Art History: Ancient to Medieval Art Exam 1 Kent State University

La Pasiega Cave of
Monte Castillo

Puente Viesgo, Cantabria, Spain

65,000 BC

One of the earliest examples of cave art

Used ocher (mineral) as a means of painting

Painting in the Marcos-Pangkep Caves

Sulawesi, Indonesia,

37,000–34,000 BC

Chapter 12 begins here

Chavin de Huantar temple compex

900-200BC

Main structure formed by two interconnected temples built at different times

Constricted of post-and-lintel ashlar masonry rather than rammed earth

Decorated woth low-relief sculptures

Entry facade to newer section of the Chavin de Huantar temple

400-200 BC

Granite and limestone

Built to awe visitors

Interior passageways only 3 feet wide twisted through the temple

A duct system created a roaring noise

Lanzon Sculpture

Peru

900-200BC

Stone; low-relief

In the center of the old temple: location indicates it was important to the temple complex

Wears human costume elements: ear-flares, collar, and skirt

Iconography merges snakes, caimans, and jaguars with humans

Fierce predators associated with gods and leaders in later societies

Chavin pectoral

Gold; Repousse

900-500 BC

Chavin de Huantar

Four bird heads (represent the sky) two on each side

Rotated 90 degrees it depicts 2 jawless beings

Would have been visible during ritualistic performances

Funerary Mantle with embroidered decoration

Paracas, Peru

First Century CE

Embroidered woven cloth

Figures are meant to be viewed horizontally, like they’re flying through space, stomach down

Flying figure vessel

Nasca, Peru

50-200CE

Ceramic with Slip; stirrup jug

Figure gripping human trophy head with one hand

Sense of movement

May indicate an ecstatic religious state made possible by the taking of a trophy head and its associated rituals

The ability to enter trace states was often a route to social prestige and political power

Hummingbird, Nasca lines

Nasca line on a desert plane

Nasca, Peru

500 AC

Removed rocks to reveal the lighter ground underneath, piling rocks on either side of the line

emphasize bold, stylize, and dynamic forms

May have served a religious purpose, possibly sacred paths or marking astronomical phenomena

Portrait Vessel

Moche, Peru

400-600 CE

Ceramic with slip

Many Moche ceramic heads represent facial types, suggesting they are portrait types

Attention given to each individual and specific status symbols suggests many of these may represent rulers who were believed to be semi-divine

Usually exhibit no more than 2 colors, typically red on cream

Ear ornament

Moche, Peru

Golf and turquoise

300CE

Wears costume items, including sacrifical knife in the top-middle of the headress, gold nose ring, and ceremonial mace and shield

Buried skeletal remains dressed in similar fashions have been found in Sipan

Tomb of a Moche lord

Buried with a gold cresent headdress, mace, and belt decor

Flanked by servants or followers

Items int he burials differed according to the political or religious office held by the deceased

Sipan

Vessel in the form of a seated ruler with a pampas cat

Moche, Peru

Same red-on-cream painting style

Scholars believe the vases depict rituals performed by the richly dressed officeholders seen throughout Moche art

Pampas cats are indigenous to the Moche area