Olivia
Allowed to develop independently for so many years, art of the Americas differs from that of other cultures. Pre-contact art richly depicts each early culture, many of which tragically collapsed. Historians surmise that much of this early art held ceremonial purpose making the art an emblem of native theology. Nearly all pieces, spanning all geographic regions and cultures, demonstrate an innate connection with the earth. The common mediums, all natural materials, and recurrent subject matter, typically of the animals or the flora and fauna of surrounding areas, evidence a deep respect for nature. But each unique populace realized its reverence for Mother Earth in divergent fashions. Distinct patterns emerged as trade within each region facilitated the promulgation of artistic styles. Coherent techniques and stylistic traits surfaced in the Eastern Woodlands, Arctic Alaska, and the Southwest.
The civilizations of the Eastern Woodlands are united in the preeminence they universally placed on the construction of large-scale earthworks. These mounds were spawned from the people’s deep spiritual beliefs. These masses were often shaped to appear as mountains or animals, perhaps in veneration of the natural world. The solidity and permanence of the compacted soil is believed to have asserted the society’s fortitude. Cahokia, among the largest of the Mississippian cities, boasts a compound of elaborate earthworks. Of these temples, Monk’s Mound rises above as possibly the largest earthwork in the world. This vast undertaking demonstrates the civilization’s ability to assemble large workforces for spiritually motivated architecture.
In Arctic Alaska, with limited resources at their disposal, the Native Americans commonly modeled small objects from bone and walrus ivory. Predominantly hunters of sea mammals, the people gathered resources not consumed as either food or clothing for art. Although tools were often carved from the ivory tusks, elegant amulets have also been uncovered. These small, personalized totems, such as the “Okvik Eskimo figure,” imply that worship was a more solitary quest than in other cultures. Meant to be grasped or draped from the neck, the “Okvik Eskimo figure” is but seven inches in height. The artist highlights the amulet’s purpose by drawing attention to the breasts and abdomen with intricate tattoos. This emphasis suggests that the “Okvik Eskimo figure” was created an image of female fertility and procreation and thus a symbol of the Bering Sea Culture’s worship.
In the “Basketmaker” cultures of the Southwest, form and function collide in the creation of vessels. The bowls and baskets were necessary for the people’s survival but then slowly evolved to become an art form. Each artist or tribe developed an individualized style, the Anasazi known for their black on white painting, the Mimbres notorious for their tendency to embellish the interiors, and the Hopi pottery hand polished with smooth stones. The Anasazi often embellished their pottery with painstakingly detailed geometric designs. These complex variations of thin and thick, curved and straight lines contribute to the integrity of design and typify the dedication of the “Basketmaker” cultures to their artwork.
The excavations of these artworks evidence the fact that rich cultures thrived in the Americas prior to European arrival and colonization. The careful design and apparent eagerness to please aesthetically meld effortlessly with the spiritual intensity of many artistic piece. The results of the Native American’s artistic ventures live on today as exemplars of early American design and culture.
Works Cited
Miller, Angela, et al. American Encounters: Art, History, and Cultural Identity. London: Prentice Hall, 2008. 3 – 21.
Images Cited
“Monks Mound.” 2012. Photobucket. 4 September 2012. <http://media.photobucket.com/image/monk%2527s%20mound/mikedemana/CahokiaMounds/Cah02_MonksMound2.jpg>
“Carving, Human Figure.” Alaska’s Digital Archives. 4 September 2012. <http://vilda.alaska.edu/cdm/singleitem/collection/cdmg3/id/450/rec/27>.
“Anasazi/ Mogollon Pottery.” 3 February 2012. Rarepottery.info. 4 September 2012. <http://www.rarepottery.info/AnasaziMogollonPotteryGallery1.htm>.
Allowed to develop independently for so many years, art of the Americas differs from that of other cultures. Pre-contact art richly depicts each early culture, many of which tragically collapsed. Historians surmise that much of this early art held ceremonial purpose making the art an emblem of native theology. Nearly all pieces, spanning all geographic regions and cultures, demonstrate an innate connection with the earth. The common mediums, all natural materials, and recurrent subject matter, typically of the animals or the flora and fauna of surrounding areas, evidence a deep respect for nature. But each unique populace realized its reverence for Mother Earth in divergent fashions. Distinct patterns emerged as trade within each region facilitated the promulgation of artistic styles. Coherent techniques and stylistic traits surfaced in the Eastern Woodlands, Arctic Alaska, and the Southwest.
The civilizations of the Eastern Woodlands are united in the preeminence they universally placed on the construction of large-scale earthworks. These mounds were spawned from the people’s deep spiritual beliefs. These masses were often shaped to appear as mountains or animals, perhaps in veneration of the natural world. The solidity and permanence of the compacted soil is believed to have asserted the society’s fortitude. Cahokia, among the largest of the Mississippian cities, boasts a compound of elaborate earthworks. Of these temples, Monk’s Mound rises above as possibly the largest earthwork in the world. This vast undertaking demonstrates the civilization’s ability to assemble large workforces for spiritually motivated architecture.
In Arctic Alaska, with limited resources at their disposal, the Native Americans commonly modeled small objects from bone and walrus ivory. Predominantly hunters of sea mammals, the people gathered resources not consumed as either food or clothing for art. Although tools were often carved from the ivory tusks, elegant amulets have also been uncovered. These small, personalized totems, such as the “Okvik Eskimo figure,” imply that worship was a more solitary quest than in other cultures. Meant to be grasped or draped from the neck, the “Okvik Eskimo figure” is but seven inches in height. The artist highlights the amulet’s purpose by drawing attention to the breasts and abdomen with intricate tattoos. This emphasis suggests that the “Okvik Eskimo figure” was created an image of female fertility and procreation and thus a symbol of the Bering Sea Culture’s worship.
In the “Basketmaker” cultures of the Southwest, form and function collide in the creation of vessels. The bowls and baskets were necessary for the people’s survival but then slowly evolved to become an art form. Each artist or tribe developed an individualized style, the Anasazi known for their black on white painting, the Mimbres notorious for their tendency to embellish the interiors, and the Hopi pottery hand polished with smooth stones. The Anasazi often embellished their pottery with painstakingly detailed geometric designs. These complex variations of thin and thick, curved and straight lines contribute to the integrity of design and typify the dedication of the “Basketmaker” cultures to their artwork.
The excavations of these artworks evidence the fact that rich cultures thrived in the Americas prior to European arrival and colonization. The careful design and apparent eagerness to please aesthetically meld effortlessly with the spiritual intensity of many artistic piece. The results of the Native American’s artistic ventures live on today as exemplars of early American design and culture.
Works Cited
Miller, Angela, et al. American Encounters: Art, History, and Cultural Identity. London: Prentice Hall, 2008. 3 – 21.
Images Cited
“Monks Mound.” 2012. Photobucket. 4 September 2012. <http://media.photobucket.com/image/monk%2527s%20mound/mikedemana/CahokiaMounds/Cah02_MonksMound2.jpg>
“Carving, Human Figure.” Alaska’s Digital Archives. 4 September 2012. <http://vilda.alaska.edu/cdm/singleitem/collection/cdmg3/id/450/rec/27>.
“Anasazi/ Mogollon Pottery.” 3 February 2012. Rarepottery.info. 4 September 2012. <http://www.rarepottery.info/AnasaziMogollonPotteryGallery1.htm>.