APAH unit 8 notes

Apollo 11 Stones and the Origins of Prehistoric Art The Apollo 11 stones were discovered in 1969, the same year as the historic moon landing, and were named in honor of that event. These stones were found in caves in Africa and are classified as art mobilier, meaning they are small, portable works of art that can be moved or held. Because they date to a prehistoric era before the invention of writing, we do not really know their specific purpose or meaning. The stones are made from simple materials like charcoal and depict a feline creature shown in a twisted perspective, which was a common artistic convention in early human history. # The Great Hall of the Bulls and the Neolithic Revolution The Great Hall of the Bulls consists of animal depictions created using earth materials such as charcoal and ochre. The art reflects the transition from the Paleolithic (Old Stone Age), dominated by hunters and gatherers, to the Neolithic (New Stone Age), which brought about the agriculture revolution and farming. These paintings are located within a giant tunnel system of caves that are now closed off to the public because exposure to oxygen erodes the ancient paint. Theories suggest the art was created to honor animals because they provided food, or perhaps as a ritual before a hunt to ensure success. The bulls are depicted with prominent horns to represent the concept of a bull itself. Additionally, negative handprints are found in the caves, serving as a signature of the individuals present. # The Camelid Sacrum and Representations of Fertility Found in Mexico, the camelid sacrum is fashioned from the bone of an alpaca or lama. The sacrum, which is part of the pelvis, was carved with snout holes to resemble a canine or wolf-like creature. This bone was considered an organ of life and was deeply associated with concepts of fertility and life. # The Running Horned Woman and Colonial Historical Context the Running Horned Woman is a recreation of an artwork found in a national park cave. The original work would not survive the elements outside the cave. Historically, the site was protected to prevent colonial powers like France from discovering and claiming it for their colonies. Much of the early study of this piece was based on guesses since there is no writing to provide context. Historically, some observers incorrectly thought the work must have been inspired by outside sources because they believed Africa was not mart enough to produce such art on its own. # Ancient Beakers and the Anthropomorphic Stele The beaker with ibex motifs is a vessel designed to hold liquid, though its exact use remains a mystery due to the lack of writing. Found in cemeteries, it features motifs of an ibex, a crane, and a dog. Large circles on the beaker are thought to be symbols representing a family or clan. The anthropomorphic stele is an exception to the culture's typical non-figural art, featuring human characteristics such as eyes and a nose. It functioned as a grave marker for a warrior and depicts the figure carrying a sword. # The Jade Cong and the Laingzhu Civilization The jade cong originated from the Laingzhu civilization located around the Yangzi River, an area known as the cradle of civilization that represents 1/4 Chinese cultural history. These objects are made of jade, a stone valued for being hard, strong, and durable. Because jade is so resilient, it must be carved and sanded down to create low relief designs. Older pieces of jade lack the green color associated with more modern stones. These congs were found in serials and were placed in burials intentionally. # Stonehenge: A Monument of the Solstice Stonehenge was a three-phased construction that began with a henge, which is a circular ditch dug using antler horns. This project occurred around the same time the pyramids were built, though Egypt was more advanced due to the proximity of the Nile River. To build the structure, logs were used to move the massive stones, and animal fat served as a lubricant to make the process faster. The stones were worked into specific shapes and arranged in a post and lintel arch system, aligning three trillthon. The monument acts as a calendar; on the summer solstice (June 22), the sun aligns in the middle of the rocks. Originally, it functioned as a gate or a path to walk through, but modern visitors are restricted because of issues with breakage and graffiti. # The Ambum Stone and Issues of Repatrationism The Ambum stone, found in Papua New Guinea, depicts an anteater or echidna in a fetal position. As a mammal that lays eggs, it represents fat and fertility. It may have also functioned as a mortar and pestle for grinding. The stone was taken to a gallery by white collectors under the pretense that Papua New Guinea was too poor to care for it, leading to debates over repatrationism. During its time away, the stone was broken in France. # Tlatilco Figurines and Terra Cotta Fragments The Tlatilco female figurine, found in Mexico, features curvy hips reflecting child-bearing and fertility. Some examples feature two faces, possibly representing Siamese twins or a religious duality between life and death. These were funerary objects found buried in graves. In the Pacific islands, terra cotta fragments provide a history of pottery-making. They feature human characteristics and tattoos in shapes like circles and curves, which were incised into the clay using a roller stamp. # Nan Madol: The Venice of the Pacific Nan Madol is an ancient city built on a group of islands where each structure served a different function for separate social classes. Known as the Venise of the Pacific, it features man-made canals that inhabitants navigated with boats. The culture utilized the kava plant, a depressant tea that makes people chill, for use in ceremonies. The society eventually fell apart and became chaotic after their leader was overthrown and fled, leading to a dwindling population. # Female Deities and Navigational Charts of Micronesia Female deity figures from Micronesia, specifically atolls, often lack facial features and are made of wood that is shiny from being rubbed with oil to achieve beauty and clean skin. These figures represented g-ds and were given offerings like flowers or food. Many were later found by Christian missionaries. Navigational charts were used as a nemonic device or memory aid for navigators traveling between islands. These maps, made of wood and shells, used wood to represent currents and shells to indicate islands. Each chart was unique to the navigator who created it, and learning to use these charts with boats was a part of a man's coming of age. The sea remains a point of connection for the people, even as regions like Bikini Atoll in the marshal1 islands were affected by nuclear testing water impacts. # Feather Capes and Masking Traditions in Oceania The 'ahu 'ula is a feather cape worn by chiefs. These garments required the feathers of many birds and were primarily red, a color associated with g-ds and royalty. The capes hold mana energy, representing the spirit of the wearer, protecting them from harm, and honoring their ancestors. The buk (mask) from the Torres Strait is made of turtle shells and raffia (palm tree fiber), featuring a bird perched on a human head. These masks were used in the mascara de to honor ancestors and spirits during dances. They signaled themes of death, fertility, and good harvests. Christian missionaries eventually found these and encouraged their production for tourists. # Maoi of Rapa Nui and the Hiapo Tradition On Rapa Nui, also known as Easter island (found on Easter and owned by chili), the Maoi are large sculptures of ancestors. These sit on a platform called an ahu and face away from the water. They were carved in the ground and pulled out, and they originally featured coral eyes and tattoos on their backs to indicate status. The population of Rapa Nui decreased significantly due to diseases introduced by white people and the abduction of inhabitants to be slaves for chili. Hiapo is a type of bark cloth made by women in New Zealand. They would pound tree bark flat and apply ink to create clothing, bedding, or decoration. This cloth indicated status and was used to wrap deities. # The Staff G-d and Cultural Conversion a staff g-d is a wooden object wrapped in tapa cloth (pounded wooden bark). In the Cook island, a New Zealand colony, British missionaries spread their faith and were offended by the private parts carved onto the sculptures, often removing them. The carvings on the side of the staff often show women giving birth, showing a division of labor where men carve and women create the textiles. These objects were believed to hold the g-d in a state of peace. # Tamati Waka Nene and Cultural Synthesis Tamati waka nene was a Māori tribe leader and chief in New Zealand. His posthomas portrait was created after his death in a Western oil paint style, reflecting the shift toward Europe's culture. He converted to the Methodist religion and changed his name to Thomas walker. Despite these Western changes, the portrait preserves his indigenous status through his tattoos, his mana (power), his ax, and a clock made out of kiwi birds. Under his leadership, the culture became more peaceful. # Malagan Displays and Fijian Ceremonies The Malaga display and mask involve wooden carvings and feathers used in New Ireland. These are commissioned by families to represent a person during a harvest feast (featuring potatoes, taro, pigs, and bananas) to honor those who died that year. The carvings use isocephalism, where everything is kept at the same level. The word Malgan means likeness or to carvelinscribe, and the use of red paint represents military strength. In Fiji, the presentation of Fijian mats and tapa cloths was a celebration for Queen Elizabeth II's visit to her colonies. The performance involved women wearing the cloth and men providing the tree materials, followed by a kava ceremony.