Assignment 5
The sculpture is one of the numerous carved stone lintels associated with Yaxchilán an ancient Maya City in Mexico. The lintels usually commissioned by the rulers provide a record of the dynasty and its achievements in both text and imagery. The Yaxchilán lintel 16 set above Structure 21 was commissioned by Bird Jaguar IV, who is considered the most prolific as he initiated or remodeled nearly a dozen major structures. Lintel 16 portrays as Bird Jaguar dominates a captive a scene that is common in Maya art. It is an integral part of Maya warfare where captives are used as sacrifices for many rituals including marking the enthronement of a new ruler. Lintel 24 of Structure 23 demonstrates other rituals common in Maya culture as performed by Shield Jaguar II and his wife. She pulls a thorned rope through her tongue as blood sacrifice performed by royal women. The ritual is considered as communication with the gods and spirits mirroring the Maya story of creation.
Assignment 6
The Benin plaques are believed to be in amounts above nine hundred with their distribution in museums in Europe and America. They originated from Benin City and were used as decorations for the Oba’s (King’s) palace. The plaques were used to depict the life in Benin court during the 16 th Century. It was a time when European countries first made contact with West Africa. There are plaques that portray the perception of Portuguese soldiers and traders who interacted with the Benin people. Their presence in the pieces of art demonstrated his wealth and power largely attributed to trading practices. The King was believed to have spiritia, secular, and ritual leadership over the people. His power usually associated with water was due to the extensive trade conducted between the Kingdom and the European traders. A large part of the export resources was retained by the King. Plaques containing symbols of leopards were also used to depict the King’s power over the tropical forest covering most of the Kingdom until its recent times.
Delegate your assignment to our experts and they will do the rest.
Assignment 7
Illustrated books were vital forms of art in Iran between the 14 th and 16 th centuries. The books and manuscripts flourished during the reign of the Ilkhanids, the Mongol dynasty from 1258 to 1336 C.E. During their reign, the books and manuscripts would be used as a means to support their right to rule Iran. Shahnama and Bahram Gur in a Peasant’s House are considered some of the popular art pieces of the time. The Shahnama also known as the Book of Kings, is an illustrated text of an epic poem written by Abu al-Qasim Firdausi. It recounts the legends, myths, and early history of Iran. However, the text is interpreted as a series of romances and adventure stories, while also serving as a guide for ethics and royal conducts. The high concentration of Shahnamas during the 14 th century was largely attributed to its powerful use in the Ilkhanids propagandist mission.
The Bahram Gur in a Peasant’s House also referred to as “Second Small Shahnama ”, is an illustrated manuscript of three small, dispersed, and undated texts. It depicts the story of a ruler known as Bahram Gur who in disguise visited a peasant’s home. The Bahram listens in on the conversation between the peasant and his wife as the latter milks a cow. It is noted that the cow refuses to provide milk and the wife identifies the tyrannous rule of Bahram Gur as the cause for this outcome. Upon hearing this perception of the people, he resolves to become merciful and just where almost immediately the milk from the cow begins to flow. The modern scholars have recognized the meaning of the Second Small Shahnama as an indicator of the upgraded status of women in the society whereby a woman from a peasant family has the power to reform a dictator.
Discussion 5
Representational style is a measure used in the creation of the Ceramic Drum with a bulging sounding chamber in the central region in ancient Peru. It is evident that this musical instrument was particularly finished elaborately by the people of Nasca culture. In this regard, the surface of the drum was decorated with rich colors as evidenced by the people of Nasca. The form used in the drum is one where fat-bodied figures were incorporated into the shape of the instrument. Central bulging chamber would be used to spread the rotund body evenly on all sides. The depiction of the drum would be a mark of remembering the culture of the community. The representational style was an effective means used to identify things that the people would encounter in the world including killer whales that mark the eyes and snakes that depict the figure’s hair. The dressing style of the Nasca was evident in the drum as a headband is wound around the head and tied to form a projection on the forehead.
Discussion 6
Cultural style is an effective measure of creating art forms that was significantly used in the Benin plaques. The Benin King and Attendants is an excellent example of this practice where it presents Benin culture during the 16 th century. The bronze plaques were an important depiction of the interaction between the European traders and the Benin people. The exchange of items between the groups led to its carving on the bronze plaques. The coral that make up the beads worn by the Oba were received from trade with the Portuguese. Even the brass that was used in the creation of the plaque was received from the Portuguese in the form of manilas or armbands. The plaques would also present how Benin people treated their king as their numerous attendants who shield him from the hot tropical sun.
Discussion 7
The Prayer book of the Queen of France, Jeanne d'Evreux as illustrated by Jean Pucelle in early 14 th century depicts the periodic style of the Gothic period that began in 12 th century and stretched to the 16 th century. The majority of the illuminated manuscripts of the time were royal bibles with multiple numbers of pages with full paintings. The book is lavishly decorated to depict the Gothic style of the time depicted by the grisaille drawings. The folios depict the images from Infancy and Passion of Christ along with scenes of Saint Louis’ life. The presentation of Christ carrying the cross is a clear indicator of the gothic style incorporated into the illuminated manuscript. The delicate grisaille is paired with shades of rich red, blue, orange, pink, yellow, turquoise, and lilac to brighten the book. In this case, the creatures of sheer fantasy along wing well known animals were depicted in the book.
The book was created by Pucelle for Jeanne d'Evreux the second wife of Charles IV of France for use as a private prayer book. She would use it for her private prayers over the course of the day. Upon her death, she would leave the book to King Charles V. The illuminated manuscript was a depiction of the lively humor and observations made in nature and the environment of northern France. It is evident that the book was for use at prescribed times of the day hence it is often referred collectively as book of hours or The Hours of Jeanne d'Evreux, Queen of France. The book incorporates symbolic techniques whereby depicting the nature of French religion. At the time, the people were primarily catholic hence the presence of bishops and the cross that Jesus carried. Every member of the community was aligned to the similar religious beliefs of the royal family as leadership and religion were inseparable.
