AP Art History- Pacific

AP ART HISTORY

Nan Madol (Info Card)

Nan Madol (Info Card)

A series of artificial islets built on a lagoon in the Saudeleur Dynasty in Micronesia in 700 out of Basalt. It includes temples, tombs, and royal residences. It was likely a political/religious hotspot.

Nan Madol (Function/ Analysis)

• political/ ceremonial structures dedicate to worshipping important figures in both areas

• combined natural resources w sophisticated engineering

• isolation emphasizes divine nature of rulers + sacredness of site

Nan Madol (Form Descriptors)

• Massive Basalt Stones: used for construction

• Intricate layout: shows complex urban design, advanced planning, and societal organization

• Natural environment integration: structures integrate into the lagoon, showing the relationship w nature

Maoi on Ahu (Info Card)

Made on Easter Island (or Rapa Nui) in Polynesia in 1000-1600 out of Volcanic tuff and basalt (for the ahu). They likely ancestral figures and are part of religious practices.

Moai on Ahu (Function/ Analysis)

• POSITIONED WITH THEIR BACK TO THEIR SEA

• POSITIONED FACING THE VILLAGE

• sacred burial grounds

• large size conveys influence and status of family

• the ones with hats have mana and connected the living and the dead.

Maoi and Ahu (Form Descriptors)

• Monolithic Moai figures

• Ahu platforms

• Exaggerated facial features

• compact, forward leaning posture

Feather Cape (Info Card)

A native Hawaiian cape made in 1700-1800 out of feathers and olona fibers. It was typically worn during ceremonies, battles, or other significant cultural events.

Feather Cape (Function Analysis)

• linked wearer to gods and spirit world

• feathers chosen for color/ symbolic meaning

• high craftsmanship

Feather Cape (Form Descriptors)

• bright, vivid colors of the feathers contrast w background

• cape’s form is worn over shoulders and emphasizes the wearer’s stature

• geometrical pattern is formed by feathers

• rich colors achieved through rare feathers; yellow symbolizing royalty

Staff- God (Info Card)

A wooden staff adorned with feathers and tapa cloth which was made in the 1700s and is Polynesian. It represents deities and was used in rituals, especially fertilty, agriculture, and wellbeing.

Staff- God (function/ analysis)

• shows how cool the person who owns it is !1!1!!!!!!

• wrapping of cloth shows embodiment

• carvings are symbolic and reflects gods involvement in daily life

• feathers connect material and divine

staff- god (form descriptors)

• stylized figure at top

• tapa cloth and feathers add texture and contrast

Wooden Sculptures from Nukuoro (Info Card)

Tiny wooden sculptures made in Nukouro (an atoll in Micronesia) out of wood in 1700s-1800s. They were used as a bridge between the physical and spiritual world.

Wooden Sculptures from Nukuoro (Function/ Analysis)

• could communicate w divine and bring blessings

• was hard to carve and each shape had meaning

Wooden Sculptures from Nukuoro (Form Descriptors)

• highly stylized w exaggerated features

• front-facing stature

• super cute :3

Buk (Info Card)

A Melanesian ceremonial mask made in the Torres Strait Islands during the mid-late 1800s out of turtle shell, wood, fiber, and feathers. It was associated with male initiation rituals and represents becoming one with spirits.

Buk (Function/ Analysis)

• Primarily ceremonial, but also a symbol of status and power

• worn during dances or performances to represent spirits

Buk (Form Descriptors)

• elongated and stylized face show an expression of power

• geometric patterns symbolize attributes of the specific deity

• combination of materials adds depth

Hiapo/ Tapa Cloth (Info Card)

A type of tapa cloth made in Polynesia in Niue in the 18-1900s out of bark. It was often used in ceremonial contexts and carried symbolic meaning.

Hiapo/ Tapa Cloth (Function/ Analysis)

• primarily ceremonial/ decorative

• designs and patterns represent community and fertility

• craftsmanship knowledge is passed down generation to generation

Hiapo/ Tapa Cloth (Form Descriptors)

• hand pounded and painted with natural pigments, so the palette is limited to natural colors

• radial symmetry provides a rhythmic quality

• rough texture contrasts with smooth appearance of designs

Tamati Waka Nene (Info Card)

A portrait of a Maori tribe leader made by Gottfried Lindauer in 1890 using oil on canvas. Waka Nene was the middle man between European colonizers and his tribe, and he facilitated much of their interactions.

Tamati Waka Nene (Function/ Analysis)

• serves as a historical record/ leadership symbol

• emphasizes Waka Nene’s status and rank

• blends European painting techniques with Maori culture

Tamati Waka Nene (Form Descriptors)

• highly detailed and focuses on capturing his tattoos, clothing, and accessories- all of which are parts of his culture that show rank

• formal composition with a frontal composition

• emphasized Maori traditions and their significance while retaining Lindauer’s European art style

Navigation Chart (Info Card)

A traditional navigation chart made in the Marshall Islands during the 1800s out of wood, shells, and coconut fibers. It served as a tool for experienced navigators so that they could rely on the relative locations of different islands.

Navigation Chart (Function/ Analysis)

• shells and knots shows islands and the flow of ocean currents

• reflects deep understands of sea and ability to navigate using stars, ocean patterns, and wind

Navigation Chart (form descriptors)

• made from natural materials

• shells represent islands, lines and knots symbolize ocean and wind directions

• chart is abstract and focuses on symbolic representation

The Life of Malagan (Info Card)

A series of carved sculptures and masks made in Papua New Guinea during the 1900s out of wood, pigments, and fiber. They were used in funeral rites and the ceremony includes feasts, dances, and displaying the masks.

The Life of Malagan (Function/ Analysis)

• primarily ceremonial and linked to death, rebirth, and honoring ancestors

• used in rituals to guide the spirit of the deceased to the afterlife

• life of the deceased is expressed symbolically through carvings

The Life of Malagan (Form Descriptors)

• carved from wood, with bright pigments and decorative fiber that creates intricate symbolic designs

• Features abstract, stylized representations of human and animal forms

• use of vivid colors and textures highlights spiritual and ceremonial importance of figures

Presentation of Fijian Mats and Tapa Cloths to Queen Elizabeth II (Info Card)

Taken in Fiji during 1953, this documents