSC03188.JPG
"This Dehua porcelain sculpture depicts the Bodhisattva Wenshu (Manjusri), portrayed here as a youthful maiden, sitting on her vehicle, the lion.
A granular, sugary-white body covered in a pale pink or creamy glaze characterizes the Dehua porcelain ware, which was produced in the Fujian province. Dehua ware is also known for its colorful depictions of Buddhist and secular figure subjects (Cincinnati Art Museum)."
"There is a famous place in China which is the centre for the worship of Manjushri Bodhisattva - the Wutai Mountain in the province of Shanxi in China.
As written in a sutra, the Buddha predicted that after He passed away in Final Nirvana, Manjushri Bodhisattva would reside on a mountain name Wuting in a country in the east called "Great China", where he would teach the dharma. Hence, Chinese people regard that mountain, now called Wutai Mountain, as a sacred place for worshipping Manjushri Bodhisattva. Many temples dedicated to Manjushri Bodhisattva have been built there (BuddhaNet)."
Works Cited
Information: Cincinnati Art Museum. "Wenshu on a Lion, Dehua Ware." Cincinnati, OH:
Cincinnati Art Museum, 2011. Plaque.
"The Bodhisattva of Great Wisdom." Buddhist Studies: Deities and Bodhisattva.
BDEA/BuddhaNet, 1996-2014. Web. 17 Oct., 2014.
Picture: http://commons.wikimedia.org/wiki/File:Wenshu_(Manjusri)_on_a_Lion,_Dehua_ware,_China,_Qing_dynasty,_19th_century,_porcelain_-_Cincinnati_Art_Museum_-_DSC03188.JPG
Thursday, October 16, 2014
Qin and Han Dynasties: Artifact 2
Tomb Figurine
"This painted funerary figurine portrays a kneeling woman, created to accompany the deceased, siting in the traditional manner with a gentle smile and quiet attitude. Her serene expression appropriately reflects her function as an eternal companion to the tomb's owner.
The most unusual feature of this piece is the woman's beaded hair ornament, made in the distinct fashion of the time. Rather than projecting from the hair, as was intended, the ornament falls flat against the forehead because the head once toppled accidentally when its wooden support collapsed."
Works Cited
Information: Cincinnati Art Museum. "Tomb Figure of a Kneeling Woman." Cincinnati,
OH: Cincinnati Art Museum, 2011. Plaque.
Picture: http://commons.wikimedia.org/wiki/File:Tomb_Figure_of_a_Kneeling_Woman,_China,_Western_Han_Dynasty,_2nd_or_1st_century_BC,_earthenware_-_Cincinnati_Art_Museum_-_DSC03207.JPG
"This painted funerary figurine portrays a kneeling woman, created to accompany the deceased, siting in the traditional manner with a gentle smile and quiet attitude. Her serene expression appropriately reflects her function as an eternal companion to the tomb's owner.
The most unusual feature of this piece is the woman's beaded hair ornament, made in the distinct fashion of the time. Rather than projecting from the hair, as was intended, the ornament falls flat against the forehead because the head once toppled accidentally when its wooden support collapsed."
Works Cited
Information: Cincinnati Art Museum. "Tomb Figure of a Kneeling Woman." Cincinnati,
OH: Cincinnati Art Museum, 2011. Plaque.
Picture: http://commons.wikimedia.org/wiki/File:Tomb_Figure_of_a_Kneeling_Woman,_China,_Western_Han_Dynasty,_2nd_or_1st_century_BC,_earthenware_-_Cincinnati_Art_Museum_-_DSC03207.JPG
Qin and Han Dynasties: Artifact 1
Wine Vessel
A bronze wine vessel with a tall cylindrical neck, is decorated with a tiger and mountain relief. "The lian belongs to a group of bronzes that share similar shapes, decorations, and forms." These containers held other miscellaneous items as well.
Works Cited
Information: Cincinnati Art Museum. "Wine Vessel, Lian." Cincinnati,
OH: Cincinnati Art Museum, 2011. Plaque.
Picture: http://jameelcentre.ashmolean.org/collection/4/901/911
A bronze wine vessel with a tall cylindrical neck, is decorated with a tiger and mountain relief. "The lian belongs to a group of bronzes that share similar shapes, decorations, and forms." These containers held other miscellaneous items as well.
Works Cited
Information: Cincinnati Art Museum. "Wine Vessel, Lian." Cincinnati,
OH: Cincinnati Art Museum, 2011. Plaque.
Picture: http://jameelcentre.ashmolean.org/collection/4/901/911
Tuesday, October 14, 2014
Qin and the Han Dynasties: Introduction
The Qin dynasty (221-206 BCE) was under the rule of Qin Shi Huang (260-210 BCE). During this time (of the dynasty), currency, weights and measures were standardized, and a uniform system of writing was established. The Great Wall of China was built along the northern border, as an acting death camp, due to the fact the the government used peasants as slaves until they died; hence the rumor that the Great Wall of China was built off of the workers corpses. During this time, Emperor Shihuangdi also had a massive burning and killing of Confucius scholars and their work.
The Han dynasty (206 BCE-220 CE) was founded by the peasant rebel leader Liu Bang (Emperor Gaozu). The Hans dynasty is divided into two periods: the Western Han (206 BCE-9 CE) and the Eastern Han (25-220 CE). "The Han Dynasty ruled in an era of Chinese cultural consolidation, political experimentation, relative economic prosperity and maturity, and great technological advances."
Monday, October 13, 2014
Persian Empire: Artifact 10
Gold Cup
Produced in the Achaemenid Empire, about 2500 years ago during the fourth and third centuries BCE, "the cup, which is 5.5 inches high, is embossed with two female faces, each wearing a crown formed from snakes." This cup is similar to Roman double-headed bowls and tableware, which usually depicted Janus, the god of doorways, gates, beginnings and endings.
Works Cited
Information: Wright, Diana. "Achaemenid Gold Cup." Atrium. David Meadows, 2008.
Web. 13 Oct., 2014.
Picture: http://arthistory.we-wish.net/tag/persian-art/
Produced in the Achaemenid Empire, about 2500 years ago during the fourth and third centuries BCE, "the cup, which is 5.5 inches high, is embossed with two female faces, each wearing a crown formed from snakes." This cup is similar to Roman double-headed bowls and tableware, which usually depicted Janus, the god of doorways, gates, beginnings and endings.
Works Cited
Information: Wright, Diana. "Achaemenid Gold Cup." Atrium. David Meadows, 2008.
Web. 13 Oct., 2014.
Picture: http://arthistory.we-wish.net/tag/persian-art/
Persian Empire: Artifact 9
Bull and Lion Relief
The relief showing a lion battling/ killing a bull is seen on the staircases in Darius' palace, leading up to his throne room. The lion is a symbol of absolute power and heroic triumph while the bull is also a symbol of power seen in columns throughout the empire. It is also thought that the lion is the sun hitting the earth, which the bull is representative of. This follows along the other idea that the bull is winter being killed/ driven away by spring (the lion).
Works Cited
Information: "A Brief History of 'Noe-Rooz'." Iransaga. K. Kianush, Art Arena, 2004.
Web. 13 Oct., 2014.
"Persepolis Citadel." Bible History. Web. 13 Oct., 2014.
doostmusic. "IRAN Documentary Yesterday and Today: Rick Steves." Online viedo clip.
YouTube. YouTube LLC, 2014. Web. 13 Oct., 2014.
Picture: http://www.artarena.force9.co.uk/Image/bull.jpg
The relief showing a lion battling/ killing a bull is seen on the staircases in Darius' palace, leading up to his throne room. The lion is a symbol of absolute power and heroic triumph while the bull is also a symbol of power seen in columns throughout the empire. It is also thought that the lion is the sun hitting the earth, which the bull is representative of. This follows along the other idea that the bull is winter being killed/ driven away by spring (the lion).
Works Cited
Information: "A Brief History of 'Noe-Rooz'." Iransaga. K. Kianush, Art Arena, 2004.
Web. 13 Oct., 2014.
"Persepolis Citadel." Bible History. Web. 13 Oct., 2014.
doostmusic. "IRAN Documentary Yesterday and Today: Rick Steves." Online viedo clip.
YouTube. YouTube LLC, 2014. Web. 13 Oct., 2014.
Picture: http://www.artarena.force9.co.uk/Image/bull.jpg
Friday, October 10, 2014
Persian Empire: Artifact 8
Persian Money
The daric was introduced by Darius I (522-486 BCE) toward the end of the sixth century B.C.E. "The daric's origins can be traced to the Persian conquest of the kingdom of Lydia in Asia Minor by Cyrus the Great in around 550. Lydia had been the first ancient state to introduce the practice of minting coinage." Darius had began creating Persian money in the previous Lydian capital, Sardis. He was the first Achaemenid emperor to order the striking of the new gold coin with the image of the royal archer, though these were not the first coins to be struck at the Achaemenid imperial mint.
The daric became extremely popular in the ancient world, especially in the Mediterranean Basin. It was widely used and well-known for its remarkable purity in gold. The ancient Greeks believed that the term dareikós came from the name of Darius the Great. Researchers today think the Greek term came from the Old Persian dari- meaning "golden." The Greeks popularly named the coin toxoótai, "archer" after the image that appears on the coin. "The coin's iconography emphasizes the importance of the king as a warrior and leader for the Persians." The coin was used (aside from its monetary value) to assert the "Great King's" authority and power.
Works Cited
Information: Alram, Michael. "Daric." Encyclopaedia Iranica. Encyclopaedia Iranica, 2014.
Web. 10 Oct., 2014.
Truty, Andrew. "Persian Daric." Spurlock Museum. University of Illinois Board of Trustees,
2001-2014. Web. 10 Oct., 2014.
Picture: http://www.spurlock.illinois.edu/collections/artifact/daric.html
The daric was introduced by Darius I (522-486 BCE) toward the end of the sixth century B.C.E. "The daric's origins can be traced to the Persian conquest of the kingdom of Lydia in Asia Minor by Cyrus the Great in around 550. Lydia had been the first ancient state to introduce the practice of minting coinage." Darius had began creating Persian money in the previous Lydian capital, Sardis. He was the first Achaemenid emperor to order the striking of the new gold coin with the image of the royal archer, though these were not the first coins to be struck at the Achaemenid imperial mint.
The daric became extremely popular in the ancient world, especially in the Mediterranean Basin. It was widely used and well-known for its remarkable purity in gold. The ancient Greeks believed that the term dareikós came from the name of Darius the Great. Researchers today think the Greek term came from the Old Persian dari- meaning "golden." The Greeks popularly named the coin toxoótai, "archer" after the image that appears on the coin. "The coin's iconography emphasizes the importance of the king as a warrior and leader for the Persians." The coin was used (aside from its monetary value) to assert the "Great King's" authority and power.
Works Cited
Information: Alram, Michael. "Daric." Encyclopaedia Iranica. Encyclopaedia Iranica, 2014.
Web. 10 Oct., 2014.
Truty, Andrew. "Persian Daric." Spurlock Museum. University of Illinois Board of Trustees,
2001-2014. Web. 10 Oct., 2014.
Picture: http://www.spurlock.illinois.edu/collections/artifact/daric.html
Thursday, October 9, 2014
Persian Empire: Artifact 7
Achaemenid Earring
Gold, "round earring inlaid on both sides with multi-colored, semi-precious stones" including turquoise. "Its design may represent the king revered by the six "Great Houses" of the empire, the land of Persia surrounded by the six world regions, or the supreme god Ahuramazda surrounded by the six "Bounteous Immortals."
Works Cited
Information: "Earring." Museum of Fine Arts, Boston. Museum of Fine Arts, Boston, 2014.
Web. 9 Oct., 2014.
"Earring." The Metropolitan Museum of Art. The Metropolitan Museum of Art, 2000-2014.
Web. 9 Oct., 2014.
Picture: http://www.mfa.org/collections/object/earring-155819
Gold, "round earring inlaid on both sides with multi-colored, semi-precious stones" including turquoise. "Its design may represent the king revered by the six "Great Houses" of the empire, the land of Persia surrounded by the six world regions, or the supreme god Ahuramazda surrounded by the six "Bounteous Immortals."
Works Cited
Information: "Earring." Museum of Fine Arts, Boston. Museum of Fine Arts, Boston, 2014.
Web. 9 Oct., 2014.
"Earring." The Metropolitan Museum of Art. The Metropolitan Museum of Art, 2000-2014.
Web. 9 Oct., 2014.
Picture: http://www.mfa.org/collections/object/earring-155819
Persian Empire: Artifact 6
Calcite Jar
"This jar comes from the western part of the Achaemenid Empire. It is inscribed with the words 'Xerxes Great King' in Old Persian, Elamite, Babylonian and Egyptian.
The Achaemenid Persians used a cuneiform script quite different from Akkadian cuneiform, and was probably an artificial royal creation of Darius I (521-486 BC). All the inscriptions written in this script ('Old Persian') appear either on buildings and rockfaces in Iran or on smaller portable objects probably emanating from his court. They are almost always accompanied by versions in other languages, and this vessel has Elamite (a language spoken in south-western Iran), written in cuneiform, and Egyptian, written in hieroglyphs. This demonstrates the extent of the Achaemenid Eempire, which stretched from Egypt and the Aegean to the Indus."
Works Cited:
Information: "Calcite Jar." The British Museum. The Trustees of the
British Museum. Web. 9 Oct., 2014.
Picture: http://www.britishmuseum.org/explore/highlights/highlight_objects/me/c/calcite_jar.aspx
"This jar comes from the western part of the Achaemenid Empire. It is inscribed with the words 'Xerxes Great King' in Old Persian, Elamite, Babylonian and Egyptian.
The Achaemenid Persians used a cuneiform script quite different from Akkadian cuneiform, and was probably an artificial royal creation of Darius I (521-486 BC). All the inscriptions written in this script ('Old Persian') appear either on buildings and rockfaces in Iran or on smaller portable objects probably emanating from his court. They are almost always accompanied by versions in other languages, and this vessel has Elamite (a language spoken in south-western Iran), written in cuneiform, and Egyptian, written in hieroglyphs. This demonstrates the extent of the Achaemenid Eempire, which stretched from Egypt and the Aegean to the Indus."
Works Cited:
Information: "Calcite Jar." The British Museum. The Trustees of the
British Museum. Web. 9 Oct., 2014.
Picture: http://www.britishmuseum.org/explore/highlights/highlight_objects/me/c/calcite_jar.aspx
Monday, October 6, 2014
Persian Empire: Artifact 5
The Cyrus Cylinder
"This clay cylinder is inscribed in Babylonian cuneiform with an account by Cyrus, king of Persia (559-530 BC) of his conquest of Babylon in 539 BC and capture of Nabonidus, the last Babylonian king.
Cyrus claims to have achieved this with the aid of Marduk, the god of Babylon. He then describes measures of relief he brought to the inhabitants of the city, and tells how he returned a number of images of gods, which Nabonidus had collected in Babylon, to their proper temples throughout Mesopotamia and western Iran. At the same time he arranged for the restoration of these temples, and organized the return to their homelands of a number of people who had been held in Babylonia by the Babylonian kings. Although the Jews are not mentioned in this document, their return to Palestine following their deportation by Nebuchadnezzar II, was part of this policy.
This cylinder has sometimes been described as the 'first charter of human rights', but it in fact reflects a long tradition in Mesopotamia where, from as early as the third millennium BC, kings began their reigns with declarations of reforms."
Works Cited
Information: "Cyrus Cylinder." The British Museum. Trustees of the British
Museum. Web. 6 Oct., 2014.
Picture: http://www.metmuseum.org/about-the-museum/now-at-the-met/features/2013/cyrus-the-great
"This clay cylinder is inscribed in Babylonian cuneiform with an account by Cyrus, king of Persia (559-530 BC) of his conquest of Babylon in 539 BC and capture of Nabonidus, the last Babylonian king.
Cyrus claims to have achieved this with the aid of Marduk, the god of Babylon. He then describes measures of relief he brought to the inhabitants of the city, and tells how he returned a number of images of gods, which Nabonidus had collected in Babylon, to their proper temples throughout Mesopotamia and western Iran. At the same time he arranged for the restoration of these temples, and organized the return to their homelands of a number of people who had been held in Babylonia by the Babylonian kings. Although the Jews are not mentioned in this document, their return to Palestine following their deportation by Nebuchadnezzar II, was part of this policy.
This cylinder has sometimes been described as the 'first charter of human rights', but it in fact reflects a long tradition in Mesopotamia where, from as early as the third millennium BC, kings began their reigns with declarations of reforms."
Works Cited
Information: "Cyrus Cylinder." The British Museum. Trustees of the British
Museum. Web. 6 Oct., 2014.
Picture: http://www.metmuseum.org/about-the-museum/now-at-the-met/features/2013/cyrus-the-great
Persian Empire: Artifact 4
Relief of Servant
"Preserved is the nearly complete figure of a Persian attendant bearing a leather wineskin. In typical Persian fashion he is dressed in a kandys, a long-sleeved coat slung over the shoulders, and a bashlyk, a soft protective hood with long, scarf-like ends. As the curving palm leaves at the top indicate, this fragment once decorated the inner wall of a stairway leading to the palace of Darius. This carving was probably executed early in the reign of Darius' son, Xerxes (485-465 BC), who added the greater part of the palace's sculptural decoration. This figure originally formed part of a procession of Persian and Median servants shown ascending the palace stairs as royal visitors would have done on ceremonial occasions."
Works Cited
Information: Cincinnati Art Museum. "Relief with attendant bearing wineskin."
Cincinnati, OH: Cincinnati Art Museum, 2011. Plaque
Picture: https://www.flickr.com/photos/frted/4685426885/
Works Cited
Information: Cincinnati Art Museum. "Relief with attendant bearing wineskin."
Cincinnati, OH: Cincinnati Art Museum, 2011. Plaque
Picture: https://www.flickr.com/photos/frted/4685426885/
Sunday, October 5, 2014
Persian Empire: Artifact 3
Stone Guard
"This polished limestone relief fragment once adorned a central gateway complex, known as the Tripylon, erected by Darius' son and successor, Xerxes (486-465 BC). Preserved is the upper portion of a Persian archer, who matches in procession with an upright lance. His status as a royal guard is clear from his elegant fluted headdress and paraphernalia, which include a quiver case and bow."
Works Cited:
Information: Cincinnati Art Museum. "Relief with Persian Guard." Cincinnati, OH:
Cincinnati Art Museum, 2011. Plaque.
Picture: http://38.media.tumblr.com/7741171cfe212fb3f75dee42c067c76d/tumblr_mqyqbs0p3N1ryfivao1_500.jpg
Works Cited:
Information: Cincinnati Art Museum. "Relief with Persian Guard." Cincinnati, OH:
Cincinnati Art Museum, 2011. Plaque.
Picture: http://38.media.tumblr.com/7741171cfe212fb3f75dee42c067c76d/tumblr_mqyqbs0p3N1ryfivao1_500.jpg
Persian Empire: Artifact 2
Golden Bowl
"This gold vessel was a royal offering to the Persian king Darius I (522-486 BC). The recipient himself is commemorated in a dedication, inscribed beneath the rim, which proclaims 'Darius, Great King' in the three official languages of the Achaemenid empire: Persian, Babylonian, and Elamite. To judge from its shape, this vessel was probably used for libation- the ceremonial pouring of wine in honor of a god. It may also have been used as a drinking cup (known in ancient Greek as a phiale). The bowl bears a stylized floral pattern consisting of a central rosette surrounded by the petals of a lotus flower, a design commonly found on drinking cups of the period. Similar metal vessels are often shown carried by servants or tributaries on the stairway reliefs of the Persian capital at Persepolis. Fashioned from solid gold, this vessel was cast in a stone mold, and its relief decoration was produced by a process of hammering from the interior, known as repoussé."
Works Cited:
Information: Cincinnati Art Museum. "Bowl of Darius the Great." Cincinnati, OH:
Cincinnati Art Museum, 2011. Plaque.
Picture: http://upload.wikimedia.org/wikipedia/commons/3/3e/Bowl_of_Darius_the_Great,_Iran,_Achaemenid_period,_reign_of_Darius_I,_522-486_BC,_hammered_gold_with_chased_decoraton_-_Cincinnati_Art_Museum_-_DSC03270.JPG
Works Cited:
Information: Cincinnati Art Museum. "Bowl of Darius the Great." Cincinnati, OH:
Cincinnati Art Museum, 2011. Plaque.
Picture: http://upload.wikimedia.org/wikipedia/commons/3/3e/Bowl_of_Darius_the_Great,_Iran,_Achaemenid_period,_reign_of_Darius_I,_522-486_BC,_hammered_gold_with_chased_decoraton_-_Cincinnati_Art_Museum_-_DSC03270.JPG
Persian Empire: Artifact 1
Gold Foundation Plaques
"These two inscribed Persian gold plaques served as offerings to commemorate the foundation of one or more royal buildings, according to established ancient Near Eastern custom. Inscribed in Old Persian, the official tongue of the Achaemenid realm, they invoke the protection of the Zoroastrian god Ahuramazda on behalf of the Persian Kings Arsames (ruled 6th century BC) and Artaxerxes II (405-359 BC)."
Works Cited
Information: Cincinnati Art Museum. "Foundation plaques." Cincinnati, OH:
Cincinnati Art Museum, 2011. Plaque.
Pictures: http://ancientart.tumblr.com/post/95323256905/foundation-plaques-b-photo-1-and-a-photo-2
"These two inscribed Persian gold plaques served as offerings to commemorate the foundation of one or more royal buildings, according to established ancient Near Eastern custom. Inscribed in Old Persian, the official tongue of the Achaemenid realm, they invoke the protection of the Zoroastrian god Ahuramazda on behalf of the Persian Kings Arsames (ruled 6th century BC) and Artaxerxes II (405-359 BC)."
Works Cited
Information: Cincinnati Art Museum. "Foundation plaques." Cincinnati, OH:
Cincinnati Art Museum, 2011. Plaque.
Pictures: http://ancientart.tumblr.com/post/95323256905/foundation-plaques-b-photo-1-and-a-photo-2
Monday, September 29, 2014
Persian Empire: Introduction
Persia was the largest and most impressive of the world's empires by 500 B.C.E., spanning three continents and having a total population of approximately 35 million. Under the leadership of the famous monarchs Cyrus the Great (reigned 557-530 B.C.E.) and Darius (reigned 522-486 B.C.E.) the empire quickly expanded and gained immense wealth. What was unique about this empire was its respect for non-Persian cultural traditions and religions.
The empire's government was a centralized, bureaucratic administration under the Emperor. The monarch was secluded in "royal magnificence" and could only be approached through an elaborate ritual. The great empire fell in 330 B.C.E. after Alexander III of Macedon led a military campaign against Persia.
The empire's government was a centralized, bureaucratic administration under the Emperor. The monarch was secluded in "royal magnificence" and could only be approached through an elaborate ritual. The great empire fell in 330 B.C.E. after Alexander III of Macedon led a military campaign against Persia.
Saturday, September 13, 2014
Çatalhöyük: Artifact 10
Obsidian Mirror
The small black circle in the photo the photograph above is actually what many archaeologists believe to be a mirror made out of obsidian. This was achieved by smoothing the volcanic rock down until it was shiny enough that you were able to see some form of a reflection.
Works Cited
Picture: https://www.courses.psu.edu/art_h/art_h201_ejw3/catal.html
The small black circle in the photo the photograph above is actually what many archaeologists believe to be a mirror made out of obsidian. This was achieved by smoothing the volcanic rock down until it was shiny enough that you were able to see some form of a reflection.
Works Cited
Picture: https://www.courses.psu.edu/art_h/art_h201_ejw3/catal.html
Çatalhöyük: Artifact 9
Jewelry
The jewelry found in Catal Huyuk was made of bone, shells, and rock. The real mystery is how these ancient artisans drilled such small and precise holes into the matter they were working with.
Works Cited:
Picture: https://cattalhuyuk.wikispaces.com/Artifacts
The jewelry found in Catal Huyuk was made of bone, shells, and rock. The real mystery is how these ancient artisans drilled such small and precise holes into the matter they were working with.
Works Cited:
Picture: https://cattalhuyuk.wikispaces.com/Artifacts
Çatalhöyük: Artifact 8
Carved Bone
The bones carved bones shown would have acted as sewing needles or tools for sewing and weaving.
Works Cited
Information: Benn, Nathan. "Neolithic carved bone implements from Catal Huyuk." Corbis. Corbis
Corporation, 2002-2014. Web. 13 Sept. 2014.
Picture: http://www.corbisimages.com/stock-photo/rights-managed/42-25028915/neolithic-carved-bone-implements-from-catal-huyuk
The bones carved bones shown would have acted as sewing needles or tools for sewing and weaving.
Works Cited
Information: Benn, Nathan. "Neolithic carved bone implements from Catal Huyuk." Corbis. Corbis
Corporation, 2002-2014. Web. 13 Sept. 2014.
Picture: http://www.corbisimages.com/stock-photo/rights-managed/42-25028915/neolithic-carved-bone-implements-from-catal-huyuk
Friday, September 12, 2014
Çatalhöyük: Artifact 7
Clay Pots
Many of the cups, bowls, and pots found in the city of Catal Huyuk were baked clay or painted plaster. Archaeologists think they may have found what might be evidence of kilns in the ancient city. All pieces seemed to have a reddish pigment to them. One can tell cups apart from everything else, because of the pinched corners.
Works Cited
Information: "Pottery." Mysteries of ÇatalHöyük! Science Museum of Minnesota, 2003. Web.
12 Sept. 2014.
Picture(s): http://www.smm.org/catal/artifacts/pottery/
Many of the cups, bowls, and pots found in the city of Catal Huyuk were baked clay or painted plaster. Archaeologists think they may have found what might be evidence of kilns in the ancient city. All pieces seemed to have a reddish pigment to them. One can tell cups apart from everything else, because of the pinched corners.
Works Cited
Information: "Pottery." Mysteries of ÇatalHöyük! Science Museum of Minnesota, 2003. Web.
12 Sept. 2014.
Picture(s): http://www.smm.org/catal/artifacts/pottery/
Çatalhöyük: Artifact 6
Baked Clay Seals
Baked clay seals with geometric designs were excavated at Catal Huyuk in central Anatolia. Made about 6000 B.C., the seals were used to stamp dye decorations onto skin or cloth.
Works Cited
Information: Benn, Nathan. Alamy. Alamy Ltd., 2014. Web. 14 Sept. 2014.
Picture: http://users.stlcc.edu/mfuller/catalhuyuk.html
Baked clay seals with geometric designs were excavated at Catal Huyuk in central Anatolia. Made about 6000 B.C., the seals were used to stamp dye decorations onto skin or cloth.
Works Cited
Information: Benn, Nathan. Alamy. Alamy Ltd., 2014. Web. 14 Sept. 2014.
Picture: http://users.stlcc.edu/mfuller/catalhuyuk.html
Çatalhöyük: Artifact 5
Religion: Goddess of the Underworld
This figure appears alone in one of Catal Huyuk's sacred chambers. The circles most likely mean that the figurine s pregnant. The goddess is wearing a net-like garment and holding a veil of black, red, and yellow. The veil is similar to the woven Catal shrouds placed on the dead.
There are many similarities drawn between ancient Greek religion (commonly known as Greek 'mythology') and Catal Huyuk beliefs. Check out the website for more on the goddess and those similar to her in both the ancient Greek and Egyptian religions.
Works Cited:
Information: "Catal Huyuk: Origins of Civilizations." Alternative Archaeology.
alternativearchaeology. Web. 12 Sept. 2014.
Picture: http://alternativearchaeology.jigsy.com/catal-huyuk
This figure appears alone in one of Catal Huyuk's sacred chambers. The circles most likely mean that the figurine s pregnant. The goddess is wearing a net-like garment and holding a veil of black, red, and yellow. The veil is similar to the woven Catal shrouds placed on the dead.
There are many similarities drawn between ancient Greek religion (commonly known as Greek 'mythology') and Catal Huyuk beliefs. Check out the website for more on the goddess and those similar to her in both the ancient Greek and Egyptian religions.
Works Cited:
Information: "Catal Huyuk: Origins of Civilizations." Alternative Archaeology.
alternativearchaeology. Web. 12 Sept. 2014.
Picture: http://alternativearchaeology.jigsy.com/catal-huyuk
Çatalhöyük: Artifact 4
Religion: The Cattle
There is a very close relationship between the Catal Huyuk worshipping of cattle and the ancient Egyptians. The Catal Huyuk created shrines with cattle horns protruding in an aggressive manner. The cattle shrine was believed to have been used to guide one's soul to the afterlife. Some historians believe the citizens of this ancient city began worshipping cattle due to the ''age of Taurus". Witnessing a time when Taurus was the ''rising'' constellation of the equinoxes.
Works Cited
Information: "Catal Huyuk: Origins of Civilizations." Alternative Archaeology.
alternativearchaeology. Web. 12 Sept. 2014.
"Çatal Höyük: (The 'Forked Mound')." Ancient Wisdom. WiserHosting. Web. 12 Sept. 2014.
Picture: http://realhistoryww.com/world_history/ancient/Anatolia_Turkey.htm
There is a very close relationship between the Catal Huyuk worshipping of cattle and the ancient Egyptians. The Catal Huyuk created shrines with cattle horns protruding in an aggressive manner. The cattle shrine was believed to have been used to guide one's soul to the afterlife. Some historians believe the citizens of this ancient city began worshipping cattle due to the ''age of Taurus". Witnessing a time when Taurus was the ''rising'' constellation of the equinoxes.
Works Cited
Information: "Catal Huyuk: Origins of Civilizations." Alternative Archaeology.
alternativearchaeology. Web. 12 Sept. 2014.
"Çatal Höyük: (The 'Forked Mound')." Ancient Wisdom. WiserHosting. Web. 12 Sept. 2014.
Picture: http://realhistoryww.com/world_history/ancient/Anatolia_Turkey.htm
Çatalhöyük: Artifact 3
Religion: The Vulture
Many shrines and walls had huge skeletal representations of vultures. The murals often depicted vultures eating corpses of human beings; this is believed to be some kind of funeral ritual. It is a funerary ritual called excarnation, where a body is laid in a Dakhma (a circular stone tower) to be picked at and eaten by vultures. In Catal Huyuk, shrine murals mirrored Dakhma's, they were called "Towers of Silence" (high wooden towers). It was believed that the soul would depart the body and embark on the journey to the ''otherworld" under the protection of the vultures wing. In Egyptian hieroglyphs the vulture was said/shown to be carrying the Ba or 'soul'.
Archaeologists think that the Catal Huyuk citizens found the bird to be quite feminine. A discovery of human chests were found molded onto walls through the use of plaster, with vulture skulls (and beaks) protruding through the chest in a way that seemed to form nipples.
Works Cited:
Information: "Çatal Höyük: (The 'Forked Mound')." Ancient Wisdom. WiserHosting. Web. 12 Sept.
2014.
"Catal Huyuk: Origins of Civilizations." Alternative Archaeology. alternativearchaeology. Web.
12 Sept. 2014.
Picture: http://arthistoryworlds.org/catal-hoyuk-paintings/
Many shrines and walls had huge skeletal representations of vultures. The murals often depicted vultures eating corpses of human beings; this is believed to be some kind of funeral ritual. It is a funerary ritual called excarnation, where a body is laid in a Dakhma (a circular stone tower) to be picked at and eaten by vultures. In Catal Huyuk, shrine murals mirrored Dakhma's, they were called "Towers of Silence" (high wooden towers). It was believed that the soul would depart the body and embark on the journey to the ''otherworld" under the protection of the vultures wing. In Egyptian hieroglyphs the vulture was said/shown to be carrying the Ba or 'soul'.
Archaeologists think that the Catal Huyuk citizens found the bird to be quite feminine. A discovery of human chests were found molded onto walls through the use of plaster, with vulture skulls (and beaks) protruding through the chest in a way that seemed to form nipples.
Works Cited:
Information: "Çatal Höyük: (The 'Forked Mound')." Ancient Wisdom. WiserHosting. Web. 12 Sept.
2014.
"Catal Huyuk: Origins of Civilizations." Alternative Archaeology. alternativearchaeology. Web.
12 Sept. 2014.
Picture: http://arthistoryworlds.org/catal-hoyuk-paintings/
Çatalhöyük: Artifact 2
Bone Rings
Rings were cut from a single bone. These rings were worn by a juvenile. Evidence supports the notion that two rings were usually worn on a finger, but the rings were not worn all together due to the fact that it would make working and other everyday tasks, harder to accomplish.
Works Cited:
Information: Hamilton, Naomi. "Bone Rings." Mystery of ÇatalHöyük! Science Museum of
Minnesota, 2003. Web. 12 Sept. 2014.
Picture: http://www.ancient-wisdom.co.uk/turkeycatalhuyuk.htm
Rings were cut from a single bone. These rings were worn by a juvenile. Evidence supports the notion that two rings were usually worn on a finger, but the rings were not worn all together due to the fact that it would make working and other everyday tasks, harder to accomplish.
Works Cited:
Information: Hamilton, Naomi. "Bone Rings." Mystery of ÇatalHöyük! Science Museum of
Minnesota, 2003. Web. 12 Sept. 2014.
Picture: http://www.ancient-wisdom.co.uk/turkeycatalhuyuk.htm
Thursday, September 11, 2014
Çatalhöyük: Artifact 1
Ancient Dwellings
The ancient city of Catal Huyuk was one giant mass of interconnecting homes. Homes were made of mud bricks and plaster (the plaster was reapplied annually) and the dead were buried in the family house. There were no doors, instead, people gained access to homes through hatches in the roofs. People were able to climb to different levels through the use of ladders. Since all the houses were connected, no roads could weave in between the homes, so roofs essentially acted as streets.
Walls and floors were covered in plaster and decorated with panels of red. Outside walls of homes had paintings depicting hunting scenes, death (with a vulture picking at a human carcass), and landscapes. Each home had an oven for baking bread, but there was no chimney, instead there were holes in the wall that provided ventilation. Rush matting was used on the floors and furniture was built with brick platforms that was used for sitting, working, and sleeping on. The bull was considered a sacred animal and on outside walls and altars of temple chambers, horns were projecting out.
Works Cited
Information: Gascoigm, Bamber. "A complete Neolithic town." HistoryWorld. 2001-Present. Web.
11 Sept. 2014.
Lambert, Tim. "The Ancient City of Catal Huyuk." Local Histories. Web. 11 Sept. 2014.
Picture: http://leavingbabylon.wordpress.com/book/being-there/
The ancient city of Catal Huyuk was one giant mass of interconnecting homes. Homes were made of mud bricks and plaster (the plaster was reapplied annually) and the dead were buried in the family house. There were no doors, instead, people gained access to homes through hatches in the roofs. People were able to climb to different levels through the use of ladders. Since all the houses were connected, no roads could weave in between the homes, so roofs essentially acted as streets.
Walls and floors were covered in plaster and decorated with panels of red. Outside walls of homes had paintings depicting hunting scenes, death (with a vulture picking at a human carcass), and landscapes. Each home had an oven for baking bread, but there was no chimney, instead there were holes in the wall that provided ventilation. Rush matting was used on the floors and furniture was built with brick platforms that was used for sitting, working, and sleeping on. The bull was considered a sacred animal and on outside walls and altars of temple chambers, horns were projecting out.
Works Cited
Information: Gascoigm, Bamber. "A complete Neolithic town." HistoryWorld. 2001-Present. Web.
11 Sept. 2014.
Lambert, Tim. "The Ancient City of Catal Huyuk." Local Histories. Web. 11 Sept. 2014.
Picture: http://leavingbabylon.wordpress.com/book/being-there/
Çatalhöyük: Introduction
Catal Huyuk was one of the worlds first towns and is the largest best-preserved Neolithic site ever found! Located in Turkey overlooking the Konya Plain and about 87 miles from Mount Hasan, this ancient village existed from about 6500 B.C. to 5700 B.C. It had a population of about 6,000 citizens who were among the first farmers. They grew wheat and barley and raised sheep and goats. They also continued to hunt animals like aurochs, wolves, foxes, and leopards.
Wednesday, September 10, 2014
Polynesian Society: Artifact 10
Feathered and Woven Helmet
There were three distinct styles of helmets: feathered, woven, and helmets covered in human hair.
The feathered helmet was worn by Hawaiian chiefs during ceremonies or battle. Red and yellow colors were favored by the nobility as a symbol of their high status. The helmet is made from split aerial rootlets of the 'ie'ie; it is then covered with olona fiber which the feathers are tied too. The wide crest on the helmet is a style associated with the island of Kauai. Unfortunately, Hawaiian's stopped making feather garments and helmets in the early nineteenth century.
The woven helmet below would have been worn by warriors or lesser chiefs; depended upon the design of the helmet.
Works Cited:Information: P.H. Buck. "Feathered helmet
(mahoile)." The British Museum. Trustees of
the British Museum. Web. 10 Sept. 2014.
Pictures: http://www.ourpacificocean.com/oceania_arts/index.htm
http://www.britishmuseum.org/explore/highlights/highlight_objects/aoa/f/feathered_helmet_mahiole-1.aspx
There were three distinct styles of helmets: feathered, woven, and helmets covered in human hair.
The feathered helmet was worn by Hawaiian chiefs during ceremonies or battle. Red and yellow colors were favored by the nobility as a symbol of their high status. The helmet is made from split aerial rootlets of the 'ie'ie; it is then covered with olona fiber which the feathers are tied too. The wide crest on the helmet is a style associated with the island of Kauai. Unfortunately, Hawaiian's stopped making feather garments and helmets in the early nineteenth century.
The woven helmet below would have been worn by warriors or lesser chiefs; depended upon the design of the helmet.
Works Cited:Information: P.H. Buck. "Feathered helmet
(mahoile)." The British Museum. Trustees of
the British Museum. Web. 10 Sept. 2014.
Pictures: http://www.ourpacificocean.com/oceania_arts/index.htm
http://www.britishmuseum.org/explore/highlights/highlight_objects/aoa/f/feathered_helmet_mahiole-1.aspx
Polynesian Society: Artifact 9
Feather Boxes
Feather boxes were used to store personal ornaments and valuables. These boxes got their names due to the fact that they usually held black and white tail feathers of the huia, which were worn as hair decorations. The boxes would have normally been more elaborate on the underside because it was the most visible part when hung up in homes.
The oval wakahuia is carved in the style found in the area of Wanganui. The style applied onto the lid is know as kowhaiwhai from the area of Poverty Bay on the east coast of North Island.
The rectangular papanou has a flat base and is carved in a style associated with the Bay of Islands area north of New Zealand. The sides usually contained carvings called mania figures on the side of the box. They were carvings of faces and sometimes bodies too. There is also a flax cord that goes diagonally across the box to hold the lid in place.
Works Cited:
Information: A.L. Kaeppler, D.C. Starzecka (ed.), R. Neich. "Feather boxes." The British Museum.
Trustees of the British Museum. Web. 10 Sept. 2014.
Picture: http://www.britishmuseum.org/explore/highlights/highlight_objects/aoa/f/feather_boxes.aspx
Feather boxes were used to store personal ornaments and valuables. These boxes got their names due to the fact that they usually held black and white tail feathers of the huia, which were worn as hair decorations. The boxes would have normally been more elaborate on the underside because it was the most visible part when hung up in homes.
The oval wakahuia is carved in the style found in the area of Wanganui. The style applied onto the lid is know as kowhaiwhai from the area of Poverty Bay on the east coast of North Island.
The rectangular papanou has a flat base and is carved in a style associated with the Bay of Islands area north of New Zealand. The sides usually contained carvings called mania figures on the side of the box. They were carvings of faces and sometimes bodies too. There is also a flax cord that goes diagonally across the box to hold the lid in place.
Works Cited:
Information: A.L. Kaeppler, D.C. Starzecka (ed.), R. Neich. "Feather boxes." The British Museum.
Trustees of the British Museum. Web. 10 Sept. 2014.
Picture: http://www.britishmuseum.org/explore/highlights/highlight_objects/aoa/f/feather_boxes.aspx
Polynesian Society: Artifact 8
Drum (Pohu Hula)
Drums were very important in Hawaiian culture. They were made from shark skin and held into place with woven coconut fiber strands. Some contained decorative carvings such as this one, where there are four figures, as it seems, trying to support the rest of the weight of the drum. This is one of two known complete drums with figures carved into the bass.
The drum shown would have probably been played as a part of a hula (see "Artifact 3" on my blog). Larger versions were used in temple ceremonies. Musicians would have played the pohu with one hand and another smaller drum tied to the knee with the other hand.
Works Cited:
Information: A.L. Kaeppler, G.S. Kanahele (ed.), P.H. Buck. "Drum (pahu hula)." The British
Museum. Trustees of the British Museum. Web. 10 Sept. 2014.
Picture: http://www.britishmuseum.org/explore/highlights/highlight_objects/aoa/d/drum_pahu_hula.aspx
Drums were very important in Hawaiian culture. They were made from shark skin and held into place with woven coconut fiber strands. Some contained decorative carvings such as this one, where there are four figures, as it seems, trying to support the rest of the weight of the drum. This is one of two known complete drums with figures carved into the bass.
The drum shown would have probably been played as a part of a hula (see "Artifact 3" on my blog). Larger versions were used in temple ceremonies. Musicians would have played the pohu with one hand and another smaller drum tied to the knee with the other hand.
Works Cited:
Information: A.L. Kaeppler, G.S. Kanahele (ed.), P.H. Buck. "Drum (pahu hula)." The British
Museum. Trustees of the British Museum. Web. 10 Sept. 2014.
Picture: http://www.britishmuseum.org/explore/highlights/highlight_objects/aoa/d/drum_pahu_hula.aspx
Tuesday, September 9, 2014
Polynesian Society: Artifact 7
Fish Hooks
The origin of the fish hook begins in the legends of the Māori people of New Zealand. Fishing was extremely important to the Māori people, because it showed their relationship with Tangaroa, god of the sea. Bone hei matau (fish hook) were carved from whale bone. Plain hei matau was used for fishing, while decorative ones were ornamental and served as necklaces and family heirlooms.
In Hawai'i the fish hook signified strength and prosperity. The fish hook was meant to also represent the oceans wealth and beauty, seeing that resources to make it came from the ocean. Artisans used sharks and whales to make fish hooks. There were two types of hooks: simple ones made from only one kind of material such as bone or wood and composite hooks that consisted of two pieces lashed together.
Works Cited:
Information: "Meaning and History." IrishCarver. Weebly. Web. 9 Sept. 2014.
Picture: http://www.ucl.ac.uk/finance/corp_images/object/object_archive.html
The origin of the fish hook begins in the legends of the Māori people of New Zealand. Fishing was extremely important to the Māori people, because it showed their relationship with Tangaroa, god of the sea. Bone hei matau (fish hook) were carved from whale bone. Plain hei matau was used for fishing, while decorative ones were ornamental and served as necklaces and family heirlooms.
In Hawai'i the fish hook signified strength and prosperity. The fish hook was meant to also represent the oceans wealth and beauty, seeing that resources to make it came from the ocean. Artisans used sharks and whales to make fish hooks. There were two types of hooks: simple ones made from only one kind of material such as bone or wood and composite hooks that consisted of two pieces lashed together.
Works Cited:
Information: "Meaning and History." IrishCarver. Weebly. Web. 9 Sept. 2014.
Picture: http://www.ucl.ac.uk/finance/corp_images/object/object_archive.html
Polynesian Society: Artifact 6
Tahitian Art: Fan and Club
Tahitian art had two primary functions: to honor and communicate with the gods and spirits of Tahitian belief and as jewelry and décor for chiefs and other people of the upper class. Certain items were used to show ones rank, either as a chief, priest, or aristocrat.
Tahitian's worshipped five main gods: 'Oro, Ta'aroa, Tane, Tu, and Ro'o. 'Oro was the supreme god and was represented in club-like sculptures, like the one pictured on the left. The decorative club consists of a block of wood being wrapped around numerous times in tightly woven coconut fiber. Features were shown on the to'o through the application of strands of fiber onto the surface. This object was mostly associated with warfare, but was also used by the ariori, a semi-professional class of performing artists.
The fly whisk on the right not only had a practical use, but also showed someone's importance. Being made out of whale ivory, a precious commodity, this showed that the fly whisk most likely belonged to a chief. The top of the whisk would have had coconut fibers or feathers attached.
Works Cited:
Information: Department of AAOA. "Tahiti." Heilbrunn Timeline of Art History. The Metropolitan
Museum of Art, 2000. Web. 9 Sept. 2014.
Picture: http://www.metmuseum.org/toah/hd/tahi/hd_tahi.htm
Tahitian art had two primary functions: to honor and communicate with the gods and spirits of Tahitian belief and as jewelry and décor for chiefs and other people of the upper class. Certain items were used to show ones rank, either as a chief, priest, or aristocrat.
Tahitian's worshipped five main gods: 'Oro, Ta'aroa, Tane, Tu, and Ro'o. 'Oro was the supreme god and was represented in club-like sculptures, like the one pictured on the left. The decorative club consists of a block of wood being wrapped around numerous times in tightly woven coconut fiber. Features were shown on the to'o through the application of strands of fiber onto the surface. This object was mostly associated with warfare, but was also used by the ariori, a semi-professional class of performing artists.
The fly whisk on the right not only had a practical use, but also showed someone's importance. Being made out of whale ivory, a precious commodity, this showed that the fly whisk most likely belonged to a chief. The top of the whisk would have had coconut fibers or feathers attached.
Works Cited:
Information: Department of AAOA. "Tahiti." Heilbrunn Timeline of Art History. The Metropolitan
Museum of Art, 2000. Web. 9 Sept. 2014.
Picture: http://www.metmuseum.org/toah/hd/tahi/hd_tahi.htm
Polynesian Society: Artifact 5
The Surf Board
Surfing is one of the oldest sports on the planet. It originated in Western Polynesia over 3000 years ago. The first surfers were fisherman who rode waves to get to shore quicker with their catch. Eventually it became an exclusive sport for the wealthy. During the 15th century, kings, queens, and people of the Sandwich Isles loved the sport hu'enalu or wave-sliding. The ali'i or high class claimed the highest reputation for skill on riding the boards. Private beaches formed, only to be used for surfing and those of similar talent. Only people of similar skill could surf together and never would anyone steal another persons wave.
Prayers, board sharpers, wood, and beaches were developed for surfing. Certain trees were picked to make a board and when they were dug up, board makers would leave a fish around the roots as an offering to the gods. Before undergoing any kind of construction, surfboards underwent a sacred ritual.
There are four basic board types used in ancient Hawai'i:
1. the paipo or kioe was a children's board only about two to four feet long.
2. the alaia or omo was around eight feet in length
3. the kiko'o was between 12 and 18 feet long and required a high level of skill to handle
4. the olo was reserved for royalty and was 18 to 24 feet long!
Works Cited:
Information: "The Origins of Surfing." UFIML. Veronica Britton. Web. 9 Sept. 2014.
Picture: http://data.bishopmuseum.org/ethnobotanydb/ethnobotany.php?b=d&ID=ulu
Video of surfers doing what they do best: https://www.youtube.com/watch?v=uYI1QgxTMTA
Surfing is one of the oldest sports on the planet. It originated in Western Polynesia over 3000 years ago. The first surfers were fisherman who rode waves to get to shore quicker with their catch. Eventually it became an exclusive sport for the wealthy. During the 15th century, kings, queens, and people of the Sandwich Isles loved the sport hu'enalu or wave-sliding. The ali'i or high class claimed the highest reputation for skill on riding the boards. Private beaches formed, only to be used for surfing and those of similar talent. Only people of similar skill could surf together and never would anyone steal another persons wave.
Prayers, board sharpers, wood, and beaches were developed for surfing. Certain trees were picked to make a board and when they were dug up, board makers would leave a fish around the roots as an offering to the gods. Before undergoing any kind of construction, surfboards underwent a sacred ritual.
There are four basic board types used in ancient Hawai'i:
1. the paipo or kioe was a children's board only about two to four feet long.
2. the alaia or omo was around eight feet in length
3. the kiko'o was between 12 and 18 feet long and required a high level of skill to handle
4. the olo was reserved for royalty and was 18 to 24 feet long!
Works Cited:
Information: "The Origins of Surfing." UFIML. Veronica Britton. Web. 9 Sept. 2014.
Picture: http://data.bishopmuseum.org/ethnobotanydb/ethnobotany.php?b=d&ID=ulu
Video of surfers doing what they do best: https://www.youtube.com/watch?v=uYI1QgxTMTA
Polynesian Society: Artifact 4
Easter Island Statues
According to Easter Island legend, 1500 years ago a Polynesian chief, Hotu Matu'a sailed to the islands in a double canoe with his wife and extended family and landed on Anakena Beach. It is believed by many archeologists though, that the island was first settled around 800 A.D. to 1200. It is believed that early settlers brought over banana trees, taro root, and sweet potato. The farming of these crops on the island led to the Rapa Nui's demise. It was an environmental catastrophe, due to deforestation, erosion, and soil depletion.
Moai statues are about 13 feet tall and weigh 14 tons. It is thought that these moai were created to honor ancestors, chiefs, and other people or things of great importance. Culture reached its height during the tenth to 16th century when the Rapa Nui people had carved and erected 900 statues across the island. The Rano Raraku quarry yielded the stone used for almost all of the island moai. Over 400 statues sit in the quarry, all in different stages towards completion.
Works Cited:
Information: Clark, Liesl. "Pioneers of Easter Island." NOVA. WGBH, 1996. Web. 9 Sept. 2014.
"Easter Island." National Geographic. National Geographic Society, 1996. Web. 9 Sept. 2014.
Picture: http://travel.nationalgeographic.com/travel/365-photos/easter-island-statues/
According to Easter Island legend, 1500 years ago a Polynesian chief, Hotu Matu'a sailed to the islands in a double canoe with his wife and extended family and landed on Anakena Beach. It is believed by many archeologists though, that the island was first settled around 800 A.D. to 1200. It is believed that early settlers brought over banana trees, taro root, and sweet potato. The farming of these crops on the island led to the Rapa Nui's demise. It was an environmental catastrophe, due to deforestation, erosion, and soil depletion.
Moai statues are about 13 feet tall and weigh 14 tons. It is thought that these moai were created to honor ancestors, chiefs, and other people or things of great importance. Culture reached its height during the tenth to 16th century when the Rapa Nui people had carved and erected 900 statues across the island. The Rano Raraku quarry yielded the stone used for almost all of the island moai. Over 400 statues sit in the quarry, all in different stages towards completion.
Works Cited:
Information: Clark, Liesl. "Pioneers of Easter Island." NOVA. WGBH, 1996. Web. 9 Sept. 2014.
"Easter Island." National Geographic. National Geographic Society, 1996. Web. 9 Sept. 2014.
Picture: http://travel.nationalgeographic.com/travel/365-photos/easter-island-statues/
Polynesian Society: Artifact 3
Hula Dancing
Hula dancing, or Ha'a, tells a story or interprets/mimics movements of nature such as trees blowing in the wind or fish swimming in the ocean. It was also the Hawaiian's way of keeping record of their history. As a ritual dance, it was performed for the volcano goddess, Pele. Her sister Hi'iaka originally performed the dance for Pele. The goddess Laka is the "keeper" of the dance. She created two groups of Hula dancers: the Olapa and Ho'o-paa. The Olapa had younger dancers, representing new dances with more energy. The Ho'o-paa were the elders who accompanied the dancers with song and music.
Ha'a started as poetic chanting done by men, this was called the Mele. As the men performed poetry, women dancers transformed their words into dance and performed along with instruments. There were sharkskin drums, rattles, gourds, and castanets. Costumes consisted of women being wrapped in skirts made of cloth and men wearing loincloths. After the ritual dance, leis were placed on the altar of Laka as an offering of flowers to the goddess.
Works Cited:
Information: "Hula Dancing History." HulaDanceHQ. Web. 9 Sept. 2014.
Picture: http://en.wikipedia.org/wiki/Hula
Video of traditional Hula dance: https://www.youtube.com/watch?v=T9usfzaZvTk
Ha'a started as poetic chanting done by men, this was called the Mele. As the men performed poetry, women dancers transformed their words into dance and performed along with instruments. There were sharkskin drums, rattles, gourds, and castanets. Costumes consisted of women being wrapped in skirts made of cloth and men wearing loincloths. After the ritual dance, leis were placed on the altar of Laka as an offering of flowers to the goddess.
Works Cited:
Information: "Hula Dancing History." HulaDanceHQ. Web. 9 Sept. 2014.
Picture: http://en.wikipedia.org/wiki/Hula
Video of traditional Hula dance: https://www.youtube.com/watch?v=T9usfzaZvTk
Monday, September 8, 2014
Polynesian Society: Artifact 2
Ancient Polynesian Tattoos
"The roles, techniques and motifs of the arts of the tatau, moko, and uni have continued to exist for over 2,000 years." In Tahiti, tattoos (tatau) were used to mark the different ranks and status' of those within their troupe. In the islands of French Polynesia (the Society, Tuamotu, Austral, Gambier, and Marquesas groups), each island group had its own unique design, so one was able to identify another person's origin based on their tattoos. "Some design elements that were common throughout Polynesia were linear geometric motifs, petroglyphs, and very basic pictographic representations of men, animals, birds, or other man-made objects." Each symbol had multiple meanings, depending upon the placement, on the body, incorporation with other designs, and the person being tattooed.
The master or tattoo artist was highly regarded amongst society and was even respected by the sacred chiefs (ali'i/ariki). This was a highly trained individual was knowledgeable of both literal and figurative meaning of motifs, placement, and associated responsibilities and consequences. They determined what designs were appropriate and who could be tattooed when. The master would then explain the story behind that individuals tattoo.
The process of tattooing has not changed much throughout the ages:
1. The design is marked and outlined on the body with charcoal or dark earth/dirt.
2. The master then begins to works with a needle, often made of bird bone, turtle shell, bamboo, and sometimes even shark teeth.
3.The ink is injected through multiple taps on and through the skin. Ink was usually made by mixing soot from a burned candlenut with a variety of liquids including candlenut oil, sugar cane juice, coconut water/milk, and other plant based liquids.
4. There is no healing ritual or process that is known of. It seemed that after being tattooed, people washed the wound in sea water and seeked proper medical attention.
Works Cited:
Information: "Skin Stories: the art and culture of Polynesian tattoo." PBS. Pacific Islanders in
Communications, 2003. Web. 8 Sept. 2014
Picture: http://www.yvonnedevilliers.com/?cat=5
"The roles, techniques and motifs of the arts of the tatau, moko, and uni have continued to exist for over 2,000 years." In Tahiti, tattoos (tatau) were used to mark the different ranks and status' of those within their troupe. In the islands of French Polynesia (the Society, Tuamotu, Austral, Gambier, and Marquesas groups), each island group had its own unique design, so one was able to identify another person's origin based on their tattoos. "Some design elements that were common throughout Polynesia were linear geometric motifs, petroglyphs, and very basic pictographic representations of men, animals, birds, or other man-made objects." Each symbol had multiple meanings, depending upon the placement, on the body, incorporation with other designs, and the person being tattooed.
The master or tattoo artist was highly regarded amongst society and was even respected by the sacred chiefs (ali'i/ariki). This was a highly trained individual was knowledgeable of both literal and figurative meaning of motifs, placement, and associated responsibilities and consequences. They determined what designs were appropriate and who could be tattooed when. The master would then explain the story behind that individuals tattoo.
The process of tattooing has not changed much throughout the ages:
1. The design is marked and outlined on the body with charcoal or dark earth/dirt.
2. The master then begins to works with a needle, often made of bird bone, turtle shell, bamboo, and sometimes even shark teeth.
3.The ink is injected through multiple taps on and through the skin. Ink was usually made by mixing soot from a burned candlenut with a variety of liquids including candlenut oil, sugar cane juice, coconut water/milk, and other plant based liquids.
4. There is no healing ritual or process that is known of. It seemed that after being tattooed, people washed the wound in sea water and seeked proper medical attention.
Works Cited:
Information: "Skin Stories: the art and culture of Polynesian tattoo." PBS. Pacific Islanders in
Communications, 2003. Web. 8 Sept. 2014
Picture: http://www.yvonnedevilliers.com/?cat=5
Polynesian Society: Artifact 1
The Voyaging Canoe
The voyaging canoe was how people were able to travel from larger land masses to smaller islands. The vessel was made up of a double canoe made of two hulls connected by lashed crossbeams. A medium-sized canoe was about 50 to 60 feet long and could hold up to two dozen migrants, their food supplies, livestock, and planting materials. These ocean-goers navigated the sea by observing the stars, ocean swells, flight patterns of birds, and other natural signs.
Travels began off the shores of New Guinea drawing people eastward into the ocean. By 1500 B.C. voyagers were moving along the Solomon island chain, to the Banks and Vantuatu Archipelagos. Once sailors reached Fiji, Tonga, and Samoa, they were alone in the ocean, but despite the vast size of the ocean and unfavorable winds, they continued eastward to the Cook, Society, and Marquesas Groups.
Legendary voyagers Kupe, Hotu Matu'a and Mo'ikeha began sailing around 1000 A.D. and are said to have reached the islands of New Zealand, Easter Island, and Hawai'i. Those three points make up what is known as the Polynesian Triangle.
Works Cited:
Information: "Polynesians: An Oceanic People." PBS. Avian Mind Design, and Maiden Voyage
Productions. Web. 5 September 2014.
Photo: http://www.janesoceania.com/oceania_polynesians/index.htm
The voyaging canoe was how people were able to travel from larger land masses to smaller islands. The vessel was made up of a double canoe made of two hulls connected by lashed crossbeams. A medium-sized canoe was about 50 to 60 feet long and could hold up to two dozen migrants, their food supplies, livestock, and planting materials. These ocean-goers navigated the sea by observing the stars, ocean swells, flight patterns of birds, and other natural signs.
Travels began off the shores of New Guinea drawing people eastward into the ocean. By 1500 B.C. voyagers were moving along the Solomon island chain, to the Banks and Vantuatu Archipelagos. Once sailors reached Fiji, Tonga, and Samoa, they were alone in the ocean, but despite the vast size of the ocean and unfavorable winds, they continued eastward to the Cook, Society, and Marquesas Groups.
Legendary voyagers Kupe, Hotu Matu'a and Mo'ikeha began sailing around 1000 A.D. and are said to have reached the islands of New Zealand, Easter Island, and Hawai'i. Those three points make up what is known as the Polynesian Triangle.
Works Cited:
Information: "Polynesians: An Oceanic People." PBS. Avian Mind Design, and Maiden Voyage
Productions. Web. 5 September 2014.
Photo: http://www.janesoceania.com/oceania_polynesians/index.htm
Polynesian Society: Introduction
Polynesia is made up of over 1,000 islands in the central and southern Pacific Ocean. Many of the islands have similar languages, cultures, and beliefs. Some well-known islands that are a part of Polynesia include, Hawai'i, New Zealand, the Easter Islands, and Samoa.
Sunday, August 31, 2014
Introduction: Your Queen has Arrived
Neferneferuaten-Nefertiti, meaning "beautiful are the beauties of Aten, a beautiful woman has come," lived from approximately 1370 B.C.E to 1330 B.C.E. She ruled alongside her husband Pharaoh Akhenaten during one of Ancient Egypt's wealthiest times. Together they led a religious revolution, forming the "Aten cult" which defined the sun god, Aten, as the most important god and the one worthy of worship from Egyptians. Both rulers changed their names in honor of the god. Pharaoh Akhenaten's original name was Amenhotep IV, and Neferneferuaten-Nefertiti's name was Nefertiti.
After her husbands death, Nefertiti was rumored to have worn mens clothing and ruled under the name Pharaoh Smenkhkare or Neferneferuaten. Nefertiti's bold ideas, actions, and power created many enemies for her; she is believed to have been murdered or exiled. Her death and attempt at being erased from history is still a mystery and one of Egypt's greatest untold secrets.
After her husbands death, Nefertiti was rumored to have worn mens clothing and ruled under the name Pharaoh Smenkhkare or Neferneferuaten. Nefertiti's bold ideas, actions, and power created many enemies for her; she is believed to have been murdered or exiled. Her death and attempt at being erased from history is still a mystery and one of Egypt's greatest untold secrets.
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