The sculptures' color is natural granodiorite. The detail level is high, which makes the sculpture appear more realistic. They have carved the details out and worked with them to make them as smooth as possible. It is detailed; you can see the female shapes in the breasts and in the hip area. When you go down to the detail level, especially the face and hands are prominent. The head is a lioness head and the eyes are small and intense. It is easily to spot that there is lionesses’ head, because of the high detail level. You can see all the shapes, from the ears to the mouth. When you the face on profile you can see that it looks very lifelike. Her hand also looks lifelike, together with her feet. The knees are prominent an easily noticeable through the clothes. The artist have made a sculpture that has several female attributes such as her sitting position, with a straight back and narrow shoulders. Whereas her hips are wider than they would have been on a man. Also her torso are seen as thinner than on an average…
This technique is not quite as naturalistic and realistic as European art of this time, but it is drastically more naturalistic than the traditional indigenous art. Figures depicted in native indian art were solid, bright colors with harsh black outlines, creating an almost cartoonish effect. Additionally, indigenous artists had different conceptions and depictions of the human profile; often times the directions that different body parts were facing would form a composite profile that was not physically accurate. This depiction of profiles and figures is more anatomically correct than most original indigenous works. The dark coloring of the painting reveals indigenous roots, and allows for lighter parts of the piece to become the focal point. In this work, the light shines primarily on the foreground of the painting and consequently the eye of the viewer is drawn to the figure in the…
This work of art is a rustically, handcrafted stone mask sculpture made of hard, semiprecious jadeite from the Olmec people in Mesoamerica, Southern Mexico and in which was forged between the 10th and the 6th century B.C. Mask illustrates a rigidly aligned nose setting off the object’s wide-set eyes, though now missing their…
Either the Heron or Hawk and fish populations in the salt water marshes are a prime example of a predator-prey relationship; the heron finds its prey by walking or “waddling” through the shallow waters of the marsh and catching fish by striking them with the birds long neck and beak, swallowing the fish whole; and the Hawk with its powerful wings flies down and grabs the fish right out of the water (Also helping to control the area’s fish population.)…
| Frames:Structural: * Vibrant imagery * Traditional techniques and contemporary design and illustration. * Foliage * Abstract shapes * Patterns…
The Inupiaq people, or Eskimo people are from the far northern coast of Alaska. They inhabited a wide range of land, about 6,000 miles, but were all still connected through common language, facial construction, and loosely through their culture base (Fitzhugh). The primary food source and activities for the Eskimo people was hunting sea creatures such as whale, sea lion, seals, and walrus. Most of the first art forms were decoration on the harpoons/darts used for hunting. There were winged things that were added onto the back end of the spear to act as a counterbalance as well as decoration (Smelter). While the winged objects were skillfully carved, they disappeared after a short time, and were only found in cemeteries. Another form of art on the harpoon/dart was the head of the piece. Eskimo were believed to be the first to have a toggling dart head, which allowed for easy attachment of a float to the animal. Not only were these harpoon heads highly functional, there were also skillfully carved just as the winged counterbalances. All in all, the harpoon/dart was a piece of art in it's own right.…
The art pieces I choose to analyze are two paired Star Tiles with Vegetal Motifs and Inscriptions. The evolution of the purpose of an artifact reveals the development of complexity within Islamic empires as time progresses. The first Islamic dynasties controlled large unified Islamic states and religious pieces served as the main type of art within their empires. The goal of the gallery layout is to display to an uninformed viewer the evolution of Islamic art over the course of a millennium, and to reveal the four unifying characteristics that emerged, figural representation, geometric patterns, vegetal patterns, and calligraphy (The Met). The first artifacts are the oldest and are only decorated with calligraphy. The pieces eventually progress to geometric and vegetal patterns. The last element to appear is figural representations, because they are the most complicated. The tiles contain three of these main characteristics; calligraphy, vegetal patterns, and geometric patterns.…
Nonetheless, the admiration for the prehistory art comes from the culture one is brought up in. Being Hispanic Aztec, and tribal designs such as the indigenous art comes from culture. It is a way of being connected, and admiring the roots of the ancestry forming an expression expression as a cultural identity. Another, form is Islamic art with the geometric designs, and elaborate flowers as well as plants. It is based on the movement, and the captivation of ones attention (Detrick, “Art History”). This is also is an explanation for the attraction towards radical art, which is a balanced on a radius. The movement of the pattern excites the imagination, and it is sometimes based on a whoosh that is with swift upwards or downward movement. The ones that are preferred the most is with the two-thirds full one-third empty idea, and this explains the reason for the gravitational pull towards the art with this concept (Detrick, “Tree, Pretty: But is it Art?”). With this concept it comes with the idea of decoration when deciding on the amount of the embellishment to determine on where to focus the eye…
The influence of cultural experiences from different worlds has altered artists’ perceptions on their concept of depicting art, which is displayed in their series of artworks. Artists including Wenda Gu, Shayne Higson and William Kentridge demonstrate various aspects of the cultural world they live in such as their background, shown through their artist’s practice. Wenda Gu questions the distinction between cultural languages, race and gender in his artworks United Nation, 2001 and Forest of stone steles, 1993-2003. Similarly, William Kentridge offers his experiences through the distinction and separation of people by their skin colours shown in his artworks Procession of the dispossessed, 1989 and Procession in the landscape with highmast, 1989. While Shayne Higson demonstrates her cultural world through her real life experience of the political issue that is occurring in Australia which is emerging in her artworks Unsuitable, 2000 and Give me Warmth, 2004. These artists’ cultural experience significantly informs their practice through their artworks.…
Indian Heritage. Arts and Crafts: Traditional Customs and Practices. Retrieved September 19, 2014, from http://www.indian-heritage.org/alangaram/kolams/kolams.htm.…
All spiritual beliefs in Aboriginal culture relate back to the idea of creation and dreaming. The dreaming is the ongoing cultural and spiritual progression that informs identity and knowledge, which is expressed through traditional indigenous art. This reflects a spiritual connection to the land, which is represented by signs and symbols as well as other various techniques, which are unique to traditional indigenous art. Signs and symbols can represent a particular location, object or landmark, or a particular story or totem that would be specific to a particular tribe, corroboree or dreamtime story. In traditional indigenous artworks, there is no perspective or fixed vanishing points for landscape artworks because indigenous Australians do not see their environment as a landscape, but their particular world and universe. They create a concept of place by using signs and symbols to create a map-like artwork, which represents their particular ‘world’ and universe. Essentially, traditional indigenous Australian artists are painting their spirituality, by expressing their connection to the land through signs, symbols and their world.…
The Inuit family have created remarkable works of art to tell about the Inuit way of life. They live in the Artic regions, mainly in northern Canada. Due to where they live, they have learned to use art for personal needs or pleasure. The history of art was separated into three different stages known as the prehistoric period, the historic period, and the contemporary period. During each phase, their art has evolved and changed for the different purposes that appeared over time. The Inuit people’s choice of medium advanced after new technology, but stone carving has been one of their dominating ways of life.…
Wilkins, D. G., Schultz, B., & Linduff, K. M. (2009). Art Past Art Present (6th ed.). Upper Saddler River, NJ: Pearson Education, Inc. .…
The second floor of National Museum of the American Indian contains many interesting exhibits that tell stories of American Indians, such as the livelihood of Native Americans in the present time and the culture of American Indians. There are many items that are related to American Indians’ lives in those exhibits. However, the author of this essay is interested in The American Indian which is the name of an oil painting that has been depicted in one of those exhibits, Our Live. This oil painting was painted on linen in 1970 by Fritz Scholder who was the renowned Native American artist of the 20th century. The painting depicts an American Indian man who beautifies his long black hair with a feather and holds a pipe tomahawk in front of the yellow and brown background. Additionally, the man covers the American flag over his body.…
This reading has to do with reliquaries and the artist that surrounded them as well as their sometimes strange shapes. When talking about reliquaries no one ever mentions how it actually came about. When reading this excerpt it mentions how patrons would usually make their own workshops for specific works of art and hire artist they thought would be good for the job. The patrons seemed to be very involved in the creation of these pieces of art even though they didn’t physically make them. It seems like they had a specific vision for their reliquaries and wanted them to be exactly how they viewed them in their head, which then brings us to the next topic, strange reliquaries shapes.…