111 terms

AH Midterm

Whirling Log-Hopi travels and Navajo whirling winds in healing ceremonies
define art
An object whose form is elaborated to provide visual and tactile pleasure to enhance its rhetorical power as visual representation
Chaco Canyon Anasazi Petroglyph Of 1054 Supernova
Ernest Smith Sky Woman Falling to Turtle Island, Iroquois origin story
Ghost Dance David Bradley
Roles of art
temporal division,expression of worldview and ceremonial
Milky Way Sand Painting
crosses-indicate directionality
stepped designs-indicate mountains or clouds
morning star
whirling winds, corn, cardinal signs
Raven-the trickster
Thunderbird-NW mythical creature
Spider weaves the web of life
Navajo spider myth
she wove the universe
Hopi spider myth
saved humans from floods by hiding them in reeds
Lakota spider myth
found in art, architecture, myth and ritual
World Tree uniting the underworld, the world we live in and the heavens
masculine colors
blue, purple black and grey
earth tones of orange, brown, red, tan and white
directional colors
blue-south white-north west-yellow east-red
blood and courage
purity and sacred
warmth and plenty
new life and spiritual
strength and endurance
earth and rest
fire and pride
new life and birth
Anasazi 8-1450
prehistoric, 4 corners
exclusively Arizona 300-1250
New Mexico and Mexico
Hohokam pottery bowl
Hohokam 850-950
Hohokam pottery jar
Hohokam seated figure 1100
Hohokam etched shell 9-1100
Hohokam shell jewelry
Hohokam 10-11th C.
characteristics of Hohokam pottery
anvil and paddle, red on tan or buff, geometric designs, animals
Hohokam plate 9-11th C.
Hohokam shell frog effigy 9-11th C.
Hohokam palettes
Anasazi/Puebloan art
Kiva, Kachina and pottery
ansazi bowl snowflake black on white 950-1250
Anasazi vases Chaco Canyon
Mesa Verde mug
Anasazi seed jar 12-13
Kachina respect and spirit
Dolls made by fathers to instruct the girls in creation stories of their culture, including colors, forms and symbols
universal Kachina
Shalako Mana and Hemis
Hopi Kachina characteristic
Zuni Kachina characteristic
cloth and feathers
Kachina chronology
Kiva pottery mound mural
Kiva mural painting
Anasazi inlay fetish
versus Hohokum, these are inlay work not etched with an acidic substance
Mogollon Human
Mogollon animal
Mogollon narrative
Mogollon shamanistic
Mogollon geometric
Classic Mimbres 1100
Casas Grandes
Found in the Chihuahua Casas Grandes Valley, pronounced curvilinear motif along with the macaw or parrot beak and larger rounded base
Casas Grandes jar and small bowl
Casas Grandes human effigy
Casas Grandes effigy with cigar
Casa Grandes bear effigy pot
Casas Grandes macaw pot
casas grande jar
artist Juan Quezada Mata Ortiz pot
Nampeyo/ Hopi pot
Nampeyo lineage of pots
pre-historic influence of Juan Quezada
Maria Martinez
Esther Hoyt
influenced young students at the Ildefonso School in 1900
Elizabeth DeHuff
Influenced young students at the Santa Fe Indian School 1901
Crescenicio Martinez
Influenced by Palarito excavations in caves and murals, founder of the Ildefonso painting tradition
Eleven Figures of the Animal Dancers/C.Martinez 1917-18
Ceremonial Buffalo Dance Velino Herrera 1948
one of the original students of the Santa Fe School to visit Elizabeth Duff's painting sessions
Fred Kaboti
Tonita Pena
1st woman to "break the mold."
Alfonso Roybal
joe herrera
transitional painter
Pablita Valerde
painted murals on the rock walls as they might have been
Michael Kaboti
Kiva/Cubist influences father Fred Kaboti
Roxanne Swentzell
Daniel Namingha
Navajo word to describe themselves, meaning "the people" they migrated from SW Canada between 1300-1500 AD
Mythology of Navajo weaving
Spider Woman taught the Dine how to weave. Spider Man gave them instructions for building the looms. The first loom was of sky and earth cords, with weaving tools of sunlight, lightning, shell, and crystal
History of Navajo weaving
Navajos learned to weave from the Pueblo peoples who were influenced by the Spanish. Spanish influence includes wool, indigo (blue) dye, and simple stripe patterns.
Churro sheep
brought by the Spanish
Navajo weaving prior to 1850
natural variations in the sheep's wool,
1st phase Chief blankets
1800-1860 initial Spanish influence, stripes
2nd phase blanket
The beginning of the experimenting in something other than stripes
3rd phase blanket
The final branching out of design as the Navajo started to create more patterns versus the more traditional weaving of their Puebloan teachers
Saltillo characteristics
lozenge shape, geometric borders and stripes
after the late classic period, aniline dyes in a larger array of colors was available, however these were more garish and less desireable,
2 Gray Hills
no color, just the colors of the wool, considered very desirable
Burnt water
rare with vegetal dyes

Flickr Creative Commons Images

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