Art History

Transcription

Art History

A Correlation of
Art History
Fifth Edition © 2014
To the
College Board
AP Curriculum Framework
AP® is a trademark registered and/or owned by the College Board, which was not involved in the production of, and does not endorse,
this product.
Chapter
1 Prehistoric Art
Page
Numbers
pp. 1-25
Content Area
Global Prehistory 30,000-500
B.C.E
Art History 5e, 2014,
Student Edition, Image
Examples
Big Ideas
Prehistoric Art, p. 1;
The Stone Age, p. 2;
The Paleolithic Period, Learning Objective
pp. 2–12; The
1.3
Neolithic Period, pp.
12–23
Map 1-1: Prehistoric
Europe, p. 3; 1-5:
Reconstruction Drawing of
a Mammoth-Bone Houses,
p. 5; A Closer Look: A
House in Catalhöyük, p.
15; 1-23: Reconstruction
Drawing of Durrington
Walls, p. 20
Big Idea 1: Artists
manipulate materials
and idas to create an
aesthetic object, act,
or event
Big Idea 2: Art
making is shaped by
tradition and change
Big Idea 3:
Interpretations of art
are variable
Essential Knowledge 1-1b. Globally, the earliest peoples were small groups of huntergatherers, whose paramount concern was sheer survival, resulting in the creation of
Learning Objective
practical objects. From earliest times, these practical tools were accompanied by objects
1.1; Learning
The Paleolithic Period,
of unknown purpose: ritual and symbolic works perhaps intended to encourage the
Objective 1.3;
availability of flora and fauna food sources. People established many artistic media, from 2–12
Learning Objective
the first fired ceramics, to painting and incised graphic designs (primarily on rock
1.4
surfaces), sculpture (notably female and animal figurines), and architecture (stone
megalithic installations).
1-4: Decorated Ocher, p.
4; 1-7: Woman from
Willendorf, p. 6; 1-10:
Walll Painting with Horses,
Rhinoceroses, and
Aurochs, p. 9; 1-11:
Woman from
Brassempouy, p. 7; 1-13:
Bison, p. 11
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 1-2a. In many world regions — including those not in direct contact
The Neolithic Period,
with one another — art shows humans’ awareness of fundamental, stable phenomena,
from the macrocosmic (e.g., astronomical cycles, such as equinoxes and solstices) to the pp. 12–23; also see:
Chapters 10 & 12
microcosmic (e.g., exploitation of permanent materials available in local environments,
such as stone, hardened clay, and jade).
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
1-6: Human-Fish
Sculpture, p. 14; 1-20:
Stonehenge from the Air,
18; 1-21: Stonehenge
from the Ground, p. 18; 124: Early Pottery from
Japan’s Jomon Culture, p.
21
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 1-2b. Humanity is understood to have begun in Africa and radiated
outward. Beginning around 77,000 years ago, the first “art” was created in the form of
rock paintings and carved natural materials, such as ocher. Geometric patterns and
representations of life forms, usually human and animal, were typical two-dimensional
creations. Three-dimensional forms were sculpted, and monuments, large-scale objects,
and environments were assembled and/or constructed. Art making was associated with
activities such as food production (hunting, gathering, agriculture, animal husbandry)
and patterns of behavior, such as settlement, demonstration of status, and burial. For
example, places of gathering or settlement and/or objects found in such places may be
painted and/or incised with imagery related to their use.
Learning Objective
The Stone Age, 2;
1.1; Learning
The Paleolithic Period, Objective 1.3;
2–12
Learning Objective
1.4
1-2: Rainbow Serpent
Rock, p. 2; 1-3: Paleolithic
Hand-Axe, p. 4; 1-4:
Decorated Ocher, p. 4; 15: Reconstruction Drawing
of a Mammoth-Bone
Houses, p. 5; 1-7: Woman
from Willendorf, p. 6; 111
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 1-2c. Humans established Paleolithic communities in West, Central,
South, Southeast, and East Asia between 70,000 and 40,000 B.C.E. Paleolithic and
Neolithic cave paintings featuring animal imagery are found across Asia, including in the
mountains of Central Asia and Iran and in rock shelters throughout central India. In
prehistoric China, ritual objects were created in jade, beginning a 5,000-year tradition of
working with the precious medium. Ritual, tomb, and memorializing arts are found
across Neolithic Asia, including impressive funerary steles from Saudi Arabia and Yemen.
Asia’s greatest contribution to early world art is in ceramic technology, with some of the
earliest pieces (dating to 10,500 B.C.E) produced by the Jomon culture in Japan. Even
earlier pottery continues to be found, particularly in China. Ceramics were also produced
in Iran beginning in the eighth millennium B.C.E., and refined vessel forms arose from
the adoption of the potter’s wheel in the fourth millennium B.C.E.
Cave Painting, pp.
8–10; Cave
Sculptures, pp.
11–12; Sculpture and
Ceramics, pp. 20–23;
also see: Chapters 10
& 12
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.3
1-11: Hall of Bulls, p. 10;
1-13: bison: p. 11; 1-14:
Bison, p. 12; 1-24: Early
Pottery from Japan’s
Jomon Culture, p. 21; 125: Early Pottery from the
Franchthi Cave, Greece,
p. 21
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3
Big Idea 1: Artists
See Chapter 28: 28-2:
or event
Fragments of Large Lapita Big Idea 2: Art
Jar, p. 862
making is shaped by
Big Idea 3:
are variable
Enduring Understanding
Essential Knowledge
1-1a. Periods of times before the written record are often defined in terms of geological
eras or major shifts in climate and environment. The period of global prehistory, known
1.1: Human expression existed across the globe before the
as lithic or stone ages, are Paleolithic ("old stone age"), Meslolithic ("middle stone age"),
written record. While prehistoric art of Europe has been the focus
and Neolithic ("new stone age"). A glacial period produced European ice ages; Saharan
of many introductions to the history of art, very early art is found
agricultural grassland became desert, and tectonic shifts in southeast Asia created land
worldwide and shares certain features, particularly concern with
bridges between the continent and the now islands of the Pacific south of the equator.
the natural world and humans' place within it.
Human behavior and expression was influenced by the changing environments in which
they lived.
Enduring Understanding 1-2. First instances of important artistic
media, approaches, and values occurred on different continents,
with Africa and Asia preceding and influencing other areas as the
human population spread.
Stokstad Art
History 5e, 2014
Student Edition
Essential Knowledge 1-2d. In the Pacific region, migrations from Asia approximately
45,000 years ago were possible because of lowered sea levels and the existence of land
See Chapter 28: The
bridges. The earliest created objects have been dated to about 8,000 years ago. The
People of the Pacific,
Lapita peoples, who moved eastward from Melanesia to Polynesia beginning about 4,000
pp. 862–863
years ago, created pottery with incised geometric designs that appear across the region
in multiple media today.
Essential Knowledge 1-2e. Paleolithic and Neolithic Europe’s artistic statements were
made in small human figural sculptures (central Europe), cave paintings (France and
Spain), and outdoor, monumental stone assemblages (British Isles). These provide
glimpses into the beginnings of ritual life (15,000 B.C.E.) as people tried to influence and
integrate with the natural cycles of the cosmos and promote both human and animal
fertility. These works establish the dynamic interplay of naturalism and abstraction found
throughout art’s history.
Page 1 of 72
Learning
Objectives
Learning Objective
1.1; Learning
pp. 2–11; The
Objective 1.3;
Learning Objective
12–23
1.4
1-7: Woman from
Willendorf, p. 6; 1-11:
Woman from
Brassempouy, p. 7; Hall of
Bulls, p. 10; 1-14: Bison,
p. 12; 1-17: Men Taunting
a Deer, p. 14; 1-20:
Stonehenge from the Air,
18; 1-21: Stonehenge
from the Ground, p. 18
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Essential Knowledge 1-2f. On the American continent, from the Arctic to Tierra del
Fuego, indigenous peoples who had recently migrated from Asia (before 10,000 B.C.E.)
first made sculptures from animal bone and later from clay, with animals and sacred
humans as dominant subject matter. Similar to European expressions, ancient American
art adapts animal images to the natural contours of the chosen materials and features
fecund females. The fact that female figurines may also display unusual or supernatural
characteristics suggests the importance of shamanic religion brought from Asia very
early in human history.
See Chapter 13: The
New World, p. 384;
Mesoamerica, pp.
384–396; Central
America, pp. 396;
South America: The
Central Andes, pp.
397–400; North
America, pp. 401–407
Essential Knowledge 1-3a. Ongoing archaeological excavations and use of carbon-14
dating has illuminated interconnections of art across the world. Due to the
understandably small number of surviving and located monuments, however, reasons for
similarity or difference in form remain largely conjectural. Nonetheless, comparisons of
groups of objects and the application of ethnographic analogy (considering modern
traditional cultural practices as models for ancient ones) and reconstruction of religious
history (noting shamanism as the earliest, most persistent worldwide spiritual approach)
can be applied to help establish general theories of the function and meaning of
prehistoric art.
Female Figures, pp.
6–7; The Meaning of
Cave Paintings, pp.
Learning Objective
8–9; Recovering the
1.1; Learning
Past: How Early Art is
Objective 1.4
Dated, p. 12;
Ceremonial and Tomb
Architecture, p. 16–19
Enduring Understanding 1-3. Over time, art historians’
knowledge of global prehistoric art has developed through
interdisciplinary collaboration with social and physical scientists.
Essential Knowledge 1-3b. Since it was first practiced circa 1900, modern stratigraphic
archaeology (recording precisely each level and location of all objects) has served as a
basis for art historical studies. Archaeology supports understandings of how people,
The Stone Age, 2;
culture, and therefore art travelled across the globe well before highly organized
societies were formed. Important monuments, such as the caves at Lascaux, and media,
pp. 2–12
particularly ceramics, were first discovered and described by archaeologists and then
became available for interpretation by art historians — the two disciplines are highly
complementary.
2 Art of the Ancient Near
East
pp. 26-47
Ancient Mediterranean 3500
B.C.E.–300 C.E.
Enduring Understanding 2-1. Artistic traditions of the ancient
Near East and dynastic Egypt focused on representing royal
figures and divinities and on the function of funerary and palatial
complexes within their cultural contexts. Works of art illustrate
the active exchange of ideas and reception of artistic styles
among the Mediterranean cultures and the subsequent influence
on the classical world.
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.3
Examples
1-8: Woman from Dolni
Vestonice, p. 7: Hall of
Bulls, p. 10; 1-12: BirdHeaded Man with Bison,
p. 11; 1-13: Bison, p. 11;
1-16: Human-Fish
Sculpture, p. 14; 1-19:
Tomb Interior with
Corbeling and Engraved
Stones, p. 17
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
1-2: Rainbow Serpent
Rock, p. 2; 1-3: Paleolithic
Hand-Axe, p. 4; 1-4; 111: Hall of Bulls, p. 10; 112: Bird-Headed Man with
Bison, p. 11; 1-13: Bison,
p. 11; 1-16: Human-Fish
Sculpture, p. 14
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Prehistoric Art, p. 1;
The Stone Age, p. 2;
pp. 2–12; The
12–23
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
1-3: Paleolithic Hand-Axe,
p. 4; 1-4: Decorated
Ocher, p. 4; 1-9: Woman
from Brassempouy, p. 7;
Hall of Bulls, p. 10; 1-14:
Bison, p. 12; 1-17: Men
Taunting a Deer, p. 14; 120: Stonehenge from the
Air, 18; 1-21: Stonehenge
from the Ground, p. 18
Essential Knowledge 2-1a. The art of the ancient Near East (present-day Iraq, Syria,
Iran, Turkey, Lebanon, Israel, Palestine, Jordan, and Cyprus, from 3500 to 330 B.C.E.)
is associated with successive city-states and cultural powers: Sumerian, Akkadian, NeoSumerian and Babylonian, Assyrian, Neo-Babylonian, and Persian. The art of dynastic
Egypt (present-day Egypt and Sudan, from 3000 to 30 B.C.E.) generally includes
coverage of predynastic Egypt and Old, Middle, and New Kingdoms. The Amarna period
(New Kingdom) was also important because of its cultural reform and stylistic revolution.
Art of the Ancient
Near East, pp. 26–27;
The Fertile Crescent
and Mesopotamia, pp. Learning Objective
28–37; The Hittites of 2.1; Learning
Anatolia, p. 37;
Objective 2.2
Assyria, pp. 38–43;
Neo-Babylonia, 44;
Persia, pp. 44–47
2-1: Stele of Naram-Sin,
p. 27; 2-5: Twelve Votive
Figures, p. 312;12: Head
of a Man, p. 36; 2-15:
Stele of Hammurabi, p.
39; 2-22: Ishtar Gate and
Throne, p. 45
Essential Knowledge 2-2a. Artists created fully developed, formal types, including
sculptures of human figures interacting with gods and stylistic conventions representing
the human form with a combined profile and three-quarter view. In these combinations,
important figures are set apart using a hierarchical scale or by dividing the compositions
into horizontal sections or registers, which provide significant early examples of historical
narratives.
Page 2 of 72
A Broader Look: A
Lyre from a Royal
Tomb in Ur, pp.
32–33
Big Ideas
Big Idea 1: Artists
or event
Colossal Head, San
Big Idea 2: Art
Lorenzo, p. 386; 13-24:
making is shaped by
Pelican Figurehead, p. 043
Big Idea 3:
are variable
Essential Knowledge 1-3c. The function of artistic expression prior to written records is
inferred from evidence of technology and survival strategies and based on the relation of
tools and their function (whether task related or expressive), available food sources, the
rise of sophisticated culture, and humans’ capacity to shape and manage the
environment. Basic art historical methods can be applied to prehistoric art by comparing
works of art, imagery, materials, and techniques to identify patterns (such as a
prevalence of transformational animal–human iconography), then ethnographic
approaches can be used to propose hypotheses (e.g., that certain iconography is
shamanic in nature). Cross-cultural comparison can help establish wider generalizations
(e.g., that South African, Asian, and indigenous American peoples all participated in
rock/cave expressions of a visionary aesthetic). In this way, the apparent paucity of
evidence can be mitigated and theories proposed, tested, refined, and potentially
rejected by conflicting evidence or new information, as in other periods of art history and
in other disciplines.
Writing, p. 28;
Technique: Cuneiform
Writing, p. 30; Votive
Figures, p. 31; A
Broader Look: A Lyre
from a Royal Tomb in
Essential Knowledge 2-1b. The study of artistic innovations and conventions developed in
Ur, pp. 32–33;
the ancient Near East and dynastic Egypt (facilitated by recorded information from the
Cylinder Seals, pp.
time) provides a foundation for comparative understanding of subsequent artistic
34–35; Art and Its
traditions within the region and beyond.
Contexts: The Code of
Hammurabi, p 39; A
closer Look: Enemies
Crossing the
Euphrates to Escape,
p. 42
Enduring Understanding 2-2. Religion plays a significant role in
the art and architecture of the ancient Near East, with cosmology
guiding representation of deities and kings who themselves
assume divine attributes.
Learning
Objectives
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Big Idea 1: Artists
2-1: Stele of Naram-Sin, aesthetic object, act,
p. 26; 2-4: Carved Vessel, or event
p. 31; 2-10: Cylinder Seal Big Idea 2: Art
and Its Modern
making is shaped by
Impression, p. 35
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4
2-4: Carved Vessel, p. 31;
2-5: Twelve Votive
Figures, p. 31; 2-10:
Cylender Seal and Its
Modern Impression, p.
352-17: Assurnasirpal II
Killing Lions, p. 41
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Learning
Objectives
Examples
Big Ideas
The Ziggurat, pp.
28–29; Ur and
Lagash, p. 37; Dur
Sharrukin, pp. 41–43
Learning Objective
1.1; Learning
Objective 1.4
2-2, Ruins and Plans of
the Anu Ziggurat and
White Temple, p. 29; 213, Nanna Ziggurat, p.
37; 2-18, Reconstruction
Drawing of the Citadel and
Palace of Sargon II, p. 41;
2-23, Arial View of
Persepolis, p. 46
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 3
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
See Chapter 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 2-3b. Representations of humans make clear distinctions between
the deified pharaoh and people in lower classes, using representational and stylistic cues
such as hierarchical proportion and idealization versus naturalism. Approaches to
portraiture depend on a figure’s rank in society. The artistic canon of dynastic Egypt,
See Chapter 3
with strict conventions of representation, use of materials, and treatment of forms, was
followed for many centuries with only short-lived periods of experimentation and
deviation. Innovations in art and architecture tended to occur within the basic and
established scheme.
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
See Chapter 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 4, 5, & 6
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 4 & 5
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge
Essential Knowledge 2-2b. Architectural representations include towering ziggurats that
provide monumental settings for the worship of many deities, as well as heavily fortified
palaces that increased in opulence over the centuries, proclaiming the power and
authority of rulers.
Essential Knowledge 2-3a. The culture of dynastic Egypt represents an elaborate
funerary sect whose devotees created numerous ka statues (to house the ka, or spirit,
after death), artifacts, decorations, and furnishings for tombs. Egyptian art incorporates
Enduring Understanding 2-3. The art of dynastic Egypt embodies mythological and religious symbolism, often centered on the cult of the sun.
a sense of permanence. It was created for eternity in the service Development of monumental stone architecture culminated with the pyramids and with
of a culture that focused on preserving a cycle of rebirth.
innovative designs for rock-cut tombs and pylon (massive sloped gateway) temples,
each demonstrating the importance of the pharaoh — a god-king with absolute power,
descended directly from the sun god. The Egyptian architectural construction of the
clerestory is particularly important for the history of architecture.
Essential Knowledge 2-4a. Ancient Greek art was produced in Europe and western Asia,
primarily in the region of present-day Greece, Turkey, and southern Italy, from 600
Enduring Understanding 2-4. The art of Ancient Greece and Rome
B.C.E. to 100 C.E. Etruscan art (c. 700–100 B.C.E., from the region of Etruria in central
is grounded in civic ideals and polytheism. Etruscan and Roman
Italy) and ancient Roman art was produced in Europe and western Asia from c. 753
artists and architects accumulated and creatively adapted Greek
B.C.E. to 337 C.E. The arts of these early western artistic cultures are generally studied
objects and forms to create buildings and artworks that appealed
chronologically. Additionally, archaeological models and stylistic analysis have identified
to their tastes for eclecticism and historicism.
periods based on stylistic changes. Artworks are assigned to periods according to styles
(e.g., archaic Greek), governments, or dynasties (e.g., the Roman Republic).
Stokstad Art
History 5e, 2014
Student Edition
See Chapters 4, 5, &
6
Learning Objective
2.1; Learning
Objective 2.2
Essential Knowledge 2-4b. Art considered Ancient Greek includes works from the archaic,
classical, and Hellenistic periods, as defined according to artistic style, not by political
units such as governments or dynasties. Etruscan art is typically considered as a single
cultural unit even though Etruria was comprised of separate city-states. Roman art
See Chapters 4 & 5
includes works from the republican, early imperial, late imperial, and late antique
periods, as defined using governmental structures and dynasties rather than stylistic
characteristics. Many Hellenistic works are in fact Roman in origin, which favors
presenting these traditions at the same time.
Learning Objective
2.1; Learning
Objective 2.2
Essential Knowledge 2-4c. Ancient Greek, Etruscan, and Roman artists and architects
were influenced by earlier Mediterranean cultures. Ancient Greek religious and civic
architecture and figural representation are characterized by idealized proportions and
spatial relationships, expressing societal values of harmony and order. Art from the
Etruscan and Roman periods is typified by stylistic and iconographical eclecticism and
portraiture. Etruscan and ancient Roman art express republican and imperial values,
power, and preference for conspicuous display. Etruscan and Roman architecture are
characterized by investment in public structures. Roman architecture is also
characterized by borrowing from its immediate predecessors (Greek and Etruscan) and
by technical innovation.
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Essential Knowledge 2-4d. Ancient Greek and Roman art provides the foundation for the
later development of European and Mediterranean artistic traditions. From the 18th
century onward, European and American observers admired ancient Greek and Roman
ethical and governmental systems, which contributed to prioritizing art and architecture
that could be associated with political elites and cultural capitals (e.g., Rome). More
recently, art historians have examined art produced by contemporary subjects or
“provincial” populations.
Page 3 of 72
6
6
Learning Objective
2.1; Learning
Objective 2.2
Chapter
Page
Numbers
Content Area
Essential Knowledge
Enduring Understanding 2-5. Contextual information for ancient
Greek and Roman art can be derived from contemporary literary,
Essential Knowledge 2-5a. Some of the earliest written statements about artists and art
political, legal, and economic records as well as from
archaeological excavations conducted from the mid-18th century making survive from the ancient Greek and Roman worlds. Little survives of the rich
Etruscan literary tradition that is documented in Roman sources.
onward. Etruscan art, by contrast, is illuminated primarily by
modern archaeological record and by descriptions of
contemporary external observers.
3 Art of Ancient Egypt
pp. 48-79
B.C.E.–300 C.E.
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
3-1: Funerary Mask of
Tutankhamun, p. 48; 3-4:
Great Pyramids, Giza, p.
56; 3-10: Seated Scribe,
p. 60; 3-13: Head of
Senusret III, p. 62; 3-21:
Hatshepsut Kneeling, p.
68; 3-28: Nefertiti, p. 72
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
3-3: The Step Pyramid
and Sham Buildings, p.
54; 3-8: Khafre, p. 59; 39: Menkaure and a
Queen. P. 59; Stele of
Amenemhat, p. 653-33:
Fish-Shaped Perfume
Bottle, p. 76; 3-35:
Judgment of Hunefer
Before Osiris, p. 77
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4
3-8: Khafre, p. 59; 3-9:
Menkaure and a Queen. P.
p. 60; 3-11: Butcher, p.
60; 3-12: Ti Watching a
Hippopotamus Hunt, p.
61; 3-13: Head of
68; 3-28: Nefertiti, p. 72
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Funerary Architecture,
pp. 53–55; The Great
Pyramids at Giza, pp.
56–58; Rock-Cut
Learning Objective
Tombs, pp. 62–63;
1.1; Learning
Town Planning, p. 65;
Objective 1.4
The Great Temple
Complexes, pp. 6567;
The Tomb of Ramose,
pp. 69–70
54; 3-4: Great Pyramids,
Giza, p. 56; 3-14: Rockcut Tombs, Beni Hasan, p.
62; 3-22: Funeray Temple
of Hatshepsut, Deir ElBahri, p. 68
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
6
Learning Objective
2.1; Learning
Objective 2.2
6
is associated with successive city-states and cultural powers: Sumerian, Akkadian, NeoSumerian and Babylonian, Assyrian, Neo-Babylonian, and Persian. The art of dynastic
Art of Ancient Egypt,
pp. 48–49; The Gift of
the Nile, p. 50; Early
Dynastic Egypt, pp.
50–55; The Old
Learning Objective
Kingdom, pp. 56–61;
2.1; Learning
The Middle Kingdom,
Objective 2.2
pp. 62–65; The New
Kingdom, pp. 65–76;
The Third
Intermediate Period,
pp. 77–79
A Closer Look: The
Palette of Narmer, p.
52; Technique:
Preserving the Dead,
p. 53; Elements of
Architecture: Mastaba
to Pyramid, p. 55;
Sculpture, pp. 58–61;
Technique: Egyptian
Pictorial Relief, p. 64;
A Broader Look: The
Temples of Ramses II
at Abu Simbel, pp.
74–75; Technique:
Glassmaking, p. 76;
Recovering the Past,
p. 79
Page 4 of 72
Big Ideas
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 2-5b. The Greek, Etruscan, and Roman cultures shared a rich
tradition of epic storytelling (first orally transmitted, later written) that glorified the
exploits of gods, goddesses, and heroes. The texts recorded a highly developed
rhetorical tradition that prized public oratory and poetry. Religious rituals and
prognostications were guided by oral tradition, not texts.
the art and architecture of the ancient Near East, with cosmology the human form with a combined profile and three-quarter view. In these combinations,
narratives.
Examples
Seated Scribe, p. 60;
Statuettes of
Servants, pp. 60–61;
Pictorial Relief in
Tombs, p 61
Learning Objective
2.1; Learning
Objective 2.2
Chapter
Page
Numbers
Content Area
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Examples
Big Ideas
The God-Kings, pp.
50–51; Funerary
Architecture, pp.
53–55; Technique:
Preserving the Dead,
53; The Great
Pyramids at Giza, pp.
56–58; Clerestory, p.
57; Sculpture, pp.
58–61; Rock-Cut
Tombs, pp. 62–63;
Funerary Stelai,
63–64; Town
Planning, p. 65
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
54; 3-4: Great Pyramids,
Giza, p. 56; 3-8: Khafre,
p. 59; 3-9: Menkaure and
a Queen. P. 59; 3-14:
Rock-Cut Tombs, Ben
Hasan, p. 62; 3-15:
Picking Figs, p. 63
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
established scheme.
Seated Scribe, p. 60;
Statuettes of
Servants, pp. 60–61;
Pictorial Relief in
Tombs, p 61
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
3-8: Khafre, p. 59; 3-9:
Menkaure and a Queen. P.
p. 60; 3-11: Butcher, p.
60; 3-12: Ti Watching a
Hippopotamus Hunt, p.
61; 3-13: Head of
68; 3-28: Nefertiti, p. 72
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge
6
Learning Objective
2.1; Learning
Objective 2.2
6
Learning Objective
2.1; Learning
Objective 2.2
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Page 5 of 72
6
6
6
Learning Objective
2.1; Learning
Objective 2.2
Learning Objective
2.1; Learning
Objective 2.2
Chapter
Page
Numbers
Content Area
Essential Knowledge
4 Art of the Ancient
Aegean
pp. 80-99
B.C.E.–300 C.E.
Stokstad Art
History 5e, 2014
Student Edition
6
is associated with successive city-states and cultural powers: Sumerian, Akkadian, NeoSee Chapters 2 & 3
Sumerian and Babylonian, Assyrian, Neo-Babylonian, and Persian. The art of dynastic
See Chapters 2 & 3
See Chapters 2 & 3
narratives.
Learning
Objectives
Learning Objective
2.1; Learning
Objective 2.2
Learning Objective
2.1; Learning
Objective 2.2
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4
See Chapters 2 & 3
Learning Objective
1.1; Learning
Objective 1.4
See Chapters 2 & 3
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
See Chapters 2 & 3
established scheme.
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Page 6 of 72
Examples
Big Ideas
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
pp. 100-155
B.C.E.–300 C.E.
Examples
Big Ideas
Learning Objective
2.1; Learning
Objective 2.2
Big Idea 1: Artists
Map 4-1: The Ancient
Aegean World, p. 83; 4-3: or event
Head with Remains of
Big Idea 2: Art
Painted Decoration, p. 84; making is shaped by
4-7: Bull Leaping, p. 87
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Art of the Ancient
Aegean, p. 81; The
Bronze Age in the
Aegean, p. 82; The
Cycladic Islands, pp.
82–84; The Minoan
Civilization on Crete,
pp. 84–92; The
Mycenaean (Helladic)
Culture, pp. 92–99
Learning Objective
2.1; Learning
Objective 2.2
4-4: Kamares Ware Jug,
p. 85; 4-10: Bull’s-Head
Rhyton, p. 89; 4-13:
Vapheio Cup, p. 91; 4-14:
Landscape (“Spring
Fresco”). P. 91’ 4-25:
Warrior Krater, p. 99
Architectural
Complexes, p. 84–85;
The New Palace
Period, 85–90; The
Spread of Minoan
Culture, pp. 90–92;
Helladic Architecture,
92–96; Mycenaean
Tombs, 97–99
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
4-5: Reconstruction
Drawing of the “Palace”
Complex, Knosssos,
Crete, p. 87; 4-6: East
Wing Stairwell, p, 87; 47: Bull Leaping, p. 87; 48: Statuette of a Male
Figure, p. 884-15: Citadel
at Mycenae, p. 94; 4-17:
Lion Gate, Mycenae, p.
95; 4-23: Exterior View of
Thilos, p. 98
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Architectural
Complexes, p. 84–85;
The New Palace
Period, 85–90; The
Spread of Minoan
Learning Objective
Culture, pp. 90–92;
Helladic Architecture, 2.1; Learning
Objective 2.2
92–96; A Broader
Look: The Lion Gate,
p. 95; Recovering the
Past: The “Mask of
Agamemnon”, p. 97;
Crosscurrents, p. 99
4-5: Reconstruction
Drawing of the “Palace”
Complex, Knosssos,
Crete, p. 87; 4-6: East
Wing Stairwell, p, 874-8:
Statuette of a Male
Figure, p. 884-15: Citadel
at Mycenae, p. 94; 4-17:
Lion Gate, Mycenae, p.
95; 4-23: Exterior View of
Thilos, p. 98
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 5 & 6
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 5 & 6
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
5 Art of Ancient Greece
Art of the Ancient
Aegean, p. 81; The
Bronze Age in the
Aegean, p. 82; The
Cycladic Islands, pp.
82–84; The Minoan
Civilization on Crete,
pp. 84–92; The
Mycenaean (Helladic)
Culture, pp. 92–99
Learning
Objectives
Stokstad Art
History 5e, 2014
Student Edition
See Chapters 5 & 6
See Chapters 5 & 6
Page 7 of 72
Learning Objective
2.1; Learning
Objective 2.2
Learning Objective
2.1; Learning
Objective 2.2
Learning Objective
2.1; Learning
Objective 2.2
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Greek Art, pp.
102–104; The Archaic
Period, pp. 105–119;
The Early Classical
Period, pp. 120–126; Learning Objective
2.1; Learning
The High Classical
Period, pp. 127–140; Objective 2.2
The Late Classical
The Hellenistic Period,
pp. 147–155
5-17: Archer (“Paris”), p.
113; 5-24: Herakles
Driving a Bull to Sacrifice,
p. 118; 5-42: SpearBearer (Doryphoros), p.
134; 5-52: Hermes and
the Infant Dionysos, p.
143; 5-65: Nike (Victory)
of Samothrace, p. 153
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Greek Art, pp.
102–105; The Archaic
The Early Classical
Period, pp. 120–126; Learning Objective
2.1; Learning
The High Classical
Period, pp. 127–140; Objective 2.2
The Late Classical
The Hellenistic Period,
pp. 147–155
5-23: Dionysos with
Maenads, p, 117; 5-26:
Kritios Boy, p. 121; 5-34:
Youth Pouring Wine into
the Kylix of a Companion,
p. 127; 5-64: Lacoon and
His Sons, p. 152; 5-65:
Nike (Victory) of
Samothrace, p. 153
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4
See Chapters 2 & 3
Learning Objective
1.1; Learning
Objective 1.4
See Chapters 2 & 3
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
See Chapters 2 & 3
established scheme.
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Page 8 of 72
Big Ideas
See Chapters 2 & 3
the art and architecture of the ancient Near East, with cosmology the human form with a combined profile and three-quarter view. In these combinations,
See Chapters 2 & 3
narratives.
Examples
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Learning
Objectives
Chapter
Page
Numbers
Content Area
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Compositional Design,
p. 101; The
Emergence of Greek
Civilization, p. 102;
Greek Art, pp.
102–105; Temples,
pp. 108–109,
111–113; FreeStanding Sculpture,
pp. 114–116;
Elements of
Architecture, p. 110;
A Closer Look: The
Death of Sarpedon, p.
119; Art and Its
Contexts: Classic and
Classical, p. 120;
Technique: “The
Canon” of Polykleitos,
p. 134
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
5-1: Ajax and Achilles
Big Idea 1: Artists
Playing a Game, p. 100; 5- manipulate materials
2: Funerary Krater, p,
103; 5-9: Plan and
or event
Exterior View of the
Temple of Hera, p. 109; 5- Big Idea 2: Art
11: Reconstruction
making is shaped by
Drawing of the Temple of tradition and change
Aphaia, Aegina, p. 111; 5- Big Idea 3:
20: Anavysos Kouros, p.
are variable
116
Learning Objective
See Chapters 30 & 31 2.1; Learning
Objective 2.2
See Chapters 30 & 31
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Technique: “The
Canon” of Polykleitos,
p. 134; Hippodamos
Learning Objective
of Miletos, p. 139;
2.1; Learning
Praxiteles, pp.
Objective 2.2
142–143; Arts and Its
Contexts: Greek
Theaters, pp. 148
Big Idea 1: Artists
5-42: Spear-Bearer
(Doryphoros), p. 134; 5or event
52: Hermes and the
Big Idea 2: Art
Infant Dionysos, p. 143; 5making is shaped by
52: Aphrodite of Knidos,
p. 144
Big Idea 3:
are variable
Religious Beliefs and
Sacred Places, p. 102; Learning Objective
Art and Its Contexts: 2.1; Learning
Greek and Roman
Objective 2.2
Deities, p. 104
Big Idea 1: Artists
5-1: Ajax and Achilles
Playing a Game, p. 100; 5or event
3: Man and Centaur, p.
Big Idea 2: Art
104; 5-8: Battle Between
making is shaped by
the Gods and the Giants,
p. 108
Big Idea 3:
are variable
Essential Knowledge
6 Etruscan and Roman Art
pp. 156-213
B.C.E.–300 C.E.
See Chapters 2 & 3
Page 9 of 72
Learning Objective
2.1; Learning
Objective 2.2
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Examples
Big Ideas
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
The Etruscans, pp.
158–165; The
Republic, pp.
166–170; The Early
Empire, pp. 171–189; Learning Objective
The High Imperial Art 2.1; Learning
of Trajan and Hadrian, Objective 2.2
pp. 190–201; The
Late Empire, Third
and Fourth Centuries,
pp. 202–213
5-23: Dionysos with
Maenads, p, 117; 5-26:
Kritios Boy, p. 121; 5-34:
Youth Pouring Wine into
the Kylix of a Companion,
p. 127; 5-64: Lacoon and
His Sons, p. 152; 5-65:
Nike (Victory) of
Samothrace, p. 153
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
The Etruscans, pp.
158–165; The
Republic, pp.
Empire, pp. 171–189; Learning Objective
The High Imperial Art 2.1; Learning
of Trajan and Hadrian, Objective 2.2
pp. 190–201; The
Late Empire, Third
and Fourth Centuries,
pp. 202–213
6-4: Mater Sculptor Vulca,
p. 160; 6-6: Boys
Climbing Rocks and
Diving, Tomb of Hunting
and Fishing, p. 161; 6-17:
Pont Du Gard, p. 170; 619: Augustus of
Primaporta, p. 173; 6-36:
The Arch of Titus, p. 185
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.4
See Chapters 2 & 3
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
See Chapters 2 & 3
established scheme.
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Page 10 of 72
Big Ideas
See Chapters 2 & 3
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4
See Chapters 2 & 3
Examples
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 2 & 3
narratives.
Learning
Objectives
Chapter
Page
Numbers
Content Area
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Examples
Big Ideas
Elements of
Architecture: Roman
Architectural Orders,
p. 161; Recovering
the Past: The
Capitoline She-Wolf,
p. 165; Portrait
Sculpture, p. 167; Art
and Its Contexts:
Roman Portraiture,
168; Elements of
Architecture, p. 170;
Roman Temples, p.
171; Wall Painting,
pp. 179–184; The
Flavian Amphitheater,
pp. 186–188; Imperial
Architecture, pp.
190–1197
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
6-13: Portrait Head of and
Elder from Scoppito, p.
167; 6-14: Patrician
Carrying Portrait Busts of
Two Ancestors, p. 168; 615: Aulus Metellus, p.
169; 6-18: Exterior View
and Plan of a Temple; 630: Initiation Rites of the
Cult of Bacchus, p. 180; 639: Outer Wall of the
Flavian Amphitheater, p.
188
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Elements of
Architecture: Roman
Architectural Orders,
p. 161; Elements of
Architecture: Roman
Vaulting, p. 167;
Elements of
Architecture: The
Roman Vault, p. 170
Learning Objective
2.1; Learning
Objective 2.2
Big Idea 1: Artists
6-65: Arch of Constantine,
or event
p. 208; Also see: 3—41:
Big Idea 2: Art
George Washington, p.
making is shaped by
940
Big Idea 3:
are variable
Art and Its Contexts:
Roman Writers on Art,
167; Horace, 167; Art
and Its Contexts:
Learning Objective
Roman Portraiture,
2.1; Learning
168; Art and Its
Objective 2.2
Contexts: A Painter at
Work, p. 183;
Plotinus, 205;
6-14: Patrician Carrying
Portrait Busts of Two
Ancestors, p. 168; 6-33:
A Painter at Work, p. 183
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Roman Writers on Art,
167; Horace, 167; Art
and Its Contexts:
Learning Objective
Roman Portraiture,
2.1; Learning
168; Art and Its
Objective 2.2
Contexts: A Painter at
Work, p. 183;
Plotinus, 205;
6-14: Patrician Carrying
Portrait Busts of Two
Ancestors, p. 168; 6-33:
A Painter at Work, p. 183
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Jewish and Early
Christian Art, p. 215;
Jews, Christians, and
Muslims, p. 216; Early
Christian Art, pp.
220–222; Imperial
Christian Architecture
and Art, pp. 223–231
7-1: Cubiculim of Leonis,
p. 214; 7-9:
Reconstruction Drawing of
the Interior of Old St.
Peter’s, Rome, p. 223; 710: Interior, Church of St.
Sabina, p. 223; 7-11:
Church of St. Sabina, p.
224; 7-12; Harvesting of
Grapes, p. 224; 7-15:
Church of Santa
Constanza, Rome, p. 225;
7-17: Sarcophogus of
Junius Bassus, p. 227; 720: The Good Shepherd,
p. 229
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 8, 15 & 16
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge
7 Jewish and Early
Christian Art
pp. 214-231
Early Europe and Colonial
Americas 200–1750 C.E.
Enduring Understanding 3-1. European medieval art is generally
studied in chronological order and divided into geographical
regions, governing cultures, and identifiable styles, with
associated but distinctive artistic traditions. There is significant
overlap in time, geography, practice, and heritage of art created
within this time frame and region. Nationalist agendas and
disciplinary divisions based on the predominant language (Greek,
Latin, or Arabic) and religion (Judaism, Western or Eastern
Orthodox Christianity, or Islam) have caused considerable
fragmentation in the study of medieval art.
Essential Knowledge 3-1a. Medieval artistic traditions include late antique, early
Christian, Byzantine, Islamic, migratory, Carolingian*, Romanesque, and Gothic, named
for their principal culture, religion, government, and/or artistic style. Continuities and
exchanges between coexisting traditions in medieval Europe are evident in shared
artistic forms, functions, and techniques. Contextual information comes primarily from
literary, theological, and governmental (both secular and religious) records, which vary
in quantity according to period and geographical region, and to a lesser extent from
archaeological excavations.
Essential Knowledge 3-1b. Before the late Middle Ages, the coexistence of many regional
styles makes period-wide generalizations impossible. Isolated regional revivals of
naturalism and classicism occurred, sometimes motivated by the association of classicism See Chapters 8, 15 &
16
with the Roman Christian emperors and church. Other traditions, such as those of
European Islamic art and early medieval migratory art, embraced calligraphic line and
script, as well as dense geometrical and organic ornament.
Page 11 of 72
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Learning Objective
2.1; Learning
Objective 2.2
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Big Ideas
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Essential Knowledge 3-2a. Elite religious and court cultures throughout the Middle Ages
Learning Objective
prioritized the study of theology, music, literary and poetic invention, and in the Islamic
world, scientific and mathematical theory. Cultural and artistic exchanges were facilitated
Objective 2.2
through trade and conquest.
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 3-2b. Surviving architecture is primarily religious in function
(though domestic architecture survives from the late Middle Ages); ground plans and
elevations both accommodated worship and incorporated symbolic numbers, shapes,
and ornament.
Imperial Christian
Architecture and Art,
pp. 223–231
Learning Objective
1.1; Learning
Objective 1.4
7-9: Reconstruction
Drawing of the Interior of
Old St. Peter’s, Rome, p.
223; 7-10: Interior,
Church of St. Sabina, p.
223; 7-11: Church of St.
Sabina, p. 224; 7-13: Plan
and Reconstruction
Drawing of Old St. Peter’s,
p. 225; 7-14: Plan and
Section of the Church of
Santa Constanza, Rome,
p. 225; 7-15: Church of
Santa Constanza, Rome,
p. 225; 7-18: Oratory of
Galla Placidia, Ravenna,
Rome, p. 228; 7-19:
Oratory of Galla Placidia,
p. 229; 7-21: Onesiphoros
and Porphyrios Standing
Before an Architectural
Backdrop, p. 231
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 3-2c. Medieval figurative and aniconic two- and three-dimensional
works of art are characterized by stylistic variety, avoidance of naturalism, primarily
religious or courtly subject matter, and the incorporation of text.
Jewish and Early
Christian Art, p. 215;
Early Christian Art,
pp. 220, 222;
Imperial Christian
pp. 223–231
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
or event
p. 214; 7-7: The Good
Big Idea 2: Art
Shepherd, Orants, and
making is shaped by
the Story of Jonah, p. 222
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
p. 214; 7-3: Mosaic Floor
of the Beth Alpha
Synagogue, p. 219
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 19, 20, 21,
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Iconic image, p. 215;
Jewish Law and
Essential Knowledge 3-2d. Periodic rejections of figural imagery on religious structures or worship of idols, p.
objects on theological grounds were common to all three major medieval religions. These 217; Dura-Europos
artworks could facilitate a connection with the divine through their iconography (icons) or and expansive
contents (reliquaries).
pictorial decoration in
relation to figural
decoration, p. 221
Enduring Understanding 3-3. Art from the early modern Atlantic
World is typically studied in chronological order, by geographical
region, according to style, and by medium. Thus, early modernity
and the Atlantic arena are highlighted, framing the initiation of
globalization and emergence of modern Europe, and recognizing
the role of the Americas in these developments. More attention
has been given in recent years to larger cultural interactions,
exchanges, and appropriations.
Examples
Big Idea 1: Artists
or event
See Chapters 8, 9, 16, 17
Big Idea 2: Art
& 18
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 3-1c. Medieval artists and architects were heavily influenced by
earlier and contemporary cultures, including coexisting European cultures. Thus early
See Chapters 8, 9,
medieval and Byzantine art was influenced by Roman art and by motifs and techniques
16, 17 & 18
brought by migratory tribes from eastern Europe, West Asia, and Scandinavia. High
medieval art was influenced by Roman, Islamic, and migratory art, and European Islamic
art was influenced by Roman, migratory, Byzantine, and West Asian art.
Enduring Understanding 3-2. Medieval art (European, c.
300–1400 C.E.; Islamic, c. 300–1600 C.E.) derived from the
requirements of worship (Jewish, Christian, or Islamic), elite or
court culture, and learning.
Learning
Objectives
Essential Knowledge 3-3a. The early modern Atlantic World encompasses what today is
known as Western Europe — specifically Italy, Spain, France, Germany, England,
Belgium, and the Netherlands — and those territories in the Americas that were part of
the Spanish empire, including the Caribbean, the Western and Southwestern regions of
the United States, Mexico, Central America, and South America, from approximately
See Chapters 19, 20,
1400 to 1850 C.E. Study of this art historical period, and specifically of the European
21, 22, & 23
material traditionally identified by the more familiar labels of Renaissance and Baroque,
is canonical in the discipline and is thus extremely well documented. Most primary source
material is housed in archives and libraries worldwide and includes works of art both in
situ and in private and public collections. An immense body of secondary scholarly
literature also exists.
Page 12 of 72
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Chapter
Page
Numbers
Content Area
Essential Knowledge
Essential Knowledge 3-3b. The traditional art history survey presents a historical
narrative that, by selectively mapping development of the so-called Old World,
constructs the idea of the West. One problem with this model is that in privileging
Europe, the Old World is placed in an oppositional relationship to the rest of the world,
which tends to be marginalized, if not neglected. A focus upon early modernity and
interconnectedness of the Atlantic regions presents a more comprehensive approach to
the study of art.
Stokstad Art
History 5e, 2014
Student Edition
21, 22, & 23
Learning
Objectives
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Examples
Big Ideas
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Atrial Cross, p. 943; 3046: Virgin of Guadalupe,
p. 944; 30-47: Mission
Xavier del Bac, p. 945
21 & 22
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
Big Idea 1: Artists
or event
See Chapters 19, 20, 21 &
Big Idea 2: Art
22
making is shaped by
Big Idea 3:
are variable
Enduring Understanding 3-4. The arts of 15th century Europe
reflected an interest in classical models, enhanced naturalism,
Learning Objective
Christianity, pageantry, and increasingly formalized artistic
1.1; Learning
training. In the 17th century, architectural design and figuration Essential Knowledge 3-4a. Developments in the form and use of visual elements, such as
See Chapters 20, 21 & Objective 1.2;
linear and atmospheric perspective, composition, color, figuration, and narrative,
in painting and sculpture continued to be based on classical
22
Learning Objective
enhanced the illusion of naturalism.
principles and formulas but with a pronounced interest in
1.4; Learning
compositional complexity, dynamic movement, and theatricality.
Objective 3.1
There was an increasing emphasis on time, narrative, heightened
naturalism, and psychological or emotional impact.
Big Idea 1: Artists
or event
See Chapters 20, 21 & 22 Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 3-4b. The emergence of academies redefined art training and the
production and identity of the artist by introducing more structured, theoretical curricula See Chapter 30
in centralized educational institutions.
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
See Chapter 30
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 3-4c. Corporate and individual patronage informed the production,
content, form, and display of art — from panel painting, altarpieces, sculpture, and print
to myriad decorative arts, such as metalwork and textiles. Displayed in churches,
21 & 22
chapels, convents, palaces, and civic buildings, the arts performed various functions
(e.g., propagandistic, commemorative, didactic, devotional, ritual, recreational, and
decorative).
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 2.3
Big Idea 1: Artists
or event
See Chapters 19, 20, 21 &
Big Idea 2: Art
22
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 3-3c. The advent of the Age of Exploration in the late 15th century
resulted in the emergence of global commercial and cultural networks via transoceanic
trade and colonization. European ideas, forms, and practices began to be disseminated
worldwide as a result of exploration, trade, conquest, and colonization.
Essential Knowledge 3-3d. Information and objects from different parts of the world
were gathered in European cultural centers, where their influence is evident in the
contents of curiosity cabinets, advances in science and technology, consolidation of
European political and economic power, and the development of modern conceptions of
difference such as race and nationalism.
Essential Knowledge 3-4d. Art production in the Spanish viceroyalties in the Americas
exhibited a hybridization of European and indigenous ideas, forms, and materials, with
some African and Asian influences. Although much colonial art is religious, nonreligious
subjects such as portraiture, allegory, genre, history, and decorative arts were central to
Spanish viceregal societies.
Page 13 of 72
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
p. 944; 30-47: Mission
Chapter
Page
Numbers
Content Area
Essential Understanding 3-5. The 16th-century Protestant
Reformation and subsequent Catholic Counter-Reformation
compelled a divergence between northern and southern western
European art with respect to form, function, and content.
Essential Knowledge
Essential Knowledge 3-5a. Production of religious imagery declined in northern Europe,
and nonreligious genres, such as landscape, still life, genre, history, mythology, and
portraiture, developed and flourished. In the south, there was an increase in the
production of political propaganda, religious imagery, and pageantry, with the
elaboration of naturalism, dynamic compositions, bold color schemes, and the affective
power of images and constructed spaces.
Stokstad Art
History 5e, 2014
Student Edition
See Chapter 22
Essential Knowledge 3-5b. Art production in the Spanish viceroyalties paralleled
See Chapter 30: The
European art practices in terms of themes, materials, formal vocabulary, display, and
Art of the Americas
reception. However, given the Spanish Catholic context in which this art production
Under Spain, pp.
developed, Spanish colonial art of the early modern period corresponded more closely to
943–945
that of southern Europe.
8 Byzantine Art
pp. 232-263
West and Central Asia 500
B.C.E.–1980 C.E.
Byzantine Art, p. 233;
Byzantium, p. 234;
Early Byzantine Art,
pp. 235–247; Middle
Byzantine Art, pp.
248–257; Late
Byzantine Art, pp.
258–263
Learning
Objectives
Byzantine Art, p. 233;
The Monastery of St.
Catherine on Mount
Sinai, pp. 242–244;
The Archangel Michael
Diptych, pp. 244–245;
The Vienna Genesis,
p. 245
Precious Objects of
Commemoration,
Veneration, and
Devotion, pp.
255–258
and ornament.
Page 14 of 72
Big Ideas
See Chapter 22
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
8-1: David Battling
Goliath, p. 233; 8-2:
Church of Hagia Sophia,
p. 235; 8-3: Plan and
Isometric Drawing of the
Church of Hagia Sophia,
p. 235; 8-4: Interior of
the Church of Hagia
Sophia, p. 237; 8-16:
Virgin and Child in the
Apse of Hagia Sophia, p.
248; 8-22: Crucifixion, p.
253; 8-33: Annunciation
to the Virgin, p. 262
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
8-20: Interior, Cathedral
of Santa Sophia in Kiev, p.
252; 8-24: Interior and
plan of the Cathedral of
St. Mark, p. 254; 8-30:
Mosaics in the Vaulting of
the Inner Narthex, p.
254; 8-31: Anastasis, p.
260
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
Catherine on Mount
Sinai, pp. 242–244;
Cathedral of Santa
Sophia in Kiev, pp.
250–252; Cathedral of Learning Objective
naturalism and classicism occurred, sometimes motivated by the association of classicism
St. Mark in Venice, p. 2.1; Learning
254; Constantinople: Objective 2.2
The Chora Church, p.
258; A Broader Look:
The Funerary Chaple
of Theodore
Metochites, 260–261
Examples
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Big Idea 1: Artists
8-1: David Battling
Goliath, p. 233; 8-11: The or event
Transfiguration of Christ, Big Idea 2: Art
p. 243; 8-12: Archangel
making is shaped by
Michael, p. 244
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2
Big Idea 1: Artists
8-25: Front and Back of
the Harbaville Triptych, p. or event
255; 8-27: David
Big Idea 2: Art
Composing the Psalms, p. making is shaped by
256
Big Idea 3:
are variable
Hagia Sophia in
Constantinople, pp.
235–237; Elements of
Architecture:
Pendentives and
Learning Objective
Squinches, p. 238;
1.1; Learning
Objective 1.4
Catherine on Mount
Sinai, pp. 242–244;
Architecture and Wall
Painting in Mosaic and
Fresco, pp. 248–254
8-2: Church of Hagia
Sophia, p. 235; 8-3: Plan
and Isometric Drawing of
the Church of Hagia
Sophia, p. 235; 8-4:
Interior of the Church of
Hagia Sophia, p. 237; 824: Interior and plan of
the Cathedral of St. Mark,
p. 254
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
The Vienna Genesis,
p. 245; Icons and
Iconoclasm, pp. 246,
248; Art and Its
Contexts: Iconoclasm,
p. 247; A Closer Look:
Icon of St. Michael the
Archangel, p. 257
Icons and Iconoclasm,
pp. 246, 248; Art and
Essential Knowledge 3-2d. Periodic rejections of figural imagery on religious structures or
Its Contexts:
objects on theological grounds were common to all three major medieval religions. These
Iconoclasm, p. 247; A
artworks could facilitate a connection with the divine through their iconography (icons) or
Closer Look: Icon of
St. Michael the
Archangel, p. 257
21, 22, & 23
the study of art.
21, 22, & 23
Examples
Big Ideas
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
3.1; Learning
Objective 3.2
8-13: Rebecca at the
Well, p. 245; 8-15:
Crucifixion and
Iconoclasts, p. 247
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
Big Idea 1: Artists
8-14: Virgin and Child
or event
with Saints and Angels, p.
Big Idea 2: Art
246; 8-15: Crucifixion and
making is shaped by
Iconoclasts, p. 247
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
21, 22, & 23
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
21, 22, & 23
Page 15 of 72
Learning
Objectives
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 3.1
Chapter
Page
Numbers
Content Area
Essential Knowledge
pp. 264-293
West and Central Asia 500
B.C.E.–1980 C.E.
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 22
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3
Map 9-1: The Islamic
World, p. 267
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
9-12: Lusterware Jar, p.
277; 9-18: Shah-I Zinda
Funerary Complex, p.
282; 9-20: Baptistery of
St. Louis, p. 284; 9-31:
Islamic Mosque and
Cultural Center, p. 293
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 2.3
See Chapter 22
Essential Knowledge 7-1a. Historical cultures of West and Central Asia reside in a vast
area that includes the Arabian Peninsula and the Levant, Anatolia, Greater Iran, Central
Asia, Inner Asia, and Himalayan Asia. These regions have had shifting political
boundaries throughout their histories and include lands associated with the former Soviet
Union and modern China. They form the heart of the ancient Silk Route that connected
the Greco–Roman world with China and India.
Essential Knowledge 7-1b. Arts attest to the transmission and influence of cultural ideas,
such as Islam and Buddhism, and cultural art forms, such as Hellenistic architecture,
Buddhist sculpture, chinoiserie (in Persian art), and ceramic-tile decoration. Crosscultural comparisons with the arts of these regions may be made most readily to the arts
of the ancient Mediterranean, medieval Europe, and South, East, and Southeast Asia.
Page 16 of 72
Islamic Art, 265;
Islam and Early
Islamic Society,
266–268
Lusterware, p.
276–277; Ceramics,
p. 283; Metalwork, p.
284; The Arts of the
Book, pp. 284–285;
Big Ideas
22, & 23
21, 22, & 23
decorative).
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Examples
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
9 Islamic Art
Learning
Objectives
production and identity of the artist by introducing more structured, theoretical curricula
21, 22, & 23
Stokstad Art
History 5e, 2014
Student Edition
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
Chapter
Page
Numbers
Content Area
Learning
Objectives
Examples
Big Ideas
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
277; 9-20: Baptistery of
St. Louis, p. 284; 9-21:
Qur’an Frontispiece, p.
284; 9-22: Yusuf Fleeing
Zulayhka, p. 285; 9-29:
Garden Carpet, p. 291; 930: Mosque at New
Gourna, p. 292
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Lusterware, pp.
276–277; A Closer
Look: A Mamluk Glass
Essential Knowledge 7-1d. The arts of West and Central Asia were created for and
Oil Lamp, p. 279;
Learning Objective
acquired by various kinds of local and global patrons. Audiences for these works included
Luxury Arts, pp. 283; 1.2; Learning
royal and wealthy patrons, lay and monastic religious practitioners, and foreign collectors
Metal Work, p. 284;
Objective 1.3
who acquired works through gift or trade.
Carpets, p. 291;
Technique: Carpet
Making, p. 292
9-10: Page from the
Qur’an, p. 275; 9-11:
Plate with Kufic Border, p.
276; 9-12: Lusterware
Jar, p. 277; 9-19: 20:
Baptistery of St. Louis, p.
284; Mina’i Bowl with
Bahram and Azada, p.
283; 9-21: Qur’an
Frontispiece, p. 284; 929: Garden Carpet, p. 291
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
9-20: Baptistery of St.
Louis, p. 284; 9-21:
Qur’an Frontispiece, p.
284; 9-22: Yusuf Fleeing
Zulayhka, p. 285
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Islamic Art, 265;
Islam and Early
Islamic Society,
Period: Ninth through
Essential Knowledge 7-2a. Cultures of these regions are diverse, but they were united
Twelfth Centuries,
Learning Objective
through their shared beliefs and practices, particularly the world religions of Buddhism,
268–276; The Later
1.3
which originated in the sixth century B.C.E. in South Asia, and Islam, which originated in Period: Thirteenth
the seventh century C.E. in West Asia.
Through Fifteenth
Centuries, 277–285;
Art and Architecture
of Later Empires,
286–291; The Modern
Era, 291–293
9-2: The Kaaba, Mecca, p.
and Cutaway Drawing of
the Dome of the Rock, p.
269; 9-4: Interior: Dome
of the Rock, p. 270; 9-5:
The Great Mosque, p.
271; 9-7: Plan of the
Great Mosque, p. 273; 910: Page from the Qur’an,
p. 275
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 7-2b. Architecture in West and Central Asia is frequently religious in
function. West and Central Asia is home to many important Islamic mosques, which are
decorated with nonfigural imagery, including calligraphy and vegetal forms. All mosques
have a Qibla wall, which faces the direction of Mecca, home of the Kaaba. This wall is
ornamented with an empty Mihrab niche, serving as a focus for prayer. A large
congregational mosque may also include a Minbar (pulpit for the imam), as well as a
Minaret and a central courtyard to call and accommodate practitioners for prayer. Other
important forms of Islamic religious architecture include commemorative monuments,
such as the Kaaba and the Dome of the Rock, and tomb architecture. Central Asia is
further recognized for its outstanding Buddhist cave architecture, which incorporates
relief carving, constructive sculpture, and wall painting. In the Tibetan lands, Buddhist
architecture flourishes in the form of stupas and monastic architecture.
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1;
Learning Objective
3.2
Big Idea 1: Artists
of the Rock, p. 270; 9-5:
or event
The Great Mosque, p.
Big Idea 2: Art
271; 9-7: Plan of the
making is shaped by
Great Mosque, p. 273; 9tradition and change
10: 9-9: Minbar, p. 274; 9Big Idea 3:
10: Page from the Qur’an,
p. 275; 9-14: Qibla Wall
are variable
with Mihrab and Minbar,
p. 278
Learning Objective
1.3; Learning
Objective 3.1;
Learning Objective
3.2
of the Rock, p. 270
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Islamic Art, 265;
Islam and Early
Islamic Society,
Period: Ninth through
Essential Knowledge 7-1c. West Asia is the cradle of arts produced in regions with a
Twelfth Centuries,
dominant Islamic culture. These arts may be religious or secular in nature, and may or
268–276; The Later
may not have been made by or for Muslims. The term “Islamic Art” may be applied to
Period: Thirteenth
these diverse art forms. Many examples of Islamic art from across the traditional Islamic
Through Fifteenth
lands share similarities in terms of their content and visual characteristics.
Art and Architecture
of Later Empires,
286–291; The Modern
Era, 291–293
Lusterware, pp.
276–277; A Closer
Look: A Mamluk Glass
Essential Knowledge 7-1e. The arts of West and Central Asia had great international
Oil Lamp, p. 279;
impact through trade. Textiles were perhaps the most important art form in these
Luxury Arts, pp. 283;
regions and dominated much of the international trade between Europe and Asia. Islamic
Metalwork, p. 284;
metalworks, including examples with Christian subject matter, were created for trade in
The arts of the Book,
the regions bordering the Mediterranean. Ceramics were another important trade item,
pp. 284–285;
particularly the iznik wares created in Turkey.
Carpets, p. 291;
Technique: Carpet
Making, p. 292
Enduring Understanding 7-2. The religious arts of West and
Central Asia are united by the traditions of the region: Buddhism
and Islam.
Islam and Early
Islamic Society,
266–268;
Architecture, p.
Contexts: The Five
Pillars of Islam, p.
271; Calligraphy, p.
275; Architecture, pp.
277–282
Islam and Early
Essential Knowledge 7-2c. Pilgrimage is an important religious practice in Islam and
Islamic Society,
Buddhism and is a key focus of several monuments and artworks in West and Central
Asia including the following: the Kaaba, the most sacred site in Islam; the Dome of the
Contexts: The Five
Rock in Jerusalem; and the Buddha sculpture Jobo Rinpoche, considered the most sacred Pillars of Islam, p.
image in Tibet.
271; Architecture, p.
269–275
Page 17 of 72
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Enduring Understanding 7-3. Use of figural art in religious
contexts varies among traditions, whereas figural art is common
in secular art forms across West and Central Asia.
Enduring Understanding 7-4. Artists of West and Central Asia
excelled in the creation of particular art forms exhibiting key
characteristics unique to their regions and cultures. Important
forms include ceramics, metalwork, textiles, painting, and
calligraphy.
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Examples
Big Ideas
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 3.1;
Learning Objective
3.2
Big Idea 1: Artists
or event
See Chapters 10, 11, & 12 Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
3.2
269; 9-10: Page from the
Qur’an, p. 275; 9-11:
276; 9-19: Mina’i Bowl
with Bahram and Azada,
p. 283; 9-21: Qur’an
Frontispiece, p. 284
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 7-3c. Figural art is an important subject of Islamic art in West and
Central Asia. Islamic cultures draw a clear distinction between sacred and secular
contexts, and figural imagery abounds in secular works, such as decorative arts and
manuscript painting, which often depict sociological types, such as hunters or courtiers,
or narrative subjects, such as the ancient kings and heroes of the Persian Shahnama.
Religious ideas or content are sometimes carried over into secular art forms and may be
illustrated when they become the subject of courtly or popular literature and poetry. For
example, the prophet Moses might be illustrated in a manuscript of the Khamsa of
Nizami. He would not be illustrated, however, in a manuscript of the holy Qur’an.
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
Luxury Arts, pp.
1.4; Learning
283–286; The Modern Objective 2.1;
Era, pp. 292–293
Learning Objective
2.2; Learning
Objective 3.1;
Learning Objective
3.2
9-19: Mina’i Bowl with
Bahram and Azada, p.
283; 9-21: Qur’an
Frontispiece, p. 284; 922: Yusuf Fleeing
Zulayhka, p. 285; 9-27:
The Court of Gayumars, p.
289
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 7-4a. Styles of art from West Asia tend to favor two-dimensional
design. These works are often highly decorative, employing geometric and organic forms
and vegetal designs, qualities that carry over into figural works, where figures inhabit
flat or shallow spaces with tipped perspectives and patterned landscapes. West Asian art
finds its greatest source of refinement and international influence in the Persianate arts
from the Timurid and Safavid Dynasties of Iran, which influenced the Ottoman arts of
Turkey and the Mughal arts of India. Styles of art in Central Asia can be divided into
Persianate Islamic styles, which maintain developments made in West Asian art, and
Indian-inspired styles, which are characterized by the idealized figural art traditions of
South Asia.
The Early Period:
Ninth through Twelfth
The Later Period:
Thirteenth Through
Fifteenth Centuries,
277–285; Art and
Architecture of Later
Empires, 286–291
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1;
Learning Objective
3.2
Qur’an, p. 275; 9-11:
p. 283; 9-21: Qur’an
Frontispiece, p. 284; 922: Yusuf Fleeing
Zulayhka, p. 285; 9-27:
The Court of Gayumars, p.
289
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 7-4b. Ceramic arts have flourished in West Asia since the prehistoric
era, and many technical advancements in this media, such as the development of
lusterware and cobalt-on-white slip painting, developed here. Ceramic arts were used to
create utilitarian vessels and elaborate painted and mosaic-tile architectural decoration,
carrying forward artistic practices explored in ancient West Asia (the Near East).
Highpoints in West and Central Asian ceramics include Persian mosaic-tile architecture
from the Seljuk through the Safavid Dynasties, as seen in the Great Mosque of Isfahan,
and Iznik tile work and export ceramics created during the Ottoman Dynasty.
Learning Objective
1.1; Learning
Objective 1.2;
Lusterware, pp.
Learning Objective
276–277; A Closer
1.3; Learning
Look: A Mamluk Glass Objective 1.4;
Oil Lamp, p. 279;
Learning Objective
Ceramics, pp.
2.1; Learning
283–284
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
p. 283
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 7-4c. Metalwork and metallurgy flourished in West and Central Asia
in the creation of metal plaques, vessels, arms, armor and tack, sculpture, and
decorative objects of all kinds. Islamic metalwork is widely regarded as one of the finest
decorative art forms of the medieval world. Metal sculpture was an important art form in
Central Asian and Himalayan Buddhist art, which created Buddhist figures in bronze,
copper, brass and silver, and often ornamented them with gilding, metal inlay, and
paint. Metal artworks were created through various processes including casting, beating,
chasing, inlaying, and embossing.
Learning Objective
1.1; Learning
Objective 1.2;
Metalwork, p. 284;
Learning Objective
Ritual Bronzes, p. 334- 1.3; Learning
335; Technique: Piece- Objective 1.4;
Mold Casting, 335;
Learning Objective
Buddhist Art and
2.1; Learning
Architecture, 345
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
9-20: Baptistery of St.
Louis, p. 284; Technique:
Piece-Mold Casting, 335;
11-13: Altar to Amitabha
Buddha, 345
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 7-3a. Figural art is a primary form of visual communication in
Buddhist communities in Central Asia, as it is across Asia. Figural imagery is used to
depict Buddhas and various attendants, teachers, practitioners, and deities. This is an
iconic culture, and the presence of invoked figural imagery is important to Buddhist
practices. These figures may be venerated in shrine settings, may inhabit conceptual
landscapes and palaces of ideal Buddhist worlds, may be found in mandalas, or may be
depicted in paintings.
& 12
Essential Knowledge 7-3b. Islamic art that is created for religious purposes does not
contain figural imagery. Mosque architecture is decorated with nonfigural imagery,
including calligraphy, geometric, and vegetal forms. Manuscripts or objects containing
sacred texts may contain calligraphy, illumination, or geometric and vegetal decoration,
but should not contain figural imagery.
Technique: Ornament,
p. 268; Architecture,
p. 269–275;
Calligraphy, p. 275;
Architecture, pp.
277–282; Luxury
Arts, pp. 283–286
Page 18 of 72
Chapter
Page
Numbers
Content Area
Essential Knowledge
Essential Knowledge 7-4d. Textile forms from this region include silk-tapestry weaving,
silk velvets, and wool and silk carpets.
Essential Knowledge 7-4e. Painting in West and Central Asia usually took three forms:
wall painting, manuscript painting, and in the Himalayan regions, the painting of
thangkas (large paintings on cloth) of Buddhist deities and mandalas. Calligraphy was a
prominent art form, particularly in Islamic art in West Asia where beautiful forms were
created to transmit sacred texts. Calligraphy is found on architecture, decorative arts
objects, and ceramic tiles, as well as in manuscripts written on paper, cloth, or vellum.
10 Art of South and
Southeast Asia Before
1200
pp. 294-329
South, East, and Southeast
Asia 300 B.C.E.–1980 C.E.
Enduring Understanding 8-1. The arts of South, East, and
Southeast Asia represent some of the world’s oldest, most
diverse, and most sophisticated visual traditions.
Essential Knowledge 8-1a. South, East, and Southeast Asia have long traditions of art
making, reaching back into prehistoric times. The earliest known ceramic vessels were
found in Asia: fired shards from Yuchanyan Cave in China have been dated to 18,300
and 17,500 B.C.E., followed by Jomon vessels from Japan with shards dating back to
10,500 B.C.E. Sophisticated Neolithic and Bronze Age civilizations thrived across Asia,
including the Indus Valley civilization in Pakistan and India, the Yangshao* and
Longshan* cultures and Shang Dynasty* in China, the Dongson* culture in Southeast
Asia, and the Yayoi* and Kofun* cultures in Japan.
Essential Knowledge 8-1b. The people and cultures of these regions were diverse, but
prehistoric and ancient societies based in key regions (e.g., the Indus River Valley,
Gangetic Plain, and Yellow River) developed core social and religious beliefs that were
embraced across larger cultural spheres, helping to shape the regional identities of
people within Asia.
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Page 19 of 72
Big Ideas
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Carpets, p. 291;
Technique: Carpet
Making, p. 292
Learning Objective
1.1; Learning
Objective 1.4
9-29: Garden Carpet, p.
291
Calligraphy, pp.
275–276
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
9-10: Page from the
or event
Qur’an, p. 275; 9-11:
Big Idea 2: Art
making is shaped by
276
Big Idea 3:
are variable
Learning Objective
1.1; Learning
The Indus Civilization,
Objective 1.3;
pp. 296–298
Learning Objective
1.4
Big Idea 1: Artists
10-2: Seal Impressions,
p. 296; 10-3: Large Water or event
Tank, Mohenjo-Daro, p.
Big Idea 2: Art
297; 10-4: Torso of a
making is shaped by
Priest King, p. 298
Big Idea 3:
are variable
The Indus Civilization, Learning Objective
pp. 296–298
1.3
Map 10-1: South and
Southeast Asia, p. 297
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
10-14: Vishnu Temple,
Deogarh, p. 309; 10-15:
Vishnu Lying on the
Cosmic Waters, p. 310;
10-16: Buddha Preaching
His First Sermon, p. 311
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
10-12: Standing Buddha,
p. 307; 10-16: Buddha
Preaching His First
Sermon, p. 311; 10-17:
Bodhisattva, p. 311
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 8-1c. The core cultural centers in Asia became home to many of the
world’s great civilizations and ruling dynasties, including the following: Gupta India, Han The Gupta Period and Learning Objective
China, Khmer Cambodia, and Heian Japan. The shared cultural ideas in each region and Its Successors, pp.
1.3; Learning
308–312
civilization gave birth to visual traditions that employed related subjects, functions,
Objective 2.1
materials, and artistic styles.
Essential Knowledge 8-2a. The ancient Indic worldview that dominated South Asia
differentiated earthly and cosmic realms of existence, while recognizing certain sites or
Enduring Understanding 8-2. Many of the world’s great religious beings as sacred, and understood time and life as cyclic. The religions that developed in
and philosophic traditions developed in South and East Asia.
this region — Hinduism, Buddhism, Jainism, Sikhism, and numerous folk religions — all
Extensive traditions of distinctive religious art forms developed in worked within this worldview and sought spiritual development, spiritual release, or
this region to support the beliefs and practices of these religions. divine union through various religious methodologies and social practices. The Indic
worldview was also grafted onto the preexisting animistic and popular beliefs in
Southeast Asia during several waves of importation and Indian attempts at colonization.
Examples
The Vedic Period, p.
299; Art and Its
Contexts: Buddhism,
The Great Departure,
Learning Objective
p. 304; The Kushan
1.3
Period, p. 306; Art
and Its Contexts:
Mudras, p. 308; Art
and Its Contexts:
Hinduism, p. 309
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Essential Knowledge 8-2b. East Asian religions emphasize the interconnectedness of
humans with both the natural world and the spirit world. Chinese societies also
developed a hierarchical and differentiated society that encouraged appropriate social
behaviors. Daoism, with its almost antisocial focus on living in harmony with nature and
the Dao, and Confucianism, more of an ethical system of behaviors rather than a
religion, both developed in China in the fifth century B.C.E. from these foundations.
Learning Objective
Buddhism, which arrived in China in the early centuries of the Common Era, shared clear
affinities with the indigenous Chinese religions through its focus on nature,
Objective 1.4
interconnectedness, and appropriate behavior. Korean traditions were heavily influenced
by China and incorporate Confucian, Buddhist, and local shamanistic beliefs and
practices. The ancient Japanese landscape was alive and inhabited by animistic nature
spirits, whose veneration forms the basis of the Shinto religion. Buddhism was actively
imported to Japan from Korea and China in the seventh and eighth centuries, and as in
China, it succeeded because of courtly patronage and similarities with local traditions.
Big Ideas
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 307; 10-16: Buddha
Preaching His First
Sermon, p. 311; 10-17:
Bodhisattva, p. 311
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3
p. 307
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Elements of
Architecture: Stupas
and Temples, p. 302;
Essential Knowledge 8-2e. Architecture from these regions is frequently religious in
A Closer Look: The
function. Temples intended to house deities or shrines were constructed or rock cut.
Great Departure, p.
Rock-cut caves containing Buddhist imagery, shrines, stupas, and monastic spaces span
304; Temple of Vishnu
across Asia from India through Central Asia to China. Japanese architecture often uses
at Deogarh, pp.
natural materials such as wood or follows Chinese architectural models with wood
309–310; The
structures and tile roofs. Islamic architecture in South and Southeast Asia takes two
Bamiyan Buddhas, p.
major forms: secular (forts and palaces) and religious (mosques and tombs). Islamic
312; Temple of Shiva
mosques are decorated with nonfigural imagery, including calligraphy and vegetal forms.
at Elephanta, pp
All mosques have a Qibla wall, which faces in the direction of Mecca, home of the Kaaba.
314–315; Kailasha
This wall is ornamented with an empty Mihrab niche, which serves as a focus for prayer.
Temple, Ellora, pp.
317–318; Borobudur,
pp. 323–324
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
10-8: Stupa 1 (The Great
Stupa) at Sanchi, p. 303;
10-10: Chaitya Hall, Karle,
p. 305; 10-14: Vishnu
Temple, Deogarh, p. 309;
10-19: Sigiriya, p. 313;
10-34: Borobudur, p. 324
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 8-3a. Distinctive art forms from South, East, and Southeast Asia
include the following: the construction of Buddhist reliquary stupas; the practice of
monochromatic ink painting on silk and paper, which developed in China; the
development of the Pagoda, an architectural form based upon a Chinese watchtower;
the use of rock gardens, tea houses, and related ceremonies; and Japanese woodblock
printing.
Elements of
A Closer Look: The
Great Departure, p.
304
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
10-9: Yakshi Bracket
Figure, p. 305
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 8-3b. The arts of South, East, and Southeast Asia include important
forms developed in a wide range of media. Stone and wood carving was a prominent art
form used in architectural construction, decoration, and sculpture. Ceramic arts have
flourished in Asia since the prehistoric era, and many technical and stylistic
advancements in this media, such as the use of high-fire porcelain, developed here.
Metal was used to create sculpture, arms and armor, ritual vessels, and decorative
objects of all kinds. Shang Dynasty bronze vessels* from China employed a unique piecemolding technique that has never been successfully replicated. Important textile forms
from this region include silk and wool tapestry weaving, cotton weaving, printing,
painting, and carpet weaving. Painting in Asia usually took two forms: wall painting and
manuscript or album painting. The painting styles that developed in India and East Asia
favor contour drawing of forms over modeling. Calligraphy was an important art form in
these regions. In China, calligraphy was considered the highest art form, even above
painting. Calligraphy was also prominent in Islamic art in Asia, and is found on
architecture, decorative arts objects, and ceramic tiles, and in manuscripts written on
paper, cloth, or vellum.
The Mathura Style,
pp. 307–308; Temple
of Vishnu at Deogarh,
pp. 309–310; Seated
Buddha from Sarnath,
pp. 310–311; The
Bamiyan Buddhas, p.
312
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1;
Learning Objective
3.2
10-13: Buddha and
Attendants, p. 307; 1014: Vishnu Temple,
Deogarh, p. 309; 10-15:
Vishnu Lying on the
Cosmic Waters, p. 310;
10-16: Buddha Preaching
His First Sermon, p. 311
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 8-2c. Religious practices associated with Hinduism, Buddhism, and
Jainism are iconic, therefore figural imagery of divinities and revered teachers plays a
prominent role in religious practice. The wealth of Buddhist imagery in Asia alone would
rival, if not surpass, the wealth of Christian imagery in medieval Europe. Figural imagery
associated with Asian religious art may be venerated in temple or shrine settings; may
inhabit conceptual landscapes and palaces of ideal Buddhist worlds, or mandalas; and
are depicted in paintings. Figural subjects are common in Indian and East Asian painting.
Essential Knowledge 8-2d. South, East, and Southeast Asia were also home to foreign
cultures and religions, including Greco–Roman cultures, Christianity, and most notably
Islamic cultures from West and Central Asia. Islamic influence is particularly strong in
India, Malaysia, and Indonesia, which were under at least partial control of Islamic
sultanates during the second millennia C.E. These regions have also been influenced by
cultures and beliefs from West Asia and Europe. Today South and Southeast Asia are
home to the world’s largest Muslim populations.
Enduring Understanding 8-3. South, East, and Southeast Asia
developed many artistic and architectural traditions that are
deeply rooted in Asian aesthetics and cultural practices.
Examples
Page 20 of 72
299; Art and Its
Contexts: Buddhism,
The Great Departure,
Learning Objective
p. 304; The Kushan
1.3
Period, p. 306; Art
and Its Contexts:
Mudras, p. 308; Art
and Its Contexts:
Hinduism, p. 309
The Gandhara Style,
pp. 306–307
Chapter
Page
Numbers
Content Area
Enduring Understanding 8-4. Asian art was and is global. The
cultures of South, East, and Southeast Asia were interconnected
through trade and politics and were also in contact with West
Asia and Europe throughout history.
11 Chinese and Korean Art
pp. 330-359
Before 1279
Asia 300 B.C.E.–1980 C.E.
Learning
Objectives
Examples
Big Ideas
Elements of
Essential Knowledge 8-3c. The practice of the indigenous Asian religions necessitated the
A Closer Look: The
development of novel art and architectural forms to support them. Uniquely Asian art
Great Departure, p.
forms include the following: iconic images used in Buddhist and Hindu traditions;
304; Temple of Vishnu
elaborate narrative and iconographic compositions created in sculptures, textiles, and
at Deogarh, pp.
wall paintings used to ornament shrines, temples, and caves; the Buddhist stupa and
309–310; Seated
monastic complex; the Hindu temple; Raigo scenes* associated with Pure Land
Buddha from Sarnath,
Buddhism; the Zen rock garden; and Zen ink painting.
pp. 310–311; The
Bamiyan Buddhas, p.
312
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
10-13: Buddha and
Attendants, p. 307; 1014: Vishnu Temple,
Deogarh, p. 309; 10-20:
Heavenly Maidens, p. 313
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 8-3d. South, East, and Southeast Asia have rich traditions of courtly
and secular art forms that employ local subjects and styles. In India, regional painting
styles developed to illustrate mythical and historical subjects, and poetic texts
documented court life. In China and Japan, a new genre of literati painting developed
among the educated elite. Literati paintings often reveal the nonprofessional artist’s
exploration of landscape subjects, which are frequently juxtaposed with poetry. The
term secular is a bit misleading when describing Asian art, as religious ideas or content
frequently is carried over into secular art forms (e.g., Hindu deities depicted in Ragamala
painting* in India, or Zen Buddhist sensibilities applied to ceramic production and flower
arranging in Japan). Elegant and elaborate decorative programs featuring floral and
animal designs are commonly found on decorative arts from East Asia.
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1
10-20: Heavenly Maidens,
p. 313; 10-20: Descent of
the Ganges, p. 316; 1025: Cat in Yogic Posture,
p. 316; 10-20: Erotic
Sculptures, Kandariya
Mahadeva Temple, p. 319
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 11
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 307
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 11
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
299; The Mathura
Style, pp. 307–308;
Mudras, p. 308;
Descent of the
Ganges Relief at
Mamallapuram, pp.
316–317
Essential Knowledge 8-4a. Trade greatly affected the development of Asian cultures and
Asian art. Two major methods for international trade connected Asia: the Silk Route that
linked Europe and Asia, connecting the Indian subcontinent to overland trade routes
through Central Asia, terminating in X’ian, China, and the vast maritime networks that
See Chapter 11
utilized seasonal monsoon winds to move trade between North Africa, West Asia, South
and Southeast Asia, and south China. These routes were the vital mechanism for the
transmission of cultural ideas and practices, such as Buddhism, and of artistic forms,
media, and styles across mainland and maritime Asia.
Learning Objective
1.3
Essential Knowledge 8-4b. Asian arts and architecture reveal exchanges of knowledge in
visual style, form, and technology with traditions farther west. Early connections with the
Greco–Roman world are evident in the Hellenistic-influenced artistic style and subjects
found in artwork associated with ancient Gandharan culture in Afghanistan and Pakistan
(Gandhara bridges what is categorized as West and East Asian content in AP Art History;
influence of Gandharan art is observed in the Buddha of Bamiyan). Early Buddha
sculptures in north India, China, and Japan wear a two-shouldered robe based upon the
The Gandhara Style,
Roman toga. South and Southeast Asia had early contact with Islam through trade and
pp. 306–307
in western India, through military campaigns. In the 12th and 13th centuries, Islamic
sultanates arose in these lands, creating another layer of cultural practices and
interactions and impacting Asian visual culture through the importation and creation of
new art forms and styles. Innovations based upon Islamic influence in these areas
include the use of paper for manuscripts and paintings, as well as the adoption of Mughal
styles in Hindu court architecture, painting, and fashion. European influence is evident in
the evolution of architectural styles, and in the adoption of naturalism and perspective in
Asian painting traditions during the colonial era.
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1
Essential Knowledge 8-4c. Asian Art forms had great influence upon the arts of West Asia
and Europe. Art and ideas were exchanged through trade routes. The impact of Asian art
is especially evident during times of free exchange, such as the Silk Route during the
Han and Tang Dynasties and Mongol Empire, the colonial era, and the opening of Japan
for trade in the 19th century. In West Asia and Europe, collectors acquired Asian art
works through gift or trade. Ceramics created in China, from Tang slipwares to high-fire
porcelains, have been coveted internationally for over one thousand years. The
popularity of Chinese blue-and-white porcelain was so high that ceramic centers in Iran, See Chapter 11
Turkey, and across Europe developed local versions of blue-and-white ceramics to meet
market demand. Textiles are also a very important Asian art form and dominated much
of the international trade between Europe and Asia. Silk and silk weaving originated in
China, where it flourished for thousands of years. Cotton was first spun and woven in the
Indus Valley region of Pakistan and was, like silk, important for international trade. Crosscultural comparisons may be made most readily between the arts of South, East, and
Southeast Asia and arts of the ancient Mediterranean, medieval Europe, and West Asia.
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Page 21 of 72
Learning Objective
Neolithic Cultures, pp. 1.1; Learning
332–334; Bronze Age Objective 1.3;
China, pp. 334–336
Learning Objective
1.4
Big Idea 1: Artists
11-2: Bowl, p. 332; 11-4:
Cong, p. 334; 11-5:
or event
Covered Wine-Pouring
Big Idea 2: Art
Vessel (Guang), With
making is shaped by
Tiger and Owl Decor, p.
336
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
people within Asia.
Stokstad Art
History 5e, 2014
Student Edition
The Middle Kingdom,
pp. 332–334
Big Ideas
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Map 11-1: China and
Korea, p. 333
Learning Objective
1.3; Learning
Objective 2.1
Big Idea 1: Artists
11-8: Incense Burner, p.
or event
339; 11-9: Tomb Model of
Big Idea 2: Art
a House and Tower, p.
making is shaped by
341
Big Idea 3:
are variable
Learning Objective
1.3
See Chapter 10
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Daoism, p. 338;
Daoism and Nature,
p. 339; Confucianism
and the State, pp.
340–341; Art and Its Learning Objective
1.3; Learning
Contexts: Confucius
and Confucianism, p. Objective 1.4
342; Buddhist Art and
Architecture, pp. 344,
345; Bodhisattva
Seated in Meditation,
p. 357
11-8: Incense Burner, p.
339; 11-10: Detail of
Admonition of the
Imperial Instructress to
Court Ladies, p. 342; 1112: Seated Buddha, Cave
20, Yungang, p. 344
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Buddhist Art and
345; Seated Guanyin Learning Objective
1.3
Bodhisattva, p. 350;
Bodhisattva Seated in
Meditation, p. 357
11-12: Seated Buddha,
Cave 20, Yungang, p.
344; 11-13: Altar to
Amitabha Buddha, p. 345;
11-14: The Western
Paradise of Amitabha
Buddha, p. 346
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 24
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 10
See Chapter 24
Learning Objective
1.1; Learning
Architecture, p. 341; Objective 1.4;
Nanchan Temple, pp. Learning Objective
346–347; Elements of 2.1; Learning
Architecture:
Objective 2.2;
Pagodas, p. 351
Learning Objective
3.1; Learning
Objective 3.2
Page 22 of 72
Examples
Learning Objective
1.3
world’s great civilizations and ruling dynasties, including the following: Gupta India, Han
Han Dynasty, pp.
China, Khmer Cambodia, and Heian Japan. The shared cultural ideas in each region and
338–341
Learning
Objectives
Learning Objective
1.3
Big Idea 1: Artists
11-9: Tomb Model of a
or event
House and Tower, p. 341;
Big Idea 2: Art
11-15: Nanchan Temple,
making is shaped by
Wutaishan, p. 346
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Learning
Objectives
Examples
Big Ideas
printing.
Elements of
Architecture:
Pagodas, p. 351;
Northern Song
Painting, pp.
351–353; Southern
Song Painting, pp.
354–355
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
11-16: Great Wild Goose
Pagoda at Ci’en Temple,
Chang’an, p. 347; 11-21:
Travelers Among
Mountains and Streams,
p. 352; 11-24: Section of
Twelve Views of
Landscape, pp. 354–355
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Technique: Piece-Mold
Casting, p. 335; Art
and Its Contexts:
Chinese Characters,
p. 337; Calligraphy, p.
343
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1;
Learning Objective
3.2
11-5: Covered WinePouring Vessel (Guang),
With Tiger and Owl Decor,
p. 336; 11-11: Portion of
a Letter from the Feng Ju
Album, p. 343
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Buddhist Art and
345; Seated Guanyin
Bodhisattva, p. 350;
Bodhisattva Seated in
Meditation, p. 357
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
Cave 20, Yungang, p.
344; 11-13: Altar to
Amitabha Buddha, p. 345;
11-14: The Western
Paradise of Amitabha
Buddha, p. 346
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Northern Song
Painting, pp.
351–353; Southern
Song Painting, pp.
354–355
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1
11-21: Travelers Among
Mountains and Streams,
p. 352; 11-24: Section of
Twelve Views of
Landscape, pp. 354–355
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Buddhist Art and
345; A Broader Look: Learning Objective
The Silk Road During 1.3
the Tang Period, p.
349
Big Idea 1: Artists
or event
11-19: Camel Carrying a
Big Idea 2: Art
Group of Musicians, p. 349
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Buddhist Art and
Objective 2.1;
Learning Objective
345
2.2; Learning
Objective 3.1
Big Idea 1: Artists
or event
Big Idea 2: Art
Cave 20, Yungang, p. 344
making is shaped by
Big Idea 3:
are variable
Page 23 of 72
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Buddhist Art and
popularity of Chinese blue-and-white porcelain was so high that ceramic centers in Iran,
The Silk Road During
the Tang Period, p.
349
12 Japanese Art before
1333
pp. 360-381
Asia 300 B.C.E.–1980 C.E.
people within Asia.
Prehistoric Japan, pp.
362–364
Japanese Art Before
1333, p. 361; Heian
Period, pp. 369–376
Big Ideas
Big Idea 1: Artists
or event
11-19: Camel Carrying a
Big Idea 2: Art
Group of Musicians, p. 349
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
Big Idea 1: Artists
12-2: Haniwa, p. 349; 12- or event
3: Main Hall, Inner Shrine, Big Idea 2: Art
p. 364
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1
See Chapter 10
Examples
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Japanese Art Before
1333, p. 361; Asuke
Period,368; Heian
Buddhism, which arrived in China in the early centuries of the Common Era, shared clear Shinto & The Ase
Shrine, pp. 363–364
Page 24 of 72
Learning
Objectives
12-8: Great Buddha Hall
(Daibutsuden), Todaiji,
Nara, p. 370; 12-12:
Amida Buddha, p. 373
12-2: Haniwa, p. 363; 123: Main Hall, p. 364; 128: Great Buddha Hall
(Daibutsuden), Todaiji,
Nara, p. 370; 12-12:
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3
See Chapter 10
Learning Objective
1.3; Learning
Objective 1.4
Big Idea 1: Artists
12-2: Haniwa, p. 349; 12- or event
3: Main Hall, Inner Shrine, Big Idea 2: Art
p. 364
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Asuka Period, pp.
364–366; Nara
Buddhist Symbols, p.
368; Recovering the
Past: The Great
Buddha Hall, p. 370;
Pure Land Buddhist
Art, p. 371
Learning
Objectives
Examples
Big Ideas
Learning Objective
1.3
Big Idea 1: Artists
12-6: Buddha Shaka and
Attendant Bodhisattvas in
or event
the Horyuji Period, p.
Big Idea 2: Art
367; 12-10: Womb World
making is shaped by
Mandala, p. 371; 12-12:
Big Idea 3:
are variable
See Chapter 24
Learning Objective
1.3
See Chapter 24
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
The Ase Shrine, pp.
363–364; Horyuji, pp.
365–366; Recovering
the Past: The Great
Buddha Hall, p. 370;
Byodin, p. 373; Raigo
Paintings, pp. 378–
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
12-3: Main Hall, Inner
Shrine, p. 364; 12-4:
Aerial View of Horyuji
Compound, p. 366; 1211: Phoenix Hall, Byodin
Uji, p. 372
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
printing.
See Chapter 26
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
See Chapter 26
Writing, Language,
and Culture, p. 365;
Secular Painting and
Calligraphy, p.
373–376
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1;
Learning Objective
3.2
Big Idea 1: Artists
12-13: Book Page from
or event
the Ishiyama-Gire, p.
Big Idea 2: Art
375; 12-14: Scene from
making is shaped by
Frolicking Animals, p. 376
Big Idea 3:
are variable
A Broader Look:
Daruma, Founder of
Zen, p. 380; Zen
Buddhist Art, p. 381
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
12-18: Daruma, p. 380;
12-19: Portrait of the
Chinese Chan Master
Lanxi Daolong, p. 380
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 26
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 26
Page 25 of 72
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
See Chapter 11
Horyuji, pp. 365–366;
Nara Period, pp.
Contexts: Buddhist
Symbols, p. 368
popularity of Chinese blue-and-white porcelain was so high that ceramic centers in Iran, See Chapter 11
13 Art of the Americas
before 1300
pp. 382-407
Indigenous Americas 1000
B.C.E.–1980 C.E.
Enduring Understanding 5-1. Art of the Indigenous Americas is
among the world’s oldest artistic traditions. While its roots lie in
northern Asia, it developed independently between c. 10,000
B.C.E. and 1492 C.E., which marked the beginning of the
European invasions. Regions and cultures are referred to as the
Indigenous Americas to signal the priority of First Nations cultural
traditions over those of the colonizing and migrant peoples that
have progressively taken over the American continents for the
last 500 years.
Enduring Understanding 5-2. Ancient Mesoamerica encompassed
what is now Mexico (from Mexico City southward), Guatemala,
Belize, and western Honduras, from 15,000 B.C.E. to 1521 C.E.,
which was the time of the Mexica (Aztec) downfall. General
cultural similarities of ancient Mesoamerica include similar
calendars, pyramidal stepped structures, sites and buildings
oriented in relation to sacred mountains and celestial
phenomena, and highly valued green materials, such as jadeite
and quetzal feathers.
Learning
Objectives
Examples
Big Ideas
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3
See Chapter 11
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1
Big Idea 1: Artists
12-6: Buddha Shaka and aesthetic object, act,
Attendant Bodhisattvas in or event
the Horyuji Period, p.
Big Idea 2: Art
367; 12-12: Amida
making is shaped by
Buddha, p. 373
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
See Chapter 11
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 5-1a. Art of the Indigenous Americas is categorized by geography
and chronology into the designations of Ancient America and Native North America.
“Ancient America” is the category used for art created before 1550 C.E., south of the
current U.S.–Mexico border. This region is traditionally divided into three main areas of
culture: Mesoamerica, Central America*, and Andean South America. “Native North
America” denotes traditionally oriented cultures north of the U.S.–Mexico border from
ancient times to the present, with an emphasis on 1492 C.E. to today. Native North
America has many regional subunits, such as the Northwest Coast, Southwest, Plains,
and Eastern Woodlands.
Art of the Americas
Before 1300, p. 383;
The New World, p.
Learning Objective
384; Mesoamerica,
2.1; Learning
pp. 384–396; Central
Objective 2.2
America, pp.
396–410; North
13-1: Offering 4, La
Venta, p. 382; 13-2:
Great Pyramid and
Plazza, La Venta, p. 386;
31-11: Portrait of Pakal
the Great, p. 393; 13-16:
Lanzon, Chavin de
Huantar, p. 398
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 5-1b. Artistic traditions of the indigenous Americas exhibit
overarching traits: content that emphasizes unity with the natural world and a fivedirection (North, South, East, West, Center) cosmic geometry; spirituality based in
visionary shamanism; high value placed on animal-based media, such as featherwork,
bone carving, and hide painting; incorporation of trade materials (e.g., greenstones such
as turquoise and jadeite, shells such as the spiny oyster, and in the case of Native North
America, imported beads, machine-made cloth, and glazes); stylistic focus on the
essence rather than the appearance of subjects; and creation of aesthetic objects that
have a strong functional aspect, reference, or utility (e.g., vessels, grinding platforms,
and pipes). What is called “art” is considered to have, contain, and/or transfer life force
rather than simply represent an image. Likewise, art is considered participatory and
active, rather than simply made for passive viewing.
Teotihuacan, pp.
387–390; A Closer
Look: Shield Jaguar
and Lady Xok, p. 394;
The Cosmic Ballgame,
p. 395; Technique:
Andean Textiles, p.
397; The Paracas and
Nazca Cultures, p.
399; The Tomb of a
Warrior Priest, p. 401
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
13-4: Ceremonial Center
of the City of Teotihuacan,
p. 387; 13-15:
Supernatural Figure with
Drum and Snake, p. 397;
13-17: Mantel with Double
Fish Pattern, p. 399; 1320: Earspool. P. 401
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 5-2a. Three major distinct cultures and styles of Ancient
Mesoamerica (Middle America) were the Olmec, Maya, and Mexica (aka Aztec — the
empire was dominated by the Mexica ethnic group). The Olmec existed during the first
millennium B.C.E., primarily in the Gulf Coast; the Mayan culture peaked during the first
millennium C.E. in eastern Mesoamerica (the Yucatan Peninsula, Guatemala, Belize, and
Honduras); and the Mexica existed from 1428 to 1521 C.E. in the region of central
Mexico, though subordinating most of Mesoamerica. (Other important cultures include
Teotihuacan, Toltec, West Mexican, Mixtec, and Zapotec.)* Styles from the various
Mesoamerican cultures differed markedly. Mesoamerican pyramids began as early
earthworks, changed to nine-level structures with single temples, and then later became
structures with twin temples. Sacred sites were renovated and enlarged repeatedly over
the centuries, resulting in acropoli and massive temples. Architecture was mainly stone
post-and-lintel, often faced with relief sculpture and painted bright colors, emphasizing
large masses that sculpt outdoor space. Plazas were typical for large ritual gatherings.
Elaborate burials and other underground installations to honor the role of the Underworld
were also found.
Mesoamerica, p. 384;
The Olmec, pp.
384–387;
Teotihuacan, pp.
387–390; The Maya,
pp. 390–396
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
13-19: Moche Portrait
Vessel, p. 400; Beaver
Effigy Platform Pipe, p.
402; 13-25: Bowl with
Scorpions, p. 404; 13-28:
Anthropomorphs, The
Great Gallery, Horseshoe
Canyon, p. 406
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Page 26 of 72
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Examples
Big Ideas
Essential Knowledge 5-2b. Mesoamerican sculptural and two-dimensional art tended
toward the figural, particularly in glorification of specific rulers. Mythical events were also
depicted in a realistic, figural mode. Despite the naturalistic styles and anthropomorphic
interpretations of subject matter, shamanic transformation, visions, and depiction of
other cosmic realms figure prominently in Mesoamerican art. Art was produced primarily
in workshops, but certain individual artists’ styles have been identified (particularly in
Maya), and some works of art were signed. Artists were typically elite specialists and,
among the Maya, the second sons of royalty. Rulers were the major, but not the only,
patrons. Audiences were both large, for calendrical rituals in plazas, and small, for
gatherings of priests and nobles inside small temples atop pyramids. Some audiences
were supernatural, as for the elaborate graves considered to be located in the
Underworld.
Teotihuacan, pp.
387–390; Palenque,
392–393; A Closer
Link: Shield Jaguar
and Lady Xok, p. 394;
Arts and Its Contexts:
p. 395
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
13-6: Pyramid of the
Feathered Serpent, p.
388; 13-11: Portrait of
Pakal the Great, p. 393;
13-13: Cylindrical Vessel
with Ballgame Scene, p.
395; 13-15: Supernatural
Figure with Drum and
Snake, p. 397; 13-16:
Lanzon, Chavin de
Huantar, p. 398
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
13-13:
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 5-2c. Mesoamerica has had an influence on its invaders and the
world at large since the 16th century. Mesoamerica is the origin of many of the world’s
staple foods: chocolate, vanilla, tomatoes, avocados, and maize (corn). Mesoamericans
discovered rubber, invented the first ballgame, and included a number of matrilinear and
matriarchal cultures (promoting women’s power). Recognition of the importance of this
area in world history and art has lagged, but it increases as inclusiveness and
multiculturalism grow in scholarship and popular consciousness. Indigenous culture
continues: over seven million people speak Mayan languages today, and over one million
speak Nahuatl, the Aztec language.
Enduring Understanding 5-3. The ancient Central Andes
comprised present-day southern Ecuador, Peru, western Bolivia,
and northern Chile. General cultural similarities across the Andes
include an emphasis on surviving and interacting with the
challenging environments, reciprocity and cyclicality (rather than
individualism), and reverence for the animal and plant worlds as
part of the practice of shamanistic religion.
Learning Objective
Mesoamerica, pp.
1.3; Learning
384–396; Arts and Its
Objective 2.1;
Contexts: Maya
Learning Objective
Writing, p. 390
2.2
Essential Knowledge 5-2d. When Mexico was first discovered by Europe, gifts of Mexica
art sent to Charles V alerted such artists as Albrecht Dürer to the unfamiliar but
impressive media and images from the New World. Colonial artists preserved certain preHispanic traditions both overtly and covertly in their art. After independence from Spain
See Chapter 27
(in the early 19th century), the Aztec were claimed in nationalistic causes and national
museums were created to promote ancient art. Twentieth-century muralists, such as
Diego Rivera, overtly incorporated themes from the Mexica past. Twentieth-century
European and American artists, such as Henry Moore* and Frank Lloyd Wright, were
strongly influenced by the sculpture and architecture of ancient Mesoamerica as well.
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 2.3
See Chapter 27
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 5-3a. As with ancient Mesoamerica, the Central Andes was a seat of
culture and art parallel to the “Old” World in antiquity, diversity, and sophistication.
Baskets from this region have been found dating to as early as 8800 B.C.E., proving
early peopling from Asia through the rest of the Americas was accomplished by Neolithic
times. Chavín and Inka were representative and distinct early and late cultures/styles
respectively (Chavín: c. 1200–500 B.C.E. in the northern highlands with reach to the
South America: The
southern coast; Inka: 1438–1534 C.E. covering the entire Central Andes), although
many other important, art-producing cultures existed between them. Similarities within Central Andes, pp.
397–401
Central Andean cultures can be traced to the influence of three significantly distinct
ecosystems in close proximity: the dominant Andes mountains, a narrow desert coast,
and the planet’s largest rain forest, the Amazon. These environments necessarily play a
central role in art, influencing the materials (especially the prominence of camelid fiber
and cotton textiles), political systems (coastal diversity, highland impulses toward
unification), and overall values such as reciprocity, asymmetrical dualism, and travel
across long distances.
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
13-16: Lanzon, Chavin de
Huantar, p. 398; 13-17:
Mantel with Double Fish
Pattern, p. 399; 13-18:
Earth Drawing of a
Hummingbird, p. 400; 1320: Earspool, p. 401
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 5-3b. The necessity to interact with three disparate environments
(mountains, desert coast, and rainforest) in order to survive instilled in Andean culture
and art an underlying emphasis on trade in exotic materials. Complex ties linked coast
with highlands; these connections brought forth themes of reciprocity, interdependence,
contrast, asymmetry, and dualism. Accordingly, most Andean art seems to have been
made by collaborative groups — the best known being the Inka high-status aclla
weavers (the empire’s most talented women weavers, kept cloistered). A hierarchy of
materials was based on availability and/or requirement for collaboration to manipulate
the materials. Featherwork, textiles, and greenstone were at the top of the materials
hierarchy; metalwork, bone, obsidian, and stone toward the middle; and ceramics and
wood at the lower end of the hierarchy. Textiles were a primary medium and were
extraordinarily well preserved on the desert coast, fulfilling key practical and artistic
functions in the various environmental zones.
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1
Big Idea 1: Artists
13-17: Mantel with Double aesthetic object, act,
Fish Pattern, p. 399; 13- or event
19: Moche Portrait Vessel, Big Idea 2: Art
p. 400; 13-20: Earspool, making is shaped by
p. 401
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
13-16: Lanzon, Chavin de
Huantar, p. 398; 13-17:
or event
Mantel with Double Fish
Big Idea 2: Art
Pattern, p. 399; 13-19:
making is shaped by
Moche Portrait Vessel, p.
400
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Technique: Andean
Textiles, p. 397;
Chavin DeHuantar, p.
398; The Paracas and
Nazca Cultures, p.
399–400; The Tomb
of the Warrior Priest,
p. 401
Essential Knowledge 5-3c. Andean art tends to explore the terrestrial (e.g., animal and
plant imagery, mountain veneration, sculpting of nature itself, and organic integration of
architecture with the environment). It also concerns the nonterrestrial via abstraction
South America: The
and orientation toward the afterlife and the other realms of the cosmos. Peoples of the
Central Andes, pp.
Andes practiced the world’s earliest and most persistent artificial mummification (in
397–401
many forms, from 5500 B.C.E. onward), and almost all art became grave goods for use
in the afterlife. Shamanic visionary experience was a strong theme, especially featuring
humans transforming into animal selves.
Essential Knowledge 5-3d. The European invasions prevailed beginning in 1534 C.E.;
however, indigenous descendants of ancient peoples remain: 8 to 10 million people still
speak Quechua, the Inka language. Being more distant geographically and aesthetically,
Andean art was less well known to early modern Europe and current society than
See Chapter 27
Mesoamerican art. However, some key modern Euro–American artists, such as Paul
Gauguin, Josef and Anni Albers*, and Paul Klee*, found inspiration in ancient Peruvian
textiles and ceramics. Modern Latin American artists, such as Joaquín Torres Garcia of
Uruguay*, blended Inka art and architecture with modernist theory and style, exploring
a common abstract vocabulary.
Page 27 of 72
See Chapter 27
Chapter
Page
Numbers
Content Area
Learning
Objectives
Examples
Big Ideas
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
13-13: Cylindrical Vessel
with Ballgame Scene, p.
395; 13-15: Supernatural
Figure with Drum and
Snake, p. 397; 13-16:
Lanzon, Chavin de
Huantar, p. 398
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
13-24: Pelican
Figurehead, p. 403; 13or event
27: Pueblo Bonito, p. 405;
Big Idea 2: Art
13-28: Anthropomorphs,
making is shaped by
The Great Gallery,
Horseshoe Canyon, p. 406
Big Idea 3:
are variable
Essential Knowledge 5-5a. Indians, Native Americans, North American Indians (in the
United States), and First Nations (in Canada) are nonindigenous terms for the indigenous
See Chapter 27
peoples inhabiting areas north of what is now the U.S.–Mexico border, from ancient
times to the present. They did not have a collective name for themselves, being many
different tribes and nations.
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
See Chapter 27
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 5-5b. Native American art media include earthworks, stone and
adobe architecture, wood and bone carving, weaving and basketry, hide painting,
ceramics, quillwork and beadwork, and, recently, painting on canvas and other Europeanstyle media. Many Native American artworks are ritual objects to wear, carry, or use
The Woodland Period,
during special ceremonies in front of large audiences. Functionality of the object is
p. 401; The
preferred; the more active a work of art, the more it is believed to contain and transfer
Mississippian Period,
life force and power. Centuries of interaction with colonial and migrant peoples means
p. 402; The North
that some imported materials (e.g., glass beads, machine-made cloth, and ribbon) are
American Southwest,
now considered traditional. Likewise, in subject matter, the Spanish-introduced horse
pp. 404–407
has become a cultural and artistic staple, alongside the indigenous buffalo, raven, and
bear. European influence is inevitable but may be subtle. What is considered traditional
is constantly changing; there is no singular, timeless, authentic Native American art or
practice.
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
13-21: Beaver Effigy
Platform Pipe, p. 402; 1324: Pelican Figurehead, p.
403; 13-25: Bowl with
Scorpions, p. 404; 13-26:
Seed Jar, p. 404
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 27
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 27
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge
Essential Knowledge 5-4a. Archaeological excavation of works of art, monuments, and
cities/sites predating European invasion serves as the mainstay for reconstructing the art
and culture of ancient America, although the majority of surviving artworks were not
scientifically extracted. Spanish chronicles by invaders, friars, and colonists provide some
Enduring Understanding 5-4. Despite underlying similarities,
information about monuments and artistic practices of the last independent indigenous
there are key differences between the art of Ancient America and
peoples, such as the Inka, Mexica (known as Aztecs), and Puebloans; these sources can
Native North America with respect to its dating, environment,
be cautiously applied to earlier cultures’ basic values and approaches. Hieroglyphs of the
cultural continuity from antiquity to the present, and sources of
Mayas and Mexica illuminate text and image, historical, and artistic elements for those
information. Colonization by different European groups (Catholic
cultures. Ethnographic analogy highlights basic cultural continuities so that present
and Protestant) undergirds distinct modern political situations for
traditional practices, myths, and religious beliefs may illuminate past artistic materials,
Amerindian survivors. Persecution, genocide, and marginalization
creative processes, and iconography. Other disciplines, such as astronomy, botany, and
have shaped current identity and artistic expression.
zoology, help identify siting of cities and monuments, as well as native flora and fauna
subject matter. Like all art historical research, work in these areas uses iconographic and
formal analyses of large numbers of artworks and increasingly employs multidisciplinary
collaboration.
Essential Knowledge 5-4b. Sources of information for Native North American art include
archaeological excavations for precontact and colonial cultures, written ethnohistoric
documents, tribal history (oral and written), modern artists’ accounts and interviews,
and museum records. Colonial and modern mistreatment of American Indians means
that historical information sources may be highly contested by American Indians.
Divergent stories depend on whether native or white sources are used. Sometimes the
stories converge in a positive way, as in Maria and Julian Martínez’ revival of ancient
black-in-black ceramic techniques, which was encouraged by anthropologists.
Enduring Understanding 5-5. Although disease and genocide
practiced by the European invaders and colonists reduced their
population by as much as 90 percent, Native Americans today
maintain their cultural identity and uphold modern versions of
ancient traditions in addition to creating new art forms as part of
the globalized contemporary art world.
Stokstad Art
History 5e, 2014
Student Edition
Art of the Americas
Before 1300, p. 383;
The New World, p.
384; Mesoamerica,
pp. 384–396; Arts
and Its Contexts:
Maya Writing, p. 390;
p. 395; Central
America, pp.
396–410; Technique:
Andean Textiles, p.
397; North America,
pp. 401–407
North America, pp.
401–407; also see
Chapter 27
Essential Knowledge 5-5c. Different regions of Native America have broadly similar styles
of art, allowing grouping into Arctic*, Northwest Coast, Southwest, Plains, and Eastern
Woodlands, among others. Geometric patterning, figures (often mythic or shamanic),
and animals (e.g., snakes, birds, bison, and horses) are often seen. The various Native
American groups may be seen to share larger ideas of harmony with nature, oneness
See Chapter 27
with animals, respect for elders, community cohesion, dream guidance, shamanic
leadership, and participation in large rituals (such as potlatches and sun dances).
Postcontact art not only reflects these long-standing values, but it is also concerned with
the history of conflict within tribes and between indigenous people and the U.S. and
Canadian governments.
Essential Knowledge 5-5d. Intellectual pursuits apparent in artistic expressions include
astronomical observation; poetry, song, and dance; and medicine (curing and divining).
Artistic practices included workshops, apprentice–master relationships, and, less often,
solitary art making. Some specialization by gender (e.g., women weaving, men carving)
can be seen. Patrons might be the tribal leaders, an elder, or a family member.
Audiences mostly were the entire group, though some objects and performances were
restricted by their sacred or political nature.
Page 28 of 72
See Chapter 27
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Essential Knowledge 5-5e. Due to the history of suppression and forced assimilation into
white culture, influence of Native North American art on modern U.S. and European art
styles has been minimized. However, recent cultural revitalization of traditions and active
See Chapter 27
contemporary artistic production by self-taught and academically trained artists keep
Native American participation in global artistry alive. Strains range from self-conscious
revival of ancient arts, such as in Puebloan pottery, to cutting political commentary on
racism and injustice.
14 Early African Art
pp. 408-427
Africa 1100–1980 C.E.
Enduring Understanding 6-1. Human life, which is understood to
have begun in Africa, developed over millions of years and
radiated beyond the continent of Africa. The earliest African art
dates to 77,000 years ago. While interpretation of this art is
conjectural at best, the clarity and strength of design and
expression in the work is obvious.
Enduring Understanding 6-2. Human beliefs and interactions in
Africa are instigated by the arts. African arts are active; they
motivate behavior, contain and express belief, and validate social
organization and human relations.
Africa-The Cradle of
Essential Knowledge 6-1a. Early artistic expression on the African continent is found in
Art and Civilization, p.
410; African Rock Art,
the rock art of the Sahara and in southern Africa. Those works depict the animals that
lived in each region, human pursuits (e.g., herding, combat, and perhaps dance or some pp. 410–412; Art and
Its Contexts:
sort of regularized behavior), contact among different groups of people, and the use of
Southern African Rock
technologies (e.g., horses and chariots).
Art, p. 414
Examples
Big Ideas
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
See Chapter 27
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
Big Idea 1: Artists
14-2: Dancers in
or event
Ceremonial Attire, p. 413;
Big Idea 2: Art
14-4: Section of San Rockmaking is shaped by
Wall Painting, p. 414
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 6-1b. The now-deserts of the Sahara were once grasslands and an
original source of agriculture and animal husbandry. As the desert grew, it stretched
toward the still well-watered valley of the Nile and the culture of Pharaonic Egypt.
Resulting human migrations carried populations southward into central Africa and
eventually across the Congo River Basin. The arts, major world religions, and
international trade routes followed those paths and flourished in patterns of distribution
seen in Africa today.
Africa-The Cradle of
Art and Civilization, p.
410; Sub-Saharan
Learning Objective
Civilizations, pp.
1.3
412–419; Other
Urban Areas, pp.
419–427
Map 14-1: Ancient Africa,
p. 411; 14-2: Dancers in
Ceremonial Attire, p. 413;
14-3: Head, p. 413; 1417: Memorial Head of an
Oba, p. 417
Essential Knowledge 6-2a. Art in Africa is a combination of objects, acts, and events,
created in a wide variety of media (vocal, aural, and visual) and materials (wood, ivory,
metals, ceramic, fiber, and elements of nature) that are carved, cast, forged, modeled,
woven, and combined by recognized specialists for knowledgeable patrons.
Early African Art, p.
409; Africa-The
Cradle of Art and
Civilization, p. 410;
Nok Sculpture, pp.
412–413; Ife, p. 415;
A Closer Look: Roped
Pot on a Stand, p. 416
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
Big Idea 1: Artists
14-3: Head, p. 413; 14-6:
or event
Ritual Vessel, p. 415; 14Big Idea 2: Art
17: Memorial Head of an
making is shaped by
Oba, p. 417
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
14-5: Burial Chamber, p.
415; 14-17: Memorial
Head of an Oba, p. 417;
14-8: Photograph of an
Altar, p. 417
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.2; Learning
Objective 1.3;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
14-5: Burial Chamber, p.
415; 14-17: Memorial
Head of an Oba, p. 417;
14-8: Photograph of an
Altar, p. 417; 14-11:
Senior Town Chief, p.
421; 14-12: Oba
Erediauwa, p. 421
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 6-2b. Art reveals belief systems; it presents a world that is known
but not necessarily seen, predictable, or even available to everyone. These arts are
expressive rather than representational and often require specialized or supernaturally
ordained capabilities for their creation, use, and interpretation. African art is concerned
with ideas (beliefs and relationships that exist in the social and intellectual world) rather
than the with objects of the natural or physical world. Art is created for both daily use
and ritual purposes (such as leadership, religious beliefs, diagnosis and divination,
education, and personal adornment).
Igbo-Ukwu, pp.
414–415; Benin, pp.
416–417
Essential Knowledge 6-2c. Art forms may be prescribed by a diviner, commissioned by a
Igbo-Ukwu, pp.
supplicant, and produced by a specific artist. The art object comes under the
414–415; Benin, pp.
custodianship of the person who commissioned it or a member of his or her family.
416–417; A Broader
Performances of objects are accompanied by costumes and music. None of these
Look: A Warrior Chief
practices is simple or random. Cultural protocols acknowledge and ensure the efficacy
Pledging Loyalty, p.
and appropriateness of artistic experience in Africa. African art is sung, danced, and
420
presented in holistic experiences for designated audiences; it is created for specific
reasons and to produce expected results.
Enduring Understanding 6-3. Use and efficacy are central to the
art of Africa. African arts, though often characterized, collected,
and exhibited as figural sculptures and masks, are by nature
meant to be performed rather than simply viewed. African arts
are often described in terms of the contexts and functions with
which they appear to be associated.
Learning
Objectives
Essential Knowledge 6-3a. As in all arts, aspects of human experience (such as origins,
destinies, beliefs, physicality, power, and gender) are expressed through objects and
performances. Artistic expression in Africa is an integral part of social life, connecting
daily practices to beliefs, systems of power and authority, and social networks that link
people to their families, communities, and shared ancestors. African arts mark status,
identity, and cycles of human experience (e.g., maturational, seasonal, astronomical,
and liturgical).
Page 29 of 72
Learning Objective
A Broader Look: A
1.1; Learning
Warrior Chief Pledging Objective 1.3;
Loyalty, p. 420
Learning Objective
1.4
Big Idea 1: Artists
14-10: Plague: Warrior
Chief Flanked by Warriors
or event
and Attendants, p. 420;
Big Idea 2: Art
14-11: Senior Town Chief,
making is shaped by
p. 421; 14-12: Oba
Erediauwa, p. 421
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
Essential Knowledge 6-3b. Education, incorporation into adulthood, and civic
responsibility are processes marked by the creation, manipulation, and interpretation of
art objects. The arts of authority (both achieved and inherited status and roles)
legitimate traditional leadership. Leaders’ histories and accomplishments are often
entrusted to and lauded by historians, bards, and elders. Personal identity, social status,
and relationships are delineated by aesthetic choices and artistic expression. Common
ancestors link leaders, sanction social behavior and choices, and define the order of
social life.
Stokstad Art
History 5e, 2014
Student Edition
Learning Objective
1.1; Learning
Benin, pp. 416–419;
Objective 1.3;
A Broader Look: A
Learning Objective
Warrior Chief Pledging 1.4; Learning
Loyalty, p. 420
Objective 2.1;
Learning Objective
2.2
Essential Knowledge 6-3c. Urbanization and its monumental trappings (both bureaucratic
and architectural) often associated with “civilization” take many forms in Africa.
Administrative and liturgical centers exist apart from settlement that is often determined Benin, pp. 416–419;
Other Urban Areas,
by the spaces required for agriculture or herding. Seasonal climatic shifts and demands
pp. 419–427
of political relations affect the scale and distribution of built environments and arts that
mark them. The sites of Meroë, Timbuktu, Zimbabwe, Igbo Ukwu, and Kilwa Kisiwani
demonstrate that range of monumentalities.
Enduring Understanding 6-4. Outsiders have often characterized,
collected, and exhibited African arts as primitive, ethnographic,
anonymous, and static, when in reality Africa’s interaction with
the rest of the world led to dynamic intellectual and artistic
traditions that sustain hundreds of cultures and almost as many
languages, contributing dramatically to the corpus of human
expression. African life and arts have been deeply affected by
ongoing, cosmopolitan patterns of interaction with populations
around the world and through time.
Essential Knowledge 6-4a. African histories, often sung or recited, are traditionally the
responsibility of specialists. Outsiders often see those histories as timeless and
unchanging. The Africa we know often comes from ideas promulgated by foreigners since See Chapter 29
the ninth century — as though history were brought to, rather than originating from,
Africa.
Essential Knowledge 6-4b. As they have been traditionally collected by outsiders, African
art objects that are similar in form are often grouped with works that come from the
same place and are produced by a designated ethnic group. The name of the artist and
the date of creation are rarely acknowledged by the outsiders who collected them. These See Chapter 29
gaps in the record do not reflect a lack of interest on the part of those who commission,
use, and protect art objects; rather they are the result of ignorance and predisposition
by those collecting, describing, and explaining African art.
15 Early Medieval Art in
Europe
pp. 428-457
Learning
Objectives
Examples
Big Ideas
14-9: Hip Pendant
Representing an Iyoba, p.
419; 14-10: Plague:
Warrior Chief Flanked by
Warriors and Attendants,
p. 420; 14-11: Senior
Town Chief, p. 421; 1412: Oba Erediauwa, p.
421
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
Big Idea 1: Artists
14-14: Great Friday
or event
Mosque, p. 423; 14-15:
Big Idea 2: Art
Conical Tower: Great
Enclosure, p. 424; 14-17: making is shaped by
Bet Giorgis, p. 425
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
See Chapter 29
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 29
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Essential Knowledge 6-4c. Creative contributions of African life and arts are found in
populations around the world. Artistic practices were conveyed by and continue to be
serviced by African people and beliefs, from Macao to Manaus to Mauritania. These
creative contributions are reflected in diverse art forms, from the practices of Santeria to
Japanese screens and the paintings of Renaissance Venice. The literatures of Negritude
and the Harlem Renaissance expanded the notions of place and race to new levels that
are again changing in the contemporary diaspora. Although traditional African art forms
are usually described and exhibited, contemporary African arts have increased
awareness and understanding of the arts of the continent across the globe.
Kong Kingdom, pp.
425–426; Exporting to
the West, p. 427;
Think About it: 14-7,
p. 427; also see
Chapter 29
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
14-20: Crucifix, p. 426;
14-21: Sapi-Portuguese
Style Hunting Horn, p.
427
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Early Medieval Art in
Europe, p. 429; The
Early Middle Ages, p.
430; Art and Its
Contexts: Defining the
Middle Ages, p. 431;
The Early Christian Art
of the British Isles,
pp. 435, 438; A
Broader Look: The
Lindisfarne Gospels,
pp. 436–437; Art and
Its Contexts: The
Medieval Scriptorium,
p. 438; Mozarabic Art
in Spain, pp.
439–440; The
Carolingian Empire,
pp. 444–451;
Ottonian Europe, pp.
452–457
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
15-5: Symbol of the
Evangelist Matthew,
Gospel Book of Durrow, p.
435; 15-7: Matthew
Writing His Gospel,
Lindisfarne Gospel Book,
p. 437; 15-21: Crucifixion
with Angels and Mourning
Figures, Lindau Gospels,
p. 451
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Page 30 of 72
Chapter
Page
Numbers
Content Area
Stokstad Art
Learning
History 5e, 2014
Objectives
Student Edition
The Early Christian Art
of the British Isles,
pp. 435, 438; A
Broader Look: The
Lindisfarne Gospels,
Learning Objective
Its Contexts: The
Medieval Scriptorium, 2.1; Learning
p. 438; Mozarabic Art Objective 2.2
in Spain, pp.
439–440; The
Carolingian Empire,
pp. 444–451;
452–457
Examples
Big Ideas
15-10: Woman Clothed
with the Sun, The Morgan
Beatus, p. 439; 15-21:
Crucifixion with Angels
and Mourning Figures,
Lindau Gospels, p. 451;
15-15: Equestrian Portrait
of Charles the Bald, p.
444; 15-20: Page with St.
Matthew the Evangelist,
Ebbo Gospels, p. 449
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
15-1: Chi Rho Iota Page
from the Book of Kells, p.
428; 15-5: Symbol of the
Evangelist Matthew,
Gospel Book of Durrow, p.
435; 15-7: Matthew
Writing His Gospel,
Lindisfarne Gospel Book,
p. 451
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Mozarabic Art in
Spain, pp. 439–440;
Illustrated Books, pp.
Learning Objective
prioritized the study of theology, music, literary and poetic invention, and in the Islamic 448–450; A Closer
2.1; Learning
world, scientific and mathematical theory. Cultural and artistic exchanges were facilitated Look: Psalm 23 in the
Objective 2.2
Utrecht Psalter, p.
450; Illustrated
Books, pp. 456–457
15-10: Woman Clothed
with the Sun, The Morgan
Beatus, p. 439; 15-20:
Page with St. Matthew the
Evangelist, Ebbo Gospels,
p. 451
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.4
15-16: Interior View and
Section Drawing, Palace
Chapel of Charlemagne,
p. 445; 15-17: Westwork,
Abbey Church of Corvey,
p. 446; 15-23: Plan and
Interior of St. Cyriakus,
Gernrode, p. 453
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
15-20: Page with St.
Matthew the Evangelist,
or event
Ebbo Gospels, p. 449; 15Big Idea 2: Art
21: Crucifixion with Angels
making is shaped by
and Mourning Figures,
Lindau Gospels, p. 451
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge
Early Medieval Art in
Europe, p. 429; The
Early Middle Ages, p.
430; Art and Its
Contexts: Defining the
Middle Ages, p. 431;
The Art of the
Barbarians in Europe,
pp. 431–434; The
Early Christian Art of
the British Isles, pp.
435, 438; A Broader
Look: The Lindisfarne
Gospels, pp.
Contexts: The
Medieval Scriptorium,
p. 438; Mozarabic Art
in Spain, pp.
439–440; The Viking
Era, pp. 441–443;
The Carolingian
Empire, pp. 444–451;
452–457
and ornament.
Carolingian
Architecture, pp.
444–448; Ottonian
Architecture, pp.
452–454
Illustrated Books, pp.
448–450; A Closer
Look: Psalm 23 in the
Utrecht Psalter, p.
450; Illustrated
Books, pp. 456–457
See Chapters 7 & 8
Page 31 of 72
See Chapters 7 & 8
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
21, 22, & 23
the study of art.
21, 22, & 23
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning
Objectives
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
21, 22, & 23
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
21, 22, & 23
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 3.1
21, 22, & 23
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
21, 22, & 23
decorative).
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 2.3
Page 32 of 72
Examples
Big Ideas
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
16 Romanesque Art
pp. 458-493
Examples
Big Ideas
p. 944; 30-47: Mission
See Chapter 22
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Romanesque Art, p.
459; Europe in the
Romanesque Period,
pp. 460–461;
Romanesque Art, pp.
461–462;
Architecture, pp.
462–478;
Architectural
Sculpture, pp.
478–484; Sculpture in
Wood and Bronze, pp.
485–487; Textiles and
Books, pp. 487–493
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
16-1: Christ and Disciples
on Road to Emmaus, p.
458; 16-7: Reliquary
Statue of Sainte Foy (St.
Faith), p. 467; 16-13:
Christ in Majesty, p. 473;
16-15: Tower of Babel, p.
474
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Romanesque Art, pp.
461–462;
Architecture, pp.
Learning Objective
462–478;
2.1; Learning
Architectural
Objective 2.2
Sculpture, pp.
485–487
16-2: St-Martin-DuCanigou, p. 462; 16-4:
Plan and Reconstruction
Drawing of the Cathedral
of St. James, Santiago de
Compestela, p. 465
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
16-1: Christ and Disciples
on Road to Emmaus, p.
458; 16-7: Reliquary
Statue of Sainte Foy (St.
Faith), p. 467; 16-13:
Christ in Majesty, p. 473;
16-15: Tower of Babel, p.
474
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Textiles and Books,
pp. 487–493; Art and Learning Objective
Its Contexts:
2.1; Learning
Hildegard of Bingen,
Objective 2.2
p. 492
16-32: Those Who Work;
Those Who Fight; Those
Who Pray—The Dream of
Henry I, Worcester
Chronical, p. 490; 16-33:
St. Matthew from the
Codex Colbertinus, p. 491
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
See Chapter 22
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
Romanesque Art, p.
459; Europe in the
Romanesque Period,
pp. 460–461;
Romanesque Art, pp.
461–462;
Architecture, pp.
462–478;
Architectural
Sculpture, pp.
485–487
Learning
Objectives
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Stokstad Art
History 5e, 2014
Student Edition
Page 33 of 72
Chapter
Page
Numbers
Content Area
Examples
Big Ideas
and ornament.
Architecture, pp.
Architecture: The
Learning Objective
Romanesque Church
1.1; Learning
Portal, p. 478;
Objective 1.4
Architectural
Sculpture, pp.
478–484
16-2: St-Martin-DuCanigou, p. 462; 16-4:
Plan and Reconstruction
Drawing of the Cathedral
of St. James, Santiago de
Compestela, p. 465
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
The Benedictine
Church of San
Clemente in Rome,
Its Contexts: The
Paintings of San
Climent in Taull:
Mozarbic Meets
Byzantine, p. 473; A
Broader Look: The
Bayeux Embroidery,
pp. 488–489
16-12: Stags Drinking
from Streams Flowing
Under the Crucified Christ,
p. 472; 16-33: St.
Matthew from the Codex
Colbertinus, p. 491
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 7 & 8
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
See Chapters 7 & 8
21, 22, & 23
the study of art.
Page 34 of 72
21, 22, & 23
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
21, 22, & 23
Learning
Objectives
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
3.1; Learning
Objective 3.2
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
21, 22, & 23
17 Gothic Art of the
Twelfth and Thirteenth
Centuries
pp. 494-529
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
17-1: Scenes from
Genesis, p. 494; 17-8:
Masons at Work, p. 504;
17-21: Queen Blanche of
Castile and Louis IX, p.
514; 17-37: Crucifix, p.
527; 17-39: The Miracle
of the Crib at Greccio, p.
529
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
21, 22, & 23
decorative).
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 2.3
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
Page 35 of 72
Big Ideas
22, & 23
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 3.1
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Gothic Art of the
Twelfth and
Thirteenth Century, p.
495; The Emergence
of the Gothic Style,
pp. 496–497; Gothic
Art in France, pp.
497–515; Gothic Art
in England, pp.
in Germany and The
Holy Roman Empire,
Art in Italy, pp.
525–529
Examples
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
21, 22, & 23
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning
Objectives
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Chapter
Page
Numbers
Content Area
Learning
Objectives
Examples
Big Ideas
Learning Objective
2.1; Learning
Objective 2.2
17-6: Royal Portal, West
Façade, Chartres
Cathedral, p. 502; 17-10:
Good Samaritan Window,
p. 506; 17-19: Upper
Chapel Interior, The SaintChappelle, p. 513
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
17-2: Plan of the Choir
and View of the
Ambulatory and Apse
Chapels of the Abbey
Church St-Denis, p. 496;
Façade, Chartres
Interior Looking West,
Reims Cathedral, p. 510;
17-19: Upper Chapel
Interior, The SaintChappelle, p. 513
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
The Rise of Urban and
Intellectual Life, pp.
Learning Objective
prioritized the study of theology, music, literary and poetic invention, and in the Islamic 496–497; Illuminated
2.1; Learning
world, scientific and mathematical theory. Cultural and artistic exchanges were facilitated Manuscripts, pp.
Objective 2.2
514–515; Manuscript
Illumination, 515–518
514; 17-22: Moralizations
from the Apocalypse, p.
515; 17-23: Self-Portrait
Kneeling Before the Virgin
and Child, p. 517
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
and ornament.
The Age of
Cathedrals, p. 497;
Elements of
Architecture: Rib
Vaulting, p. 499;
Learning Objective
Gothic Cathedrals, pp.
1.1; Learning
499–511, 515; A
Objective 1.4
Broader Look: The
Saint-Chapelle in
Paris, pp. 512–513;
Architecture, pp.
518–520, 521–523
17-2: Plan of the Choir
and View of the
Ambulatory and Apse
Chapels of the Abbey
Church St-Denis, p. 496;
Façade, Chartres
Interior Looking West,
Reims Cathedral, p. 510;
17-19: Upper Chapel
Interior, The SaintChappelle, p. 513
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Illuminated
Manuscripts, pp.
Illumination,
515–518; Sculpture,
pp. 523–524;
Sculpture: The Pisano
Family, pp. 525–527;
Painting, pp. 527–529
514; 17-22: Moralizations
from the Apocalypse, p.
515; 17-33: Ekkehard and
Uta, p. 524; 17-39: The
Miracle of the Crib at
Greccio, p. 529
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 7 & 8
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Gothic Art in France,
Art in England, pp.
in Germany and The
Holy Roman Empire,
Art in Italy, pp.
525–529
Abbot Suger on the
Value of Art in
Monasteries, p. 497;
The Age of
Cathedrals, p. 497;
Elements of
Architecture: Rib
Vaulting, p. 499;
Gothic Cathedrals, pp.
medieval art was influenced by Roman, Islamic, and migratory art, and European Islamic 499–511, 515; A
Broader Look: The
Saint-Chapelle in
Paris, pp. 512–513;
Architecture, pp.
518–520, 521–523;
Sculpture, pp.
523–524
See Chapters 7 & 8
Page 36 of 72
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
3.1; Learning
Objective 3.2
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
21, 22, & 23
the study of art.
21, 22, & 23
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning
Objectives
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
21, 22, & 23
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
21, 22, & 23
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 3.1
21, 22, & 23
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
21, 22, & 23
decorative).
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 2.3
Page 37 of 72
Examples
Big Ideas
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
18 Fourteenth-Century Art
pp. 530-561
in Europe
Learning
Objectives
Examples
Big Ideas
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 22
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Fourteenth-Century
Art in Europe, p. 531;
Fourteenth-Century
Europe, pp. 532–532;
Italy, pp. 533–548;
France, pp. 548–554;
England, pp.
554–557; The Holy
Roman Empire, pp.
557–561
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
18-1: Frescos of the Sala
Dei Nove, p. 530; 18-6:
Virgin and Child
Enthroned, p. 538; 18-15:
The Effects of Good
Government in the City
and in the Country, pp.
548–549; 18-26: St.
Luke, p. 560
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Italy, pp. 533–548;
France, pp. 548–554;
Learning Objective
England, pp.
2.1; Learning
554–557; The Holy
Objective 2.2
Roman Empire, pp.
557–561
Marriage at Cana, Raising
of Lazarus, Lamentation,
and Resurrection, p. 541;
18-12: Betrayal of Jesus,
p. 545
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
A New Spirit in
Fourteenth-Century
Literature, p. 533;
Florentine Painting,
pp. 536–542;
Mysticism and
Suffering, pp.
557–559; The
Supremacy of Prague,
pp. 559–561
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Big Idea 1: Artists
or event
Big Idea 2: Art
Kiss of Judas, p. 542; 18making is shaped by
26: St. Luke, p. 560
Big Idea 3:
are variable
A New Spirit in
Fourteenth-Century
Literature, p. 533;
Manuscript
Illumination, p. 548; A Learning Objective
Closer Look: The
2.1; Learning
Hours of Jeanne
Objective 2.2
d’Évereux, p. 551;
The Hedwig Codex,
pp. 558–559; The
Supremacy of Prague,
pp. 559–561
Big Idea 1: Artists
18-24: St. Hedwig of
Silesia with Duke Ludwig I or event
of Leonitz-Brieg and
Big Idea 2: Art
Duchess Agnes, p.558: 18- making is shaped by
26: St. Luke, p. 560
Big Idea 3:
are variable
Stokstad Art
History 5e, 2014
Student Edition
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
See Chapter 22
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
Page 38 of 72
Chapter
Page
Numbers
Content Area
Essential Knowledge
and ornament.
Stokstad Art
History 5e, 2014
Student Edition
Florentine
Architecture and
Metalwork, pp.
533–536;
Architecture, pp.
556–557
21, 22, & 23
the study of art.
Page 39 of 72
Examples
Big Ideas
Learning Objective
1.1; Learning
Objective 1.4
18-2: Piazza della Signoria
with Palazzo della Signoria
and Loggia dei Lanzi, p.
534; 18-22: Interior,
Exeter Cathedral, p. 556;
18-25: Plan and Interior
of the Church of the Holy
Cross, p. 559
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
18-8: Marriage at Cana,
Raising of Lazarus,
Lamentation, and
Resurrection, p. 541; 1812: Betrayal of Jesus, p.
545; 18-26: St. Luke, p.
560
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 7 & 8
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
Giotto de Bondone,
1.1; Learning
pp. 538–542; Sienese
Objective 1.4;
Paintings, pp.
Learning Objective
542–548; Master
3.1; Learning
Theodoric, p. 561
Objective 3.2
See Chapters 7 & 8
Learning
Objectives
21, 22, & 23
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
21, 22, & 23
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
19 Fifteenth-Century Art in
pp. 562-593
Northern Europe
Examples
Big Ideas
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
22, & 23
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
or event
See Chapters 7, 8, 15, 16,
Big Idea 2: Art
17 & 18
making is shaped by
Big Idea 3:
are variable
21, 22, & 23
Learning
Objectives
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 3.1
21, 22, & 23
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
21, 22, & 23
decorative).
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 2.3
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
Page 40 of 72
See Chapters 7, 8,
15, 16, 17 & 18
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Big Ideas
Learning Objective
2.1; Learning
Objective 2.2
Learning Objective
2.1; Learning
See Chapters 17 & 18 Objective 2.2;
Learning Objective
2.3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
Objective 2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
and ornament.
See Chapters 7, 8,
15, 16, 17, & 18
Learning Objective
1.1; Learning
Objective 1.4
Big Idea 1: Artists
or event
Big Idea 2: Art
17, & 18
making is shaped by
Big Idea 3:
are variable
See Chapters 7, 8,
15, 16, 17, & 18
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
or event
Big Idea 2: Art
17, & 18
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
See Chapters 7 & 8
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
19-2: Annunciation,
Visitation, Presentation in
the Temple, and Flight
into Egypt, p. 567; 19-5:
February: Life in the
Country, Trés Riches
Heures, p. 569; 19-10:
Mérode Altarpiece, p.
574; 19-14: Ghent
Altarpiece, p. 578; 19-26:
The Temptations of St.
Anthony, p. 591
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 7 & 8
Examples
Big Idea 1: Artists
or event
Big Idea 2: Art
& 18
making is shaped by
Big Idea 3:
are variable
naturalism and classicism occurred, sometimes motivated by the association of classicism See Chapters 8, 9,
16, 17 & 18
Learning
Objectives
Page 41 of 72
Fifteenth-Century Art
in Northern Europe, p.
563; The Northern
Renaissance, p. 564;
Art for the French
Ducal Courts, pp.
5564–572; Painting in
Flanders, pp.
573–585; Europe
Beyond Flanders, pp.
585–590; Graphic
Arts, pp. 591–593
Chapter
Page
Numbers
Content Area
Essential Knowledge
the study of art.
Stokstad Art
History 5e, 2014
Student Edition
Altars and Altarpieces,
p. 566; Manuscript
Illumination: The
Limbourg Brothers,
pp. 568–570;
Technique: Oil
Painting, p. 573; The
Founders of the
Flemish School, pp.
573–581; Europe
Beyond Flanders, pp.
585–590;
Learning
Objectives
Examples
Big Ideas
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
19-2: Annunciation,
Well of Moses, Detail of
Moses and David, p. 567;
19-26: St. Wolfgang
Altarpiece, p. 590;
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Painting and Sculpture
for the Chartreuse de
Champmol, pp.
Illumination: The
Limbourg Brothers,
pp. 568–570;
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
19-2: Annunciation,
January: The Duke of
Berry at Table, Trés
Riches Heures, p. 569
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
563; Manuscript
Illumination: The
Limbourg Brothers,
training. In the 17th century, architectural design and figuration Essential Knowledge 3-4a. Developments in the form and use of visual elements, such as pp. 568–570; The
Master of Flémalle,
pp. 573–575; A
Broader Look: The
Ghent Altarpiece, pp.
578–579; A Closer
Look: A Goldsmith in
his Shop, p. 583
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 3.1
19-5: February: Life in the
Heures, p. 569; 19-6:
Riches Heures, p. 569; 1910: Mérode Altarpiece, p.
574; 19-14: Ghent
Altarpiece, p. 578
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Manuscript
Illumination: The
Limbourg Brothers,
pp. 568–570; The
Founders of the
production and identity of the artist by introducing more structured, theoretical curricula Flemish School, pp.
573–581; The Graphic
Arts, pp. 591–593;
Technique: Woodcuts
and Engravings on
Metal, p. 592
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
19-5: February: Life in the
Heures, p. 569; 19-6:
Riches Heures, p. 569; 1910: Mérode Altarpiece, p.
574; 19-11: A Flemish
City, p. 575; 19-12: Man
in a Red Turban, p. 576;
19-26: The Temptations
of St. Anthony, p. 591
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
563; Painting and
Sculpture for the
Chartreuse de
Champmol, pp.
Illumination: The
decorative).
Limbourg Brothers,
pp. 568–570; Jean
Fouquet, pp. 586–587
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 2.3
19-1: Double Portrait of
Giovanni Arnolfini and his
Wife, p. 582; 19-2:
Annunciation, Visitation,
Presentation in the
Temple, and Flight into
Egypt, p. 567; 19-6:
Riches Heures, p. 569; 1921: Étienne Chevalier and
St Stephen, Virgin and
Child, p. 586
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Page 42 of 72
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Chapter
Page
Numbers
Content Area
20 Renaissance Art in
Fifteenth-Century Italy
pp. 594-631
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Examples
Big Ideas
See Chapter 22
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 3-1a. Medieval artistic traditions include late anEartique, early
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
17 & 18
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
& 18
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Learning Objective
2.3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
Objective 2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
and ornament.
Big Idea 1: Artists
or event
Big Idea 2: Art
17, & 18
making is shaped by
Big Idea 3:
are variable
See Chapter 22
See Chapters 7, 8,
15, 16, 17 & 18
16, 17 & 18
Learning
Objectives
Page 43 of 72
See Chapters 7, 8,
15, 16, 17, & 18
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
Learning Objective
1.1; Learning
Objective 1.4
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
See Chapters 7, 8,
15, 16, 17, & 18
See Chapters 7 & 8
the study of art.
Renaissance Art in
Fifteenth-Century
Italy, p. 595;
Humanism and the
Italian Renaissance,
p. 596; Florence, pp.
596–617; Italian Art
in the Second Half of
the Fifteenth Century,
pp. 617–631
Florence, pp.
596–617; Italian Art
in the Second Half of
the Fifteenth Century,
pp. 617–631;
Learning
Objectives
Examples
Big Ideas
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
or event
Big Idea 2: Art
17, & 18
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
See Chapters 7 & 8
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
20-12: The Four Crowned
Martyrs, p. 605; 20-18:
Christ Giving the Keys to
St. Peter with a Schematic
Drawing, p. 610; 20-23:
Annunciation, p. 614; 2035: Hercules and Antaeus,
p. 623; 20-38:
Confirmation fo the
Francisco Rule by Pope
Honorius III, p. 625
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
20-9: Sacrifice of Isaac, p.
603: 20-10: Sacrifice of
Isaac, p. 603; 20-30:
Baptism of Christ, p. 619;
20-31: Battista Sforza and
Federico da Montefeltro,
p. 620
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
p. 944; 30-47: Mission
The Competition
Reliefs, p. 603;
Painting in Florence
After Masaccio, pp.
613–617;
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
Big Idea 1: Artists
20-9: Sacrifice of Isaac, p. aesthetic object, act,
603: 20-10: Sacrifice of
or event
Isaac, p. 603; 20-32: Two Big Idea 2: Art
Views of the Camera
making is shaped by
Picta, Ducal Palace, p. 621 tradition and change
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 3.1
20-6: Infant in Swaddling
Clothes, p. 601; 20-10:
Sacrifice of Isaac, p. 603;
20-12: The Four Crowned
Martyrs, p. 605; 20-18:
Christ Giving the Keys to
St. Peter with a Schematic
Drawing, p. 610; 20-20:
Section Diagram of the
Illusionistic Spatial World
Portrayed in Masaccio’s
Trinity, p. 611
A Broader Look: The
Foundling Hospital,
Its Contexts: The
Competition Reliefs, p.
603; Sculpture, pp.
training. In the 17th century, architectural design and figuration Essential Knowledge 3-4a. Developments in the form and use of visual elements, such as 604–609; Painting, p.
609; Technique:
Renaissance
Perspective, p. 610;
The Morelli-Nerli
Wedding Chests, p.
616; A Loser Look:
Primavera, p. 628
Page 44 of 72
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Learning
Objectives
Examples
Big Ideas
Fra Angelico and
Dominican Monastery,
pp. 613–614;
Verrocchio, p. 623;
Ghirlandaio, pp.
625–626; The Bellini
Brothers, pp.
629–631
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
20-34: David, p. 623; 2039: Nativity and Adoration
of the Shepherds, p. 626;
20-42: Procession of the
Relic of the True Cross
before the Church of St.
Mark, p. 630; 20-44: St
Francis in Ecstasy, p. 631
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Humanism and the
Italian Renaissance,
p. 596; Florence
(Medici Family), pp.
596–617; Rome (Pope
Sixtus IV), pp.
621–622; Venetian
Palaces, p. 629
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 2.3
20-2: Dome of Florence
David, p. 606; 20-16:
“Gates of Paradise” p.
609; 20-33: View of the
Sistine Chapel, p. 622
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 22
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
17 & 18
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
& 18
making is shaped by
Big Idea 3:
are variable
Essential Knowledge
decorative).
21 Sixteenth-Century Art
in Italy
pp. 632-677
Stokstad Art
History 5e, 2014
Student Edition
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
See Chapter 22
See Chapters 7, 8,
15, 16, 17 & 18
16, 17 & 18
Page 45 of 72
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Big Ideas
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
Objective 2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
and ornament.
Learning Objective
1.1; Learning
Objective 1.4
Big Idea 1: Artists
or event
Big Idea 2: Art
17, & 18
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
or event
Big Idea 2: Art
17, & 18
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
See Chapters 7 & 8
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
21-3: The Last Supper, p.
637; 21-5: Mona Lisa, p.
638; 21-7: The Small
Cowper Madonna, p. 640;
21-9: Pieta, p. 643, 2110: David, p. 644; 21-11:
Interior, Sistine Chapel, p.
645; 21-22: Assumption
of the Virgin, p. 655; 2128: “Venus” of Urbino, p.
661; 21-38: Last
Judgment, Sistine Chapel,
p. 669
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Learning Objective
2.3
Examples
See Chapters 7, 8,
15, 16, 17, & 18
See Chapters 7, 8,
15, 16, 17, & 18
See Chapters 7 & 8
Page 46 of 72
Sixteenth-Century Art
in Italy, 633; Europe
in the Sixteenth
Century, p. 634; Italy
in the Early Sixteenth
Century: The High
Renaissance, pp.
634–660; Mannerism,
661–667; Art and the
Counter-Reformation,
668–671; Later
in Venice and the
Veneto, 672–677
Chapter
Page
Numbers
Content Area
Essential Knowledge
the study of art.
Stokstad Art
History 5e, 2014
Student Edition
Europe in the
Sixteenth Century, p.
634; Leonardo da
Vinci, pp. 636–638;
Art and Its Context:
The Vitruvian Man, p.
639; Architecture in
Rome and the
Vatican, pp. 652–656;
Venice and Veneto,
pp. 656–668; Vignola,
pp. 671–672;
Learning
Objectives
Examples
Big Ideas
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
637; 21-5: Mona Lisa, p.
638; 21-6: Vitruvian Man,
p. 639; 21-19: Il
Tempietto, Church of San
Pietro in Montorio, p. 652;
21-40: Plan and Façade of
the Church Il Gesú, Rome,
p. 671
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Art of the Vatican:
Michelangelo’s Early
Work, 642–647; A
Broader Look:
Raphael’s Cartoons for
Tapestries in the
Sistine Chapel, pp.
648–649; Art and Is
Context: St. Peter’s
Basilica, p. 653
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
21-9: Pieta, p. 643, 2111: Interior, Sistine
Chapel, p. 645; 21-15:
Cartoon for Tapestry
Portraying Christ’s Charge
to Peter, p. 649; 21-16:
Christ’s Charge to Peter,
p. 649;
The Vitruvian Man, p.
639; A Closer Look:
training. In the 17th century, architectural design and figuration Essential Knowledge 3-4a. Developments in the form and use of visual elements, such as The School of Athens,
p. 642; Michelangelo’s
Early Work, pp.
Basilica, p. 653
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 3.1
21-6: Vitruvian Man, p.
639; 21-9: Pieta, p. 643,
21-10: David, p. 644; 2111: Interior, Sistine
Chapel, p. 645; 21-15:
to Peter, p. 649; 21-16:
p. 649
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Leonard da Vinci, pp.
636–639; Raphael,
640–642;
Work, pp.
643–650;Titian, pp.
659–661; Mannerism,
pp. 661–668
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
637; 21-5: Mona Lisa, p.
638; 21-26: 21-9: Pieta,
p. 643, 21-11: Interior,
Sistine Chapel, p. 645;
Pesaro Madonna, p. 659;
21-30: Deposition, p.
663; 21-31: Madonna of
the Long Neck, p. 664;
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Art of the Vatican:
Work, 642–647; A
Essential Knowledge 3-4c. Corporate and individual patronage informed the production, Broader Look:
content, form, and display of art — from panel painting, altarpieces, sculpture, and print Raphael’s Cartoons for
Tapestries in the
Sistine Chapel, pp.
decorative).
Basilica, p. 653;
Venice and Veneto,
pp. 656–668
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 2.3
21-9: Pieta, p. 643; 2112: Sistine Chapel Ceiling
with Diagram Identifying
Scenes, p. 646; 21-15:
to Peter, p. 649; 21-16:
p. 649; 21-24: The
Tempest, p. 657
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Page 47 of 72
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Chapter
Page
Numbers
Content Area
22 Sixteenth-Century Art
in Northern Europe and the pp. 678-711
Iberian Peninsula
Examples
Big Ideas
21-38: Last Judgment,
Sistine Chapel, p. 669; 2139: St. Peter’s Vasilica,
Vatican, p. 670; 21-40:
Plan and Façade of the
Church Il Gesú, Rome, p.
671
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
17 & 18
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
& 18
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Learning Objective
2.3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
Objective 2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
and ornament.
Big Idea 1: Artists
or event
Big Idea 2: Art
17, & 18
making is shaped by
Big Idea 3:
are variable
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Learning Objective
1.3; Learning
Art and the Counter- Objective 2.1;
Reformation, 668–671 Learning Objective
2.2; Learning
Objective 3.2
See Chapters 7, 8,
15, 16, 17 & 18
16, 17 & 18
Page 48 of 72
Learning
Objectives
See Chapters 7, 8,
15, 16, 17, & 18
Learning Objective
1.1; Learning
Objective 1.4
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
See Chapters 7, 8,
15, 16, 17, & 18
See Chapters 7 & 8
in Northern Europe
and the Iberian
Peninsula, p. 679; The
Reformation and the
Arts, pp. 680–681;
Germany, pp.
681–690; France, pp.
691–694; Spain and
Portugal, pp.695–697;
The Netherlands, pp.
698–707; England,
pp. 707–711
the study of art.
Germany, pp.
Portugal, pp. 697;
The Netherlands, pp.
698–707; England,
pp. 707–711
Page 49 of 72
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
A French Renaissance
Under Francis I, pp.
691–694; The Louvre,
p. 694; Artists in the
Tudor Court, pp.
707–711
Learning
Objectives
Examples
Big Ideas
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
or event
Big Idea 2: Art
17, & 18
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
See Chapters 7 & 8
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
22-1: Albert Dürer, p.
678; 22-4: Isenheim
Four Apostles, p. 687; 2213: Francis I, p. 691; 2219: Burial of Count Orgaz,
p. 69722-20: Garden of
Earthly Delights, p. 698
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
22-25: Isenheim
Altarpiece (Closed and
First Opening), p. 684; 228: Adam and Eve, p. 686;
22-9: Four Apostles, p.
687; 22-27: Elizabeth I
(the Ditchley Portrait), p.
708; 22-28: George
Clifford, Third Earl of
Cumberland, p. 708
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
22-14: Château of
Chenonceau, p. 692; 2216: West Wing, Palais du
Louvre, Paris, p. 694; 2227: Elizabeth I (the
Ditchley Portrait), p. 708;
22-29: Third Earl of
Cumberland, p. 709; 2230: Hardwick Hall, p. 710
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Learning
Objectives
Examples
Big Ideas
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 3.1
22-3: Apple Cup, p. 682;
22-7: The Four Horsemen
of the Apocalypse, p. 686;
687; 22-17: Window,
Church in the Convent of
Christ, p. 695; 22-25:
Return of the Hunters, p.
704; 22-28: The
Harvesters, p. 705
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Mathias Grünewald,
pp. 683–684; Albert
Dürer, pp. 685–691;
production and identity of the artist by introducing more structured, theoretical curricula Painting, pp.
696–697; Artists in
the Tudor Court, pp.
707–711
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
22-25: Isenheim
Altarpiece (Closed and
First Opening), p. 684; 228: Adam and Eve, p. 686;
687; 22-27: Elizabeth I
(the Ditchley Portrait), p.
708; 22-28: George
Clifford, Third Earl of
Cumberland, p. 708
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
A French Renaissance
Under Francis I, pp.
Portugal (Philip II),
pp.695–697; Art for
Aristocratic and Noble
Patrons, pp. 698–701;
decorative).
Artists in the Tudor
Court, pp. 707–711
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 2.3
22-13: Francis I, p. 691;
22-14: Château of
Chenonceau, p. 692; 2219: Burial of Count Orgaz,
p. 697; 22-22: Drawing
the Virgin Mary, p. 701;
22-27: Elizabeth I (the
Ditchley Portrait), p. 708;
22-28: George Clifford,
Third Earl of Cumberland,
p. 708
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
22-1: Albert Dürer, p.
678; 22-4: Isenheim
Four Apostles, p. 687; 2213: Francis I, p. 691; 2219: Burial of Count Orgaz,
p. 697; 22-20: Garden of
Earthly Delights, p. 698
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
in Northern Europe
and the Iberian
Peninsula, p. 679;
Technique: German
Metalwork: A
Collaborative Venture,
p. 682; Albert Dürer,
Its Contexts: The
Castle of the Ladies,
p. 692; Art and Its
Contexts: Sculpture
for the Knights of
Christ of Tomar, p.
695; Graphic Arts, p.
Bruegel’s Cycle of the
Months, oo, 704–705;
A Closer Look: The
French Ambassadors,
p. 706; Art and It
Context: Armor for
Royal Games, p. 709;
Architecture, pp.
710–711
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
in Northern Europe
and the Iberian
Peninsula, p. 679; The
Reformation and the
Arts, pp. 680–681;
Germany, pp.
Portugal, pp.
695–697; The
Netherlands, pp.
698–707; England,
pp. 707–711
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Page 50 of 72
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
Chapter
23 Seventeenth-Century
Art in Europe
Page
Numbers
pp. 712-769
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Examples
Big Ideas
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
17 & 18
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
& 18
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Learning Objective
2.3
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
Objective 2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
and ornament.
See Chapters 7, 8,
15, 16, 17 & 18
16, 17 & 18
Learning
Objectives
See Chapters 7, 8,
15, 16, 17, & 18
Learning Objective
1.1; Learning
Objective 1.4
Big Idea 1: Artists
or event
Big Idea 2: Art
17, & 18
making is shaped by
Big Idea 3:
are variable
See Chapters 7, 8,
15, 16, 17, & 18
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
or event
Big Idea 2: Art
17, & 18
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapters 7 & 8
Page 51 of 72
See Chapters 7 & 8
Chapter
Page
Numbers
Content Area
Essential Knowledge
the study of art.
Stokstad Art
History 5e, 2014
Student Edition
Seventeenth-Century
Art in Europe, p. 713;
“Baroque” p. 714;
Italy, pp. 714–729;
Spain, pp. 730–736;
Flanders and the
Netherlands, pp.
757–765; England,
pp. 766–769
Italy, pp. 714–729;
Spain, pp. 730–736;
Flanders and the
Netherlands, pp.
757–765; England,
pp. 766–769
Examples
Big Ideas
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
23-1: St. Teresa of Ávila
in Ecstasy, p. 712; 23-2:
St. Peter’s Basilica and
Piazza, p. 716; 23-8:
Ceiling of Gallery, Palazzo
Farnese, p. 721; 23-12:
The Conversion of St.
Paul, p. 726; 23-17:
Martyrdom of St.
Bartholomew, p. 731; 2322: The Immaculate
Conception, p. 735; 3-57:
Banqueting Hall, Whitehall
Palace, p. 766; 23-58:
Interior Banqueting Hall,
Whitehall Palace, p. 767;
23-59: Façade of St.
Paul’s
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
23-2: St. Peter’s Basilica
and Piazza, p. 716; 23-8:
Ceiling of Gallery, Palazzo
Farnese, p. 721; 23-12:
The Conversion of St.
Paul, p. 726; 23-36:
Three Crosses (First
State), p. 748; 23-36:
Three Crosses (Fourth
State), p. 748; 23-46:
Plate 9 from the
Metamorphosis of the
Insects of Srinam, p. 756;
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Architecture and Its
Decoration at
Versailles, pp.
758–760
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
23-49: Garden Façade of
the Palace of Versailles, p.
759; 23-50: Hall of
Mirrors, p. 760; 23-51:
Plan of the Gardens of the
Palace of Versailles, p.
761
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 3.1
23-36: Three Crosses
(First State), p. 748; 2336: Three Crosses (Fourth
State), p. 748; 23-46:
Plate 9 from the
Metamorphosis of the
Insects of Srinam, p. 756;
23-54: Landscape with St.
Matthew and the Angel, p.
764; 23-56: Pastoral
Landscape, p. 765
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
“Baroque” p. 714;
Architecture and
Sculpture in Rome,
pp. 714–720;
Painting, pp.
720–723, 726–729; A
Broader Look:
Caravaggio in the
training. In the 17th century, architectural design and figuration Essential Knowledge 3-4a. Developments in the form and use of visual elements, such as Contarelli Chapel, pp.
724–725; A Closer
Look: Prometheus
Bound, p. 740;
Technique: Etching
and Drypoint, p. 748;
Science and the
Changing Worldview,
p. 756; Pastoral
Landscapes, p. 764
Page 52 of 72
Learning
Objectives
Chapter
Page
Numbers
Content Area
Learning
Objectives
Examples
Big Ideas
Dutch Masters:
Rubens, pp. 736–742;
Rembrandt Van Rijn,
pp. 746–749;
Johannes Vermeer,
production and identity of the artist by introducing more structured, theoretical curricula pp. 750–751; Art and
Its Contexts: Grading
the Old Masters, p.
763; British
Architecture, pp.
766–769
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
2.3
23-26: The Raising of the
Cross, p. 738; 23-34: The
Anatomy Lesson of Dr.
Nicolaes Tulp. P. 746; 2335: The Company of
Captain Frans Banning
COCQ (The Night Watch),
p. 747; 23-57:
Banqueting Hall, Whitehall
Palace, p. 766; 23-58:
Interior Banqueting Hall,
Whitehall Palace, p. 767;
23-59: Façade of St.
Paul’s Cathedral, p. 768
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
A Broader Look:
Caravaggio in the
Contarelli Chapel, pp.
724–725; The Dutch
Republic, pp.
742–757; France and
Louis VIV, pp.
757–761; Roscioli
Commissions Poussin,
pp. 763–765
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 2.3
23-10: Contarelli Chapel, Big Idea 1: Artists
p. 724; 23-11: The Calling manipulate materials
of St. Matthew, p. 725; 23- and idas to create an
35: The Company of
Captain Frans Banning
or event
COCQ (The Night Watch), Big Idea 2: Art
p. 747; 23-54: Landscape making is shaped by
with St. Matthew and the tradition and change
Angel, p. 764; 23-55:
Big Idea 3:
Landscape with St. John
are variable
on Patmos, p. 765
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
p. 944; 30-47: Mission
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge
decorative).
Stokstad Art
History 5e, 2014
Student Edition
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
See Chapter 30: The
Art of the Americas
Under Spain, pp.
943–945
24 Art of South and
Southeast Asia after 1200
pp. 770-791
Asia 300 B.C.E.–1980 C.E.
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.2
& 12. Also, the
following feature in
Chapter 24 provides
an overview of the
history of the region:
Foundations of Indian
Culture, p. 774
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
people within Asia.
& 12. Also, the
Chapter 24 provides
Learning Objective
an overview of the
1.3
Culture, p. 774
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
Page 53 of 72
Chapter
Page
Numbers
Content Area
Essential Knowledge
Learning
Objectives
Examples
Big Ideas
& 12. Also, the
Essential Knowledge 8-1c. The core cultural centers in Asia became home to many of the following feature in
world’s great civilizations and ruling dynasties, including the following: Gupta India, Han Chapter 24 provides
Learning Objective
China, Khmer Cambodia, and Heian Japan. The shared cultural ideas in each region and an overview of the
1.3; Learning
history of the region: Objective 2.1
Culture, p. 774
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
& 12. Also, the
Chapter 24 provides
Learning Objective
an overview of the
1.3
Culture, p. 774
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
& 12. Also, the
Chapter 24 provides
Learning Objective
an overview of the
1.3; Learning
history of the region: Objective 1.4
Culture, p. 774
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
Art of South and
Southeast Asia after
1200, p. 771; South
Asia After 1200, pp.
772–776; Mughal
Learning Objective
1.3
Southeast Asia After
1200, pp. 785–789; A
Closer Look: The
Sukhothai Buddha, p.
787
24-2: The Bodhisattva
Avalokiteshvara, p. 773;
24-7: Akbar Inpsecting
the Construction of
Fatehpur Sikri, p. 777; 2417: Seated Buddha, p.
786
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Qutb Minar, p.
775–776; Mughal
Period, p. 776–782; A
Broader Look:
Learning Objective
Painting of Jahangir
1.3
and Shah Abbas, p.
778; Islamic Art in
Southeast Asia, p.
789
24-6: Diwan-I-Khas
(Private Audience Hall), p.
777; 24-9: Jahangir and
Prince Khurram Feasted
by Nur Jahan, p. 779; 2420: Minaret, Kudus
Mosque
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Art of South and
Southeast Asia after
1200, p. 771; Temple
at Madurai, p.
774–775; Taj Mahal,
pp. 779–780; Kudus
Mosque, Indonesia, p.
789
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
24-1: Taj Mahal, p. 770;
24-4: Outer Gopura of the or event
Minakshi-Sundareshvara
Big Idea 2: Art
Temple, p. 775; 24-20:
making is shaped by
Minaret, Kudus Mosque
Big Idea 3:
are variable
& 12
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
Stokstad Art
History 5e, 2014
Student Edition
printing.
Page 54 of 72
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Examples
Big Ideas
Changes in Religion
and Art, pp. 772–776;
A Broader Look:
and Shah Abbas, p.
778; Painting in the
Court of Jahangir, p.
779; Rajput Painting,
pp. 780–782;
Technique: Indian
Painting on Paper, p.
Kingship, pp.
785–789; A Closer
Look: The Sukhothai
Buddha, p. 787
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1;
Learning Objective
3.2
24-9: Jahangir and Prince
Khurram Feasted by Nur
Jahan, p. 779; 24-17:
Seated Buddha, p. 786
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Temple at Madurai, p.
Contexts: Foundations
Essential Knowledge 8-3c. The practice of the indigenous Asian religions necessitated the of Indian Culture, p.
774; Rajput Painting,
pp. 780–782;
Technique: Indian
Painting on Paper, p.
Kingship, pp.
785–789; A Closer
Look: The Sukhothai
Buddha, p. 787
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
24-4: Outer Gopura of the
Minakshi-Sundareshvara
Temple, p. 775; 24-18:
Shwedagon Stupa
(Pagoda), p. 786
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1
24-11: Krishna and the
Gopis, p. 781; 24-12:
Hour of Cowdust, p. 782;
24-15: Mother India, p.
784
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 11
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
24-6: Diwan-I-Khas
(Private Audience Hall), p.
777; 24-9: Jahangir and
Prince Khurram Feasted
by Nur Jahan, p. 779; 2420: Minaret, Kudus
Mosque
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Rajput Painting, pp.
780–782; Hour of
Cowdust, p. 782;
Mother India, p. 784
See Chapter 11
Learning Objective
1.3
Qutb Minar, pp.
775–776; Mughal
Learning Objective
Period, p. 776–782; A
1.3; Learning
Broader Look:
Objective 2.1;
Learning Objective
and Shah Abbas, p.
2.2; Learning
778; Islamic Art in
Objective 3.1
Southeast Asia, p.
789
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
popularity of Chinese blue-and-white porcelain was so high that ceramic centers in Iran, See Chapters 25 & 26
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Page 55 of 72
Chapter
Page
Numbers
25 Chinese and Korean Art
pp. 792-813
after 1279
Content Area
Asia 300 B.C.E.–1980 C.E.
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
& 12. Also, the
Chapter 25 provides
an overview of the
Foundations of
Chinese Culture, p.
774
people within Asia.
& 12. Also, the
Chapter 25 provides
an overview of the
Foundations of
Chinese Culture, p.
774
& 12. Also, the
Chapter 25 provides
an overview of the
Foundations of
Chinese Culture, p.
774
& 12. Also, the
Chapter 25 provides
an overview of the
Foundations of
Chinese Culture, p.
774
Foundations of
Chinese Culture, p.
774; Arts of Korea:
The Joseon Dynasty
to the Modern Era,
pp. 808–809
& 12. Also, the
Chapter 25 provides
an overview of the
Foundations of
Chinese Culture, p.
774
& 12. Also, the
Chapter 25 provides
an overview of the
Foundations of
Chinese Culture, p.
774
Page 56 of 72
Learning
Objectives
Examples
Big Ideas
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 1.4
25-16: Horizontal Wine
Bottle with Decoration of a
Bird Carrying a Newly
Caught Fish, p. 809; 2519: Panoramic View of the
Diamond Mountains, p.
811
Learning Objective
1.3
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Examples
Big Ideas
& 12. Also, the
Chapter 25 provides
an overview of the
Foundations of
Chinese Culture, p.
774
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
printing.
Court and Professional
Painting, pp.
Formats of Chinese
Painting, p. 799;
Decorative Arts, pp.
the Secret of
Porcelain, p. 800;
Joseon Ceramics, p.
809; Joseon Painting,
pp. 809–811
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
25-3: The Rongxi Studio,
p. 797; 25-5: Returning
Home Late from a Spring
Outing, p. 796; 25-10:
Poet on a Mountaintop, p.
803; 25-16: Horizontal
Wine Bottle with
Decoration of a Bird
Carrying a Newly Caught
Fish, p. 809
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chinese and Korean
Art After 1279, p.
793; Yuan Dynasty,
pp. 794–797; Court
and Professional
Painting, pp.
Formats of Chinese
Painting, p. 799;
Decorative Arts, pp.
the Secret of
Porcelain, p. 800; A
Broader Look: Poet on
a Mountaintop, p.
803; Joseon
Ceramics, p. 809;
Joseon Painting, pp.
809–811
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1;
Learning Objective
3.2
25-7: Flask, p. 800; 2510: Poet on a
Mountaintop, p. 803; 2516: Horizontal Wine Bottle
with Decoration of a Bird
Fish, p. 809; 25-17:
Broad-Shouldered Jar with
Decoration of a Fruiting
Grapevine, p. 810
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Architecture and City
Planning, pp.
800–801; Literati
Influence on
Furniture,
Architecture, and
Garden Design, p. 802
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
25-8: The Forbidden City,
or event
p. 802; 25-11: Garden of
Big Idea 2: Art
the Cessation of Official
making is shaped by
Life, p. 804
Big Idea 3:
are variable
The Literati Aesthetic,
pp. 802–806; A
Broader Look: Poet on
a Mountaintop, p.
803; Orthodox
Painting, pp. 806–807
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1
25-9: Armchair, p. 802;
25-10: Poet on a
Mountaintop, p. 803; 2512: The Qingbian
Mountains, p. 805
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Foundations of
Chinese Culture, p.
774; The Modern
Learning Objective
1.3
Arts of Korea: The
Joseon Dynasty to the
Modern Era, pp.
808–809
Caught Fish, p. 809; 2517: Broad-Shouldered Jar
with Decoration of a
Fruiting Grapevine, p. 810
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Page 57 of 72
Chapter
Page
Numbers
26 Japanese Art after 1333 pp. 814-835
Content Area
Asia 300 B.C.E.–1980 C.E.
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Examples
Big Ideas
Foundations of
Chinese Culture, p.
774; The Modern
Arts of Korea: The
Modern Era, pp.
808–809
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1
Caught Fish, p. 809; 2517: Broad-Shouldered Jar
with Decoration of a
Fruiting Grapevine, p. 810
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
The Mongol Invasions,
p. 794; Yuan Dynasty,
p. 794–797; Art and
Its Contexts:
Foundations of
Chinese Culture, p.
774; Art and Its
Contexts: Marco Polo,
p. 796; The Modern
Arts of Korea: The
Indus Valley region of Pakistan and was, like silk, important for international trade. CrossModern Era, pp.
cultural comparisons may be made most readily between the arts of South, East, and
808–809
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
25-7: Flask, p. 800; 2516: Horizontal Wine Bottle
with Decoration of a Bird
Fish, p. 809; 25-17:
Broad-Shouldered Jar with
Decoration of a Fruiting
Grapevine, p. 810
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
& 12. Also, the
Chapter 26 provides
an overview of the
Foundations of
Japanese Culture, p.
819
people within Asia.
& 12. Also, the
Chapter 26 provides
an overview of the
Foundations of
819
& 12. Also, the
Chapter 26 provides
an overview of the
Foundations of
819
Page 58 of 72
& 12. Also, the
Chapter 26 provides
an overview of the
Foundations of
819
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
& 12. Also, the
Chapter 26 provides
an overview of the
Foundations of
819
& 12. Also, the
Chapter 26 provides
an overview of the
Foundations of
819
Learning
Objectives
Examples
Big Ideas
Learning Objective
1.3; Learning
Objective 1.4
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
& 12. Also, the
Chapter 26 provides
an overview of the
Foundations of
819
Learning Objective
1.3
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
& 12. Also, the
Chapter 26 provides
an overview of the
Foundations of
819
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
or event
making is shaped by
Big Idea 3:
are variable
printing.
The Zen Dry Garden,
p. 818; Decorative
Paintings for Shoin
Rooms, pp. 820–821;
The Tea Ceremony;
pp. 822–823;
Technique: Japanese
Woodblock Prints, p.
828; Ukiyo-E: Pictures
of the Floating World,
p. 828–829; Cloth and
Ceramics, pp.
830–832; A Closer
Look: Woman’s
Kosode, p. 831
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
26-2: Landscape, p. 817;
26-4: Rock Garden,
or event
Ryoanji, Kyoto, p. 818; 26Big Idea 2: Art
7: Fusuma, p. 822; 26making is shaped by
15: The Great Wave, p.
829
Big Idea 3:
are variable
Zen Ink Painting, pp.
816–817; The Zen
Dry Garden, p. 818;
Essential Knowledge 8-3b. The arts of South, East, and Southeast Asia include important Decorative Paintings
forms developed in a wide range of media. Stone and wood carving was a prominent art for Shoin Rooms, pp.
820–821; The Tea
Ceremony; pp.
Look: Lacquer Box for
objects of all kinds. Shang Dynasty bronze vessels* from China employed a unique piece- Writing Implements,
molding technique that has never been successfully replicated. Important textile forms
p. 824; Technique:
Inside a Writing Box,
painting, and carpet weaving. Painting in Asia usually took two forms: wall painting and p. 826; Technique:
manuscript or album painting. The painting styles that developed in India and East Asia Japanese Woodblock
favor contour drawing of forms over modeling. Calligraphy was an important art form in Prints, p. 828; Ukiyothese regions. In China, calligraphy was considered the highest art form, even above
E: Pictures of the
Floating World, p.
828–829; Cloth and
Ceramics, pp.
830–832; A Closer
Look: Woman’s
Kosode, p. 831
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1;
Learning Objective
3.2
Big Idea 1: Artists
26-4: Rock Garden,
Ryoanji, Kyoto, p. 818; 26or event
7: Fusuma, p. 822; 26Big Idea 2: Art
11: Waves Matsushima, p.
making is shaped by
825; 26-15: The Great
Wave, p. 829
Big Idea 3:
are variable
Page 59 of 72
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
816–817; The Zen
Dry Garden, p. 818;
The Tea Ceremony;
pp. 822–823
Literati Painting, p.
827
27 Art of the Americas
after 1300
pp. 836-859
Enduring Understanding 5-1. Art of the Indigenous Americas is
among the world’s oldest artistic traditions. While its roots lie in
northern Asia, it developed independently between c. 10,000
B.C.E. and 1492 C.E., which marked the beginning of the
European invasions. Regions and cultures are referred to as the
Indigenous Americas to signal the priority of First Nations cultural
traditions over those of the colonizing and migrant peoples that
have progressively taken over the American continents for the
last 500 years.
Learning
Objectives
Examples
Big Ideas
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
Big Idea 1: Artists
or event
26-4: Rock Garden,
Big Idea 2: Art
Ryoanji, Kyoto, p. 818; 26making is shaped by
7: Fusuma, p. 822
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
26-13: View of Kojima
Bay, p. 827
Japanese Art After
1333, p. 815; Map 261: Japan (annotation
about influences on
Japanese culture), p.
Learning Objective
816; Sesshu, p.
816–818; Edo Period, 1.3
p. 823; Literati
Painting, p. 827;
Japanese Porcelain, p.
832; The Modern
Big Idea 1: Artists
26-3: Winter Landscape, aesthetic object, act,
or event
p. 817; 26-13: View of
Big Idea 2: Art
Kojima Bay, p. 827; 26making is shaped by
17: Plate with Wisteria
and Trellis Pattern, p. 832 tradition and change
Big Idea 3:
are variable
Foundations of
820; Edo Period, p.
823; Literati Painting,
p. 827; Japanese
Porcelain, p. 832; The
Modern Period, pp.
832–833
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1
Big Idea 1: Artists
26-5: Himeji Castle, p.
or event
820; 26-13: View of
Big Idea 2: Art
Kojima Bay, p. 827; 26making is shaped by
18: Floating Lights, p. 832
Big Idea 3:
are variable
816–817; The Zen
Dry Garden, p. 818;
The Tea Ceremony;
pp. 822–823;
Japanese Porcelain, p.
832; The Modern
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
or event
26-4: Rock Garden,
Big Idea 2: Art
Ryoanji, Kyoto, p. 818; 26making is shaped by
7: Fusuma, p. 822
Big Idea 3:
are variable
Essential Knowledge 5-1a. Art of the Indigenous Americas is categorized by geography
and chronology into the designations of Ancient America and Native North America.
“Ancient America” is the category used for art created before 1550 C.E., south of the
current U.S.–Mexico border. This region is traditionally divided into three main areas of
culture: Mesoamerica, Central America*, and Andean South America. “Native North
America” denotes traditionally oriented cultures north of the U.S.–Mexico border from
ancient times to the present, with an emphasis on 1492 C.E. to today. Native North
America has many regional subunits, such as the Northwest Coast, Southwest, Plains,
and Eastern Woodlands.
Page 60 of 72
Art of the Americas
After 1300, p. 837;
The Aztec Empire, pp.
838–842; The Inca
Learning Objective
Empire, pp. 843–846; 2.1; Learning
North America, pp.
Objective 2.2
846–857; A New
Beginning, pp.
857–859
27-6: A View of the
World, p. 842; 27-7: Inca
Masonry, p. 844; 27-8:
Machu Picchu, p. 844; 279: Tunic, p. 845; 27-10:
Llama, p. 846; 27-16:
Battle Scene, Hide
Painting, p. 851
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Enduring Understanding 5-2. Ancient Mesoamerica encompassed
what is now Mexico (from Mexico City southward), Guatemala,
Belize, and western Honduras, from 15,000 B.C.E. to 1521 C.E.,
which was the time of the Mexica (Aztec) downfall. General
cultural similarities of ancient Mesoamerica include similar
calendars, pyramidal stepped structures, sites and buildings
oriented in relation to sacred mountains and celestial
phenomena, and highly valued green materials, such as jadeite
and quetzal feathers.
Stokstad Art
History 5e, 2014
Student Edition
Tenochtitlan, p. 839;
Sculpture, p. 840;
Featherwork, pp.
841–842;
Manuscripts, p. 842;
Essential Knowledge 5-1b. Artistic traditions of the indigenous Americas exhibit
Textiles, pp.
overarching traits: content that emphasizes unity with the natural world and a five845–846; Metalwork,
direction (North, South, East, West, Center) cosmic geometry; spirituality based in
p. 846; Wampum, p.
visionary shamanism; high value placed on animal-based media, such as featherwork,
847; Quillwork, pp.
bone carving, and hide painting; incorporation of trade materials (e.g., greenstones such 847–848; Beadwork,
as turquoise and jadeite, shells such as the spiny oyster, and in the case of Native North p. 849; Plains Indian
America, imported beads, machine-made cloth, and glazes); stylistic focus on the
Painting, pp.
essence rather than the appearance of subjects; and creation of aesthetic objects that
850–851; Animal
have a strong functional aspect, reference, or utility (e.g., vessels, grinding platforms,
Imagery, p. 852;
and pipes). What is called “art” is considered to have, contain, and/or transfer life force Textiles, p. 852;
rather than simply represent an image. Likewise, art is considered participatory and
Masks, p. 852; A
active, rather than simply made for passive viewing.
Broader Look:
Hamatsa Masks, p.
854; Ceramics, p.
855; Arts and Its
Context: Craft of Art?
P. 857
Learning
Objectives
Examples
Big Ideas
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
27-4: The Goddess
Coatlicue, p. 840; 27-6: A
View of the World, p. 842;
27-7: Inca Masonry, p.
844; 27-8: Machu Picchu,
p. 844; 27-9: Tunic, p.
845; 27-10: Llama, p.
846; 27-16: Battle Scene,
Hide Painting, p. 851; 2718: Chilkat Blanket, p.
853
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 5-2a. Three major distinct cultures and styles of Ancient
Mesoamerica (Middle America) were the Olmec, Maya, and Mexica (aka Aztec — the
empire was dominated by the Mexica ethnic group). The Olmec existed during the first
millennium B.C.E., primarily in the Gulf Coast; the Mayan culture peaked during the first
millennium C.E. in eastern Mesoamerica (the Yucatan Peninsula, Guatemala, Belize, and
Honduras); and the Mexica existed from 1428 to 1521 C.E. in the region of central
Mexico, though subordinating most of Mesoamerica. (Other important cultures include
Teotihuacan, Toltec, West Mexican, Mixtec, and Zapotec.)* Styles from the various
Mesoamerican cultures differed markedly. Mesoamerican pyramids began as early
earthworks, changed to nine-level structures with single temples, and then later became
structures with twin temples. Sacred sites were renovated and enlarged repeatedly over
the centuries, resulting in acropoli and massive temples. Architecture was mainly stone
post-and-lintel, often faced with relief sculpture and painted bright colors, emphasizing
large masses that sculpt outdoor space. Plazas were typical for large ritual gatherings.
Elaborate burials and other underground installations to honor the role of the Underworld
were also found.
Learning Objective
1.1; Learning
Art of the Americas
Objective 1.3;
After 1300, p. 837;
Learning Objective
The Aztec Empire, pp. 1.4; Learning
838–842
Objective 2.1;
Learning Objective
2.2
27-2: The Founding of
Tenochtitlan, p. 839; 274: The Goddess Coatlicue,
p. 840; 27-6: A View of
the World, p. 842; 27-7:
Inca Masonry, p. 844; 278: Machu Picchu, p. 844;
27-9: Tunic, p. 845; 2710: Llama, p. 846
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 5-2b. Mesoamerican sculptural and two-dimensional art tended
toward the figural, particularly in glorification of specific rulers. Mythical events were also
depicted in a realistic, figural mode. Despite the naturalistic styles and anthropomorphic
interpretations of subject matter, shamanic transformation, visions, and depiction of
other cosmic realms figure prominently in Mesoamerican art. Art was produced primarily
in workshops, but certain individual artists’ styles have been identified (particularly in
Maya), and some works of art were signed. Artists were typically elite specialists and,
among the Maya, the second sons of royalty. Rulers were the major, but not the only,
patrons. Audiences were both large, for calendrical rituals in plazas, and small, for
gatherings of priests and nobles inside small temples atop pyramids. Some audiences
were supernatural, as for the elaborate graves considered to be located in the
Underworld.
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
Essential Knowledge
Sculpture, p. 840;
Featherwork, pp.
841–842;
Manuscripts, p. 842
Tenochtitlan, p. 839; 274: The Goddess Coatlicue,
p. 840; 27-5: Feather
Headdress of Moctezuma,
p. 841
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 2.3
30-45: Atrial Cross, p.
943; 30-46: Virgin of
Guadalupe, p. 944; 3047: Mission San Xavier
Del Bac, p. 945
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
Big Idea 1: Artists
27-7: Inca Masonry, p.
or event
844; 27-8: Machu Picchu,
Big Idea 2: Art
p. 844; 27-9: Tunic, p.
making is shaped by
845; 27-10: Llama, p. 846
Big Idea 3:
are variable
Essential Knowledge 5-2c. Mesoamerica has had an influence on its invaders and the
world at large since the 16th century. Mesoamerica is the origin of many of the world’s
Learning Objective
staple foods: chocolate, vanilla, tomatoes, avocados, and maize (corn). Mesoamericans
1.3; Learning
discovered rubber, invented the first ballgame, and included a number of matrilinear and
The Aztec Empire, pp.
Objective 2.1;
matriarchal cultures (promoting women’s power). Recognition of the importance of this
838–842
Learning Objective
area in world history and art has lagged, but it increases as inclusiveness and
2.2
multiculturalism grow in scholarship and popular consciousness. Indigenous culture
continues: over seven million people speak Mayan languages today, and over one million
speak Nahuatl, the Aztec language.
Essential Knowledge 5-2d. When Mexico was first discovered by Europe, gifts of Mexica
art sent to Charles V alerted such artists as Albrecht Dürer to the unfamiliar but
impressive media and images from the New World. Colonial artists preserved certain preHispanic traditions both overtly and covertly in their art. After independence from Spain
(in the early 19th century), the Aztec were claimed in nationalistic causes and national
museums were created to promote ancient art. Twentieth-century muralists, such as
Diego Rivera, overtly incorporated themes from the Mexica past. Twentieth-century
European and American artists, such as Henry Moore* and Frank Lloyd Wright, were
strongly influenced by the sculpture and architecture of ancient Mesoamerica as well.
Enduring Understanding 5-3. The ancient Central Andes
comprised present-day southern Ecuador, Peru, western Bolivia,
and northern Chile. General cultural similarities across the Andes
include an emphasis on surviving and interacting with the
challenging environments, reciprocity and cyclicality (rather than
individualism), and reverence for the animal and plant worlds as
part of the practice of shamanistic religion.
The Aftermath of the
Spanish Conquest, p.
846; also see:
Chapter 30: Art in
Spain and Spanish
Essential Knowledge 5-3a. As with ancient Mesoamerica, the Central Andes was a seat of
culture and art parallel to the “Old” World in antiquity, diversity, and sophistication.
Baskets from this region have been found dating to as early as 8800 B.C.E., proving
early peopling from Asia through the rest of the Americas was accomplished by Neolithic
times. Chavín and Inka were representative and distinct early and late cultures/styles
respectively (Chavín: c. 1200–500 B.C.E. in the northern highlands with reach to the
southern coast; Inka: 1438–1534 C.E. covering the entire Central Andes), although
The Inca Empire, pp.
many other important, art-producing cultures existed between them. Similarities within
843–846
Central Andean cultures can be traced to the influence of three significantly distinct
ecosystems in close proximity: the dominant Andes mountains, a narrow desert coast,
and the planet’s largest rain forest, the Amazon. These environments necessarily play a
central role in art, influencing the materials (especially the prominence of camelid fiber
and cotton textiles), political systems (coastal diversity, highland impulses toward
unification), and overall values such as reciprocity, asymmetrical dualism, and travel
across long distances.
Page 61 of 72
Big Idea 1: Artists
Tenochtitlan, p. 839; 27or event
4: The Goddess Coatlicue,
Big Idea 2: Art
p. 840; 27-5: Feather
making is shaped by
Headdress of Moctezuma,
p. 841
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
Essential Knowledge 5-3b. The necessity to interact with three disparate environments
(mountains, desert coast, and rainforest) in order to survive instilled in Andean culture
and art an underlying emphasis on trade in exotic materials. Complex ties linked coast
with highlands; these connections brought forth themes of reciprocity, interdependence,
contrast, asymmetry, and dualism. Accordingly, most Andean art seems to have been
made by collaborative groups — the best known being the Inka high-status aclla
weavers (the empire’s most talented women weavers, kept cloistered). A hierarchy of
materials was based on availability and/or requirement for collaboration to manipulate
the materials. Featherwork, textiles, and greenstone were at the top of the materials
hierarchy; metalwork, bone, obsidian, and stone toward the middle; and ceramics and
wood at the lower end of the hierarchy. Textiles were a primary medium and were
extraordinarily well preserved on the desert coast, fulfilling key practical and artistic
functions in the various environmental zones.
Stokstad Art
History 5e, 2014
Student Edition
Elements of
Architecture: Inca
Masonry, p. 843;
Machu Picchu, pp.
844–845; Textiles,
pp. 845–846;
Metalwork, p. 846
Essential Knowledge 5-3c. Andean art tends to explore the terrestrial (e.g., animal and
plant imagery, mountain veneration, sculpting of nature itself, and organic integration of
architecture with the environment). It also concerns the nonterrestrial via abstraction
The Inca Empire, pp.
and orientation toward the afterlife and the other realms of the cosmos. Peoples of the
843–846
Andes practiced the world’s earliest and most persistent artificial mummification (in
many forms, from 5500 B.C.E. onward), and almost all art became grave goods for use
in the afterlife. Shamanic visionary experience was a strong theme, especially featuring
humans transforming into animal selves.
Essential Knowledge 5-3d. The European invasions prevailed beginning in 1534 C.E.;
however, indigenous descendants of ancient peoples remain: 8 to 10 million people still
speak Quechua, the Inka language. Being more distant geographically and aesthetically,
Andean art was less well known to early modern Europe and current society than
Mesoamerican art. However, some key modern Euro–American artists, such as Paul
Gauguin, Josef and Anni Albers*, and Paul Klee*, found inspiration in ancient Peruvian
textiles and ceramics. Modern Latin American artists, such as Joaquín Torres Garcia of
Uruguay*, blended Inka art and architecture with modernist theory and style, exploring
a common abstract vocabulary.
Essential Knowledge 5-4a. Archaeological excavation of works of art, monuments, and
cities/sites predating European invasion serves as the mainstay for reconstructing the art
and culture of ancient America, although the majority of surviving artworks were not
scientifically extracted. Spanish chronicles by invaders, friars, and colonists provide some
Enduring Understanding 5-4. Despite underlying similarities,
information about monuments and artistic practices of the last independent indigenous
there are key differences between the art of Ancient America and
peoples, such as the Inka, Mexica (known as Aztecs), and Puebloans; these sources can
Native North America with respect to its dating, environment,
be cautiously applied to earlier cultures’ basic values and approaches. Hieroglyphs of the
cultural continuity from antiquity to the present, and sources of
Mayas and Mexica illuminate text and image, historical, and artistic elements for those
information. Colonization by different European groups (Catholic
cultures. Ethnographic analogy highlights basic cultural continuities so that present
and Protestant) undergirds distinct modern political situations for
traditional practices, myths, and religious beliefs may illuminate past artistic materials,
Amerindian survivors. Persecution, genocide, and marginalization
creative processes, and iconography. Other disciplines, such as astronomy, botany, and
have shaped current identity and artistic expression.
zoology, help identify siting of cities and monuments, as well as native flora and fauna
subject matter. Like all art historical research, work in these areas uses iconographic and
formal analyses of large numbers of artworks and increasingly employs multidisciplinary
collaboration.
Essential Knowledge 5-4b. Sources of information for Native North American art include
archaeological excavations for precontact and colonial cultures, written ethnohistoric
documents, tribal history (oral and written), modern artists’ accounts and interviews,
and museum records. Colonial and modern mistreatment of American Indians means
that historical information sources may be highly contested by American Indians.
Divergent stories depend on whether native or white sources are used. Sometimes the
stories converge in a positive way, as in Maria and Julian Martínez’ revival of ancient
black-in-black ceramic techniques, which was encouraged by anthropologists.
Enduring Understanding 5-5. Although disease and genocide
practiced by the European invaders and colonists reduced their
population by as much as 90 percent, Native Americans today
maintain their cultural identity and uphold modern versions of
ancient traditions in addition to creating new art forms as part of
the globalized contemporary art world.
Essential Knowledge 5-5a. Indians, Native Americans, North American Indians (in the
United States), and First Nations (in Canada) are nonindigenous terms for the indigenous
peoples inhabiting areas north of what is now the U.S.–Mexico border, from ancient
times to the present. They did not have a collective name for themselves, being many
different tribes and nations.
Page 62 of 72
The Aftermath of the
Spanish Conquest, p.
846; also see:
Chapter 32:
Experiments in Latin
America, pp.
1072–1073
A Closer Look:
Calendar Stone, p.
841; Elements of
Architecture: Inca
Masonry, p. 843;
Machu Picchu, pp.
844–845; Textiles,
pp. 845–846;
Metalwork, p. 846
Ceramics, p. 855; The
Santa Fe Indian
School, p. 855–857;
Craft or Art? 857; A
New Beginning, pp.
857–859
North America, pp.
846–857; A New
Beginning, pp.
857–859
Examples
Big Ideas
27-8: Machu Picchu, p.
844; 27-9: Tunic, p. 845;
27-10: Llama, p. 846
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
27-8: Machu Picchu, p.
844; 27-9: Tunic, p. 845;
27-10: Llama, p. 846
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
32-78: Zambezia,
Zambezia, p. 1072; 3279: Joaquin Torres-Garcia,
Abstract Art in Five Tones
and Complementaries, p.
1073
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
27-3: Reconstruction of
or event
the Great Pyramid, p.
840; 27-7: Inca Masonry, Big Idea 2: Art
making is shaped by
p. 844; 27-8: Machu
Picchu, p. 844
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
27-21: Maria Montoya
Martinez and Julian
Martinez, Blackware
Storage Jar, p. 855
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
or event
27-1: Two Grey Hills
Big Idea 2: Art
Tapestry Weaving, p. 836
making is shaped by
Big Idea 3:
are variable
Learning
Objectives
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Wampum, p. 847;
Quillwork, pp.
Essential Knowledge 5-5b. Native American art media include earthworks, stone and
847–848; Beadwork,
adobe architecture, wood and bone carving, weaving and basketry, hide painting,
p. 849; Portable
ceramics, quillwork and beadwork, and, recently, painting on canvas and other European- Architecture, p. 850;
style media. Many Native American artworks are ritual objects to wear, carry, or use
Plains Indian Painting,
during special ceremonies in front of large audiences. Functionality of the object is
pp. 850–851; Animal
preferred; the more active a work of art, the more it is believed to contain and transfer
Imagery, p. 852;
life force and power. Centuries of interaction with colonial and migrant peoples means
Textiles, p. 852;
that some imported materials (e.g., glass beads, machine-made cloth, and ribbon) are
Masks, p. 852; The
now considered traditional. Likewise, in subject matter, the Spanish-introduced horse
Pueblos, p. 853; A
has become a cultural and artistic staple, alongside the indigenous buffalo, raven, and
Broader Look:
bear. European influence is inevitable but may be subtle. What is considered traditional
Hamatsa Masks, p.
is constantly changing; there is no singular, timeless, authentic Native American art or
854; Ceramics, p.
practice.
855; Arts and Its
Context: Craft of Art?
P. 857
28 Art of Pacific Cultures
pp. 860-879
The Pacific 700–1980 C.E.
Enduring Understanding 9-1. The arts of the Pacific vary by virtue
of ecological situations, social structure, and impact of external
influences, such as commerce, colonialism, and missionary
activity. Created in a variety of media, Pacific arts are
distinguished by the virtuosity with which materials are used and
presented.
Essential Knowledge 5-5c. Different regions of Native America have broadly similar styles
of art, allowing grouping into Arctic*, Northwest Coast, Southwest, Plains, and Eastern
Woodlands, among others. Geometric patterning, figures (often mythic or shamanic),
and animals (e.g., snakes, birds, bison, and horses) are often seen. The various Native
American groups may be seen to share larger ideas of harmony with nature, oneness
with animals, respect for elders, community cohesion, dream guidance, shamanic
leadership, and participation in large rituals (such as potlatches and sun dances).
Postcontact art not only reflects these long-standing values, but it is also concerned with
the history of conflict within tribes and between indigenous people and the U.S. and
Canadian governments.
The Eastern
Woodlands, pp.
847–849; The Great
Plains, pp. 850–851;
The Northwest Coast,
pp. 851–852; The
Southwest, pp.
853–857
Essential Knowledge 5-5d. Intellectual pursuits apparent in artistic expressions include
astronomical observation; poetry, song, and dance; and medicine (curing and divining).
Artistic practices included workshops, apprentice–master relationships, and, less often,
solitary art making. Some specialization by gender (e.g., women weaving, men carving)
can be seen. Patrons might be the tribal leaders, an elder, or a family member.
Audiences mostly were the entire group, though some objects and performances were
restricted by their sacred or political nature.
The Eastern
Woodlands, pp.
847–849; The Great
Plains, pp. 850–851;
The Northwest Coast,
pp. 851–852; The
Southwest, pp.
853–857
Learning
Objectives
Big Idea 1: Artists
27-16: Battle Scene, Hide aesthetic object, act,
or event
Painting, p. 851; 27-18:
Big Idea 2: Art
Chilkat Blanket, p. 853;
making is shaped by
27-20: Kwakwaka’wakw
Bird Mask, p. 954
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
27-11: Feathered Basket,
p. 848; 21-12: Wampum
Belt, p. 848; 27-13: Baby
Carrier, p. 849; 27-14:
Bandolier Bag, p. 849; 2718: Chilkat Blanket, p.
853; 27-20:
Kwakwaka’wakw Bird
Mask, p. 954
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
27-1: Two Grey Hills
Tapestry Weaving, p.
836; 27-13: Baby Carrier,
p. 849; 27-14: Bandolier
Bag, p. 849; 27-16: Battle
Scene, Hide Painting, p.
851; 27-18: Chilkat
Blanket, p. 853; 27-20:
Kwakwaka’wakw Bird
Mask, p. 954
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
27-24: The Red Mean:
Self-Portrait, p. 858; 2725: The Spirit of Haida
Gwaii, p. 858; 27-26:
National Museum of the
American Indian, p. 859
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
28-1: The Barunga
Statement, p. 860; 2815: Feather Cloak Known
as the Kearney Cloak, p.
874
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
28-2: Fragments of a
Large Lapita Jar. P. 862;
Map 28-1: Pacific CulturalGeographic Regions, p.
863; 28-9: Wapepe
Navigation Chart, p. 869
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
28-5: Women Wearing
Net Bags, p. 866; 28-7:
Malagan Display, p. 868;
28-15: Feather Cloak
Known as the Kearney
Cloak, p. 874
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Art of the Americas
After 1300, p. 837; A
New Beginning, pp.
857–859
Essential Knowledge 9-1a. The Pacific region — including over 25,000 islands, about
1,500 of which are inhabited — is defined by its location within the Pacific Ocean, which
comprises one third of the Earth’s surface. Pacific arts are objects and events created
from fibers, pigments, bone, sea ivory and shell, tortoise shell, as well as wood, coral,
and stone, which are carried, exchanged, and used by peoples of the region.
Art of Pacific Cultures,
p. 861; The Peopling
of the Pacific, pp.
862–863; Australia,
pp. 863–864;
Melanesia, pp.
864–869; Micronesia,
pp. 869–870;
Polynesia, pp.
870–876
Essential Knowledge 9-1b. Geological and archaeological evidence indicates that Papuanspeaking peoples traveled across a land bridge that connected Asia and present-day
Australia about 30,000 years ago. Lapita people migrated eastward across the region
beginning 4,000 years ago. The region was explored by Europeans as early as the 16th
century and most extensively from the second half of the 18th century. By the beginning
of the 19th century, Dumont d’Urville had divided the region into three units: micro(small), poly- (many), and mela- (black) nesia (island). The lands are continental,
volcanic, and atollian. Each supports distinct ecologies that exist in relation to the
migrations and sociocultural systems that were transported across the region.
Art of Pacific Cultures,
p. 861; The Peopling
of the Pacific, pp.
862–863; Australia,
Learning Objective
pp. 863–864;
1.3
Melanesia, pp.
864–869; Micronesia,
pp. 869–870;
Polynesia, pp.
870–876
Page 63 of 72
Bilum-Contemporary
Net Bags of Highland
New Guinea, pp.
865–866; Feather
Cloak from Hawaii, p.
874
Big Ideas
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1; Learning
Objective 3.2
Essential Knowledge 5-5e. Due to the history of suppression and forced assimilation into
white culture, influence of Native North American art on modern U.S. and European art
styles has been minimized. However, recent cultural revitalization of traditions and active
contemporary artistic production by self-taught and academically trained artists keep
Native American participation in global artistry alive. Strains range from self-conscious
revival of ancient arts, such as in Puebloan pottery, to cutting political commentary on
racism and injustice.
Essential Knowledge 9-1c. Objects such as shields, ancestral representations, and family
treasures were and continue to be constructed to give form to and preserve human
history and social continuity. Other art forms are constructed to be displayed and
performed to remind people of their heritage and shared bonds (such as the significance
of an ancestor or leader) and are intended to be destroyed once the memory is created.
Examples
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
Learning Objective
1.3; Learning
Objective 3.2
Chapter
Page
Numbers
Content Area
Enduring Understanding 9-2. The sea is ubiquitous as a theme of
Pacific art and as a presence in the daily lives of a large portion of
Oceania, as the sea both connects and separates the lands and
peoples of the Pacific.
Enduring Understanding 9-3. The arts of the Pacific are
expressions of beliefs, social relations, essential truths, and
compendia of information held by designated members of
society. Pacific arts are objects, acts, and events that are forces
in social life.
Enduring Understanding 9-4. Pacific arts are performed (danced,
sung, recited, displayed) in an array of colors, scents, textures,
and movements that enact narratives and proclaim primordial
truths. Belief in the use of costumes, cosmetics, and
constructions assembled to enact epics of human history and
experience is central to the creation of and participation in Pacific
arts.
Essential Knowledge
Essential Knowledge 9-2a. In the last 4,000 years, populations sailed from Vanuatu
eastward, and carried plants, animals, and pottery that now demonstrate a pattern of
migration and connection from what was the Lapita culture. By 800 C.E. the distribution
that has come to be described as Melanesia, Micronesia, and Polynesia was established.
Stokstad Art
History 5e, 2014
Student Edition
The Peopling of the
Pacific, pp. 862–863
Learning
Objectives
Examples
Big Ideas
Learning Objective
1.3
Big Idea 1: Artists
28-2: Fragments of a
Large Lapita Jar. P. 862;
or event
Map 28-1: Pacific Cultural- Big Idea 2: Art
Geographic Regions, p.
making is shaped by
863
Big Idea 3:
are variable
Essential Knowledge 9-2b. Ships and devices of navigation and sailing expertise were
built and used to promote exploration, migration, and the exchange of objects and
cultural patterns across the Pacific. Navigators created personal charts or expressions of
the truths of their experience of the sea and other objects intended to protect and
ensure the success of sailing. Ocean-going vessels carried families, and often
communities, across vast distances; passengers could also return to their place of
departure.
The Peopling of the
Pacific, pp. 862–863;
Wepepe Navigation
Chart, p. 869
Learning Objective
1.3
Big Idea 1: Artists
Map 28-1: Pacific Culturalor event
Geographic Regions, p.
Big Idea 2: Art
863; 28-9: Wapepe
making is shaped by
Navigation Chart, p. 869
Big Idea 3:
are variable
Essential Knowledge 9-3a. Arts of the Pacific involve the power and forces of deities,
ancestors, founders, and hereditary leaders, as well as symbols of primal principles,
which are protected by wrapping, sheathing, and other forms of covering to prevent
human access. Ritual dress, forms of armor, and tattoos encase and shield the focus of
power from human interaction. One’s vital force, identity, or strength (mana) is
expressed and protected by rules and prohibitions, as well as by wrapping or shielding
practices, or tapu. Mana is also associated with communities and leaders who represent
their peoples. Objects that project status and sustain structure hold and become mana.
These objects are made secure through tapu or behaviors that limit access to and
protect the objects.
Bilum-Contemporary
Net Bags of Highland
New Guinea, pp.
865–866; Spirit Poles
of the Asmat of West
Papua, pp. 866–867;
Tubuan Mask of New
Britain, pp. 868–869;
Tattoo in the
Marquesas Islands, p.
871; Monumental
Moai, pp. 874–875
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
28-5: Women Wearing
Net Bags, p. 866; 28-6:
Asmat Ancestral Spirit
Poles, p. 867; 28-6:
Tubuan Mask Being
Danced, p. 868; 28-11:
Teve Tupuhia, p. 871
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 9-3b. Rulers of the Sayudeleur Dynasty commanded construction of
Nan Madol in Micronesia, a residential and ceremonial complex of numerous humanmade islets. Rulers of Hawaii were clothed in feather capes that announce their status
and shield them from contact. Societies of Polynesia in New Zealand, Rapa Nui, and
Samoa create sacred ceremonial spaces that both announce and contain their legitimacy,
power, and life force. In Melanesia, individuals and clans earn status and power and
sustain social balance in a set of relationships marked by the exchange of objects.
Masks, and the performance of masks, are a recital and commemoration of ancestors’
histories and wisdom.
Tubuan Mask of New
Nan Modal, pp.
869–870; Feather
Cloak from Hawaii, p.
874
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1;
Learning Objective
3.2
28-6: Tubuan Mask Being
Danced, p. 868; Map 282: The Complex of Nan
Madol, p. 870; 28-10:
Royal Mortuary
Compound, Nan Madol, p.
870; 28-16: Moai
Ancestor Figures, p. 875;
28-15: Feather Cloak
Known as the Kearney
Cloak, p. 874
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 9-4a. Objects and behaviors in the cultures of the Pacific are often
designed and presented to stimulate a particular response. Rare and precious materials
are used to demonstrate wealth, status, and particular circumstance. Ritual settings are
structured with elements that address all of the senses. Physical combat and warfare are
announced and preceded by displays of ferocity in dress, dance, verbal aggression, and
gestural threats.
Tubuan Mask of New
Tattoo in the
Marquesas Islands, p.
871; Festival of Pacific
Arts, pp. 876–877
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2; Learning
Objective 3.1;
Learning Objective
3.2
Big Idea 1: Artists
28-6: Tubuan Mask Being aesthetic object, act,
or event
Danced, p. 868; 28-11:
Teve Tupuhia, p. 871; 28- Big Idea 2: Art
making is shaped by
18: Musicians from Paua
New Guinea, p. 877
Big Idea 3:
are variable
Essential Knowledge 9-4b. The acts of creation, performance, and even destruction of a
mask, costume, or installation often carry the meaning of the work of art (instead of the
object itself carrying the meaning). Meaning is communicated at the time of the work’s
appearance, as well as in the future when the work, or the context of its appearance, is
recalled. This sort of memory is evoked through the presentation of primordial forms
such as cultural heroes, founding ancestors, or totemic animals in order to reaffirm
shared values and important truths. In some instances the memory is created and
performed, and then the objects that appeared in those processes are destroyed,
leaving a new iteration of the memory.
Spirit Poles of the
Asmat of West Papua,
pp. 866–867; Malagan
Display of New
Zealand, pp.
867–868; Tubuan
Mask of New Britain,
pp. 868–869; Tattoo
in the Marquesas
Islands, p. 871
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
28-6: Asmat Ancestral
Spirit Poles, p. 867; 28-7:
Danced, p. 868; 28-11:
Teve Tupuhia, p. 871
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 9-4c. Reciprocity is demonstrated by cycles of exchange in which
designated people and communities provide specific items and in exchange receive
equally predictable items. The process of exchange is complex and prescribed. Chants,
dances, scents, costumes, and people of particular lineage and social position are called
into play to create a performance that engages all of the senses and expands the form
and significance of the exchange.
Learning Objective
1.1; Learning
Objective 1.2;
Tubuan Mask of New
Learning Objective
1.3; Learning
Feather Cloak from
Objective 1.4;
Hawaii, p. 874;
Learning Objective
Festival of Pacific Arts,
2.1; Learning
pp. 876–877
Objective 2.2;
Learning Objective
3.2
Danced, p. 868; 28-15:
Feather Cloak Known as
the Kearney Cloak, p.
874; 28-18: Musicians
from Paua New Guinea, p.
877
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Page 64 of 72
Chapter
Page
Numbers
Content Area
Essential Knowledge
Essential Knowledge 9-4d. Duality and complementarity are aspects of social relations
that are often characterized by opposing forces or circumstances and express the
balance of relations necessary between those seemingly divergent forces. Gender, for
example, is the basis for inclusion in some societies but is understood in the context of
complement rather than opposition. Spatial organization, shared spaces, and exclusive
or rarified spaces are created and used to reinforce social order.
29 Art of Africa in the
Modern Era
pp. 880-903
Africa 1100–1980 C.E.
Enduring Understanding 6-1. Human life, which is understood to
have begun in Africa, developed over millions of years and
radiated beyond the continent of Africa. The earliest African art
dates to 77,000 years ago. While interpretation of this art is
conjectural at best, the clarity and strength of design and
expression in the work is obvious.
Examples
Big Ideas
Danced, p. 868; 28-7:
28-11: Teve Tupuhia, p.
871; 28-12: Te-Hau-kiTuranga, p. 872; 28-13:
Carved Figure From
Storehouse Doorway, p.
873
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
See Chapter 14
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Traditional and
Contemporary Africa,
pp. 882–883; Art and Learning Objective
1.3
Its Contexts:
Foundations of African
Cultures, p. 885
Map 29-1: Present-Day
Africa, p. 883
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Art of Africa in the
Modern Age, p. 881;
Traditional and
pp. 882–900;
Contemporary Art,
pp. 900–903
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
29-4: Twin Figures, p.
886; 29-5: Elder Guiding
Small Boy in Egunon
Performance, p. 886; 297: Temne Nowo
Masquerade with
Attendants, p. 888; 2910: Spirit Spouse, p. 891;
29-11: IFA Divination
Session, p. 892; 29-12:
Divination Basket
(Ngombo), p. 893; 29-21:
Kanaga and Rabbit
Masquerade Figures at
Dama, p. 899;
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 6-2a. Art in Africa is a combination of objects, acts, and events,
created in a wide variety of media (vocal, aural, and visual) and materials (wood, ivory,
metals, ceramic, fiber, and elements of nature) that are carved, cast, forged, modeled,
woven, and combined by recognized specialists for knowledgeable patrons.
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
29-17: Ngady Mwaash
Mask, p. 896; 29-18:
Bwoom Masked Dancer at
Funeral of an Initiated
Man, p. 897; 29-19:
Initiation Wall Panels, p.
890; 29-10: Spirit
Spouse, p. 891; 29-11:
IFA Divination Session, p.
892; 29-12: Divination
Basket (Ngombo), p. 893;
29-21: Kanaga and Rabbit
Dama, p. 899; 29-22:
Reliquary Guardian, p.
900
Essential Knowledge 6-2b. Art reveals belief systems; it presents a world that is known
but not necessarily seen, predictable, or even available to everyone. These arts are
expressive rather than representational and often require specialized or supernaturally
ordained capabilities for their creation, use, and interpretation. African art is concerned
with ideas (beliefs and relationships that exist in the social and intellectual world) rather
than the with objects of the natural or physical world. Art is created for both daily use
and ritual purposes (such as leadership, religious beliefs, diagnosis and divination,
education, and personal adornment).
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.2; Learning
Objective 1.3;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
29-17: Ngady Mwaash
Mask, p. 896; 29-18:
Man, p. 897; 29-19:
Initiation Wall Panels, p.
890; 29-10: Spirit
Spouse, p. 891; 29-11:
IFA Divination Session, p.
892; 29-12: Divination
Basket (Ngombo), p. 893;
29-13: Kente Cloth, p.
893; 29-16: Kot Ambweek
in Ceremonial Dress, p.
895; 29-21: Kanaga and
Rabbit Masquerade
Figures at Dama, p. 899;
29-22: Reliquary
Guardian, p. 900
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
The Spirit World, pp.
Contexts: Divination
among the Chokwe,
p. 893; A Broader
Look: Kuba Funerary
Mask, pp. 896–897;
Death and Ancestors,
pp. 898–900
The Spirit World, pp.
Essential Knowledge 6-2c. Art forms may be prescribed by a diviner, commissioned by a
Contexts: Divination
supplicant, and produced by a specific artist. The art object comes under the
among the Chokwe,
custodianship of the person who commissioned it or a member of his or her family.
p. 893; A Broader
Performances of objects are accompanied by costumes and music. None of these
Look: Kuba Funerary
practices is simple or random. Cultural protocols acknowledge and ensure the efficacy
Mask, pp. 896–897;
and appropriateness of artistic experience in Africa. African art is sung, danced, and
Leadership, pp.
presented in holistic experiences for designated audiences; it is created for specific
892–898; Death and
reasons and to produce expected results.
Ancestors, pp.
898–900
Page 65 of 72
Learning
Objectives
Malagan Display of
New Zealand, pp.
Learning Objective
867–868; Tubuan
1.1; Learning
Mask of New Britain,
pp. 868–869; Tattoo Objective 1.3;
Learning Objective
in the Marquesas
1.4; Learning
Islands, p. 871; A
Broader Look: Te-Hau- Objective 3.2
ki-Turanga, pp.
872–873
Essential Knowledge 6-1a. Early artistic expression on the African continent is found in
the rock art of the Sahara and in southern Africa. Those works depict the animals that
lived in each region, human pursuits (e.g., herding, combat, and perhaps dance or some See Chapter 14
sort of regularized behavior), contact among different groups of people, and the use of
technologies (e.g., horses and chariots).
Essential Knowledge 6-1b. The now-deserts of the Sahara were once grasslands and an
original source of agriculture and animal husbandry. As the desert grew, it stretched
toward the still well-watered valley of the Nile and the culture of Pharaonic Egypt.
Resulting human migrations carried populations southward into central Africa and
eventually across the Congo River Basin. The arts, major world religions, and
international trade routes followed those paths and flourished in patterns of distribution
seen in Africa today.
Enduring Understanding 6-2. Human beliefs and interactions in
Africa are instigated by the arts. African arts are active; they
motivate behavior, contain and express belief, and validate social
organization and human relations.
Stokstad Art
History 5e, 2014
Student Edition
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
Chapter
Page
Numbers
Content Area
Enduring Understanding 6-3. Use and efficacy are central to the
art of Africa. African arts, though often characterized, collected,
and exhibited as figural sculptures and masks, are by nature
meant to be performed rather than simply viewed. African arts
are often described in terms of the contexts and functions with
which they appear to be associated.
Essential Knowledge
Essential Knowledge 6-3a. As in all arts, aspects of human experience (such as origins,
destinies, beliefs, physicality, power, and gender) are expressed through objects and
performances. Artistic expression in Africa is an integral part of social life, connecting
daily practices to beliefs, systems of power and authority, and social networks that link
people to their families, communities, and shared ancestors. African arts mark status,
identity, and cycles of human experience (e.g., maturational, seasonal, astronomical,
and liturgical).
Essential Knowledge 6-3b. Education, incorporation into adulthood, and civic
responsibility are processes marked by the creation, manipulation, and interpretation of
art objects. The arts of authority (both achieved and inherited status and roles)
legitimate traditional leadership. Leaders’ histories and accomplishments are often
entrusted to and lauded by historians, bards, and elders. Personal identity, social status,
and relationships are delineated by aesthetic choices and artistic expression. Common
ancestors link leaders, sanction social behavior and choices, and define the order of
social life.
Essential Knowledge 6-3c. Urbanization and its monumental trappings (both bureaucratic
and architectural) often associated with “civilization” take many forms in Africa.
Administrative and liturgical centers exist apart from settlement that is often determined
by the spaces required for agriculture or herding. Seasonal climatic shifts and demands
of political relations affect the scale and distribution of built environments and arts that
mark them. The sites of Meroë, Timbuktu, Zimbabwe, Igbo Ukwu, and Kilwa Kisiwani
demonstrate that range of monumentalities.
Enduring Understanding 6-4. Outsiders have often characterized,
collected, and exhibited African arts as primitive, ethnographic,
anonymous, and static, when in reality Africa’s interaction with
the rest of the world led to dynamic intellectual and artistic
traditions that sustain hundreds of cultures and almost as many
languages, contributing dramatically to the corpus of human
expression. African life and arts have been deeply affected by
ongoing, cosmopolitan patterns of interaction with populations
around the world and through time.
Essential Knowledge 6-4a. African histories, often sung or recited, are traditionally the
responsibility of specialists. Outsiders often see those histories as timeless and
unchanging. The Africa we know often comes from ideas promulgated by foreigners since
the ninth century — as though history were brought to, rather than originating from,
Africa.
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Examples
Big Ideas
Children and the
Continuity of Life, pp.
Look: Kuba Funerary
Mask, pp. 896–897
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
Small Boy in Egunon
Masquerade with
Attendants, p. 888; 29-8:
Bwami Mask, p. 889; 299: Initiation Wall Panels,
p. 890
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Leadership, pp.
892–898; Death and
Ancestors, pp.
898–900
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4; Learning
Objective 2.1;
Learning Objective
2.2
29-5: Elder Guiding Small
Boy in Egunon
Performance, p. 886; 2913: Kente Cloth, p. 893;
29-16: Kot Ambweek in
Ceremonial Dress, p. 895;
29-20: Palace Door, p.
898; 29-21: Kanaga and
Rabbit Masquerade
Figures at Dama, p. 899;
29-22: Reliquary
Guardian, p. 900
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.3;
Learning Objective
1.4
29-3: Nankani Compound,
p. 884; 29-14: Decorated
Building, p. 895; 29-16:
Veranda Posts Installed in
the Courtyard of the
Palace, p. 895; 29-20:
Palace Door, p. 898
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
29-7: Temne Nowo
Masquerade with
Attendants, p. 888; 2911: IFA Divination
Session, p. 892; 29-18:
Man, p. 897; 29-19:
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Small Boy in Egunon
Masquerade with
Attendants, p. 888; 2910: Spirit Spouse, p. 891;
29-11: IFA Divination
Session, p. 892; 29-12:
Divination Basket
(Ngombo), p. 893; 29-21:
Kanaga and Rabbit
Dama, p. 899;
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
29-23: Untitled, p. 901;
29-24: Flag for a New
World Power, p. 902; 2925: Dispersion, p. 903;
also see: Chapter 32: 3265: Aspects of Negro Life
from Slavery through
Reconstruction, p. 1064;
32-66: La Citadelle:
Freedom, p. 1064; 32-67:
The Migration Series,
Panel 1, p. 1065
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Domestic Agriculture,
p. 884; Art and Its
Contexts: Foundations
of African Cultures, p.
885
Death and Ancestors,
pp. 898–900;
Leadership, p. 892; A
Broader Look: Kuba
Funerary Mask, pp.
896–897
Essential Knowledge 6-4b. As they have been traditionally collected by outsiders, African
art objects that are similar in form are often grouped with works that come from the
same place and are produced by a designated ethnic group. The name of the artist and
the date of creation are rarely acknowledged by the outsiders who collected them. These
gaps in the record do not reflect a lack of interest on the part of those who commission,
use, and protect art objects; rather they are the result of ignorance and predisposition
by those collecting, describing, and explaining African art.
Art of Africa in the
Modern Age, p. 881;
Traditional and
pp. 882–900;
Contemporary Art,
pp. 900–903
Essential Knowledge 6-4c. Creative contributions of African life and arts are found in
populations around the world. Artistic practices were conveyed by and continue to be
serviced by African people and beliefs, from Macao to Manaus to Mauritania. These
creative contributions are reflected in diverse art forms, from the practices of Santeria to
Japanese screens and the paintings of Renaissance Venice. The literatures of Negritude
and the Harlem Renaissance expanded the notions of place and race to new levels that
are again changing in the contemporary diaspora. Although traditional African art forms
are usually described and exhibited, contemporary African arts have increased
awareness and understanding of the arts of the continent across the globe.
Contemporary Art,
pp. 900–902; African
Artists in the
Diaspora, pp.
902–903; also see:
Chapter 32: The
Harlem Renaissance,
pp. 1060, 1064–1065
Page 66 of 72
Chapter
30 Eighteenth-and Early
Nineteenth-Century Art in
Europe and North America
Page
Numbers
pp. 904-961
Content Area
Later Europe and Americas
1750–1980 C.E.
Learning
Objectives
Examples
Big Ideas
Eighteenth- and Early
Nineteenth-Century
Art in Europe and
North America, 905;
Industrial,
Intellectual, and
Political Revolutions,
pp. 906–907; Rococo,
pp. 907–912; Italy:
The Grand Tour and
Neoclassicism, pp.
913–917;
Essential Knowledge 4-1a. The Enlightenment set the stage for this era. Scientific inquiry Neoclassicism and
and empirical evidence were promoted in order to reveal and understand the physical
Early Romanticism in
world. Belief in knowledge and progress led to revolutions and a new emphasis on
Britain, 917–931;
human rights. Subsequently, Romanticism offered a critique of Enlightenment principles Later EighteenthCentury Art in France,
and industrialization.
pp. 932–940; Art in
Spain and Spanish
America, 940–945;
Early NineteenthCentury Art:
Neoclassicism and
Romanticism,
945–958; Gothic and
Neoclassical Styles in
Early NineteenthCentury Architecture,
pp. 658–651
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
30-1: Thomas Mifflin and
Sarah Morris, p. 904; 303: The Signboard of
Gersaint, p. 908; 30-5:
Girl Reclining: Louise
O’Murphy, p. 910; 30-6:
The Swing, p. 911; 30-7:
The Invention of the
Balloon, p. 912; 30-9:
Interior, Church of the
Vierzehnheiligen, p. 913;
30-21: The Marriage
Contract, p. 923; 30-24:
An Experiment on a Bird
in the Air-Pump, p. 925;
30-25: Academicians of
the Royal Academy, p.
926; 30-29: The
Nightmare, p. 930; 3044: Third of May, 1808, p.
942: 30-67: Altes
Museum, Berlin, p. 960
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 4-1b. Philosophies of Marx and Darwin impacted worldviews,
followed by the work of Freud and Einstein. Later, postmodern theory influenced art
making and the study of art. In addition, artists were affected by exposure to diverse
cultures, largely as a result of colonialism. The advent of mass production supplied
artists with ready images, which they were quick to appropriate.
Industrial,
Intellectual, and
pp. 906–907; The
Satiric Spirit, pp.
922–923; The
Romance of Science,
pp. 924–926;
Romantic Painting, pp.
929–932; Portraiture
and Protest in Spain:
Goya, pp. 940–943
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
30-21: The Marriage
Contract, p. 923; 30-24:
30-29: The Nightmare, p.
930; 30-44: Third of May,
1808, p. 942
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 4-2a. Diverse artists with a common dedication to innovation came
to be discussed as the avant-garde. Subdivisions include Neoclassicism, Romanticism,
Realism, Impressionism, Post-Impressionism, Symbolism, Expressionism, Cubism,
Constructivism, Abstraction, Surrealism, Abstract Expressionism, Pop Art, performance
art, and earth and environmental art. Many of these categories fall under the general
heading of modernism.
Eighteenth- and Early
Nineteenth-Century
Art in Europe and
North America, 905;
Industrial,
Intellectual, and
pp. 906–907; Rococo,
pp. 907–912; Italy:
The Grand Tour and
Neoclassicism, pp.
913–917;
Neoclassicism and
Early Romanticism in Learning Objective
2.1; Learning
Britain, 917–931;
Objective 2.2
Later EighteenthCentury Art in France,
pp. 932–940; Art in
Spain and Spanish
America, 940–945;
Early NineteenthCentury Art:
Neoclassicism and
Romanticism,
Neoclassical Styles in
Early NineteenthCentury Architecture,
pp. 658–651
30-6: The Swing, p. 911;
30-7: The Invention of the
Balloon, p. 912; 30-9:
Interior, Church of the
Vierzehnheiligen, p. 913;
30-21: The Marriage
Contract, p. 923; 30-24:
30-25: Academicians of
the Royal Academy, p.
926; 30-29: The
Nightmare, p. 930; 3044: Third of May, 1808, p.
942: 30-67: Altes
Museum, Berlin, p. 960
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
30-3: The Signboard of
Gersaint, p. 908; 30-5:
O’Murphy, p. 910; 30-6:
The Swing, p. 911; 30-7:
Balloon, p. 912; 30-21:
The Marriage Contract, p.
923; 30-25: Academicians
of the Royal Academy, p.
926; 30-27: Severn River
Bridge, p. 928; 30-40:
Self Portrait with Two
Pupils, p. 939
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Enduring Understanding 4-1. From the mid-1700s to 1980 C.E.,
Europe and the Americas experienced rapid change and
innovation. Art existed in the context of dramatic events such as
industrialization, urbanization, economic upheaval, migrations,
and wars. Countries and governments were re-formed; women’s
and civil rights’ movements catalyzed social change.
Enduring Understanding 4-2. Artists assumed new roles in
society. Styles of art proliferated and often gave rise to artistic
movements. Art and architecture exhibited a diversity of styles,
forming an array of “isms.”
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Rococo Salons, pp.
907–908; Rococo
Painting and
Sculpture, pp.
908–912;
Essential Knowledge 4-2b. Artists were initially bonded by sanctioned academies and
Wedgewood, pp.
pursued inclusion in juried salons for their work to be displayed. Later, when this system
broke down, they joined together in self-defined groups, often on the margins of the
Contexts: Academies
mainstream art world, and they often published manifestos of their beliefs. Change and
and Academy
innovation dominated this era and became goals in their own right. Women artists slowly
Exhibitions, p. 926;
gained recognition as many artists competed for admiration of their individuality and
The Satiric Spirit, pp.
genius.
Architecture: Iron as
a Building Material, p.
928; Adelaide LablleGuiard, p. 938
Page 67 of 72
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Learning Objective
1.1; Learning
Objective 1.2;
Essential Knowledge 4-2c. Artists employed new media, including lithography,
Elements of
Learning Objective
photography, film, and serigraphy. They used industrial technology and prefabrication,
Architecture: Iron as 1.3; Learning
as well as many new materials, to create innovative and monumental works, culminating a Building Material, p. Objective 1.4;
with massive earthworks. Performance was enacted in novel ways and recorded on film 928; Technique:
Learning Objective
and video.
Lithography, p. 954
2.1; Learning
Objective 2.2;
Learning Objective
3.1
Essential Knowledge 4-2d. Architecture witnessed a series of revival styles, including
classical, Gothic, Renaissance, and Baroque. In the mid-19th century, advances in
technology, such as the steel frame, ferroconcrete construction, and cantilevering,
hastened the development of building construction. Skyscrapers proliferated and led to
an international style of architecture that was later challenged by postmodernism.
Enduring Understanding 4-3. Works of art took on new roles and
functions in society and were experienced by audiences in new
ways. Art of this era often proved challenging for audiences and
patrons to immediately understand.
Rococo Church
Decoration, pp.
Essential Knowledge 4-3b. Church patronage declined and corporate patronage
912–913; Canaletto,
emerged. The influence of the academies receded in favor of radical individualism; some p. 915; The Satiric
artists worked without patronage. Audiences ranged from private patrons to the public, Spirit, pp. 922–923;
which was sometimes hostile toward art that broke with tradition.
Contexts: Academies
and Academy
Exhibitions, p. 926
31 Mid-to Late NineteenthLater Europe and Americas
Century Art in Europe and pp. 962-1015
1750–1980 C.E.
the United States
Page 68 of 72
Big Idea 1: Artists
30-27: Severn River
Bridge, p. 928; 30-58:
or event
Rue Transnonain, Le 15
Big Idea 2: Art
Avril 1834, p. 953; 30-59: making is shaped by
The Print Lovers, p. 954
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
2.1; Learning
Objective 2.2
30-3: The Signboard of
Gersaint, p. 908; 30-5:
O’Murphy, p. 910; 30-6:
The Swing, p. 911; 30-7:
Balloon, p. 912; 30-25:
Academicians of the Royal
Academy, p. 926; 30-67:
Altes Museum, Berlin, p.
960
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
30-9: Interior, Church of
the Vierzehnheiligen, p.
913; 30-11: The Doge’s
Palace and the Riva Degli
Schivoni, p. 915; 30-21:
The Marriage Contract, p.
923; 30-25: Academicians
of the Royal Academy, p.
926
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Mid- to Late
Nineteenth-Century
Art in Europe and the
United States, p. 963;
Europe and the United
States in the Mid to
Late Nineteenth
Century, p. 964;
French Academic
Essential Knowledge 4-1a. The Enlightenment set the stage for this era. Scientific inquiry Architecture and Art, Learning Objective
1.3; Learning
pp. 964–968; Early
Objective 2.1;
Photography in
human rights. Subsequently, Romanticism offered a critique of Enlightenment principles Europe and the United Learning Objective
States, pp. 968–970; 2.2
Realism and the AvantGarde, pp. 972–986;
Impressionism, pp.
987–993; The LateNineteenth Century,
pp. 994–1006; The
Beginning of
Modernism, pp.
1007–1015
Late Nineteenth
Century, p. 964; Art
and Its Contexts:
Orientalism, p. 968;
Realism and
Revolution, p. 972;
The Mass
Dissemination of Art,
p. 978; Developments
in Britain, p. 984;
Impressionism, p. 987
Big Ideas
30-9: Interior, Church of
the Vierzehnheiligen, p.
913; 30-27: Severn River
Bridge, p. 928; 30-32:
Panthéon, p. 933; 30-65:
Houses of Parliament, p.
959; 30-69: Monticello, p.
961
Rococo Church
Decoration, pp.
Architecture: Iron as
Learning Objective
a Building Material, p.
2.1; Learning
Objective 2.2
Neoclassical
Architecture, pp.
958–961
Rococo Salons, pp.
907–908; Rococo
Painting and
Sculpture, pp.
Essential Knowledge 4-3a. Art was displayed at public exhibitions such as the Salon in
908–912;
Paris and later at commercial art galleries. The museum became an important institution
Wedgewood, pp.
of civic and national status and pride. The sale of art to the public became the leading
driver of art production. The collection of art increased, driving up prices, as art became
Contexts: Academies
a commodity that appreciated in value. After the devastation of Europe in World War II,
and Academy
artists in the United States dominated the art market.
Exhibitions, p. 926;
Neoclassical
Architecture, pp.
959–961
Examples
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
31-4: The Birth of Venus,
p. 967; 31-8:
Daguerreotype of Samuel
Big Idea 1: Artists
Finley Breese Morse, p.
969; 31-10: The Home of
the Rebel Sharpshotter:
Battlefield at Gettysburg,
or event
p. 970; 31-14: The
Big Idea 2: Art
Gleaners, p. 974; 31-17:
making is shaped by
Le Déjeuner sur L’Herbe,
p. 977; 31-21: the Gross
Big Idea 3:
Clinic, p. 981; 31-22:
Summer’s Day, p. 991; 31are variable
40: The Starry Night, p.
998; 31-57: Still Life with
Basket of Apples, p. 1015
31-6: The Snake
Charmer, p. 968; 31-13:
A Burial at Ornans, p.
973; 31-28: Impression:
Sunrise, p. 989
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Mid- to Late
Nineteenth-Century
Late Nineteenth
Century, p. 964;
French Academic
Learning Objective
pp. 964–968; Early
2.1; Learning
Photography in
Europe and the United Objective 2.2
States, pp. 968–970;
Realism and the AvantGarde, pp. 972–986;
Impressionism, pp.
987–993; The LateNineteenth Century,
pp. 994–1006; The
Beginning of
Modernism, pp.
1007–1015
Early Photography in
States, pp. 968–970;
Technique: The
Photographic Process,
p. 971; Juliam
Margaret Cameron, p.
971; Rosa Bonheur,
pp. 975–976; Art
pursued inclusion in juried salons for their work to be displayed. Later, when this system Noveau, pp.
1004–1005;
mainstream art world, and they often published manifestos of their beliefs. Change and Developments in
innovation dominated this era and became goals in their own right. Women artists slowly Britain, p. 984; A
Broader Look: Modern
Artists and World
genius.
Cultures: Japonisme,
pp. 996–997;
Symbolism, pp.
999–1003; European
Architecture:
Technology and
Structure, p.
1007–1012
Examples
Big Ideas
31-4: The Birth of Venus,
p. 967; 31-8:
969; 31-10: The Home of
Battlefield at Gettysburg, Big Idea 1: Artists
p. 970; 31-14: The
Gleaners, p. 974; 31-17: and idas to create an
Le Déjeuner sur L’Herbe, aesthetic object, act,
p. 977; 31-21: the Gross or event
Big Idea 2: Art
Clinic, p. 981; 31-22:
Summer’s Day, p. 991; 31- making is shaped by
40: The Starry Night, p.
998; 31-50: The Crystal
Big Idea 3:
Palace, p. 1007; 31-54:
are variable
Marshall Field Wholesale
Store, Chicago, p. 1011;
31-55: Wainwright
Building, St. Louis, p.
1012; 31-57: Still Life
with Basket of Apples, p.
1015
31-7: The Artist’s Studio,
p. 969; 31-8:
969; 31-16: The Horse
Fair, p. 976; 31-25: La Pia
De’Tolomei, p. 984; 3139: Japonaiserie: Flowring
Plum Tree, p. 997; 31-47:
Casa Batlló, Barcelona, p.
1005; 31-50: The Crystal
Palace, p. 1007; 31-54:
Marshall Field Wholesale
Store, Chicago, p. 1011;
31-55: Wainwright
Building, St. Louis, p.
1012
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
Early Photography in 1.3; Learning
as well as many new materials, to create innovative and monumental works, culminating Europe and the United Objective 1.4;
with massive earthworks. Performance was enacted in novel ways and recorded on film States, pp. 968–970; Learning Objective
and video.
2.1; Learning
Objective 2.2;
Learning Objective
3.1
31-7: The Artist’s Studio,
p. 969; 31-8:
969; 31-10: The Home of
Battlefield at Gettysburg,
p. 970; 31-11: Portrait of
Thomas Carlyle, p. 971
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Art Noveau, pp.
1004–1005; European
Learning Objective
Architecture:
2.1; Learning
Technology and
Objective 2.2
Structure, p.
1007–1012
31-1: Eiffel Tower, Paris,
p. 923; 31-46: Stairway,
Tassel House, Brussels, p.
1004; 31-47: Casa Batlló,
Barcelona, p. 1005; 3150: The Crystal Palace, p.
1007; 31-54: Marshall
Field Wholesale Store,
Chicago, p. 1011; 31-55:
Wainwright Building, St.
Louis, p. 1012
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning
Objectives
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Mid- to Late
Nineteenth-Century
The Mass
Dissemination of Art, Learning Objective
p. 978; Realism in the 2.1; Learning
United States, pp.
Objective 2.2
980–981; European
Architecture:
Impressionism, p.
987; Technology and
Structure, p.
1007–1012
Page 69 of 72
Big Idea 1: Artists
31-1: Eiffel Tower, Paris, aesthetic object, act,
p. 923; 31-46: Stairway, or event
Tassel House, Brussels, p. Big Idea 2: Art
1004; 31-21: The Gross
making is shaped by
Clinic. P. 981
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Mid- to Late
Nineteenth-Century
emerged. The influence of the academies receded in favor of radical individualism; some United States, p. 963;
artists worked without patronage. Audiences ranged from private patrons to the public, Arts and Its Contexts:
Art on Trial in 1877,
p. 985;
Impressionism, p. 987
32 Modern Art in Europe
and the Americas 19001950
pp. 10161081
Later Europe and Americas
1750–1980 C.E.
Modern Art in Europe
and the Americas,
1900–1950, p. 1017;
Europe and America in
the Early Twentieth
Century, p. 1018;
Early Modern Art in
Europe, pp.
1019–1040;
Essential Knowledge 4-1a. The Enlightenment set the stage for this era. Scientific inquiry Modernist Tendencies
in America, pp.
1040–1043; Early
human rights. Subsequently, Romanticism offered a critique of Enlightenment principles Modern Architecture,
pp. 1044–1049; Art
Between the Wars in
Europe, pp.
1050–1060; Modern
Art in the Americas
Between the Wars,
pp. 1060–1071;
Postwar Art in Europe
and the Americas, pp.
1071–1081
Learning
Objectives
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
32-3: The Woman with
the Hat, p. 1020; 32-5:
Family of Sal Timbanques,
p. 1022; 32-11: Standing
Child, p. 1027; 32-24:
Electric Light, p. 1034; 3234: The Flatiron Building,
p. 1041; 32-39: Steiner
Houe, p. 1045; 32-40:
Villa Savoye, p. 1045; 3243: Fallingwater, p. 1047;
32-52: Bauhaus Building,
p. 1054; 32-54: Wall
Hanging, p. 1055; 32-65:
Aspects of Negor Life, p.
1064; 32-66: La Citadelle:
Freedom, p. 1064; 32-68:
Migrant Mother, Nipomo,
California, p. 1066; 3281: Autumn Rhythm, p.
1075
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2
Big Idea 1: Artists
32-48: Worker and
Collective Farm Woman,
or event
p. 1052; 32-55: The Dada Big Idea 2: Art
Wall in Room 3 of the
making is shaped by
“Degenerate Art”, p. 1056 tradition and change
Big Idea 3:
are variable
Modern Art in Europe
and the Americas,
1900–1950, p. 1017;
Europe and America in
the Early Twentieth
Century, p. 1018;
Early Modern Art in
Europe, pp.
1019–1040;
Modernist Tendencies
Learning Objective
in America, pp.
2.1; Learning
1040–1043; Early
Modern Architecture, Objective 2.2
pp. 1044–1049; Art
Between the Wars in
Europe, pp.
1050–1060; Modern
Art in the Americas
Between the Wars,
pp. 1060–1071;
Postwar Art in Europe
and the Americas, pp.
1071–1081
Page 70 of 72
Big Ideas
Big Idea 1: Artists
31-1: Eiffel Tower, Paris, aesthetic object, act,
or event
p. 923; 31-29: Rouen
Cathedral, p. 988; 31-33: Big Idea 2: Art
making is shaped by
The Rehearsal on Stage,
p. 992
Big Idea 3:
are variable
Socialist Realism, pp.
1051–1052; Art and
Its Contexts:
Suppression of the
Avant-Garde in Nazi
Germany, p. 1056
The Bauhaus in
Germany, pp.
1054–1055;
pursued inclusion in juried salons for their work to be displayed. Later, when this system
Surrealism and the
Mind, pp. 1057–1060;
mainstream art world, and they often published manifestos of their beliefs. Change and
The Harlem
innovation dominated this era and became goals in their own right. Women artists slowly
Renaissance, pp.
1061, 1064–1065;
genius.
Dorothea Lange, p.
1067
Examples
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
32-3: The Woman with
the Hat, p. 1020; 32-5:
Family of Sal Timbanques,
p. 1022; 32-11: Standing
Child, p. 1027; 32-24:
Electric Light, p. 1034; 3234: The Flatiron Building,
p. 1041; 32-39: Steiner
Houe, p. 1045; 32-40:
Villa Savoye, p. 1045; 3243: Fallingwater, p. 1047;
p. 1054; 32-54: Wall
Hanging, p. 1055; 32-65:
Aspects of Negro Life, p.
1064; 32-66: La Citadelle:
Freedom, p. 1064; 32-68:
Migrant Mother, Nipomo,
California, p. 1066; 3281: Autumn Rhythm, p.
1075
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
p. 1054; 32-54: Wall
Hanging, p. 1055; 32-57:
Birth of Liquid Desires, p.
1058; 32-59:
Composition, p. 1059; 3265: Aspects of Negor Life,
p. 1064; 32-66: La
Citadelle: Freedom, p.
1064; 32-68: Migrant
Mother, Nipomo,
California, p. 1066
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Chapter
Page
Numbers
Content Area
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Examples
Big Ideas
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1
32-34: The Flatiron
Building, p. 1041; 32-39:
Steiner Houe, p. 1045; 3240: Villa Savoye, p. 1045;
32-43: Fallingwater, p.
1047; 32-45: Woolworth
Building, p. 1051; 32-58:
Object (Fur covered Cup),
p. 1059
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Early Modern
Architecture, pp.
1044–1049; Early
Modern Architecture,
pp. 1044–1049;
Learning Objective
Elements of
2.1; Learning
Architecture: The
Skyscraper, p. 1049; Objective 2.2
Gerrit Rietveld, p.
1052; Elements of
Architecture: The
International Style, p.
1057
32-39: Steiner Houe, p.
1045; 32-40: Villa
Savoye, p. 1045; 32-43:
Fallingwater, p. 1047; 3245: Woolworth Building,
p. 1051; Schröder House,
p. 1053
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
The Armory Show and
Home-Grown
Learning Objective
Modernism, pp.
2.1; Learning
1041–1044; The
Objective 2.2
Center Shifts to New
York, pp. 1073–1081
32-35: Nature Symbolized
No. 2, p. 1043; 32-36:
City Night, p. 1043; 3280: Garden in Sochi, p.
1074; 32-81: Autumn
Rhythm, p. 1075; 32-84:
Woman I, p. 1077
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Stieglitz and the “291”
Gallery, pp.
1040–1041; Early
Modern Architecture,
as well as many new materials, to create innovative and monumental works, culminating
pp. 1044–1049;
with massive earthworks. Performance was enacted in novel ways and recorded on film
Elements of
and video.
Architecture: The
Skyscraper, p. 1049
33 The International Scene pp. 1082since 1950
1137
Global Contemporary 1980
C.E. to Present
Stieglitz and the “291”
Gallery, pp.
1040–1041; The
Bauhaus in Germany,
pp. 1054–1055; Unit
emerged. The influence of the academies receded in favor of radical individualism; some One in England, p.
artists worked without patronage. Audiences ranged from private patrons to the public, 1060; Art and Its
Contexts: Federal
Patronage for
American Art During
the Depression, p.
1066
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
32-34: The Flatiron
Building, p. 1041; 32-52:
Bauhaus Building, p.
1054; 32-54: Wall
Hanging, p. 1055; 32-60:
Forms in Echelon, p.
1060; 32-68: Migrant
Mother, Nipomo,
California, p. 1066
The Expanding World,
pp. 1084–1095; The
Dematerialization of
the Art Object, pp.
1095–1103;
Architecture: MidCentury Modernism to
Postmodernism, pp.
1104–1107;
Postmodernism, pp.
1107–1116; Art,
Activism, and
Controversy: The
Nineties, pp.
1116–1129;
Globalism: Into the
New Millenium, pp.
1129–1137
Learning Objective
1.1; Learning
Objective 1.2;
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.1
33-3: Canyon, p. 1086;
33-12: Marilyn Diptych, p.
1093; 33-18: How to
Explain Pictures to a Dead
Hare, p. 1097; 33-3:
Heath of the Brandenburg
March, p. 1108; 33-42:
Many Mansions, p. 1113;
33-52: Untitled, p. 1122
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
33-17: Untitled (Mirror
Cube), p. 1096; 33-24:
Personal Appearance #3,
p. 1101; 33-39: Tar
Beach (Part I from the
Women on a Bridge
Series), p. 1111; 33-55:
Rebellious Silence, p.
1124
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Essential Knowledge 10-1a. Hierarchies of materials, tools, function, artistic training,
Enduring Understanding 10-1. Global contemporary art is
characterized by a transcendence of traditional conceptions of art style, and presentation are challenged. Questions about how art is defined, valued, and
presented are provoked by ephemeral digital works, video-captured performances,
and is supported by technological developments and global
graffiti artists, online museums and galleries, declines in (but preservation of) natural
awareness. Digital technology in particular provides increased
materials and traditional skills, predominance of disposable material cultures, and the
access to imagery and contextual information about diverse
digital divide — access or lack of access to digital technology.
artists and artworks throughout history and across the globe.
Essential Knowledge 10-1b. Diverse art forms are considered according to perceived
similarities in form, content, and artistic intent over broad themes, which include
existential investigations, sociopolitical critiques, as well as reflections on the natural
world, art’s history, popular and traditional cultures, and technological innovation.
Page 71 of 72
The Dematerialization
of the Art Object, pp.
1095–1103; Feminism
and Art, pp.
1101–1102;
Postmodernism and
Gender, pp.
1109–1111; Art and
Its Contexts: The
Guerilla Girls, p.
1110; Postmodernism
and Race or Ethnicity,
pp. 1111–1114; Art,
Activism, and
Controversy: The
Nineties, pp.
1116–1129; Art and
Identities, pp.
1132–1137
Chapter
Page
Numbers
Content Area
Enduring Understanding 10-2. In the scholarly realm as well as
mainstream media, contemporary art is now a major
phenomenon experienced and understood in a global context.
Essential Knowledge
Stokstad Art
History 5e, 2014
Student Edition
Learning
Objectives
Examples
Big Ideas
Essential Knowledge 10-1c. Artists frequently use appropriation and “mashups” to
devalue or revalue culturally sacred objects, and to negate or support expectations of
artworks based on regional, cultural, and chronological associations. Intended meanings
are often open-ended and subject to multiple interpretations.
Pop Arts, pp.
1091–1095; The
Dematerialization of
the Art Object, pp.
1095–1103;
Postcolonial
Discourse, p. 1124
Learning Objective
1.2; Learning
Objective 1.3;
Learning Objective
2.1; Learning
Objective 2.2;
Learning Objective
3.2
Big Idea 1: Artists
33-12: Marilyn Diptych, p. aesthetic object, act,
1093; 33-14: Oh, Jeff…I
or event
Love You, Too… But…, p. Big Idea 2: Art
1094; 33-55: Rebellious
making is shaped by
Silence, p. 1124
Big Idea 3:
are variable
Essential Knowledge 10-1d. The iconic building becomes a sought-after trademark for
cities. Computer-aided design impacts the diversity of innovative architectural forms,
which tend toward the aspirational and the visionary.
Architecture: MidCentury Modernism to
Postmodernism, pp.
1104–1107; HighTech and
Deconstructionist
Architecture, p.
1125–1128
Learning Objective
1.3; Learning
Objective 1.4;
Learning Objective
2.3; Learning
Objective 3.2
33-28: Seagram Building,
New York, p. 1104; 3330: Solomon R.
Guggenheim Museum,
New York, p. 1105; 3358: Hong Kong &
Shanghai Bank, Hong
Kong, p. 1126
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
Tar Beach (Part I from the
Women on a Bridge
Series), p. 1111; 33-55:
Rebellious Silence, p.
1124; 33-71: 133 People
Paid to Have Their Hair
Dyed Blond, p. 1135
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Learning Objective
1.3
Big Idea 1: Artists
33-63: The Sun, p. 1130; or event
Big Idea 2: Art
33-65: Multiplexed, p.
making is shaped by
1131
Big Idea 3:
are variable
Learning Objective
1.3; Learning
Objective 2.1;
Learning Objective
2.2
33-24: Personal
Appearance #3, p. 1101;
33-25: Untitled, from The
Tree of Life series, p.
1102; 33-39: Tar Beach
(Part I from the Women
on a Bridge Series), p.
1111; 33-55: Rebellious
Silence, p. 1124
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Museum of Modern
Art, p. 1087; Christo
and Jeane-Claude, p.
1103; Guggenheim
Museum, pp.
Learning Objective
1105–1106; Vietnam
1.3
Veterans Memorial,
pp. 1115–1116;
Guggenheim Museum
(Bilbao, Spain), p.
1126
33-27: The Gates, Central
Park, New York, p. 1103;
Solomon R. Guggenheim
Museum, New York, p.
1105; 33-60:
Guggenheim Museum,
Bilbao, p. 1127
Big Idea 1: Artists
or event
Big Idea 2: Art
making is shaped by
Big Idea 3:
are variable
Postmodernism and
Essential Knowledge 10-2a. Art history surveys have traditionally offered less attention
Race or Ethnicity, pp.
to art made from 1980 to the present. While such surveys often presented contemporary 1111–1114;
art as largely a European and American phenomenon, today, contemporary art produced Postcolonial
by artists of Africa, Asia, Oceania, and the First Nations is receiving the same, if not
Discourse, p. 1124;
Art and Identities, pp.
more, attention than work produced in Europe and the Americas.
1132–1137
Essential Knowledge 10-2b. The waning of colonialism, inaugurated by independence
movements, shifts in the balance of power with the collapse of Communism in Eastern
Europe and the rise of China, and the development of widespread communication
networks such as the Internet have all contributed to representations of the world that
are global and interconnected rather than Eurocentric.
Globalism: Into the
New Millenium, pp.
1129–1137
A Broader Look: The
Dinner Party, p. 1100;
Feminism and Art, pp.
1101–1102;
Postmodernism and
Gender, pp.
Essential Knowledge 10-2c. The art world has expanded and become more inclusive
1109–1111; Art and
since the 1960s, as artists of all nationalities, ethnicities, and sexual preferences, as well Its Contexts: The
as female artists, have challenged the traditional privileged place of white, heterosexual Guerilla Girls, p.
men in art history. This activism has been supported by theories (e.g., deconstructionist, 1110; Postmodernism
feminist, poststructuralist, and queer) that critique perspectives on history and culture
and Race or Ethnicity,
that claim universality but are in fact exclusionary.
pp. 1111–1114;
Activist Art, p.
1120–1123;
Postcolonial
Discourse, p. 1124;
Art and Identities, pp.
1132–1137
Essential Knowledge 10-2d. The worldwide proliferation of contemporary art museums,
galleries, biennials and triennials, exhibitions, and print and digital publications has
created numerous, diverse venues for the presentation and evaluation of art in today’s
world.
Page 72 of 72

Art History

Transcription

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