March 30, 2022

in a 200- 250 paragraph answer all the question

in a 200- 250 paragraph answer all the question below and Include images of the artworks you're discussing in your thread. (all in your own words)

Lecture 11 and textbook Chapter 12 (Clan) introduced you to the potlatch ceremony of the Northwest Coast Native people. What is the function of 1) potlatch dishes, such as Stan Wamiss' Halibut Feast Dish (fig. 5.20); 2) potlatch hats (Lecture 11); and 3) totem/crest poles, such as Arthur Shaughnessy's Interior House Post (fig. 12.15)? Compare and contrast what the three artforms have in common and what makes them different?

We need to reproduce so we don't go extinct. As populations expand, we build communities and there becomes a need to define ourselves according to our Clan/Tribe. The ways in which we adorn our bodies conveys messages about which Clan/Tribe we belong to and serves to differentiate ourselves from others.

Reproduction is key to human survival and the earliest surviving sculptures focus on this basic human need. The Venus of Willendorf, c. 40,000 BCE, is believed to be a pre-historic fertility idol and many more like it were found throughout northern Europe. The sculptor focused on the female torso and de-emphasized the head (she has no face), arms (they're resting atop her voluminous breasts), and feet (Barbie feet – it was not meant to stand). The sculpture is only 4.5" in height, which infers it was meant to be held and was easily transportable (pre-historic humans were nomadic):

Image result for woman of willendorf Image result for upper paleolithic venus map

CLOTHING AND BODY ADORNMENT are also important to identifying one's belonging to a group, clan or tribe. The work below is a potlatch hat (Nuu-Chah-Nulth, Northwest Coast People, acquired 1780 by Capt. James Cook in the Nootka Sound, cedar root, spruce root, natural pigments, the British Museum, London) which depicts clan imagery and the rings on the top represent the number of potlatches hosted by the wearer and, therefore, their prestige and status within society. The hat is decorated with the owner's clan (crest) imagery to remind visitors to the potlatch who is hosting the giveaway. Clan or crest imagery was derived from oral traditions that explained Haida creation stories as well as honor "an individual’s and group’s link to the wider world in which they live, linking them to creatures or things in the natural environment and to other … clans and their membership via the demarcation of rank and group identity in the social milieu" (Krutak, 2012).

Image result for potlatch hat

Marking the body with tattoos was also an important way to convey belonging and status in society amongst the Northwest Coast peoples. Below is an archival photograph dating to c. 1881 in which Haida Chief Xa'na proudly displays his clan imagery: Beaver on his chest, a Grizzly Bear on shoulder, and possibly a Killer Whale on his forearm.

Haida Chief Xa'na of Grizzly Bear House with tattooed hereditary crests, Masset, Graham Island, Queen Charlotte Islands | Haida tattoo, Haida art, First nations

What do today's fashions, body adornment, and tattooing say about us today? Or, what are we trying to say to the world? Literally every tattoo that 6ix9ine has is insanity. Image result for celebrity tattoos

Reproduction

Chapter 6

Clan & the Nuclear Family

Chapter 12

Learning Objectives

Describe how many cultures have created images to aid them in achieving fertility.

Identify the ways in which various cultures have pictured reproduction, progeny, and sexuality.

Trace the mother and child theme throughout time and across several cultures.

Discuss how class is depicted through the art of various cultural groups.

Describe how works of art identify a particular clan.

Map 2

Map 2 The Development of Agriculture.

Introduction

Human reproduction and sexuality are basic for the survival of the human race.

Art has aided and pictured human fertility, reproduction, and sexuality with:

charmlike figures.

phallic symbols.

fetishes.

erotic images.

paintings and sculptures of marriage and children.

Henry Moore’s work (Fig. 6.1) references both modern and ancient art that visually expresses the power of human reproduction.

Figure 6.1

6.1 Henry Moore. Draped Reclining Mother and Baby, 1983. Bronze, 8' 8 1/2" long. Fukuoka Art Museum, Fukuoka Prefecture, Japan.

Figure 6.2 (1 of 2)

6.2 Female Fertility Figure, found at Çatal Hüyük, Anatolia (modern-day Turkey), c. 6000 BCE. Terra-cotta, 7 3/4" high.

Figure 6.2 (2 of 2)

This small, regal figure is enthroned and attended by lions.

She was found in a grain bin, suggesting her role in the success of her culture’s fecundity.

THE PROMISE OF FERTILITY

Fertility Goddesses and Gods

Earliest fertility artifacts from the Paleolithic and Neolithic periods were small sculptures of females depicted:

as fleshy.

with swollen bellies.

with accentuated breasts and thighs.

Figure 6.3 (1 of 2)

6.3 Venus of Willendorf, Austria, c. 25,000–20,000 BCE. Stone. 4 3/8” high. Naturhistorisches Museum, Vienna.

Figure 6.3 (2 of 2)

Although sometimes labeled a fertility goddess, this small sculpture was likely more a charm or a fetish.

She may have been used:

during childbirth.

to ward off death.

to wish for good health.

for good fortune.

Figure 6.4 (1 of 2)

6.4 Idol from Amorgos, Cycladic Islands off mainland Greece, 2500–2300 BCE. Marble, 2' 6" high. The Ashmolean Museum, Oxford, UK.

Figure 6.4 (2 of 2)

Slender and delicate, this abstract nude with pointed toes seems to emphasize feminine youth.

These “plank-idols” were found in burials, and may have been meant to give new life to the dead.

Figure 6.5 (1 of 2)

6.5 God Te Rongo and His Three Sons, Cook Islands, Polynesia, c. 1800–1900. Wood, 2' 3 3/8" high. The British Museum, London.

Figure 6.5 (2 of 2)

In the 19th century, male fertility pieces were produced by Oceanic cultures.

In comparison to the rest of the figure, the large penis emphasizes the virility of Te Rongo.

Male sculptures were carved for religious rituals by Ta’unga, or “priests.”

The art object was:

meant to endure, passing from one generation to the next.

a symbol of prestige and rank.

exclusive to those of power and rank.

a source of sacred information.

Figure 6.6 (1 of 2)

6.6 Figure of a Deity: A’a Rurutu, Austral Islands, collected in 1820. Wood, 3' 8" high. The British Museum, London.

Figure 6.6 (2 of 2)

In central Polynesia, ancestor deities known as “Tangaroa” figures represent a creator in the act of creating human beings.

This figure’s body and face are covered with crawling, infantlike beings.

The back of the deity is hollowed out and contains additional small figures, which may refer to the mythical creation of humankind or the creation of a specific ancestral line.

Figure 6.7 (1 of 2)

6.7 Initiation Rites of Dionysos, Villa of Mysteries, Pompeii, Italy, c. 50 CE. Fresco.

Figure 6.7 (2 of 2)

This fresco depicts a solemn ritual associated with sexual intercourse and fertility by the mystery cult of Dionysos.

The illusionist frieze (a decorative horizontal band found in architecture) shows figures striking classic Greek poses against “Pompeian Red” panels.

The nearly life-size figures, with convincing volume and anatomy, move and turn in a shallow space on a trompe l’oeil (“fool the eye”) ledge.

Figure 6.8 (1 of 2)

6.8 Potawatomi Male Figure (love doll), Crandon, Wisconsin, 1800–1860. Wood and wool fabric, 9" high.

Figure 6.8 (2 of 2)

Potawatomi Male Figure was used as a charm to cast a spell on someone whose attentions were desired.

This male love doll was used as “medicine” to control human behavior and health.

To have successful “medicine,” the owner of the doll would have been spiritually prepared and, through dreams or visions, been given special powers by the spirits.

Figure 6.9 (1 of 2)

6.9 Standing Female Figure, Bamana, Mali, Africa, 19th C. Wood, copper, beads, and metal: 1' 8 1/2" high. Detroit Institute of Arts.

Figure 6.9 (2 of 2)

The Bamanian female figure made of wood and metal is associated with a female fertility cult.

These figures were brought out in public to aid women who were having difficulty conceiving or giving birth.

Figure 6.10 (1 of 2)

6.10 Ashanti Akua’ba Doll, Ghana, Africa, c. 20th century. Wood, 1' 1" high. The British Museum, London.

Figure 6.10 (2 of 2)

Akua’ba Ghana are fertility sculptures created:

for women having difficulty conceiving.

to ensure a healthy and beautiful baby.

In these figures, we see the interpretation of beauty reduced to uncomplicated, minimal forms.

ART DEPICTING PRIMORDIAL AND HUMAN COUPLES

Couples have been depicted throughout the ages as:

the primordial or first couple.

the mother and father of humankind.

representing the marriage ritual within cultural contexts.

Figure 6.11

6.11 Masaccio. The Expulsion from Paradise, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, 1427. Fresco.

Primordial Couples and Couples' Roles

Adam and Eve are found in the Jewish, Christian, and Muslim religions as a primordial (first) couple.

Told to “be fruitful and multiply,” Adam and Eve were later painfully expelled from the Garden of Eden.

In The Expulsion (Fig. 6.11), we see:

Eve’s anguished cry.

Adam’s pain.

their shame and agony.

Figure 6.12 (1 of 2)

6.12 Dogon Seated Couple. Mali, Africa, c. 19th–20th century. Wood, 2' 5" high. Gift of Lester Wunderman, 1977. Metropolitan Museum of Art, New York.

Figure 6.12 (2 of 2)

Seated in a frontal position, the Dogon seated couple shows the harmony of the first male and female, both of whom are equally exalted.

Details of the sculpture represent:

their roles in life.

their high position.

the importance of balance in an ordered human culture.

Figure 6.13

6.13 Jan van Eyck. Wedding Portrait, Flanders, Northern Europe, 1434. Oil on wood panel, 2' 8" × 2' 1". National Gallery Collection, London.

Human Couples

The union of human couples is documented in art across cultures.

The Wedding Portrait (Fig. 6.13) is more than a double portrait, it is a wedding certificate, with obvious and hidden symbolism:

in the bedroom rather than church, suggesting hope for many children.

the woman holds her clothing as if pregnant.

shoeless, they are on holy ground.

he raises his hand in a gesture of blessing.

one candle burning in the chandelier represents divine presence.

the frame of the mirror depicts the passion of Christ.

oranges on the chest and windowsill represent the conquest of death.

the dog symbolizes fidelity.

on the bedpost finial is a statuette of St. Margaret, patron saint of childbirth.

van Eyck depicts witnesses, including himself, in the mirror.

Figure 6.14 (1 of 2)

6.14 Aztec Marriage Couple, from the Codex Mendoza, Mexico, 1434. Bodleian Library, University of Oxford.

Figure 6.14 (2 of 2)

Aztec Marriage Couple depicts a man and woman seated on a mat, the bride powdered with yellow earth and adorned in red feathers.

The formal vows took place in the groom’s home, the marriage performed by tying together their wedding garments—tying the knot.

ART ABOUT LOVEMAKING

Lovemaking is essential in procreation.

Sexuality is a libidinal urge that is gratifying, positive, and even energizing.

Various cultures have their own ways of defining and depicting this universal act.

Figure 6.15 (1 of 2)

6.15 Oil Lamp with Love-making Scene. Rome, 1st century BCE. Ceramic. Museo Archeologico Nazionale, Naples.

Figure 6.15 (2 of 2)

This lamp shows a couple in an intimate gaze while engaging in sexual intercourse.

An inscription found in Pompeii on a wall from an ordinary house reads “Hic Habit Felicitas” or “here lies happiness.”

Figure 6.16 (1 of 2)

6.16 Moche Pottery Depicting Sexual Intercourse, Peru, c. 1000–1250. Ceramic. Museo Arqueologico Rafael Larco Herrera, Lima, Peru.

Figure 6.16 (2 of 2)

Numerous sexual acts between a man and a woman appear in pottery.

Moche pottery is matter of fact—the depictions of lovemaking are explicit and candid.

They may have been designed as visual aids for sex education, illustrating human reproduction and perhaps birth control as well.

Figure 6.17 (1 of 2)

6.17 Kitagawa Utamaro. A Pair of Lovers, frontispiece from Poem of the Pillow, Japan, 1788. Wood block relief print, 9 3/4" × 1' 2 3/4". Victoria and Albert Museum, London.

Figure 6.17 (2 of 2)

This work reflects the ukiyo (“floating world”) theme, which refers to the Buddhist concept of the transience of life.

Gently and intimately erotic, this print captures a private moment between lovers.

It is a visual poem of line, pattern, and color that composes the floating world image of the lovers’ pleasure.

These shunga prints (spring pictures) centered on female beauty, the theater, and entertainment, and were collected like posters or baseball cards today.

Figure 6.18 (1 of 2)

6.18 Radha and Krishna in the Grove. Kangra School, Kangra, India. Gouache on paper, 4 7/5" × 6 3/4.” Victoria and Albert Museum, London.

Figure 6.18 (2 of 2)

Erotic images appear regularly on Hindu temples and in miniature paintings of the 17th and 18th century.

This miniature painting of ideal sexuality depicts the diety Krishna in a tender lovemaking scene with the shepherdess Radha.

Radha and Krishna in the Grove was meant to be instructive, and the mythical sexual act was intended to be reincarnated regularly among living couples.

Figure 6.19 (1 of 2)

6.19 Relief Carving from the Kandarya Mahadeva Temple, Khajuraho, India, c. 1000.

Figure 6.19 (2 of 2)

Many carvings on Hindu temples are erotic.

Full-bodied figures are carved in relief depicting men and women in sexual union and masturbation, reflecting the open celebration of the blend of human sexuality with spirituality in Hindu beliefs.

Hindu religion believes that carnal bliss is a virtue and a path leading to redemption.

ART ABOUT SEXUALITY IN WESTERN CULTURE

Sexuality is complicated in modern Western art because:

of power relationships between men and women.

homosexuality and heterosexuality are also part of political debates.

sexuality is used to sell products.

abstract works on sexuality capture the energy, but leave other specifics undefined.

Figure 6.20

6.20 Jean-Auguste-Dominique Ingres. Grande Odalisque, France, 1814. Oil on canvas, 2' 11" × 5' 4". Louvre, Paris.

The Feminine Body and the Gaze

This nude Turkish harem woman (odalisque) (Fig. 6.20) was intended to be an erotic image for European men.

Nineteenth-century female nude paintings in Europe and the U.S. were made for privileged men.

It is significant that there is only a woman in this scene. Without a lover, the odalisque is sexually available for the viewer, who gazes upon her and “consumes.”

The viewer took the place of the imagined Turkish sultan, who had many women at his disposal.

Figure 6.21 (1 of 3)

6.21 Edward Manet. Olympia, France, 1863. Oil on canvas, 4' 3 1/4" × 6' 2 3/4". Musée d’Orsay, Paris.

Figure 6.21 (2 of 3)

Manet’s Olympia scandalized the public because:

her sexuality and nudity were contemporary and Western.

Olympia was recognizable as a famous Paris courtesan.

her unromantic expression made clear that sex and money would be exchanged.

it shattered romantic illusions.

it reveals the difference in social status according to race.

Figure 6.21 (3 of 3)

Manet’s defenders praised the work for its innovative qualities:

thick paint applied directly on the canvas

flat, bright color

light areas separate from the dark, few midtones

gestural mark making

flatness versus illusion of depth

IMAGES OF PREGNANCY, CHILDBIRTH, AND PROGENY

Images of childbirth are seen in many cultures and have existed for ages.

Maya pregnant figures represent the bearers of human offspring, as well as mothers of nature and progenitors of plant life.

Some Moche sculptures of childbirth may have been teaching tools for birthing positions and techniques.

More recent Western examples of pregnancy in art show the physical effects of pregnancy on a woman’s body.

Figure 6.28 (1 of 2)

6.28 Alice Neel. Pregnant Woman, 1971. Oil on canvas, 3' 4" × 5'.

Figure 6.28 (2 of 2)

Neel’s painting shows the physical effects of pregnancy on one woman’s body and self:

Her swollen belly and enlarged nipples contrast with her bony arm and ribs.

Her blood-flushed belly makes the rest of her skin look yellow.

Her facial expression seems wooden, passive, dazed, or fearful.

The man’s portrait behind her may suggest intimacy, distance, possession, or protection.

Figure 6.29 (1 of 2)

6.29 Kidder Figure, Mayan, Guatemala, 250 BCE–CE 100. Ceramic vessel, 10" × 7 1/2" × 6 3/4".

Figure 6.29 (2 of 2)

The Kidder Figure is a pregnant seated female.

She emphasizes her enlarged abdomen by resting her hands on it.

Her face reflects contentment and joyous anticipation of the birth event.

Figure 6.3

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in a 200- 250 paragraph answer all the question

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