AP Art History 250 Required Images Part 3

Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia

Hindu, Angkor Dynasty. c. 800-1400 C.E. Stone masonry, sandstone

Angkor is one of the most important archaeological sites in South-East Asia. There were many changes in architecture and artistic style at Angkor, and there was a religious movement from the Hindu cult of the god Shiva to that of Vishnu and then to a Mahayana Buddhist cult devoted to the bodhisattva Avalokiteshvara.

Lakshmana Temple

Khajuraho, India. Hindu, Chandella Dynasty. c. 930-950 C.E. Sandstone

Though the temple is one of the oldest in the Khajuraho fields, it is also one of the most exquistely decorated, covered almost completely with images of over 600 gods in the Hindu Pantheon. The main shrine of the temple, which faces east, is flanked by four freestanding subsidiary shrines at the corners of the temple platform.

Travelers among Mountains and Streams

Fan Kuan. c. 1000 C.E. Ink and colors on silk

Fan Kuan's masterpiece is an outstanding example of Chinese landscape painting. Long before Western artists considered landscape anything more than a setting for figures, Chinese painters had elevated landscape as a subject in its own right. Bounded by mountain ranges and bisected by two great rivers—the Yellow and the Yangzi—China's natural landscape has played an important role in the shaping of the Chinese mind and character. From very early times, the Chinese viewed mountains as sacred and imagined them as the abode of immortals. The term for landscape painting in Chinese is translated as "mountain water painting."

Shiva as Lord of Dance (Nataraja)

Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century C.E. Cast bronze

It combines in a single image Shiva's roles as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never-ending cycle of time. Although it appeared in sculpture as early as the fifth century, its present, world-famous form evolved under the rule of the Cholas.

Night Attack on the Sanjō Palace

Kamakura Period, Japan. c. 1250-1300 C.E. Handstroll (ink and color on paper)

The scene appearing here, entitled "A Night Attack on the Sanjo Palace" is the property of the Boston Museum of Fine Arts and provides a rare and valuable depiction of Japanese armor as it was worn during the early Kamakura era (1185-1333). By contrast, most surviving picture scrolls showing warriors date from the fourteenth century and show later styles of armor.

The David Vases

Yuan Dynasty, China. 1351 C.E. White porcelain with cobalt-blue underglaze

These vases are among the most important examples of blue-and-white porcelain in existence, and are probably the best-known porcelain vases in the world. They were made for the altar of a Daoist temple and their importance lies in the dated inscriptions on one side of their necks, above the bands of dragons. The long dedication is the earliest known on Chinese blue-and-white wares. These vases were owned by Sir Percival David (1892-1964), who built the most important private collection of Chinese ceramics in the world.

Portrait of Sin Sukju (1417-1475)

Imperial Bureau of Painting. c. 15th century C.E. Hanging scroll (ink and color on silk)

The importance of this painting is represented in its location sat the Imperial Bureau of Painting. Silk was one of Asia's main trade goods during the time; the popularity of this soft material was evident in the formation of the Silk Road. The high demand and value of this material indicates thus a high value of this artwork.

Forbidden City

Beijing, China. Ming Dynasty. 15th century C.E. and later. Stone masonry, marble, brick, wood, and ceramic tile

It stands for the culmination of the development of classical Chinese and East Asian architecture and influences the development of Chinese architecture. The largest surviving wooden structure in China is surrounded by 7.9 meters (26 feet) high walls and 3,800 meters (2.4 miles) long moat.

Ryoan-ji

Kyoto, Japan. Muromachi Period, Japan. 1480 C.E.; current design most likely dates to the 18th century. Rock garden

Kyoto's most famous Zen garden is Ryoan-ji. Its raked gravel and 15 carefully placed stones make it the world's most recognisable garden image. I love Ryoan-ji, which, despite the hoards of visitors adding their own snaps to the image load of the garden, still manages to instil a mood of mystery and quiet reflection. It was made by an unnamed monk in the 15th century and was the template for a dry stone Zen garden for four centuries - until Mirei Shigemori​ brought the Zen garden into the 20th century and introduced it to modernism.

Jahangir Preferring a Sufi Shaikh

Bichitr. c. 1620 C.E. Watercolor gold, and ink on paper

Jahangir's artists begin to create allegorical portraits with symbolic references. This painting, for example, asserts that Jahangir favors the spiritual over the worldly. He hands a book, the most respected of objects in both Islam and the Mughal court, to a Sufi shaykh (a religious scholar). Below (and therefore implicitly less important than) the shaykh stand an Ottoman sultan and King James I of England. Bichitr's self-portrait in the lower left corner conveys the respect that Jahangir accorded to painters.

Taj Mahal

Agra, Uttar Pradesh, India. Masons, marble workers, mosaicists, and decorators working under the supervision of Ustad Ahmad Lahori, architect of the emperor. 1632-1653 C.E. Stone masonry and marble with inlay of precious and semiprecious stones; gardens

The Taj Mahal is an excellent example of the golden age of Muslim architecture. The design of the complex incorporates Iranian features such as octagonal shape, Indian features such as the bulbous dome and Asian features such as cylindrical minarets. Muslim decorative arts include calligraphy, geometry and flower forms. Most important was the ideal of symmetry as a major element in the design of the Taj Mahal.

White and Red Plum Blossoms

Ogata Korin. c. 1710-1716 C.E. Ink, watercolor, and gold leaf on paper

This painting is one of his most famous works. The composition is rather startling. The white plum tree's trunk is mostly outside of the screen, and one major branch comes back into the screen horizontally. All of these elements are combined to yield a stunning decorative effect which makes this pair of screens one of the greatest masterpieces in the history of Japanese art.

Under the Wave of Kanagawa (Kanagawa oki nami ura), as known as the Great Wave, from the series Thirty-six Views of Mount Fuji

Katsushika Hokusai. 1830-1833 C.E. Polychrome woodblock print; ink and color on paper

The Great Wave has became one of the most famous works of art in the world—and debatably the most iconic work of Japanese art. Initially, thousands of copies of this print were quickly produced and sold cheaply. Despite the fact that it was created at a time when Japanese trade was heavily restricted, Hokusai's print displays the influence of Dutch art, and proved to be inspirational for many artists working in Europe later in the nineteenth century.

Chairman Mao en Route to Anyuan

Artist unknown; based on oil painting by Lui Chunhua. c. 1969 C.E. Color lithograph

Chunhua Liu used the ideals of the Cultural Revolution and Socialist Realism to create his masterpiece. This poster is a lithographic reproduction of a painting in the style of Socialist Realism. the ideas conveyed in artworks were meant to permeate other cultures and to spread their philosophies

Nan Madol

Pohnpei, Micronesia. Saudeleur Dynasty. c. 700-1600 C.E. Basalt boulders and prismatic columns

The megalithic architecture that characterizes the site consists of long, naturally prismatic log-like basalt stones which were often built up over foundations of large basalt boulders to form high-walled rectangular enclosures. This type of architecture occurs only sporadically on the main island which suggests that the people who used these structures were of very high status.

Moai on platform (ahu)

Rapa Nui (Easter Island). c. 1100-1600 C.E. Volcanic tuff figures on basalt base

Rapa Nui, also known as Easter Island (a name given to it by Europeans), is located in the southeast Pacific and is famous for its approximately 1,000 carvings of moai, human-faced statues.

'Ahu 'ula (feather cape)

Hawaiian. Late 18th century C.E. Feathers and fiber

Cloaks and helmets were beautiful in colour and design, intricately crafted, and of unusual materials. To add to their appeal, stories could be told of their effectiveness as armour in battle helmets strong enough to ward off blows to the head, cloaks that acted like flak jackets against sling stones and other weapons.

Staff god

Rarotonga, Cook Islands, central Polynesia. Late 18th to early 19th century C.E. Wood, tapa, fiber, and feathers

A standing semihuman figure having claws, a feline face with crossed fangs, and a staff in each hand. Above his head, occupying two-thirds of the stone, is a towering, pillarlike structure

Female deity

Nukuoro, Micronesia. c. 18th to 19th century C.E. wood

Carving, these figurines were of smaller statrue and most likey required experice to achieve lines on the Deity.

Buk (mask)

Torres Strait. Mid-to late 19th century C.E. Turtle shell, wood, fiber, feathers, ad shell

Turtle-shell masks in the western Torres Strait reportedly were used during funerary ceremonies and increase rites (rituals designed to ensure bountiful harvests and an abundance of fish and game).

Hiapo (tapa)

Niue. c. 1850-1900 C.E. Tapa or bark cloth, freehand painting

Tapa traditions were regionally unique and historically widespread throughout the Polynesian Islands. Eastern Polynesia did not experience a continuous tradition of tapa production, however, the art form is still produced today, particularly in the Hawaiian and the Marquesas Islands.

Tamati Waka Nene

Gottfried Lindauer. 1890 C.E. Oil on canvas

Smooth brushstrokes, painted to show kind nature of the chief, compassionate, similar portrait style to the Mona Lisa, painted with tribal face paint to reinforce culture

Navigation chart

Marshall Islands, Micronesia. 19th to early 20th century C.E. Wood and fiber

Slopped lines that indicate wave swell show technological advancement in society, intricate weaving

Malagan display and mask

New Ireland Province, Papua New Guinea. c. 20th century C.E. Wood, pigment, fiber, and shell

To serve as visual part of ceremony in which the dead are celebrated and assisted in their transition to the spiritual realm, the ceremonies length can be from months to years so sturdy materials for elaborate structures can withstand long time frame.

Presentation of Fijian mats and tapa cloths to Queen Elizabeth II

Fiji, Polynesia. 1953 C.E. Multimedia performance (costume; cosmetics, including scent; chant; movement; and pandanus fiber/hibiscus fiber mats), photographic documentation

To show respect and gratitude towards Queen Elizabeth II for visiting Tonga and for commemorating the war memorial. Also I believe this served as a way of the two countries signaling their alliance and partnership.

The Gates

New York City, U.S. Christo and Jeanne-Claude. 1979-2005 C.E. Mixed-media installation

he Gates remains a complex testament to two controversial topics in contemporary art: how to create meaningful public art and how art responds to and impacts our relationship with the built environment.

Vietnam Veterans Memorial.

Washington, D.C., U.S. Maya Lin. 1982 C.E. Granite.

The strength of the granite contrasts with softness of the grass and brings a balance to both nature and architecture.

Horn Players

Jean-Michel Basquiat. 1983 C.E. Acrylic and oil paintstick on three canvas panels

Honed his signature painting style of obsessive scribbling, elusive symbols and diagrams, and mask-and-skull imagery by the time he was 20.

Summer Trees

Song Su-nam. 1983 C.E. Ink on paper

He wanted to show appreciation for the ancient Asian brush techniques and to redisplay/re-envoke the Asian landscape. This painting blends traditional subtle brush techniques with modern day style

Androgyne III

Magdalena Abakanowicz. 1985 C.E. Burlap, resin, wood, nails, and string

The creases, ridges, and veins of the hardened-fiber surface assume organic characteristics, reminiscent of the earth's rough surface or the cellular composition of human skin. The artist felt that it was these characteristics and manifestations that make fiber the base unit of the universe.

A Book from the sky

Xu Bing. Beijing, China. 1987-1991 C.E. Mixed-media installation

The book's characters were carved into individual pieces of movable type made from pear wood, in a style slightly squatter than that of Song typefaces.

Pink Panther

Jeff Koons. 1988 C.E. Glazed porcelain

This piece is a part of his Banality series. It is a reflection of pop culture, juxtaposing the namesake popular children's' cartoon character with Jayne Mansfield, a sex symbol. Four essentially identical Pink Panther sculptures exist. They are an example of kitsch, meant to appeal to the masses. This piece later grew to be considered high art due to its popularity.

Untitled (#228), from the History Portraits series

Cindy Sherman. Rome, Italy. 1990 C.E. Photograph

She draws attention to the staged and often mannered nature of historical portrait paintings, while also playfully mocking the discipline of art history.

Dancing at the Louvre, from the series The French Collectiom, Part I; #1

Faith Ringgold. France, Europe. 1991 C.E. Acrylic on canvas, tie-dyed, pieced fabric border

To break boundaries and combine a multitude of artistic techniques. Combines Modern art, African-American culture, and personal experiences

Trade (Gifts for Trading Land with White People) Jaune Quick-to-See Smith. Virginia. 1992 C.E. Oil and mixed media on canvas.

Illustrates historical and contemporary inequities between Native Americans and the United States government.

Earth's Creation

Emily Kame Kngwarreye. Utopia Australia. 1994 C.E. Synthetic polymer paint on canvas.

Dump dot technique - using the brush to pound the paint onto the canvas and create layers of colour and movement.

Rebellious Silence, from the Women of Allah series Shirin Neshat (artist); photo by Cynthia Preston. 1994 C.E. Ink on photograph.

Photograph, Farsi decorates the artists face, black and white, image shows a veiled woman with the barrel of a gun pointing straight up dividing her face. Her gaze looks directly at the viewer with unwavering confidence.

En la Barberia no se Llora (No Crying Allowed in the Barbershop)

Pepon Osorio. 1994 C.E. Mixedmedia installation.

Challenges definitions of masculinity, it also brings up in a more subtle way—the relationship between machismo and homophobia, violence, and infidelity, and the ways in which popular culture, religion, and politics help craft these identities and issues.

Pisupo Lua Afe (Corned Beef 2000)

Michel Tuffery. New Zealand. 1994 C.E. Mixed media

The meaning of this work is to raise questions about the effects colonial economies have had on Pacific peoples and whether foreign intervention actually encourages independence or fosters dependency. The way in which it is presented is very different and shocking.

Electronic Superhighway

Nam June Paik. 1995 C.E. Mixed-media installation (49-channel closedcircuit video installation, neon, steel, and electronic components).

It is an enormous physical object that occupies a middle ground between the virtual reality of the media and the sprawling country beyond our doors.

The Crossing

Bill Viola. 1996 C.E. Video/sound installation

To evoke the viewer's senses and create a feeling of spirituality. His work focuses and sensory perception and tries to take viewers on a trip to the spiritual realm. The videos are able to accomplish this through slow motion, contrasts in scale, shifts in focus, mirrored reflections, etc.

Guggenheim Museum Bilbao

Spain. Frank Gehry (architect). 1997 C.E. Titanium, glass, and limestone.

A museum to challenge assumptions about art museum collecting and programming with its inventive design. To showcase great fine art exhibitions and further the redevelopment of the city Bilbao.

Pure Land

Mariko Mori. Tokyo, Japan. 1998. C.E. Color photograph on glass

To create a meditative environment that provides the audience with a sense of tranquility and transcendence. Allow the viewer to transport to Nirvana, as well as to represent a personal journey

Lying with the Wolf

Kiki Smith. New York. 2001 C.E. Ink and pencil on paper

Featuring an act of bonding between human and animal, reverence for the natural world. ther domestic piece of fabric. The depiction of a woman and dangerous animal so easily coexisting is a powerful visual message, one that reminds us of Biblical characters, figures from Greek myth, and even eastern deities.

Darkytown Rebellion

Kara Walker. 2001 C.E. Cut paper and projection on wall.

Black silhouettes against colorful background, sharp lines, distinct and defined shapes. The actual subject of the work is meant to reflect the antebellum South during the time of slavery. Many southern African-American stereotypes are still present today and Walker hoped to make viewers realize how subconsciously they had these premeditated ideas about the figures and the assumptions about race they automatically made because of popular culture.

The Swing (after Fragonard)

Yinka Shonibare. Sheffield. 2001 C.E. Mixed-media installation

Meant to be seen straight on but due to 3 dimensions viewers can walk around the installation and view from different points, like the original subjects in the painting. The work depicts a summary of the scene in the original painting but leaves out some elements of the painting.

Old Man's Cloth

El Anatsui. Southern Nigeria. 2003 C.E. Aluminum and copper wire

A statement piece to remember his regions history and culture through using elements related to the most influential and culture-shaping events. This piece specifically is meant to serve as a reminder of the uneasy history of trade between Europe and Africa.

Stadia II

Julie Mehretu. New York. 2004 C.E. Ink and acrylic on canvas

Stadia II is meant to portray a large stadium, A sports arena. Country flags, confetti, and the eruption of the crowd are prevalent.

Preying Mantra

Wangechi Mutu. 2006 C.E. Mixed media on Mylar

The function of this piece is to invite viewers to explore the stereotypes about the female African body as explicitly sexual, dangerous, and aesthetically deformed in relation to those of Western lands.

Shibboleth

Doris Salcedo. Turbine Hall, London. 2007-2008 C.E. Installation

she uses this giant crack on the floor of ceremonial hall as a symbol of racism, discrimination, and colonialism that separated one being from each other. Through this art piece she addresses that the modernity is a result of colonial exploitation of the "stronger" from the "weaker".

MAXXI National Museum of XXI Century Arts

Rome, Italy. Zaha Hadid (architect). 2009 C.E. Glass, steel, and cement.

The building is repetitive in that the architecture is supposed to mimic movement to depict the progressiveness of the future of architecture and building.

Kui Hua Zi (Sunflower Seeds)

Ai Weiwei. 2010-2011 C.E. Sculpted and painted porcelain.

The material used, the way it was produced and the narrative/personal content make this work a powerful commentary on the human condition.

MAXXI National Museum of XXI Century Arts

Rome, Italy. Zaha Hadid (architect). 2009 C.E. Glass, steel, and cement.

The building is repetitive in that the architecture is supposed to mimic movement to depict the progressiveness of the future of architecture and building.

Kui Hua Zi (Sunflower Seeds)

Ai Weiwei. 2010-2011 C.E. Sculpted and painted porcelain.

The material used, the way it was produced and the narrative/personal content make this work a powerful commentary on the human condition.