978-0134479262 Part 6 | Course Paper

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CHAPTER TWENTY–SIX

JAPANESE ART AFTER 1333

Chapter-at-a-Glance

• Foundations of Japanese Culture

• Muromachi Period | Zen Ink Painting | Zen Dry Gardens

• Momoyama Period | Architecture | Shoin Rooms | The Tea Ceremony |

Elements of Architecture: Shoin Design

• Edo Period | Rinpa School Painting | Naturalistic and Literati Painting |

Ukiyo-e: Pictures of the Floating World | Zen Painting:

Buddhist Art for Rural Commoners | Cloth and Ceramics

Technique: Inside a Writing Box

Technique: Japanese Woodblock Prints

• The Modern Period | Meiji–Period Nationalist Painting |

Japan After World War II

A Closer Look: Woman’s Kosode

Learning Objectives

By the end of this chapter, the student will be able to:

26.a Identify the visual hallmarks of Japanese art after 1333 for formal, technical,

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Fusuma (Fig. 26–7)

Appreciation of Painting (Fig. 26–6)

26

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Discussion Topics and Critical Thinking Questions

1. Zen philosophy influenced a style of painting in the Muromachi period of

Japanese art. Analyze Bunsei’s Landscape (Fig. 26–2). How does this painting

reflect Zen philosophy?

Key Terms

fusuma

shoji

ukiyo-e

shoin

raku

key block

tatami

lacquer

registration marks

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Active Learning Assignments

1. The Japanese painter Sesshu traveled to China, where he studied paintings by

professional artists, rather than literati painters. Returning to Japan, he then

created a new style, seen in his Winter Landscape (Fig. 22–3). Write an essay in

which you address these questions: How does this work demonstrate the

influence of Chinese painting? Are there elements that reflect a shared Zen/Chan

philosophy?

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CHAPTER TWENTY–SEVEN

ART OF THE AMERICAS AFTER 1300

Chapter-at-a-Glance

• The Aztec Empire | Tenochtitlan | Sculpture | Featherwork and Manuscripts

A Closer Look: Calendar Stone

• The Inca Empire | Cusco | Machu Picchu | Textiles and Metalwork |

The Aftermath of the Spanish Conquest

Elements of Architecture: Inca Masonry

• North America | The Eastern Woodlands | The Great Plains |

The Northwest Coast | The Southwest

Art and Its Contexts: Craft or Art?

• A New Beginning

Learning Objectives

By the end of this chapter, the student will be able to:

Images Removed from the

5th Edition

Images Added to the 6th Edition

Feather Headdress of Moctezuma

(Fig. 27–5)

Feather Headdress of Moctezuma (Fig.

27–6)

Inca Masonry, Detail of Wall at

Machu Picchu (Fig. 27–7)

Inca Masonry, Detail of Wall at Machu

Picchu (Fig. 27–8)

Machu Picchu (Fig. 27–8)

Machu Picchu (Fig. 27–9)

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Discussion Topics and Critical Thinking Questions

1. The city of Tenochtitlan was the center of the Aztec empire, constructed on an

island in Lake Texcoco. The legend of the city’s origin is depicted in The Founding

of Tenochtitlan (Fig. 27–3). How does this painting depict both factual and

legendary elements of the city?

Key Terms

quillwork

coiling

twining

blackware

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Active Learning Assignments

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CHAPTER TWENTY–EIGHT

ART OF PACIFIC CULTURES

Chapter-at-a-Glance

• The Peopling of the Pacific

• Australia

• Melanesia and Micronesia | New Guinea | New Ireland and New Britain

• Polynesia | Te–Hau–ki Turanga | Marquesas Islands |

Hawaii, Rapa Nui, Samoa

• Recent Art in Oceania | Festival of Pacific Arts | Central Desert Painting |

Shigeyuki Kihara

A Closer Look: Man’s Love Story

Learning Objectives

By the end of this chapter, the student will be able to:

28.a Identify the visual hallmarks of the art of Pacific cultures for formal, technical,

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Teve Tupuhia (Fig. 28–11)

Tattooed Native of Nukahiva (Fig. 28–

14)

Moai Ancestor Figures (Fig. 28–16)

Dancer from the Marquesas Art and

Culture Festival (Fig. 28–15)

Moai Ancestor Figures (Fig. 28–17)

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Discussion Topics and Critical Thinking Questions

1. In Australia, the Dreaming is a religious system of the indigenous people. The

Dreaming features levels of knowledge, some secret and unknown to outsiders.

Artists often create images to preserve stories of the Dreaming and pass them

along to future generations. Discuss the role of art in the Dreaming. Do you think

this is a better method for transmitting this type of information than textual

records?

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Active Learning Assignments

1. The Barunga Statement (Fig. 28–1) was a declaration of the rights of Aboriginal

peoples, decorated with motifs from several regions styles of indigenous art. How

do you think the text and image work together to create a fuller message? If you

were to illustrate an American document, such as the Bill of Rights, what types of

images would you select?

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CHAPTER TWENTY–NINE

ARTS OF AFRICA FROM

THE SIXTEENTH CENTURY TO THE PRESENT

Chapter-at-a-Glance

• The Sixteenth through Twentieth Centuries:

Royal Arts and Architecture | Key Concepts | Ghana | Cameroon |

Democratic Republic of the Congo | Nigeria

• The Nineteenth Century: Colonialism and Modernity |

The Colonial Conquest | Modern Objects

• The Twentieth Century: Independence–Era Art | Ghana | Burkina Faso |

Postcolonial/Postmodern: Photography, Récupération, Painting

• Late Twentieth and Early Twenty–First Century: New Directions |

Mpane: The Burden of History |

Wangechi Mutu: The International Artist Experience |

Yinka Shonibare MBE: The Global Flows of History |

Muholi: Changing the Political and Cultural Discourse

Learning Objectives

By the end of this chapter, the student will be able to:

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Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Present–Day Africa (Map 29–1)

Grazing at Shendi (Fig. 29–1)

Twin Figures (Fig. 29–4)

Political Map of Africa (Map 29–1)

Elder Guiding Small Boy in Egungun

Performance While Adult Egungun

Looks On (Fig. 29–5)

King Njoya of Bamum in the Uniform

of an Officer with His Father’s Throne

in Front of the Old Palace at Fumban

(Fig. 29–4)

Temne Nowo Masquerade with

Attendants (Fig. 29–7)

Ndop Portrait of King Mishe Mishyaang

Mambul (Fig. 29–6)

Swami Mask (Fig. 29–8)

The Colonial Conquest of Africa (Map

29–2)

Initiation Wall Panels (Fig. 29–9)

Benin City Palace Ancestral Altar

Dedicated to Oba Ovonramwen (Fig.

29–10)

Ifa Divination Session (Fig. 29–11)

Lidded Vessel (Fig. 29–11)

Divination Basket (Fig. 29–12)

Standing Couple, Pinnacle Component

of Hazomanga Pole (Fig. 29–15)

Kot Ambweek in Ceremonial Dress

(Fig. 29–15)

Sowei Mask From the Sherbro District

(Fig. 29–16)

Ngady Mwaash Mask (Fig. 29–17)

Members of Sierra Leonean Diaspora

Community in London, Throwing

Cowries to Determine the Name of the

Sowei Mask in the British Museum

Collection (Fig. 29–17)

Bwoom Masked Dancers at the

Funeral of an Initiated Man (Fig. 29–

18)

Tombeau Sans Cercueil (Tomb

Without a Coffin) (Fig. 29–22)

Ngady Mwaash Masked Dancers at

the Funeral of an Initiated Man (Fig.

29–19)

Congo: Shadow of a Shadow (Fig. 29–

23)

Kanaga and Rabbit Masquerade

Figures at Dama (Fig. 29–21)

Le Noble Sauvage (Fig. 29–24)

Dispersion (Fig. 29–25)

Scramble for Africa (Fig. 29–25)

Thobe and Phila I (Fig. 29–26)

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Discussion Topics and Critical Thinking Questions

1. Many museum collections of African art began as anthropological collections. How

did this impact the early collection and exhibition of these objects? What has

changed in more contemporary exhibitions? What more do you think museums

could do when exhibiting African art?

Key Terms

110

Active Learning Assignments

1. Many art objects and rituals center on ancestors because of the importance they

hold to the future and success of African culture. Select one type of art

production that focuses on the role of ancestors. Discuss what your object is

meant to represent and the reasons for its traditional design.