978-0134479262 Part 6

subject Type Homework Help
subject Pages 9
subject Words 2980
subject Authors Marilyn Stokstad, Michael W. Cothren

Unlock document.

This document is partially blurred.
Unlock all pages and 1 million more documents.
Get Access
page-pf1
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
98
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
page-pf2
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
99
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
shoji
raku
lacquer
page-pf3
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
100
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?
page-pf4
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
101
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)
27
page-pf5
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
102
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
page-pf6
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
103
Active Learning Assignments
page-pf7
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
104
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)
28
page-pf8
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?
page-pf9
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
106
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?
page-pfa
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
107
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:
29
page-pfb
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
108
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)
page-pfc
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
109
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
page-pfd
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
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.

Trusted by Thousands of
Students

Here are what students say about us.

Copyright ©2022 All rights reserved. | CoursePaper is not sponsored or endorsed by any college or university.