AP ART HISTORY
2015-2016
AP ART HISTORY IMAGE SET SNAPSHOT #1
1
IMAGE SET identification: Apollo 11 stones. Namibia. c. 25,500-25,300 B.C. E. Charcoal on
stone.
Snapshot: This pre-historic charcoal drawing of an unknown animal is one of the oldest known
artworks that originated from the African continent. At the time of its creation it would have
been considered nothing more than a drawing, but today this collection of drawings is some of
the first evidence we have of early human communication. These stones originate from the
Apollo 11 caves in Namibia and were likely meant to illustrate the game that could be found in
the region at that time. It is unclear if there is a story being told by the drawings but it is
probable that they all display a continuity that could be understood by the people in the region
during the time frame of their creation and could be used to communicate some idea. Through
very precise carbon dating, these drawings are able to give scientists a timeframe of when
changes in human behavior occurred and when social and biological evolution was happening
among the human race, as well as show us where humanity’s first hunter and gatherer societies
began. This ancient art was what the humans of its day used to communicate with each other
and would seem very insignificant at the time, but in today's society this piece lets us study
more about humanity’s humble beginnings.
AP ART HISTORY
2015-2016
AP ART HISTORY IMAGE SET SNAPSHOT #1
2
Possible Themes: Reverence of Nature, Hunting
Possible Subthemes: Animal qualities, Communication
Possible Connections with other works in the IMAGE SET: Running Horned Woman. Tassili n’
Ajjer, Algeria. 6000-4000 B. C. E. Pigment on rock. This work is also a drawing possibly meant for
communication or storytelling.
Camelid sacrum in the shape of a canine. Tequixquiac, central Mexico. 14,000- 7000 B. C. E.
Bone. This work is also meant to represent an animal from the region the piece comes from.
Resources:
YouTube video: http://youtu.be/xpXZPN5s_8o
Article on the drawings: http://arthistorypart1.blogspot.com/2008/01/prehistoric-rock-art-inafrica-apollo.html
Article on the drawings: http://www.metmuseum.org/toah/hd/apol/hd_apol.htm
Article on the time period: http://www.melkakunture.it/museum/tukul1-04.html
AP ART HISTORY
2015-2016
3
AP ART HISTORY IMAGE SET SNAPSHOT #1
Khamaria Shanks &
Image set: Apollo 11 stones. Namibia. 25,500-25,300 B.C.E. Charcoal on stone.
There are a total of seven slabs that were found in the Apollo 11 cave in the mountains of southwestern
Namibia. These stones are the oldest scientifically dated rock art in African history. The stones were
made of grey-brown quartzite, and the drawings were done with charcoal. The stones are engraved with
geometric lines and representations of animals. The cave was named after the Apollo 11 spaceship in
1969, by the German archaeologist Dr. Wolfgang Eric Wendt He was researching the area known as the
“Goachanas” by the locals. The stones are 5”x4 ¼” with drawings of animals that aren't very easy to
identify but, have been interpreted as felines. There are some that have been identified as a Zebra,
Ostrich, or a Giraffe. It is said that these slabs were not from the cave walls of Apollo 11; they were
brought from somewhere else. There isn't any hard evidence showing that, that is the case.
Possible Themes: natural world, and belief
Possible Subthemes: Life, private/public
Resoursces:
Khan Academy: https://www.khanacademy.org/test-prep/ap-art-history/global-prehistoryap/paleolithic-mesolithic-neolithic/a/apollo-11-stones
British Museum website:
http://www.britishmuseum.org/research/research_projects/all_current_projects/african_rock_art_image
_project/introductions/origins_of_art_in_africa.aspx
AP ART HISTORY
2015-2016
IMAGE SET Identification: Camelid sacrum in the shape of a canine. Tequixquiac, Central
Mexico. Unknown Artist. 14,000-7,000 BCE. Bone.
Snapshot: Created before the establishment of the Mayan or Aztec Empire, the Camelid sacrum
in the shape of a canine is thought to have been originally intended as a mask used in the
religious ceremonies of the Mesoamericans. Though the artist is unknown, scholars have
gathered enough information from similar prehistoric cultures to speculate that the mask was
probably used specifically for fertility ceremonies. The bone from which it was carved, the
sacrum, is found in the lower back between the hip bones of the pelvis; according to the ancient
Egyptians, because of its position at the end of the spine, the sacrum was like a spiritual head,
and a link to the afterlife; in addition, there was a long lasting belief upheld by many cultures
that the sacrum played a significant part in reproduction. The camelid was an American relative
to the camel; it is now extinct, but it was a major staple in the diet of the Mesoamericans. They
would try to use every part of the animal, including the bones. The canine was chosen as a
symbol of fertility likely because of its natural ability as a hunter, and their way of life was
centered on hunting and gathering. It is important to mention, that the mask not only served as a
symbol to those who participated in or witnessed the ceremony, but was also believed to have
4
AP ART HISTORY
2015-2016
5
been inhabited by an animal spirit. It was held that the spirit would enhance the wearer's abilities.
Because of the time of its creation, this canine mask is a somewhat solitary case that gives a look
into the religious beliefs and practices of the Mesoamericans, especially pertaining to life,
fertility, and the afterlife.
Possible Themes: Connections between cultures and people, multiple parts that make a whole,
religious beliefs and culture
Possible Subthemes: Life Cycles, religious ceremonies, humanity and nature with god
Resources:
Camelid sacrum in the shape of a canine flashcard: http://www.flashcardmachine.com/aparthistory250images.html
Class website: http://lhsarthistory.weebly.com/u1.html
Khan Academy Video: http://youtu.be/KQm4MLy2ET4
http://www.mesoweb.com/features/jpl/113.html
AP ART HISTORY
2015-2016
AP ART HISTORY IMAGE SET SNAPSHOT #4
6
IMAGE SET full ID: Running Horned Woman. Tassili n’Ajjer, Alergia. 6000-4000 B.C.E. Rock Painting
Image:
Snapshot:
The Running horned woman is a cave painting in Tassili n’Ajjer, Algeria. It was found in 1928, and was created
by the Nok people between 6000-4000 B.C.E. It was painted in a time period when the art was mostly for
communication and depicted climate change, animal migration, and human evolution. It depicts a large
woman with horns on her head running; her size and position give the assumption that she is most important.
The horns on her head are believed to sybolize power. The background depicts smaller figures, some with out
heads, leading us to believe they are lesser to her. They all appear to be running in the same direction, and it
seems as if the woman is leading them. Scholars have speculated it is representing a relgious ceremony, and
convey’s themes of faith and unity amoung the people and their God. This unity is shown through the people
running with their God and trusting her to show them the way. Over time, though, the meaning trying to be
conveyed has likely been changed because there is no writing telling us exactly what the picture means. The
artist used rocks as their canvas and natural paints, because there was nothing else they could’ve used. The
pigments were extracted for ochreous schist and they used many engraving techniques. Its signaficant
because it shows that these people were intelligent to invent paint and use this art as a form of
communication.
AP ART HISTORY
2015-2016
AP ART HISTORY IMAGE SET SNAPSHOT #4
7
Snapshot continued (if needed)...
Possible subthemes: Tribal Culture, Humanity
Possible connections with other works in the IMAGE SET:
2. Great Hall of the Bulls. Lascaux, France, Paleothlic Europe. 15,000-13,000 B.C.E. Rock Painting. This work
was painted with the same materials even though its in a different part of the world.
Resources:
Khan Acadamy: http://www.khanacadamy.org/test-prep/ap-art-history
UNESCO: http://whc.unesco.org/en/list/179
AP ART HISTORY
2015-2016
AP ART HISTORY IMAGE SET SNAPSHOT #5
IMAGE SET Identification: Beaker with ibex motifs. Susa, Iran. 4200-3500 B.C.E.
Painted terra cotta.
Snapshot: Supposedly created around the Neolithic era, this ambiguously marked
bushel is unknown in many aspects other than its use of burying the dead. Due to its
thin structure, the vessel was not built for regular usage, but rather, ceremony and
ritual, which makes sense due to the precedent of practical workmanship. The
beaker’s most defining point is notably the mountain goat. The goat’s design comes
down to merely triangles, but the details of its beard and tail are still clear with its
accentuated horns encircling the ibex. Many speculate the ibex is a symbol of a
specific clan within the Susa society, which one could infer allowed the society to
preserve their selves into the afterlife. Notably, it could also be a guide for the dead
towards the afterlife. Above the goat is a band of, what some assume to be,
greyhound dogs due to their elongated forms. Their stretched legs are
interchangeably interpreted as running or a reclined position, which could
exemplify movement into the afterlife or forever resting, respectfully. Outlining the
top of the beaker is a ring of birds with thin, long necks, which are comparable to
herons. These various animals are indicative of a tribute to nature or even as an
8
AP ART HISTORY
2015-2016
offering to the gods for good fortune agriculturally since the greyhound and the
heron both symbolize good fortune. Essentially, the piece itself could represent four
main themes: tranquility, self-preservation, superstition, and respect simply
because of the wide interpretations of each aspect in the piece. The Susa society is
one of the earlier societies and while many origins of the bushel are unknown, it
provides a slight insight into early Mesopotamian societies.
Possible themes: Religion and respect.
Possible subthemes: Unity, superstition, self-preservation, life cycle, and
individualism.
Resources:
Khan Academy: https://www.khanacademy.org/humanities/prehistoricart/neolithic-art/v/susa-ibex
The Louvre: http://www.louvre.fr/en/oeuvre-notices/bushel-ibex-motifs
Saskia Digital Collection:
http://contentdm.lib.byu.edu/cdm/ref/collection/Saskia/id/5205
9
AP ART HISTORY
2015-2016
AP ART HISTORY IMAGE SET SNAPSHOT #5
10
IMAGE SET full ID: Beaker with ibex motifs. Susa, Iran. 4200-3500 B.C.E. Painted terra cotta.
Image:
Snapshot:
This piece of ceremonial art was created by the first inhabitants of Susa in prehistoric times, between 42003500 B.C.E. around the Neolithic Stone Age. The burial of the beaker with the dead was a form of ceremony,
celebration, and respect for the dead. Ceramics were produced in Iran beginning in the eighth millennium
B.C.E. Susa is located where modern day Iran presides, and this beaker emulates the ancient Susa culture with
its specific decoration that reflects the prehistoric Orient's agricultural communities. The beaker is made out of
terra cotta, a readily available material, and is designed with paint. Because of the thinness of the beaker, it
has been inferred that the piece was strictly ceremonial and not made for everyday functions. The artistic
significance of this piece comes from the intricate, hand painted designs on the outside of the beaker.
Paleolithic and Neolithic cave paintings featuring animal imagery were found across Asia, including the
mountains of Iran. This patter of drawing of animals on art is seen on the beaker with ibex motifs from Iran.
The piece demonstrates thin dogs, like greyhounds, wading birds, and a strong mountain goat (ibex). The
beaker possesses a variety of artistic painting techniques, including circular, linear, and geometric forms. The
animals represented are not shown in a naturalistic manner, instead they consist of very stylized shapes. The
shapes that make up the animals are contrasting in nature- take the goat for example. The horns are highly
exaggerated and curved, while the goat's body is basically made of two sharp triangles. The curvature of the
AP ART HISTORY
2015-2016
AP ART HISTORY IMAGE SET SNAPSHOT #5
11
dogs' legs leave whether they are reclining or running up to interpretation. The necks of the wading birds
introduce a linear aspect to the piece as well. While there are other shapes and images on the beaker which
have an unknown meaning to modern art connoisseurs, the importance of animals to Susa culture cannot be
denied after studying the beaker with ibex motifs. The importance of animals to the design of this piece most
likely alludes to deeper meanings, beliefs, and ideas the animals symbolized in Susa culture. For example, it has
been stated that the ibex was a symbol of power, which would explain why it was such a prominent figure in
the work of art. Even though the beaker was meant to be buried with the deceased as part of ceremony, the
people of Susa still showed respect for the dead and their culture by creating art that symbolized important
aspects of Susa life.
Possible subthemes:
Beliefs, Animal Symbolism, Respect of the Dead, Cycles of Life and Death, Agrarian Lifestyle
Possible connections with other works in the IMAGE SET:
Not required
Resources:
The Louvre's website: http://www.louvre.fr/en/oeuvre-notices/bushel-ibex-motifs
Khan Academy: https://www.khanacademy.org/humanities/prehistoric-art/neolithic-art/v/susa-ibex
Glendale Curriculum: http://seco.glendale.edu/~rkibler/susabeakeribex.html
http://www.mhhe.com/socscience/art/timelines/ancient_near_east/html/susa.html
Pictures: https://www.flickr.com/photos/profzucker/12905662123
https://www.pinterest.com/pin/166422148705577618/
AP ART HISTORY
2015-2016
12
AP ART HISTORY IMAGE SET SNAPSHOT #5
IMAGE SET identification: Beaker With Ibex Motifs. Susa, Iran. 4200-3500 B.C.E. Terracotta and
paint.
Snapshot: This beaker, found in present day Susa, Iran, was created by the ancient Susa village group
in order to help celebrate the dead. It was created just before Mesopotamia rose and therefore just
before writing was starting to be used. Because of this, archeologists are unsure why the beaker and
many others like it were found buried with the dead but it is assumed it was for celebratory and
ceremonial reasons. The paintings on the piece are simple yet stylized at the same time, and uses many
different shapes to convey ideas. It includes geometrical patterns of mountain goats (ibex), dogs, and
birds. This could possibly mean these animals took a spiritual role in the community. It is known that
the ibex represents strength and power, so this is a common conclusion. Also, the Susa people lived in a
fertile location and were skilled agriculturally. This could point to the painting of animals as well. The
beaker is handmade and very thin, and its delicate nature speaks to its ceremonial use by the Susa
people. The grave sites where this piece and many others like it were found on a very large mound;
which explains the abundant use of terracotta. The town of Susa, Iraq, was mentioned in the Book of
Daniel and the Book of Esther. And the reason these beakers were found was because an archeologist
was looking for the tomb of Daniel, but instead came upon this cemetery.
AP ART HISTORY
2015-2016
AP ART HISTORY IMAGE SET SNAPSHOT #5
Possible Themes: afterlife, history, society
Possible Sub-themes: belief, identity, life/death
Resources:
Khan Academy Video: https://www.youtube.com/watch?v=eeNfDr4ojZg
Louvre Museum: http://www.louvre.fr/en/oeuvre-notices/bushel-ibex-motifs
Mhhe Website: http://www.mhhe.com/socscience/art/timelines/ancient_near_east/html/susa.html
13
AP ART HISTORY
2015-2016
14
Image Set Identification: Anthropomorphic stele. Arabian Peninsula. Fourth millennium B.C.E.
Sandstone
Snapshot: These slabs of sandstone were carved and manipulated to appear like faces by an
unknown source, and we now call them anthropomorphic steles. Anthropomorphism is taking an
inhuman thing and giving it human characteristics. During 4,000 B.C.E. very little was known
about God(s) or religion. The artworks depict religious ideas from the people of the Arabian
peninsula, and how they viewed a higher being. Their higher being looks similar to a humans,
but is distinctly different from actual humans. You notice that they either lack noses or have over
exaggerated ones, have no actual bodies, but just faces, and have small, oval mouths. The ancient
slabs are sandstone because it is a very abundant resource in the Arabian Peninsula. This creates
a monotone color scheme, therefore less emotion is conveyed. It is hard to tell how these people
felt about death just by looking at the plain structure, but it is possible that they believe in an
afterlife due to the fact that they even bothered to place these figures at the site of a grave.
Themes: religion, life and death,
Subtheme: burial rituals
AP ART HISTORY
2015-2016
Resources:
http://www.aramcoworld.com/issue/200202/art.rocks.in.saudi.arabia.htm
http://m.stylemagazine.com/news/2013/nov/06/exhibition-revealing-history-ancient-arabianpenin/
http://www.asianart.org/exhibitions_index/prehistoric-arabia
https://trello.com/c/83kLXbXA/226-anthropomorphic-stele-el-maakir-qaryat-al-kaafa-4th-millb-c-e-national-museum-ryadh
15
AP ART HISTORY
2015-2016
16
Image Set Identification: Anthropomorphic stele. Arabian Peninsula. Fourth millennium B.C.E.
Sandstone.
Snapshot: The Anthropomorphic Stele is a group of large sculptures made of sandstone whose
creator is unknown. Made in the fourth century B.C.E. near Ha’il in Saudi Arabia, these large
sculptures depict a human like figure, which is why it is described as anthropomorphic. The
human faces are very basic and show that the creator may have had crude tools when carving
them. They are thought to have been used in some sort of religious or burial ceremony, as the
religions of this time believed heavily in the importance of ceremonies to do things like help
their family into the afterlife. Almost all of the religions at this time were based on this kind of
thinking. The sculpture is made of sandstone because it was probably a very accessible
resource to the ancient people of the Middle East. These sculptures could also be of a powerful
person and could have been used at his grave to mark his importance in society and to
remember him. Standing 6 ft in height this sculpture is on display at the Asian Art Museum in
San Francisco.
Possible Themes: Religious importance, ceremonies and traditions of ancient people
AP ART HISTORY
2015-2016
Possible Subthemes: Life after death, symbols, religion changing over time
Resources: http://www.theguardian.com/culture/2010/aug/10/louvre-saudi-arabia-exhibition
http://beforeitsnews.com/strange/2012/11/mysterious-ancient-artifacts-discovered-in-saudi-desertlegendary-city-of-gerrha-found-2445510.html
Video about sculpture: https://www.youtube.com/watch?v=3PkBhgHZDpU
http://www.nelson-atkins.org/art/exhibitions/roads-of-arabia.cfm
17
AP ART HISTORY
2015-2016
Image Set ID: Jade cong. Liangzhu, China. c. 3300–2200 B.C.E. Carved jade.
Snapshot: While the specific use of these pre-historic carved jade tubes is unknown,
the sheer amount of them in tombs (sometimes dozens for the most grand) from the
Chinese Liangzhu culture makes it obvious they were important. Generally seen in
grand tombs of the obviously elite, they must have held meaning. Many of the tombs
had large numbers of them as well, and they vary greatly in size/length. The wide
scale use of the Jade Cong may stem from the power jade was believed to hold. It
was specifically believed to have powers of healing, creativity, rituals, and most
relevantly spiritual connection. They may very well have been seen as spiritual
conduits due to the round and hollow shape of the center, as well as the religious
imagery relevant at the time (mainly clouds and eyes which relate even more to
death and the spirit world). Especially as they were buried with the dead, they
couldn’t have been for continual public viewings. And, as only the very wealthy
could afford to commission art pieces in large chunks of carved jade, they wouldn’t
have been used or observed in any common place. Besides the expensive material it
would have also taken a large amount of time to craft, thus jacking up the cost even
more. Though it seems to have been worth it we don’t have records of what he
18
AP ART HISTORY
2015-2016
Liangzhu culture believed was so important about these traditional burials. Only by
using the imagery so carefully carved into the stone and knowledge passed down we
can assume the Jade Cong were held close by the wealthy or elite to bring them
closer to their spiritual, desired peace in death.
Possible Themes: Spirituality, connectivity, death, ritual.
Possible Subthemes: Gods, nature, jade, wealth.
Resources:
Khan Academy Article: https://www.khanacademy.org/humanities/artasia/imperial-china/neolithic-art-china/a/jade-cong-and-bi
Khan Academy Video: https://www.khanacademy.org/humanities/artasia/imperial-china/neolithic-art-china/v/jade-cong
The British Museum:
http://www.britishmuseum.org/explore/highlights/highlight_objects/asia/j/jade_c
ong.aspx
Smithsonian: http://www.asia.si.edu/explore/china/jades/gallery.asp
19
AP ART HISTORY
2015-2016
20
AP ART HISTORY IMAGE SET SNAPSHOT #10
IMAGE SET Identification: Tlatilco female figurine. Central Mexico, site of Tlatilco. 1200-900 B.C.E.
Ceramic
SNAPSHOT: This figurine, among the collection of others found at excavation sites where the city of
Tlatilco once was, is made out of carved clay. Lots of these figurines were found at excavation sites, over
what were discovered to be grave sites. The burial of these figures with humans also means they were a
valued piece of art, and most likely held a religious meaning within the former citizens of Tlatilco. This
suggests the city of which these were produced in was not especially wealthy. Since, the earth around
them was clay, they were using what was readily available to them, as opposed to a prized material,
which they might not have had available to them at all. These female figurines are not uncommon.
However, male figurines are rarely found. This provides evidence of how women were glorified in
Tlatilco culture, and how much femininity was prized in the culture, which was most likely matrilineal. A
matrilineal culture also stresses the important roles woman took on in these hunter-gatherer societies. The
abundance of woman figures suggests that they are of a great importance in society, most likely for their
natural beauty. The wide hips and skinny waist signify the most attractive aspects of a woman in society.
These ceramic figurines do not only signify women’s aesthetic beauty, but also attribute a woman’s
AP ART HISTORY
2015-2016
21
fertility and maternity. (In other words, the very nature of being a woman is represented in the clay.)
These paternal attributes can be seen in the wide-hips of the figurine that even day suggests a smoother
birth. The woman also clearly has two heads, 3 eyes, and of course one body. This feature represents the
Tlatilco’s ideas about duality. Duality emphasizing multiple pieces being able to come together
harmoniously, which was valued in the culture. The purpose of this piece was to express woman as
beautiful and to provide a comfort for the afterlife.
Possible Themes: nature, aesthetic beauty, femininity
Possible Subthemes: identity, role of women
Possible Connections with other works in the IMAGE SET: 18. King Menkaura and queen. Old
Kingdom, Fourth Dynasty. C. 2490-2472 B.C.E. Greywacke.
Recources:
About Education: www.about.com
Khan Academy: www.kahnacademy.org
Liv Education: www2.liv.edu
Museum of Fine Arts: www.mfa.org
AP ART HISTORY
2015-2016
22
AP ART HISTORY IMAGE SET SNAPSHOT #11
IMAGE SET Identification: Terra Cotta Fragment. Solomon Islands, Reef Islands. Lapita.
1000 BCE. Incised Terra Cotta.
Snapshot: These Terra Cotta Fragments portray a human face surrounded by repetitive and
symmetrical designs, as was characteristic of most art produced by the Lapita tribe. The Lapita
peoples were the first to produce pottery in the Pacific, and are known primarily for their
ceramics and their intricate geometric designs. Although much of the art produced was
intentioned for functional use rather than decoration, they often depicted anthropomorphic
(human-centered) and zoomorphic (animal- centered) designs. The fragments are thought, based
on other recovered articles of Lapita art, to have been used for cooking, serving, and storing
food. Other ceramics such as these could also have been used for burial rituals, in which the
deceased was thought to be treated as if (s)he was living until they began to deteriorate, and then
placed, decapitated, into a burial jar. The head was then buried separately. Due to the complexity
of terracotta pottery production, archeologists and historians speculate that art of tribes in the
Solomon Islands had been produced previous to the time in which the first fragments were
created. These earlier art forms were most likely made out of perishable material, unlike
AP ART HISTORY
2015-2016
23
terracotta. The Lapita peoples presumably transitioned from the use of wood and other
decomposable materials to terracotta clay not only because it was durable (able to withstand
time), but also because it was versatile and cheap to attain and produce. Before the clay was
fired, the designs were inscribed on the clay using a tooth-like implement, and many simple
stamps to create complex patterns. These designs often focused on human and animal forms that
were thought to depict the gods of the tribe. Because the Lapita peoples lived primarily off of
fishing and canoe building, the ceramics produced were most likely used for trading to other
tribes and establishing themselves as a superior peoples.
Possible Themes: Knowledge of the human body, understanding of the gods, basic human
needs, the tribal community, belief, and the economy through trade.
Possible Subthemes: Nature, humanity/life, idolatry/representation of gods through animals, and
identity.
Resources:
Met Museum: http://metmuseum.org/toah/hd/lapi/hd_lapi.htm
Britannica: http://www.britainnica.com/art/Lapita-ware
Lapita History: https://en.wikipedia.org/wiki/Lapita_culture