13 Art of the Americas after 1300

Mesoamerican ArtINCA - PERU
AZTEC – Mexico and Central America
Native-American Art
AMERINDIAN

Boundless.com/art-history
The Americas
After 1300
Mesoamerica
The Aztecs
South America
The Incas
North America

The Mixteca-Puebla TraditionMesoamerica
The Americas After 1300 > Mesoamerica
Mixteca-Puebla and Aztec
sites in Meso America

The Mixtecs were one of the major indigenous civilizations of Mesoamerica, and
today inhabit the Mexican states of Oaxaca, Guerrero and Puebla.
Primarily producing work in stone, wood and metal, the artistry of the Mixtecs was
well-regarded throughout ancient Mesoamerica.
Mixteca-Puebla
Mixtec-Puebla style Pipe
with Bluebird, A.D. 1100-
1400

The term Mixtecs (or Mixteca)
comes from the Nahuatl word
mixtecah, meaning "cloud
people”.
One of the major indigenous
civilizations of Mesoamerica,
today they inhabit the Mexican
states of Oaxaca, Guerrero and
Puebla in the La Mixteca
region.
Mosaic Skull, 1400-1521
Bone/ivory/horn/shell/bamboo, Human skull
with turquoise, jadeite, and shell
(The Mixteca-Puebla Tradition.” Boundless Art
History)
Mixteca-Puebla

Large Mixteca-Puebla style bowl
Preserved in the Museum of the Americas, Madrid, from the late Postclassic Mexico.
(The Mixteca-Puebla Tradition.” Boundless Art History)
Mixteca-Puebla
This variant of artistic
style commonly found in
pottery, became
associated with traits of
the Toltec tradition in
Mesoamerica during the
early post-classic period
(800-1000). Using vast
trading networks, the
Mixteca-Puebla style of
art spread from Cholula,
a city located in the
center west of Puebla, to
other areas in the Valley
of Mexico and eventually
Mesoamerica .

AztecsMesoamerica
•The destruction of Tula
in about 1200 and the
disintegration of the
Toltec Empire began a
century of anarchy.
• Northern invaders, the
Aztecs, gradually
organized into city-
states, acquiring the
Toltec culture.

•Their magnificent city of Tenochtitlán was laid out on a grid
plan, reminiscent of Teotihuacán, which had become a
pilgrimage site for the Aztecs.
•The Aztecs believed they had a divine mission to propagate
the cult of their tribal god, Huitzilopochtli, the hummingbird
god of war.
•Aztec statecraft used the gods and human sacrifice to
achieve and maintain political dominion.
The Aztecs
The Americas After 1300 > The Aztecs

Founded in 1325, Tenochtitlan became the largest city in pre-Columbian
Mesoamerica until it was captured by the Spanish in 1521.
Pronunciation

Reconstruction drawing with cutaway view of
various rebuildings of the Great Temple, Aztec,
Tenochtitlán, Mexico City, Mexico, ca. 1400-1500
The ruins of the Aztec capital
lie beneath the center of
Mexico City. The principal
building in the "sacred
precinct" is the Templo Mayor
(Great Temple), a temple-
pyramid honoring the Aztec
god Huitzilopochtli and the
local rain god Tlaloc. Two
staircases led to the double
sanctuaries at the summit. The
Great Temple is an example of
superimposition, a common
trait in Mesoamerica.
Capital of an Empire:

Built on a series of islets on the shores of Lake Texcoco, Tenochtitlan covered 3.1
to 5.2 square miles and was home to an estimated 212,500 people, which made it
the 4th largest city in the world at the time.
Tenoctitlan

In the heart of the city were the massive Temple de Mayo, a palace, two zoos, a
botanical garden, a ceremonial center, and some 45 public buildings.
Ruins of Temple de Mayo View on Boundless.com
When the
Spanish
conquered
Tenochtitlan in
1521, Hernan
Cortés ordered
the destruction
of the city and
the rebuilding of
the capital of
New Spain atop
its ruins.
Today the ruins
of Tenochtitlan
are located in
the central part
of Mexico City.

Aztec sculpture often represented
gods and mythical creatures, and
was commonly expressed through
ceramics, architecture,
freestanding three-dimensional
stone works, and relief work.
The grand city of Tenochtitlan
contained some of the finest
examples of Aztec sculpture, from
its temples and pyramids to its
elaborate stone palaces.
An Aztec Sculpture of the Mythological
Serpent, Xiuhcoatl
Xiuhcoatl, a mythological serpent in Aztec religion,
was a common subject of Aztec art.
Aztec Sculpture

A great deal of Aztec
sculpture incorporated
the skull motif - what is
today known in Mexico
as "skull art”.
Link to more about the legend of Coatlicue Free to share, print, make copies and changes. Get yours at www.boundless.com
Aztec Statue of Coatlicue, the Earth
Goddess
Museo Nacional de Antropología, Mexico City.

The dismembering of the
moon goddess is depicted on
a huge stone disk, placed at
the foot of the staircase. The
image proclaimed the power
of the Aztec gods over their
enemies and their inevitable
fate when defeated. In the
carefully balanced design,
richly detailed components
seem to revolve like a galaxy.
The carving is the sculptural
equivalent of the line and flat
tone characteristic of
Mesoamerican painting.
Coyolxauhqui (She of the Golden Bells), del Templo Mayor, Mexico City.
Museo Aztec, from the Great Temple of Tenochtitlán, Mexico City, ca. 1469. Stone, diameter approx. 10' 10".

The Aztec calendar stone is a large monolithic sculpture that was excavated in
Mexico City in 1790, and is believed to have served multiple purposes.
Aztec Sun
Stone National
Museum of
Anthropology,
Mexico City.
LINK to more at
Aztec History

•Endowed with sacred meaning, feathers were associated
with the Aztec patron deity Huitzilopochtli and the mythical
god of featherworkers, Coyotlinahual.
•Feathers were incorporated into many aspects of life,
including traditional clothing, armor for warfare, elaborate
headdresses, and beautiful works of art.
•As Christianity spread through Mexico with the arrival of the
Spanish, the use of feathers was adopted by Christians in
the creation of religious objects.
Featherwork

Aztec feather headdress - This Aztec headdress is often described as the crown of Moctezuma II.
Museo Nacional de Antropología e Historia, México.
One of the most famous featherwork artifacts is the elaborate feather
headdress thought to be worn by Moctezuma II, the Aztec emperor at
the time of the Spanish conquest.

•Serving as calendars, ritual texts, almanacs, maps, and
historical manuscripts of the Aztec people, codices spanned
from before the Spanish conquest throughout the colonial era.
•Pre-colonial codices were largely pictorial in nature, while
colonial codices contain Classical Nahuatl, Spanish, and even
Latin.
•Few pre-colonial codices have survived.
•Codices created after the conquest were heavily influenced
and even censored by the Spanish.
Aztec Manuscripts

It tells the story of the
legendary Aztec journey
from Aztlán to the Valley of
Mexico. Rather than
employing separate pages,
the author used one long,
folded sheet of amatl (bark).
The Boturini Codex was painted by an unknown Aztec author some time
between 1530-41, roughly a decade after the Spanish conquest of Mexico.
Detail of first page from the Boturini Codex. The first page of this Aztec codex depicts the departure from Aztlán.

The original page thirteen
of the Codex Borbonicus
shows the thirteenth
trecena (or thirteen-day
period) of the Aztec
sacred calendar. This
thirteenth trecena was
under the auspices of the
goddess Tlazolteotl, who
is portrayed wearing a
flayed skin, giving birth to
Cinteotl.
Bibliothèque de l'Assemblée Nationale,
Paris.
Codex Borbonicus
LINK to more images from this Codex

Codex Mendoza (1542) (The Public Domain Review)
LINK to see more images - http://publicdomainreview.org/collections/codex-mendoza-1542/
The Codex Mendoza is an Aztec
codex, created about twenty years
after the Spanish conquest of Mexico
with the intent that it be seen by
Charles V, the Holy Roman Emperor
and King of Spain. It contains a history
of the Aztec rulers and their conquests,
a list of the tribute paid by the
conquered, and a description of daily
Aztec life, in traditional Aztec
pictograms with Spanish explanations
and commentary. It is named after
Antonio de Mendoza, then the viceroy
of New Spain, who may have
commissioned it.

Codex Osuna (1565)
The Codex Osuna is a set of seven
separate documents created in early
1565 to present evidence against the
government of Viceroy Luis de
Velasco during the 1563-66 inquiry
by Jerónimo de Valderrama.
In this codex, indigenous leaders
claim non-payment for various goods
and for various services performed
by their people. These services
include construction and domestic
help.

Among the most important cultures are
the Inca (1438-1533, Andes region), the
Cañaris (in south central Ecuador), the
Chimu (1300–1470, Peruvian northern
coast), the Chachapoyas, and the
Aymaran kingdoms.
Colonization in the 16th century brought
with it warfare, disease, and slavery that
led to significant disruptions in the
production of art and craft.
In an effort to convert the region to
Christianity, many native artworks that
were considered pagan were destroyed
by Spanish explorers.
South America
The Americas After 1300 > South America

The Incas
The Americas After 1300 > The Incas
The Kingdom of Cuzco was a small city-
state of the Inca empire. It served as the
preeminent center of politics and religion for
the empire.
In 1535, the Spanish explorer Pizarro
sacked much of the Inca city and built a
new city over pre-colonial foundations.
Because of its antiquity and importance, the
center of the city retains many buildings,
plazas and streets from both pre-colonial
and colonial times.
These include the Temple of the Sun, the
Cathedral of Santo Domingo, and the Plaza
de Armas.

Built in the 15th century, most
archaeologists believe that
Machu Picchu was created as
an estate for the Inca emperor
Pachacuti, though other theories
suggest it was a religious site.
The site was abandoned by the
Inca around the time of the
Spanish Conquest and, because
it was never known by the
Spanish, it has remained a
relatively intact cultural site.
Machu Picchu
The historical Incan site, Machu Picchu View on Boundless.com

Machu Picchu was built in the classical Inca style, with polished dry-stone walls that
fit to tightly together.It is said that not even a blade of grass can fit between the stones.
The space is composed of 140 structures or features, including temples, sanctuaries,
parks, fountains,
residences and long
flights of stone steps.
The most prominent
features include the
Intihuatana, the Temple
of the Sun and the
Room of the Three
Windows, all used to
worship the Inca sun god.
Link to National Geographic website about Machu Picchu.

The Americas After 1300
Images of Cuzco
Top: Plaza de ArmasMiddle left: Temple of Coricancha Middle right: Aerial view of Cusco Bottom left: SacsayhuamánBottom right: Cathedral of Cusco

The Coricancha ("Temple of the Sun," named for the gold plates covering its walls)
was the most important sanctuary dedicated to the Inti (the Sun God) during the
Inca Empire.
Over the temple's foundation, Spanish colonists built the Convent of Santo
Domingo in the Renaissance style.
The Convent exceeds the height of many other buildings in the city.
Link to a virtual tour at the Church website

Textiles
Inca textiles were widely manufactured for practical use, trade, tax collection
and decorative fashion.
Textiles were widely prized within the empire - in part because they were
somewhat easily transported - and were widely manufactured for tax
collection and trade purposes.Cloth and textiles were divided among the
classes in the Inca empire.

Cloth and textiles were
divided by class, with llama
wool used in more common
clothing and the finer cloths
of alpaca or vicuña wool
reserved for royal and
religious use.
Specific designs and
ornaments marked a
person's status and nobility.
Tupa Inca tunic from around 1550
Inca officials wore stylized tunics
decorated with certain motifs, while
soldiers of the Inca army had specific
uniforms.
Source: Boundless. “Textiles.” Boundless Art History. Boundless, 03 Jul. 2014)

•The Inca were well known for their
use of gold, silver, copper, bronze
and other metals.
•Drawing much of their inspiration
and style in metalworking from
Chimú art, the Incas used metals
for utilitarian purposes as well as
ornaments and decorations .
Metalwork
Andean bronze bottle, ca. 1300-1532

• Inca- Llama, Alpaca and woman. C. 1475-1532

Metalwork
Golden Plaque from Chimú Culture - The Incans adopted
much of their metalworking characteristics from the metalwork
of Chimu. Because of their expertise, many metalworkers were
taken back to the capital city of Cuzco to continue their
metalworking for the emperor.
Gold and silver were reserved
for ornaments and decorations
in temples and palaces of Inca
royalty - especially revered for
its sun-like reflective quality.
Even though the Inca Empire
contained many precious
metals, the Incas did not value
their metal as much as fine
cloth.
The Inca people's reverence of
gold has much to do with their
worship of the sun and the sun
god.

•Following the Spanish Conquest, the Inca population suffered a
dramatic and quick decline largely due to illness and disease.Many
of those remaining were enslaved.
•Many aspects of Inca culture were systematically destroyed as cities
and towns were pillaged, resulting in the loss of vast amounts of
traditional artwork, craft, and architecture.
•The introduction of Christianity greatly impacted the art of the region,
which began to reflect Christian themes alongside and in place of
traditional Inca designs.
•The Spanish also brought with them new techniques such as oil
painting on canvas, which fused with the artistic traditions of the
region.
The Spanish Conquest and Its Effects

The execution of the Inca
Spaniards burning the Inca leader Atahualpa at the stake, following their conquest of the Inca people.

North America
The Americas After 1300 > North America
Native American Populations at End of 15th Century

•Beadwork, pendants, and
wood carvings were
common among the
tribes of the Northeastern
Woodlands.
•Fort Ancient culture
flourished along the Ohio
River from 1000 CE -
1750 CE, and included
coiled pottery, beadwork,
and silversmithing.
Woodlands in the East
Wampum string - 1750-1850
Eastern Woodlands
Quahog clam shell beads (purple wampum), whelk shell beads
(white wampum), twine/string

•Beadwork, pendants, and
wood carvings were
common among the
tribes of the Northeastern
Woodlands.
•Fort Ancient culture
flourished along the Ohio
River from 1000 CE -
1750 CE, and included
coiled pottery, beadwork,
and silversmithing.
Shawnee Earrings 1790-1840
Eastern Hammered, wrought, and soldered silver

Handbag/purse - 1870-1900
Six Nations Grand River Reserve; Brant County,
Haldimand County; Ontario; Canada
Velveteen, cotton cloth, glass bead/beads,
cotton thread; Sewn, raised beadwork

Burden basket with burden strap
c.1900
Mashpee Wampanoag; Cape Cod;
Mashpee; Barnstable County; Mass.
Hickory wood, Wicker-plaited

Mi'kmaq (Micmac) Beaver pipe
1840-1880
Nova Scotia; Canada
Slate- Carved, incised

Karl Bodmer, Hidatsa warrior Pehriska-Rupha
(Two Ravens) watercolor in Joslyn Art Museum,
Omaha, Nebraska.
•Because Plains people were
Nomadic they focused their
aesthetic attention on their
clothing, bodies and other
portable objects such as:
•Shields, clubs, pipes,
tomahawks and various
containers.
The Great Plains

•The people of the Great Plains
are the indigenous peoples who
live on the plains and rolling hills
of the Great Plains of North
America.
•Buffalo hide clothing was
beautiful and elaborate,
decorated with porcupine quill
embroidery, beads, shells and
teeth.
Northern Inunaina (Arapaho) Woman's dress,
1890-1905
Wyoming; Hide, glass bead/beads, sinew.
Sewn, lazy/lane stitch beadwork

•Great Plains Native Americans
are perhaps most well known for
their beadwork, used to decorate
clothing, jewelry, breastplates,
and ceremonial headdresses.
Lakota Saddle blanket, circa 1890
North Dakota or South Dakota
Hide, glass bead/beads, brass bell/bells, wool
twill tape, sinew, cotton thread
Sewn, lazy/lane stitch beadwork, fringed

•Glass beads were first introduced to
the Plains as early as 1700 and were
used in decoration in a manner
similar to quillwork, but they never
fully replaced it.
Niuam (Comanche) Man's dance headdress
circa 1900
Oklahoma
Wool cloth, cotton cloth, silk ribbon, feather/feathers, hide,
glass bead/beads, antelope horn, pigment/pigments,
synthetic dye/dyes
Sewn, lazy/lane stitch beadwork, split, wrapped, dyed

Lakota Saddle blanket, circa
1890
North Dakota or South Dakota
Hide, glass bead/beads, brass
bell/bells, wool twill tape, sinew,
cotton thread
Sewn, lazy/lane stitch
beadwork, fringed•Painting on buffalo
hides was a common
practice as well.
• Men painted narrative,
pictorial designs
recording personal
exploits or visions as
well as pictographic historical calendars known as Winter counts.
•Women painted geometric designs on tanned robes and rawhide, which
sometimes served as maps.
Winter count recording events
from 1800 to 1870
Lone Dog (Shunka Ishnala),
Nakota (Yankton Sioux)
Buffalo hide/skin, paint

During the Reservation Era of the late 19th century, buffalo herds were
systematically destroyed by non-native hunters. Due to the scarcity of hides,
Plains artists adopted new painting surfaces, such as muslin or paper, giving
birth to Ledger Art. Ledger Art flourished from the 1860s to the 1920s and was
named for the accounting ledger books that were a common source for paper
for Plains Native Americans during the late 19th century.
Kiowa ledger art
from 1874

•Southern Plains Native Americans adopted metalsmithing in the
1820s, after metal jewelry was introduced through Spanish and
Mexican metalsmiths and trade with tribes from other regions.
Kickapoo [Oklahoma]
Silver Brooch, 1870-
1900
Hammered, repoussé,
cutout, stamped

Northwest Coast and Alaska
•Northwest Coast art refers to art created by the
indigenous peoples of current-day Washington
State, Oregon, British Columbia, and Alaska.
•Before European contact, the most common
media were wood, stone, and copper; since,
European contact, paper, canvas, glass, and
precious metals also have been used.
•Northwest designs commonly included natural
animals, legendary creatures, and abstract
forms and shapes, and were often used to
decorate traditional household items.
Tlingit Raven rattle with human and frog figures, 1880-1900
Alaska; Carved, painted

Totem Pole from the
Northwest
Native American Totem
Pole from Ketchikan,
Alaska.

North Wind Mask (Negakfok) early 20th
century, Alaska; Yup'ik
Wood, paint, feathers; H. 45 1/4 x W. 21 3/8 x D.
17 7/8 in. (114.9 x 54.3 x 45.4 cm)
Metropolitan Museum of Art
•The mask here, one of a pair,
represents "Negakfok,"
meaning the north wind or,
more eloquently, the spirit that
likes cold and stormy weather.
•Its white spots are said to
represent snow flakes, and the
many wood danglers clattered
when moved giving a voice to
the spirit of the north wind.

•Totem poles, masks, and canoes are examples of the complex
woodcarvings of the peoples of the Northwest.
•After the arrival of Europeans, traditional production of Northwest Coast art
dropped significantly due to population loss and cultural assimilation.
Northwest Coast and Alaska
Haida Pipe bowl in the form of a ship 1820-1830; Stikine River; Tahltan; Stikine Regional District; British
Columbia; Canada; Wood, ivory, brass, paint; Carved, cutout, inlaid, incised, drilled, painted

Chilkat blanket
In the collection of the University of Alaska Museum, Fairbanks
Chilkat weaving applied formline designs to their textiles.
Tlingit, Haida, and Tsimshian have traditionally produced Chilkat woven
regalia from wool and yellow cedar bark, using them for civic and ceremonial
events .

Southwest
•The Ancient Pueblo culture is perhaps best known for the stone and adobe
dwellings built along cliff walls, the most elaborate of which is Chaco
Canyon in New Mexico.

Taos Pueblo today stands as the largest surviving multistoried Pueblo
structure in the United States.

Pottery of the Pueblo
Ceramic bowl from Chaco Canyon in New Mexico, Pueblo III phase.
The Ancestral Pueblo created grayware and black-on-white pottery, decorated
with geometric designs or representations of people, animals, and birds.

Detail of a Kiva Mural
Coronado State Monument, New Mexico. Late 15th to early 16th century.
The Ancestral Pueblo created grayware and black-on-white pottery, decorated
with geometric designs or representations of people, animals, and birds.

•Jewelry and other ornaments
were made by the Ancestral
Pueblo using shells and stones
bartered from the coasts of
Mexico and California.
•Within the region, turquoise,
soapstone, and lignite were
attained through trade.
• Just as pottery from this period
has received world-wide
recognition, work inlaid with
shell and turquoise from this
period was noteworthy for its
artistry and sophisticated inlay
techniques.
Southwest
Old and new Navajo bracelets
The Navajo are well-known today for their use of turquoise in jewelry.

•Sandpainting, the art of pouring colored sand onto a surface, was an
aspect of Navajo healing ceremonies.
Southwest
Navajo sandpainting - One of the four elaborate dry-paintings or sand altars employed in the rites of the
Mountain Chant, a Navaho medicine ceremony of nine days' duration.

•Navajos learned to weave on upright looms from Pueblos and wove
blankets and rugs that were highly regarded around the region.
Southwest
Diné (Navajo) Poncho; 1825-1860; New Mexico; Wool yarn, bayeta (unraveled wool cloth)Woven

Key terms
•adobe an unburnt brick dried in the sun; a house made of unburnt brick dried in the
sun
•antiquity Ancient times; former ages; times long since past
•argillite A fine-grained sedimentary rock, intermediate between shale and slate,
sometimes used as a building material
•cochineal A vivid red dye made from the bodies of cochineal insects.
•codex an early manuscript book bound in the modern manner, by joining pages, as
opposed to a rolled scroll
•diaspora A dispersed group, such as the Jews outside of the land of Israel.
•discoidal Having the flat, circular shape of a disc or a quoit
•disseminate To sow and scatter principles, ideas, opinions and errors for growth and
propagation, such as seed
•effigies A likeness of a person
•evangelization The act of preaching the gospel or converting to Christianity.

•First Nation The indigenous peoples of any country or region.
•freestanding standing or set apart; not attached to anything
•gorget An ornament for the neck; a necklace, ornamental collar, torque etc.
•iconography The branch of art history which studies the identification, description,
and the interpretation of the content of images.
•Inca A member of the group of Quechuan peoples of highland Peru who established
an empire from northern Ecuador to central Chile before the Spanish conquest.
•Inca A member of the group of Quechuan peoples of highland Peru who established
an empire from northern Ecuador to central Chile before the Spanish conquest.
•inlay To place pieces of a foreign material within another material to form a
decorative design.
•irrevocably Beyond recall; in a manner precluding repeal.
•islet A small island.
•lignite A low-grade, brownish-black coal
•metallurgist A person who works in metal
•monolith A large single block of stone, used in architecture and sculpture.
•motif A recurring or dominant element in a work of art.

•nomadic Leading a wandering life with no fixed abode; peripatetic, itinerant
•patron An influential, wealthy person who supports an artist, craftsman, scholar, or
aristocrat.
•phonetic Relating to the sounds of spoken language.
•pictographic Represented by pictures
•pictorial described or otherwise represented as if in a picture; graphic or vivid
•plateresque Pertaining to an ornate style of architecture of 16th century Spain
suggestive of silver plate.
•quetzal A strikingly colored bird with very long tail feathers, found in Guatemala and
Costa Rica.
•quillwork Decorative textile embellishment made from porcupine quills by certain
Native Americans
•seismic Related to, or caused by an earthquake or other vibration of the Earth.
•tunic A garment worn over the torso, with or without sleeves, and of various lengths
reaching from the hips to the ankles.
•Utilitarian practical and functional, not just for show.
•vicuña A relative of the llama that lives in the high alpine areas of the Andes.

Free to share, print, make copies and changes. Get yours at www.boundless.com
The distinct Mixteca-Puebla tradition of art originated from the
Mixtec peoples of which place in Mesoamerica?
A) Oaxaca
B) Cholula
C) Guerrero
D) Mexico City

Boundless - LO. "Boundless." CC BY-SA 3.0 http://www.boundless.com/
The distinct Mixteca-Puebla tradition of art originated from the
Mixtec peoples of which place in Mesoamerica?
A) Oaxaca
B) Cholula
C) Guerrero
D) Mexico City

These structures, misnamed "floating gardens," were actually long
raised plant beds set upon the shallow lake bottom of Lake
Texcoco surrounding Tenoctitlan.
A) tlachtli
B) tzompantli
C) campans
D) chinampas

Obsidian mirrors were used by the Aztecs for which purpose?
A) to reflect the glory of the royalty
B) to spiritually access the Aztec underworld
C) to channel light through dark corridors
D) all of these answers

How was the Aztec use of feathers effected by Christianity in the
early years of evangelization?
A) Christians rejected the feather as a heathen symbol.
B) Christians adopted the use of the feather to adorn arches, crosses,
and paintings.
C) Christians transformed the meaning of the feather to symbolize
royalty.
D) Christians systematically destroyed all featherwork of the Aztec
people.

What is the primary difference between pre-colonial and colonial-
era Aztec codices?
A) Pre-colonial codices were contained pictograms and language,
whereas colonial codices were pictorial.
B) Pre-colonial codices were religious in nature, whereas colonial codices
served as historical manuscripts.
C) Pre-colonial codices served as historical manuscriptsca, whereas
colonial codices were religious in nature.
D) Pre-colonial codices were pictorial, whereas colonial codices
contained pictograms and language.

Which Aztec manuscript is considered to be the most useful
source of information on pre-colonial Aztec life?
A) the Codex Borbonicus
B) the Codex Osuna

How did European colonization lead to a significant disruption in
the production of traditional art and craft in South America?
A) the destruction of cities and artifacts
B) the introduction of European styles and techniques
C) all of these answers
D) the enslavement of indigenous peoples

The city of Cuzco was created in the shape of which animal?
A) a bull
B) a hawk
C) a puma
D) a mountain lion

Which of the following statements regarding the architecture of
Machu Picchu is FALSE?
A) The use of mortar helped protect the structure against earthquakes.
B) The monumental structure of the city deliberately echoed the natural
environment.
C) The city was built using polished, dry-stone walls.
D) A technique known as ashlar was used to fit blocks tightly together.

Awaska was an Incan textile made from llama wool and used for
A) religious and ceremonial purposes.
B) distinguishing royalty.
C) common clothing and traditional household use.
D) tribute and tax collection.

Which metals were used for ornaments and decorations and
reserved for the highest classes of Inca society?
A) silver and bronze
B) gold and silver
C) gold and copper
D) gold and bronze

Which artistic technique was introduced to the Inca by the
Spanish Conquest?
A) fresco painting on walls
B) oil painting on canvas
C) charcoal drawing on paper
D) glazing techniques for pottery

Fort Ancient culture was located within
A) the Northeastern Woodlands
B) the Central Plains
C) the Northwest Coast
D) the Southeastern Woodlands

Which of the following was an effect of European contact on the
cultures of the Great Plains?
A) Buffalo herds were systematically destroyed by non-native hunters.
B) all of these answers
C) Metal jewelry was introduced through Spanish and Mexican
metalsmiths.
D) Glass beads were introduced.

Which of the following media became more common in the
Northwest after European contact?
A) canvas
B) stone
C) copper
D) red cedar

The Ancient Pueblo culture is best known for which kind of
architectural dwellings?
A) buffalo-hide teepees
B) wooden long houses
C) stone and adobe cliff dwellings
D) none of these answers

13 Art of the Americas after 1300

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