Chapter 9 euroean outreach and expansion
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Africa, Native Americans, meso-america, olmecs, Aztec, Maya, Inca
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Chapter 9 euroean outreach and expansion
- 1. European Expansion Portuguese Carracks off a Rocky Coast, early to mid-16th century, oil on panel, 31 x 57 in. © National Maritime Museum, London. •Marco Polo (1254-1324) •China’s emperor, Kubliai Khan •“best selling book” gave Marco Polo instant fame.
- 5. Christopher Columbus (1451-1506) Americas
- 6. World Exploration, 1271-1295; 1486-1611 Explorers are represented according to the nation for which they sailed.
- 7. Tribes shared some distinct cultural characteristics, a kinship system The oba (ruler) of Ife wearing a bead crown and plume, from Benin, twelfth to fourteenth centuries. Cast brass with red pigment, height 14 1/8 in. © The Trustees of the British Museum.
- 9. Muslims in front of a mosque in the town of San, Mali, 1971. Photographic Archives, National Museum of African Art,
- 10. orally Griots – a special class of professional poet-historians who preserved the legends of the past by chanting or singing them from memory. Sundiata – an epic describing the Mali history.
- 11. Moon or Banana? -Madagascar Fire or Death? - Ethiopia African myth, explaining death https://www.southworld.net/african-myt
- 12. Bambara ritual Chi Wara dance Mali, imitate movements -antelope. Bambara ritual chi wara dance, Mali. Photographic Archives, National Museum of African Art, Smithsonian Institution, Washington, D.C. (neg. no. VIII–58, 4A). Photo: Eliot Elisofon.
- 13. used by healer-priests in rituals that protected against evil spirits. Congo nail fetish, 1875-1900. Wood with screws, nails, blades, cowrie shell, and other material, 3 ft. 10 in. high. Detroit Institute of Arts.
- 14. transformed European understandin g of African history. Brass plaque showing the Oba of Benin with attendants, 16th century, 51 x 37 cm
- 15. Although frequently described as 'Benin Bronzes' most plaques are made of leaded brass.
- 21. Pointed noses, thin faces and beards and strange clothes .
- 23. Portuguese soldier wears a typical 16th century European costume.
- 24. holds the bones of an ancestor Kota reliquary figure, from Gabon. Wood covered with strips of copper and brass, 30 3/4 in.
- 25. ceremonies for the installation and death of a ruler Songe mask, from Zaire, nineteenth century, based on earlier models. Wood and paint, height 17 in.
- 26. earliest known 3- dimentional artworks of Africa. Head, Nok culture, ca. 500 B.C.E.-200 C.E. Terracotta, height 14-3/16 in. National Museum, Lagos/Bridgeman.
- 27. Sculpture had a major impact on European art of the early 20th century. Pablo Picasso - “magical objects”.
- 28. Bambara antelope headpiece, from Mali, nineteenth century, based on earlier models. Wood, height 35 3/4 in., width 15 3/4 in. WILLIE COLE (American, born 1955) Speedster tji wara, 2002 Bicycle parts 46 1/2 x 22 1/4 x 15" (118.1 x 56.5 x 38.1 cm.) Sarah Norton Goodyear Fund, 2002
- 29. •Very few of Africa’s wooden sculptures date from before the 19th century. •Country of Origin: Democratic Republic of Congo, Equatorial Africa. Culture: Luba. Date / Period: probably late 19th C. Place of Origin: Buli region. Material Size: Wood, h=53.5 cms.
- 30. Congo (Afrique centrale), atelier de la Basse Lukuga, 19e siecle Location: musee du quai Branly City: Paris Country: France Period/Style: African Genre: Sculpture Note: Bois. 35 x 16 x 23 cm, 700 g. Inv.: 70.2004.36.2. Expose : Afrique
- 31. Yoruba-Benin Bronze Maternity Figure, Possibly Origin: Southwestern Nigeria Circa: 1600 AD to 1800 AD African Art / Yombe Wooden Pfemba Sculpture Origin: Northwestern Congo Date: 20th Century AD
- 32. African Art / Benin Ivory Head of a Mother Queen - PF.5563 Origin: Benin City, Nigeria Date: 1600 AD to 1897 th Century AD African Art / Nok Terracotta Head - PF.576 Origin: Northern Nigeria Date: 500 BC to 200 AD
- 33. African Art / Bassa Wooden Sculpture of a Seated Woman - PF.4803 Origin: Central Liberia Date: 18th Century AD to 19th Century AD
- 34. African Art / Yoruba / Yoruba Ivory Sculpture of a Kneeling Woman - PF.3955 Origin: Southwestern Nigeria Date: 20th Century AD African Art / Nupe Bronze Bell - PF.4005 Origin: Central Nigeria Date: 1500 AD to 1800 AD
- 35. Benin Bronze Head of an Oba- LSO.568 African Art / Baule Wooden Mask with Two Faces - PF.3173 Origin: Central Ivory Coast Circa: 20th Century Origin: Nigeria Circa: 18th to 19 th Century AD www.artofancientafrica.com/
- 36. African Art / Benin Sculpture of a Leopard - PF.6194 Origin: Nigeria Date: 16 th Century AD to 19 th Century AD African Art / Bamun Ivory Sculpture of a Monkey and Child - PF.6132 Origin: Cameroon Date: 20 th Century AD
- 37. Represents spirits of ancestors and controls the balance between good and evil.
- 38. Artists hold a respected position in the community
- 42. African Hunting Dog Animism-The belief that spirits inhabit all things in nature.
- 43. African Cow Use materials from the Earth such as wood, terracotta clay pottery, and textile
- 44. Water Buffalo
- 46. African Elephant •decorated with cowrie shells, colored beads, bone, animal skins and vegetable fibers.
- 48. The Thunderbird House Post, replica totem pole. Stanley Park, Vancouver, British Columbia, Canada, 1988. Carved and painted wood, 12 ft. high. North America totem pole- heraldic (coat of arms) family symbols
- 49. Cliff Palace, Mesa Verde National Park, Colorado, Anasazi culture, Pueblo period, c. 1200 CE Anasazi seed jar, 1100-1300. Earthenware and black and white pigment, 14 1/2 in. diameter.
- 50. Sat-kon-se-ri-io or the spirit known as “Good Spirit”, created people and animals out of clay.
- 51. Lacking the potter’s wheel, women hand- built vessels for domestic and ceremonial uses.
- 52. No word for Art in any Native American language. Obvious appreciation for nature.
- 53. Art objects they made had a specific purpose..
- 54. The largest and most advanced Native American societies.
- 55. 1200 b.c.e., Meso-America - Olmecs. They were called “Olmecs” (“rubber people”) by the Aztecs. Weighing up to 44 tons!
- 60. Religious center? Worship jaguar spirits (rain, fertility, & earth)
- 62. 250-900 CE, influenced by Olmecs
- 63. Castillo, with Chacmool in the foreground, Chichen Itza, Yucatan, Mexico. Maya, 9th-13th centuries. AKG Images/Erich Lessing. 250-900 C.E. Blood sacrifice produce a written language.
- 64. • 800 glyphs- symbols, words & syllables, carved in stone
- 65. Tepeu and Gucumatz ground a stack of white corn into a paste and from this formed four individual men. immediately worship them, and thank them for their lives.
- 66. Reconstruction drawing of post-classic Mayan fortress city of Chutixtiox, Quiche, Guatemala. (from Richard Adams, Prehistoric Mesoamerica,
- 68. King Nobles : (priests warriors) Merchants, skilled artisans peasants
- 69. Polytheistic: worship corn, death, rain, & war gods, some evil or good or both (up to 160!) Gods associated w/ 4 directions & colors : White- n Blue- w Yellow-s Red- e, Green center Chac Kukulcan Ix Chel
- 70. blood- letting ritual Maya culture, Lintel Yaxchilan, Chiapas, Mexico,
- 71. late 15th century - mightiest power in South America. Machu Picchu, Inca culture, near Cuzco, Peru, 15th-16th centuries.
- 73. The Incas were known as the "Children of the Sun". Belief in ruler descended from Sun
- 74. Worship nature spirits ( sun god, the god of thunder, Moon, rainbows, mountain tops, stars, and planets) Believe in afterlife & mummify dead
- 75. Ceremonial knife, from the Lambayeque valley, Peru, ninth to eleventh centuries. Hammered gold with turquoise inlay, 13 x 5 1/8 in
- 76. Machu Picchu
- 77. Machu Picchu
- 78. Machu Picchu
- 79. Coatlique, Mother of the Gods, Aztec, 1487-1520. Andesite, height 8 ft. 3 1/4 in. 15th century, monumental stone sculpture. terrifying icons of their gods and goddesses.
- 80. Huitzilopochtli, god of war, sacrifice & sun, tells Aztecs to find a city (look for an eagle on a cactus on a lake with a snake in its mouth)
- 81. God of the night sky. Knows all the deeds & thoughts of men God of the night sky. Knows all the deeds & thoughts of men
- 86. “Calendar Stone,” not an actual calendar, but a symbol of the Aztec cosmos. Sun disk, known as the "Calendar Stone," Aztec, fifteenth century. Diameter 13 ft., weight 24 1/2 tons.
- 87. The Spanish in the Americas Cortes (1485-1547) overcame the Aztec armies in 1521. Theodore de Bry (1528–1598), Spanish Cruelties Cause the Indians to Despair, from Grands Voyages. Frankfurt, 1594. Woodcut.
- 89. “The most important of these idols, and the ones in whom they have most faith, I had taken from their places and thrown down the steps; and I had those chapels where they were cleansed for they were full of blood sacrifices’ and I had images of Our Lady and of other saints put there, which caused Mutezuma an the other naives some sorrow.”
- 90. The End.
- 91. The Americas before 1500.
Editor's Notes
- Marco Polo (1254-1324) China’s emperor, Kubliai Khan proved to be an enthusiastic patron of cross-cultural dialogue. Marco Polo served the Chinese ruler for 17 years before returning to Italy, where he eventually narrated the details of his travels to a fellow prisoner of war in Genoa. The “best selling book” gave Marco Polo instant fameThe brought instant fame for Marco Polo. His stories were exaggerated but historical details were correct. Concerning the Old Man of the Mountain Mulehet is a country in which the Old Man of the Mountain dwelt in former days; and the name means "Place of the Aram." I will tell you his whole history as related by Messer Marco Polo, who heard it from several natives of that region. The Old Man was called in their language ALOADIN. He had caused a certain valley between two mountains to be enclosed, and had turned it into a garden, the largest and most beautiful that ever was seen, filled with every variety of fruit. In it were erected pavilions and palaces the most elegant that can be imagined, all covered with gilding and exquisite painting. And there were runnels too, flowing freely with wine and milk and honey and water; and numbers of ladies and of the most beautiful damsels in the world, who could play on all manner of instruments, and sung most sweetly, and danced in a manner that it was charming to behold. For the Old Man desired to make his people believe that this was actually Paradise. So he had fashioned it after the description that Mahommet gave of his Paradise, to wit, that it should be a beautiful garden running with conduits of wine and milk and honey and water, and full of lovely women for the delectation of all its inmates. And sure enough the Saracens of those parts believed that it was Paradise! Now no man was allowed to enter the Garden save those whom he intended to be his ASHISHIN. There was a Fortress at the entrance to the Garden, strong enough to resist all the world, and there was no other way to get in. He kept at his Court a number of the youths of the country, from 12 to 20 years of age, such as had a taste for soldiering, and to these he used to tell tales about Paradise, just as Mahommet had been wont to do, and they believed in him just as the Saracens believe in Mahommet. Then he would introduce them into his garden, some four, or six, or ten at a time, having first made them drink a certain potion which cast them into a deep sleep, and then causing them to be lifted and carried in. So when they awoke, they found themselves in the Garden.[1]
- Christopher Columbus (1451-1506) brought a copy of Marco Polo’s The travels. Thinking he was going to meet Kublai Khan’s ancestors. Italian in the employ of Spain, sailed west in search of an all-water route to China. His discovery of the Americas –whose existence no Europeans had ever suspected-was to change the course of world history
- Different tribes shared some distinct cultural characteristics, a kinship system that emphasizes the importance and well-being of the group as essential to that of the individual. Africa, long known to Europeans as the “Dark Continent,” was unaffected by the civilizations of both Asia and the West for thousands of years. 5.In African tradition, kinship extended to all of the following EXCEPT a.the living. b.the dead. c.the unborn. d.all African peoples. Answer: d 9.The image of the oba of Benin (Figure 9.4) is a landmark that a.illustrates the African mastery of casting metal. b.is probably a portrait. c.may demonstrate the effects of tribal scarification rituals. d.All these answers are correct. Answer: d
- 10.When the Europeans arrived in Africa a. b.slaves were already being traded between African and Muslim dealers.
- The hallmarks of Islamic culture – its great mosques and libraries and the Arabic language itself – did not penetrate deeply into the vast interior of Africa 7.Timbuktu the city was the greatest of the early West African trading centers and the seat of a Muslim university? .Before the fifteenth-century, the West African elite was most heavily influenced by Islam.
- The “Lion-Child” Sundiata performs extraordinary deeds that bring honor and glory to himself and peace and prosperity to his people. 8.In African cultural history, the griot was a.a poet-historian. Quotes About Sundiata Quotes tagged as "sundiata" (showing 1-1 of 1) “How few things good fortune prizes!'Yes, the day you are fortunate is also the day when you are the most unfortunate, for in good fortune you cannot imagine what suffering is.” ― D.T. Niane, Sundiata: An Epic of Old Mali (Longman African Writers Series)
- the totemic (important tribal object) figure, honored in this ritual Mali, In the ceremony depicted here, dance movements performed to drum rhythms imitate the movements of the antelope, the totemic figure, honored in this ritual distinctive feature of African music? a.use of percussion instruments b.polyrhythmic structure c.call-and-response motifs 7.The dominant element in African music is a.rhythm.
- This nail figure was used by healer-priests in rituals that protected against evil spirits, cured illness, or inflicted evil on enemies. it was the channel through which spiritual power might pass. meant to function like an electric circuit.
- Until the late 19th century, one of the major powers in West Africa was the kingdom of Benin in what is now southwest Nigeria. When European merchant ships began to visit West Africa from the 15th century onwards, Benin came to control the trade between the inland peoples and the Europeans on the coast. The kingdom of Benin was also well known to European traders and merchants during the 16th and 17th centuries, when it became wealthy partly due to trading in slaves When the British tried to expand their own trade in the 19th century, the Benin people killed their envoys. So in 1897 the British sent an armed expedition which captured the king of Benin, destroyed his palace and took away large quantities of sculpture and regalia, including works in wood, ivory and especially brass. Some of these things came from royal altars for the king’s ancestors, but among them were a large number of cast brass plaques made to decorate the wooden pillars of the palace. The plaques were most sought after and were bought by museums across Europe and America—you can see the plaques at the British Museum, in Chicago, Vienna, Paris and a large collection can be viewed in Berlin. The arrival and the reception of the bronze plaques caused a sensation in Europe. Scholars struggled to understand how African craftsmen could have made such works of art, putting forward some wild theories to explain them. Quickly, however, research showed that the Benin bronzes were entirely West African creations without European influence, and they transformed European understanding of African history. A great number of people played their own parts in the ritual pageantry, as chiefs and officials, craft guilds or representatives of local communities. Even more were involved as craftworkers producing splendid costumes and ritual paraphernalia for the king and chiefs, like those shown in many of the plaques, or as farmers supplying food for the feasts. Many of the plaques probably represent events or characters from these annual ceremonies, some of which the king of Benin still carries out today. A procession, with king flanked by attendants who shade him from the sun with their shields. They are dressed in fine cloth worked in elaborate patterns, whose colorful appearance we can only now imagine. Smaller figures, whose size as well as their scanty clothing shows their lesser importance, carry a ceremonial sword and the kind of circular box used to present gifts
- As decorations for the halls of the king’s palace, the plaques were designed to proclaim and glorify the prestige of the king, his status and achievements.
- There are over 900 plaques of this type in various museums in England, Europe and America. They are thought to have been made in matching pairs and fixed to pillars in the Oba's palace in Benin City
- Another important symbol on plaques are LEOPARDS. These show that the king is also master of the tropical forest which covered most of Benin until recent times. The leopard is king of the forest, just as the Oba of Benin is king of the city and villages where his people live. The king used to keep leopards, which were paraded on important occasions like mascots, and he sometimes killed them as sacrifices to his gods. This figure represents the king with bead ornaments fringed with bells upon his dress. His legs are here shown, and the fish issue from his sides. In each hand he is swinging a leopard as before, the leopards wearing collars with small hawk-bells, which would suggest that they are tame.
- Oba in the centre, dressed in a loin-cloth with a plaited border and a close-fitting, sleeved upper garment, covered with cylindrical beads. He is accompanied by two attendants, as well as representations of long-haired Europeans which are shown either side of his head. Showing the ruler flanked by two attendants is a typical pictorial composition of brass and ivory works from Benin. One interpretation of it is as a reminder of the heavy burden of kingship. This is based on the myth of Oba Ewuare (about 1440-1470) one of Benin’s famous warrior kings, who having stolen the coral-bead regalia of Olokun, god of the sea, felt the heavy weight of the spiritually-charged regalia symbolizing the kingship and related obligations, and asked the people to help him carry it.
- The plaques show how the people of Benin perceived the Portuguese traders and their soldiers, with their pointed noses, thin faces and beards and strange clothes. Their presence on the decorations of the king’s palace shows how the Portuguese were regarded as symbols of the king’s wealth and power, to which their trade contributed so much.
- Many plaques show images of Portuguese men and they seem to have been made during the 16th and 17th centuries as their costumes show. Although Benin had no gold to offer, they supplied the Portuguese with pepper, ivory, leopard skins and people, who were taken as slaves to work elsewhere in Africa and in the Portuguese colonies in Brazil. Many of these people were captives taken in the wars in which the Benin people conquered their neighbors far and wide and made them part of the kingdom, or they were sent by the conquered local chiefs as tribute to the king.
- This Portugese soldier wears a typical 16th century European costume, with steel helmet and sword, and he carries a flintlock gun. Guns were new to the people of West Africa when the Portuguese arrived. So Africans traded them from Europeans and learned to make them for themselves, to help them in their wars against other peoples who still only had hand weapons or bows and arrows. Sometimes the king of Benin even employed Portuguese soldiers, like this man, to fight as mercenaries in his wars. Figures of Europeans such as this Portuguese soldier were kept on royal altars or on the roof of the royal palace in Benin city.
- heal the sick, communicate with the spirits of ancestors holds the bones of an ancestor and guarded the dead from evil. The power holding object channeled potent forces that might heal the sick, communicate with the spirits of ancestors, or bring forth some desirable state. This figure held the bones of an ancestor and guarded the dead from evil.
- the artist has distorted and exaggerated the facial features so as to compress energy and render the image dynamic and foribidding.
- Found in 1931, Nok. Niger River in Western Sudan. These portrait like heads are the earliest known 3-dimentional artworks of sub-Saharan African. Found in 1931 near a farming village called Nok located along the Niger River in western SudanWestern parts of the continent were not fully investigated by modern archaeologists until the mid 20th century.
- African sculpture had a major impact on European art of the early 20th century. Pablo Picasso was among the first to recognize the aesthetic power of African masks, which he referred to “magical objects”. When artists and collectors in the West first took an interest in African Art, they did not appreciate its social or spiritual function. African art was simply viewed as a naive genre with a strong visual impact. At the dawn of the 20th century, European artists were looking for new forms of expression that challenged, rather than simply illustrated, their rapidly changing world of ideas and technology. The traditional techniques of realism and perspective seemed overworked and predictable. Their solution was to draw on images from other cultures and fuse them with European influences to refresh the tired traditions of Western art. The new perspectives that these cultures offered opened many doors of development which led to the cross-polination of ideas and styles that constitute our art world today. The expressive power of African art was fundamental to this revolution and to the development of the first modernist styles: Cubism, Fauvism and Expressionism. http://www.artyfactory.com/africanmasks/context/artist.htm
- The simplification and abstraction of visual elements in the art of the African Mask emphasize its expressive power. When we look at Expressionist art of the 20th century, we tend to think of it as a European style. One look at elements of African art shows you where this visual vocabulary was born.
- Very few of Africa’s wooden sculptures date from before the 19th century, but the rich tradition of wood sculpture reaches far back into earlier African history. Chief's stool supported by kneeling woman. A number of works have been identified and attributed to the same master carver or his workshop, known to some scholars as the 'Master of Buli‘
- This type of mask was worn by the Oba, probably around his neck, during the the Emobo ceremony. The pendant is said to represent Queen Mother Idia, mother of Oba Esigie who ruled in the sixteenth century. The top of the pendant is decorated with heads representing the Portuguese, symbolizing Benin's alliance with and control over Europeans. The Portuguese continued to appear in Benin art long after they had disappeared from Benin itself
- Artists hold a respected position in the community Masks are valued for their spiritual quality Part of a ceremonial costume During ceremonies the masks come to life through music and dancing Represents spirits of ancestors and controls the balance between good and evil Use materials from the Earth such as wood, terracotta clay pottery, raffia and textiles. They are often decorated with cowrie shells, colored beads, bone, animal skins and vegetable fibers. Sometimes metals such as bronze, copper and brass are also used. Even the tools used for carving have spiritual qualities.
- In Africa masks can be traced back to well past Paleolithic times. These art objects were, and are still made of various materials, included are leather, metal, fabric and various types of wood. During celebrations, initiations, crop harvesting, war preparation, peace and trouble times, African masks are worn by a chosen or initiated dancer. It can be worn in three different ways: vertically covering the face: as helmets, encasing the entire head, and as crest, resting upon the head, which was commonly covered by material as part of the disguise. African masks often represent a spirit and it is strongly believed that the spirit of the ancestors possesses the wearer.
- Africans perceived the natural world as animated by supernatural spirits )including those of the dead.) Although, most Africans honored a supreme creator, they also recognizes a great many lesser deities and spirits. The spirts of ancestors as well as those of natural objects carried great potency. Since the spirits of the dead and of natural forces (rain, wind, forests, and so on) were thought to influence the living and to act as guides and protectors, honoring them was essential to tribal security. Hence ritual played a major part in assuring the well-being of the community and the keepers of ritual – shamans, diviners, and priest – held prominent positions in African society.
- tools and weapons: wood, stone, bone, and bits of volcanic glass Native Americans fashioned their tools and weapons out of wood, stone, bone, and bits of volcanic glass. They had no draft animals and no wheeled vehicles. Wooden poles carved and painted with totems (heraldic family symbols) (heraldic family symbols) served the Southern Kwakuitl people of British Colombias powerful expressions of social status, spiritual authority, and ancestral pride. These facts make all the more remarkable the material achievements of Maya, Inka, and Aztec civilizations, all three of which developed into empires of considerable authority in the pre-Columbian era.
- Meso –america 1. the area extending approximately from central Mexico to Honduras and Nicaragua in which diverse pre-Columbian civilizations flourished 2. (loosely) Central America
- The Mohawk Indians thought that the Sat-kon-se-ri-io or the spirit known as “Good Spirit”, created people and animals
- Artistic expression has been a way to worship the gods. Art for art's sake is not part of the Indian psyche. Their artistic designs have beauty and care motivated by their love for nature. Each native art object they made had a specific purpose. Obvious appreciation for nature permeates their Indian pottery, paintings, baskets, leather work, sand paintings, crafts, moccasins and wood carving. Native Americans created many shapes and geometric designs for their art and these were repeated and became representative symbols that transcended tribal language barriers American Indian art history has developed over thousands of years and consists of several distinctive styles from the distinguishing cultures of diverse Indian tribes (From Navajo to Hopi to Plains Indians). Each tribe has a unique history, which consists of many types of Native American Indian arts including beadwork, jewelry, weaving, basketry, pottery, carvings, kachinas, masks, totem poles, drums, flutes, pipes, dolls and more.
- Native American art history can be traced back to cave painting, stonework and earthenware thousands of years ago. The types of materials used by Native Americans has evolved from rocks and feathers to cloth, clay, turquoise, silver, glass and fabric; each piece of art reveals intricacies of the diverse indigenous people. Important symbols in most Native American art history include the sun, moon, bears, eagles or people. Pendants and statues were often created to symbolize and honor Mother Nature. CULTURE AND BELIEFS Sacred beliefs of American Indians hold that everything living or inanimate shares a place in the universe, and that no one thing is above the other. They were thefirst ecologically aware people anywhere, long before pollution became a serious and popular issue. CULTURE AND BELIEFS Native Americans were also the first to create implements with beauty, and each native art object they made had a specific purpose. Animals they killedwere for clothing, tools and food, never for sport. CULTURE AND BELIEFS Everything in Native American culture is considered to contain a spirit. Everything has ties to nature and is thought through and carefully produced. From native plants and animals to housing to the weather became a part of the culture in Indian life. Animals are revered as spirits and although they were hunted and killed, their skins and hides are used as clothing and drums, their meat is never wasted and their spirits live on in the mind of the tribes. Plants are cultivated and harvested, and used for various things such as dyes for blankets. CULTURE AND BELIEFS The rain and sun are considered to be gods, giving a sign to the Indians as the seasons change. Totem poles, large wooden poles carved with various animals are used to represent family members, loved ones who passed away and spiritual beings. People were assigned spirit animals and that are often reflected in the totem pole.
- N & S America connected by a land bridge (Beringia) • Cross at end of Ice age (40,000-10,000 bc), following animals (probably on foot, some in boats) • Bridge disappears 12,0000-10000 bc due to melting glaciers and rising waters • 7000 BC. Begin farming, raise plants in Central Mexico • 5000 BC raise maize, squash, gourds, chilies, beans, avocados • Create more advanced farming methods • Experience pop growth, permanent settlements, specialized skills in arts & crafts Meso-America
- because of the trees that flourished in their region. Around 1200 b.c.e., Meso-America was the site of one of the largest and most advanced cultures: that of the Olmecs. They were called “Olmecs” (“rubber people”) by the Aztecs, because of the trees that flourished in their regionProbably to honor their rulers, the Olmecs carved colossal stone heads weighing some 20 tons . Because they wore helmets it was once theorized to be ballplayers, it is now generally accepted that these heads are portraits of rules, perhaps dressed a s ballplayers. 12.The earliest of the Meso-American societies was the Olmec. Olmecs • Olmecs emerge around 1200 BC along Gulf coast of Mexico • San Lorenzo, built 1150 BC, oldest site. It has earthen mounds, courtyards & pyramids, w/ giant stone heads weighing up to 44 tons!
- emerge around 1200 BC along Gulf coast of Mexico
- La Venta-900 BC: 100 ft high mound of earth, mud & clay. • Religious center? Worship jaguar spirits (rain, fertility, & earth) • Create a large trade network (N to Mexico City, S to Honduras). • SL collapses 900 BC & LV in 400 BC
- Built Tikal, Copan, Palenque, Tulum & Chichen Itza All independent city states ruled by god king. Centers for religion & trade Each city had giant pyramids, temples, palaces, stone carvings, & ball courts (playing game kept up sun/moon & rain cycles) 1000s live around city center
- Southern Mexico, Honduras, Guatemala, and the Yucatan Peninsula, the Maya constructed fortified cities and elaborate religious complexes.
- Most advanced in Americas • 800 glyphs- symbols, words & syllables, carved in stone or in CODEX, (bark paper books) (3 left) • Popul Voh- story of creation. They also recorded history & events
- The Mayan Calendar Each day was a living god. Time was a burden carried on back of the god. At end of each day, month or year, another god picked it up The day was lucky or unlucky based on nature of god. A calendar was needed to track days to predict it. One calendar had a 260 day yr, 13 20 month days Another had 365 day yr, w/ 18 20 month days & they meshed together like cogs Developedbasedonobservationof sun, planets, & moon
- The game was a combo of volleyball, basketball, & soccer. The ball was not allowed to touch the ground & bounced off the walls of the court and the players themselves. The ball was allowed to bounce off the player's elbows, hips, knees, or head, but using their hands was an illegal move. the goal in which you scored your points was very small. Points were scored by directing the ball through a stone circle hoop. It is also believed you scored points by hitting particular posts & markers situated along the ball court. Players came dressed in elaborate costumes & the ball was made of heavy rubber (about 9 lbs) City-States linked thru trade • Exchange salt, flint,feathers,shells, honey, craft goods (cotton textiles, jade ornaments) • Cacao used as money Raised maize, beans, squash (use slash & burn farming, hills side terraces & raised beds above swamps) Mayan Social Hierarchy
- Mayan Religion • Polytheistic: worship corn, death, rain, & war gods, some evil or good or both (up to 160!) • Gods associated w/ 4 directions & colors : White- n Blue- w Yellow-s Red- e Green center Mayan Gods & Goddesses • Chac Kukulcan Ix Chel Pray, offer food, flowers,pierce skin, cut bodies to offer blood • Human sacrifice of prisoners into cenotes (deep water filled pit)
- The sculpture depicts a sacred blood-letting ritual which took place on 26 October 709. King "Shield Jaguar" is shown holding a torch, while Queen "Lady Xoc" draws a barbed rope through her pierced tongue. The blood soaked rope runs from the queen’s tongue into a basket a basket filled with slips of paper that absorb the royal blood. These would have been burned in a large sacrificial vessel so that its smoke cold lure the gods 9.Which of the following was characteristic of the religious rituals of the Maya and Aztecs? a.human sacrifice
- High plateaus of Andes. Wander & settle in Valley of Cuzco. Est 1200 AD Terrace Farming• Freeze Dried Foods• Use of Gold and Silver • Marvelous Stonework • Textiles• Aqueducts• Hanging Bridges• Panpipes• Systems of Measurement (calendar, quipus)
- 1438: Pachacati conquered all of Peru. Eventually empire stretches 2500 miles along w coast (land of 4 quarters) • 80 provinces, of nearly 16 mil people • powerful military used only when needed. Diplomats offered chance to surrender, but keep own customs & rulers in exchange for loyalty. Even if fight, still try to get loyalty Strong Central Government SAPA INCA Supreme Council (4 men) Provincial Governors Officials (army officers, priests, judges,& others from the noble class. Special privileges) Tax collectors. (1 tax collector for every ayllu) Workers: ( family units called ayllus) • Tax requirements were high. Women were expected to weave a certain amount of cloth, while men had to mine or serve in the army. Taxes were expected to be paid by commoners. If the commoners didn't have money, they'd pay with service on state projects or make items to sell such as thread or hand- woven cloaks. People could also pay the government by giving a portion of their yearly crop to the collectors for storehouses instead. How they controlled an empire 1.Central bureaucracy ( w/ people divided into units, all powerful Inca, strict laws, basic needs satisfied) 2.Single language : QUECHUA 3Communication (roads & runners) 4.Schools teach Incan ways 5.Service Tax (huge free labor force) 6.Govt regulates trade 7.Technology (terrace farming, surplus crops, irrigation systems 8.Clothing has specific colors, patterns for social classes 9.Built cities in conquered areas 10.All govt buildings have same architecture thru empire 11.All roads lead to Cuzco 12. Specialized Professions (engineers, metal workers, stone masons, other artisans) 12.Local admin left in hands of local ruler & keep traditional ways. 13. tribute in form of labor (mita) 14.All citizens work for state so many days a year (on farms, public works, make crafts for storage) 15. Like socialism; work for state, provided for by state • AYLLU: extended family group. Takes on large tasks, build canals, cut terraces, store food Records: • No writing system, memorize stories & history • QUIPUS- knotted strings whose color & position kept accounting records (red: warriors, yellow: gold)
- Belief in ruler descended from Sun God Inti (who brings in prosperity and greatness) • Leader must be 1 of 11 noble lineages from sun god *The Incas were known as the "Children of the Sun".
- Mamakuna- virgins of the sun- help lead sun worship ceremonies, unmarried lifelong service, weave, teach, make beer • Yamacuna: male workers, full time Worshiped gods of nature - the sun god, the god of thunder, Moon, rainbows, mountain tops, stars, planets, etc. believed the gods could intervene to help you or hinder you. believed that the gods & ancestors could communicate through dreams, omens & signs, which priests interpret. Believe in afterlife & mummify dead. Mummies of dead rulers remained in their palaces & were treated as if they were still alive. were carried through the streets. Major religious festivals monthly Cuzco • Cuzco: the “Navel of the world” built w/ no wheel or iron tools. Engineers & stone masons used no mortar. Religious center • Temple of the Sun in Cuzco most sacred. Decorated in gold, (even garden w/ gold animals (sweat of the sun) Walls thin gold sheeting)
- Peruvian cultures noted for their fine pottery, richly woven textiles, and sophisticated metalwork.
- Found in 1911.• Palace? City? Home for Pachacati? • Built around 1450 AD.• Still a mystery of it’s purpose
- During the 15th century, the aztecs raised to new heights the art of monumental stone sculpture. They fabricated great statues that ranged from austere, realistic portraits to ornately carved, terrifying icons of their gods and goddesses.
- Find Lake Texacoco & build Tenochtitlan
- He told the Aztecs where to build their city. He was the Sun god who they fed with human sacrifice. He was the god of war. Sacrifice According to the Aubian Codex, the Aztecs originally came from a place called Aztlan. They lived under the ruling of a powerful elite called the "Azteca Chicomoztoca". Huitzilopochtli ordered them to abandon Aztlan and find a new home. He also ordered them never to call themselves Aztec; instead they should be called "Mexica." Huitzilopochtli guided them through the journey. For a time, Huitzilopochtli left them in the charge of his sister, Malinaloxctili,, but the Aztecs resented her ruling and called back Huitzilopochtli. He put his sister to sleep and ordered the Aztecs to leave the place. When she woke up and realized she was alone, she became angry and desired revenge. She gave birth to a son called Copil. . When he grew up, he confronted Huitzilopochtli, who had to kill him. Huitzilopochtli then took his heart and threw it in the middle of Lake Texcoco. Many years later, Huitzilopochtli ordered the Aztecs to search for Copil's heart and build their city over it. The sign would be an eagle perched on a cactus, eating a precious serpent. The Aztecs finally found the eagle, who bowed to them, and they built a temple in the place, which became Tenochtitlan 1502: Montezuma II weakens empire. More sacrifice tribute needed, so areas rebel. He makes concessions, but doesn’t work Aztecs see omens every where. • • Hernan Cortes lands in Mexico, a Sp conquistadors search for gold, god & glory Looking for land to claim more colonies. Hears about Aztec wealth, marchesinto mtns • Makes friends w/ Aztec enemies along way • 600 men reach Tenochtitlan. Montezuma thought he wasa god, gave him share of Aztec gold, wants more. • 1520: Cortez’ men kill warriors & chiefs at a religions celebration. Rebel & drive sp out. • 1521: comes back, defeats Aztecs. Why did he win? 1. superior weapons: musket cannon 2. Help from native groups who hate Aztecs3. Disease: mumps, small pox, typhus no immunity
- God of the night sky. Knows all the deeds & thoughts of men challenge warriors. Protector of slaves. Reward good doers with wealth & fame, punish bad people with sickness . Each year in the 5th month, one prisoner was chosen to live in luxury & pretend to be Tecat. 4 beautiful girls dressed as goddesses live with him. On feast day, he was sacrificed!
- Religion• 1000s of gods, adopted from others (Quetzacoatl) • Elaborate public ceremonies w/ offerings. Rituals,dramas, songs, dances, masked performances • Huitzilopochtli makes sun rise & set. Battles evil nightly & needs human blood for strength or sun would not rise, all life perish • 1000s sacrificed each year. Heart carved out, most POWs. Often purpose of conquest was to get victims *The victim was taken to the top of the temple & laid on a stone slab by 4 priests. His abdomen was sliced open by a 5th priest w/ a ceremonial knife made of flint. Thiscut went through the diaphragm. Then,the priest would grab the heart out of the victim while it was still beating. The heart was placed in a bowl held by a statue of the honored god while the body was thrown on the temple’s stairs & the head would be placed on display. The rest was fed to the zoo
- Tenochtitlan Island site. 3 raised roads over water to travel to mainland Small cities ring island Streets connect to city center Canals cross underneath Massive walled complex, w/ 45 public buildings) temples, ball courts, govt buildings) Palace of 100 rooms • DON’T WRITE!!!! city divided into 4 zones or campan, each campan was divided into 20 districts (calpullis,) & each calpulli was crossed by streets or tlaxilcalli. 3 main streets crossed the city, each leading to one of the three causeways to the mainland; (wide enough for 10 horses). calpullis were divided by channels used for transportation, w/ wood bridges were removed at night. Main market place (20,000 traders) 45 public buildings (schools, temples, govt buildings, rack of skulls, platforms for sacrifice!) • • • •
- Grow avocados, beans, chilies, corn, squash, tomatoes, many grown on chinampas • barter items & foodstuffs: gold, silver, & other precious stones, cloth & cotton, animal skins, wild game & woodwork
- The Spanish completely demolished the island city, from whose ruins Mexico City would eventually rise. Cortes: destroying Aztec “idols” “The most important of these idols, and the ones in whom they have most faith, I had taken from their places and thrown down the steps; and I had those chapels where they were cleansed for they were full of blood sacrifices’ and I had images of Our Lady and of other saints put there, which caused Mutezuma an the other naives some sorrow.” 13.The Spanish troops led by Cortés were most critical of Aztec religious practices.
- Hernan Cortes lands in Mexico, a Sp conquistadors search for gold, god & glory Looking for land to claim more colonies. Hears about Aztec wealth, marchesinto mtns • Makes friends w/ Aztec enemies along way • 600 men reach Tenochtitlan. Montezuma thought he wasa god, gave him share of Aztec gold, wants more. • 1520: Cortez’ men kill warriors & chiefs at a religions celebration. Rebel & drive sp out. • 1521: comes back, defeats Aztecs. Why did he win? 1. superior weapons: musket cannon 2. Help from native groups who hate Aztecs3. Disease: mumps, small pox, typhus no immunity
- 13.The Spanish troops led by Cortés were most critical of Aztec a.economic traditions. b.engineering techniques. c.religious practices. d.kinship systems. Answer: c