Catacombs of art treasures – Early Christian Art

Next, we turn our attention to Early Christian Art dating back to around 300 AD. Very few examples survived but some of the most significant icons are in the catacombs of Priscilla, outside the walls of Rome. Priscilla was the owner of much wealth and she opened part of her family’s Villa, namely the catacombs for the early Christians to use. These catacombs were in use from the 2nd century to the late 5th century AD. The catacombs of Priscilla consists of 3 levels and add up to about 13 km of tunnels, some sources suggest that there was almost 40 000 graves by the late 5th century AD when catacombs seized to be used as burial place. By that time the catacombs were mostly visited by pilgrims come to see the martyrs tombs. Many catacombs with holy relics had a basilica build on top of the catacombs for religious congregations to visit the relics during the late 5th century AD.

(Images: Wikipedia, Reuters and the official site of the Catacomb of Priscilla)

The catacombs of Priscilla’s upper level is very irregular in the layout since it was initially part of a marble quarry and was only later converted to catacombs, while the two lower levels is structured into a fish-bone-like symmetry. Galleries containing loculi (individual niches just large enough for a body) stacked on top of each other to form a pilae, as well as larger rooms of wealthy families with sarcophagi – cubicles – can be found throughout the tunnels. The loculus (individual tomb niche) was sealed up with a terracotta tile. Using frescoes and marble engraved epigraphs individual loculi were distinguishable.

The imagery of Early Christian art roots are based on the cultural heritage of the newly converted Christians, thus Roman Art, including common poses, compositions and mediums used. Mediums such as frescoes, mosaics and relief sculpture with naturalistic approach to the human figure and a clear understanding of the natural world surrounding them. Frescoes are murals painted into wet plaster or in this case lime. Beautiful examples of frescoes in the catacombs of Priscilla suggest that symbols later found in Christian art were already developed much earlier that previous believed. These symbols include the Good Sheppard, the dove, the fish and peacock. Illustrations of Biblical stories narrate hope for the early Christians while staying in check with local customs. These illustrations were done so subtly in order to avoid prosecution – only other Christians would recognize the story by understanding the acronyms. Especially popular was the acronym: IXΘYS (Fish) the Greek for Jesus Christ son of God and Savior.

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The frescoes at the catacombs of Priscilla were done in the style of Pompeii. Cubicles were painted to give the illusion of architectural space and details. Artists used red and green to define this space into different parts, thus separating the image plane into distinct parts in which to tell the story, almost like a storyboard.

Continues development of Christian art eventually lead the artist to focus increasingly on the spiritual rather than the physical nature of life during the Byzantine period – to follow next time!

The monumental heritage of Andean Art, continue.

Our journey through Andean Art takes us to the coast of Northern Peru, were we find the impressive remains of the Moche civilization that dates from c 100 BC to 800 CE. Contemporary to the Nazca peoples further down the coast. The Moche, so called because it was the name of their capital, that lies at the foot of the Cerro Blanco mountains and covered an area of 300 hectares. This city included city dwellings, plazas, storehouses and workshop along with impressive monumental pyramids.

Image 1. Huaca del Sol as seen from the southeast, with the Moche River delta beyond and city ruins in the foreground. (Wikipedia)

Image 2. A view of the Huaca de la Luna, with Cerro Blanco in the background. (Wikipedia)

A high brick wall once enclosed the entire temple complex. Around 450 CE, work on both temples was completed. The larger complex, called the Huaca del Sol (The Sun Temple), was originally more than 50 metres high and was built using over 140 million adobe bricks, each stamped with a signature mark. The smaller temple, known as the Huaca de la Luna (Moon Temple), consists of three tiers built from 50 million bricks. Although, both temples were once brightly decorated in red, yellow and black to provide an imposing setting for religious activities, only the Moon temple’s friezes gives us a narrative of the traditions of the Moche people’s believes and rituals. Both these temples display typical Moche architecture characteristics namely, multiple levels, access ramps and slanted roofing. It seems that the pyramids were also use as a crypt for the important figures of the Moche culture.

Image 3. The main mural of the Huaca de la Luna (Wikipedia)

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Image4. Pictures of Ai-Apaec in the “huaca de la Luna”. La Libertad, Peru. (Wikipedia)

The most impressive examples of the Moche art have come from the recovered tombs at Sipán, San Jose de Moro and Huaca Cao Viejo. The Moche culture is today recognised for their superb realistic portrait ceramic stirrup-spouted vessels. These portraits are recognisable as individuals – real people – in one example; we can recognise one individual in several different depictions because of the cut on his lip. Pottery production made use of moulds but each was individually decorated, typically using cream, red and browns. Other examples of pottery include narrative depictions of everyday life in the Moche culture painted in red on light ceramic wares. Popular subjects display anthropomorphic figures, especially fanged felines, humans in action and animals like snakes, frogs, birds – especially the owl, fish and crabs.

Image 5. Moche portrait vessel, Musée du quai Branly in Paris (Wikipedia)

Image 6. Alpaca wool tapestry (600–900 AD), Lombards Museum (Wikipedia)

Image 7. Moche warrior pot, British Museum (Wikipedia)

Image 8. Crescent-Shaped Ornament with Bat, C.E. 1 – 300 Brooklyn Museum (Wikipedia)

Image 9. Moche Nariguera depicting the Decapitator, gold with turquoise and chrysocolla inlays. Museo Oro del Peru, Lima. (Wikipedia)

Image 10. The Lord of Sipán, Royal Tombs of Sipán museum, Lambayeque, Peru. (Wikipedia)

Researchers today believe that the Moon goddess was the supreme deity of the Moche, controlling the seasons and the storms. The Moon is considered more powerful than the Sun since it can be seen both at night and during the day.  This sentiment seems true when examining the multiple examples of night animals displayed in the Moche art as well as depictions of the night skies with a crescent moon.

Other forms of art include stunning examples of metalwork: gold headdresses, chest plates, nose rings and ear spools – some with turquoise inlaid; textiles; tumi knives and copper ware.

For our warm-ups, we did perceptual drawings of portrait vessels:

Our last two stops are Tiwanaku and Wari.

Tiwanaku: The monumental straight-cut building blocks still baffle researchers and visitors alike. Just how did they manage to cut and move these giant blocks? Groves cut into the blocks suggest they used ropes to move and position the blocks. Bronze clamps were cast directly into the T- and I-sockets in the stone to create massive stone doors. These huge stone buildings were used exclusively for temples, while adobe blocks were used for residential buildings.

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Image 11. The Gateway of the Sun from the Tiwanku civilization in Bolivia (Wikipedia).

Image 12. Gate of the Moon. (Wikipedia)

Image 13. Walls around the temple Kalasasaya (Wikipedia)

The sacred complex consisted of the Akapana Temple, with an artificial hill which was over 15 metres high and had seven tiers with steps cut into the east and west sides. The Kalasasaya was a rectangular structure of 130 by 120 metres with the Ponce Monolith (3.5 m tall) at the entrance. Next, we find the Semi-Subterranean Temple, with a sunken court measuring 28.5 by 26 metres, accessed via a single staircase leading down from the south side. All the courts and platforms were paved. The interior wall of the sunken court were decorated with stone heads build into the wall and in the centre of the court stelae (statues) were found, e.g. Bennett Stela which is 7.3 metres tall depicted a ruler of more likely a High Priest of Tiwanaku. On many of the stelae relief carvings depict mythical creatures and suggest a narrative with roots that can be traced back to previous cultures like the Chavin’s.

Image 14. Closeup of carved stone tenon-head embedded in wall of Tiwanaku’s Semi-subterranean Temple (Wikipedia)

Image 15. Ponce stela in the sunken courtyard of the Tiwanaku’s Kalasasaya temple (Wikipedia)

The most famous structure of Tiwanaku is the monumental Gateway of the Sun. Carved from a single piece of andesite stone, the gateway measures 2.8 metres high by 3.8 metres wide, the opening of the gate is 1.4 metres wide. Relief carvings cover the top portion of the gate: the central figure reminds us of the Staff god from the Chavin culture, the forerunner of the Andean god Viracocha. The central figure is surrounded by three rows of 48 winged creatures wearing feathered headdresses. Underneath these figures is a row of geometrical designs.

The Tiwanaku culture had definite elite group that lived in finer built residential areas with cobblestone foundations and private courtyards surrounded with high adobe brick walls, the houses were constructed from finely cut stone blocks. The largest parts of the residential buildings were built with adobe bricks. Canals, drainage channels, hearths and wall niches have been found suggesting organisation. The absence of storehouses and administrative buildings suggest a lack of provisional planning and eventually lead to their demise with the El Nino draughts.

Wari: or huari was a militaristic group that succeeded through successful exploitation of the diverse landscape by building terraces for agriculture using constructed canals to irrigate their crops ensuring stable food sources even during extreme lengths of droughts. This provisional planning and sensible building of enough storehouses ensured the Wari success were other civilisations perished. While their contemporary cultures, the Nazca and the Moche civilisations, complete dispersed during the 30-year drought of the 6th century they flourished.

Image 16. Pikillaqta administrative center, built by the Wari civilization in Cusco. (Wikipedia)

The Wari built massive city walls – up to 10 metres high and 4 metres wide – with large rough stones set in mud mortar. Buildings had two or three stories and courtyards were lined with stone benches built into the walls. Most floors and the walls of buildings were plastered and painted white. There is little distinction between public and private buildings. The temple in the Moraduchayuq compound, in the southeast part of the city, was built in the 6th century and had subterranean parts – the whole structure was painted red.

Similar to other Andean cultures, it is their tombs that provide the best examples of their art, including textiles, ceramics and metalwork. A royal tomb in the Monjachayoq sector consists of 25 chambers on two different levels; all lined with finely cut stone slabs (traded from the Tiwanaku people). A shaft leading down to the third level chamber was built in the shape of a Llama – the royal resting chamber – dates to 750-800 CE. Further down, we find a final room cut out of the rock.

A beautiful example of Wari settlements can be found at Pikillacta that was built as a military settlement on an altitude of 3250 m. Built in a rectangular form, 745 by 630 metres it is laid out in a precise geometrical pattern of squares that restricted entrance to one single point. Pikillacta is also notable for the 40 miniature greenstone figurines depicting elite citizens and small figures of transformational shamans, warriors, bounded captives and pumas in copper, gold and semi-precious stones.

The Wari civilizations success can also be seen in the extensive trade routes established to far reaching places with settlements along the routes. Roads and water channels connected all the settlements. This system also ensured an economic stable civilization with wealthy elite.

Image 17. Four-Cornered Hat, 650-1000. Brooklyn Museum. (Wikipedia)

Image 18. Huari earthenware pot with painted design, 650-800 CE (Middle Horizon) (Wikipedia)

Image 19. Wig Headdress, Wari People, 600-1000 C.E, Brooklyn Museum. (Wikipedia)

They are especially known for feathered textiles in predominantly geometric rectilinear patterns, like the steppe diamond motif. Blue was a favoured colour for these textiles. Geometric patterns often included a single random change in the motif or colour change suggesting a signature. Other textiles depict deities, plants and animals, particularly the condor, puma and llama.

The same patterns are used in their ceramics and metalwork.

The exact cause for the Wari’s decline is unknown, but during the 9th century, they seem to have destroyed their own buildings after entombing their treasures in the subterranean chambers.

For class warm-ups, we created our own geometrical patterns before looking at example of Wari art:

 

 

 

The Fantastic Zoomorphic Animals of Peru

A Short overview of Ancient Andean Art

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Image 1. The Lanzón Stela at Chavín, still image from a video of a photo-textured point cloud using laser scan data collected by nonprofit CyArk (Wikipedia)

Before we journey to Ancient Peru, it is important to take the time and consider the geographical area of the ancient Andean. These civilizations had to deal with extreme climate diversity as well as topographical challenges – in short distances the temperature could change dramatically form tropical valleys to snow-capped mountains to desert heat; from low laying river-plains to the highest mountains of the Andes; these civilizations had to develop new skills to survive, even more so – to flourish. It is in this diverse environment that the initial small warring states started to form, ensuring long periods of isolation that guaranteed the development of distinctly new cultures, furthermore the development of domesticated animals and new irrigation systems lead to the improvement of various crops that could sustain a larger permanent settlement.

Image 2. The Raimondi Stela from the Chavín Culture, Ancash, Peru. Original uploader was Ghirlandajo. (Wikipedia)
A Warm-up exercise inspired by the Chavin Art: completing the drawing to practice symmetry: The first settlement that we “visited” were Chavin. The Chavin people lived high up in the Andes (10 000 feet above sea), with farming ground on different levels (terraces) for producing various crops as well as different animals, including the Llama, in Cordillera Blanca, Peru. The main cultural complex was the temple, Chavin de Huantar. The temple was started in ca 900 BC, with huge raised platforms constructed from massive blocks of dressed stone. Decorative elements include the typical dualistic symmetry, e.g. the black and white gate with engravings that at first glance seems exactly the symmetrical but upon closer examination illustrates female and male deities. Other decorative characteristics are the almost geometric abstracted faces carved from stone and build into the walls surrounding the sunken plaza and temple complex. We also find beautiful pottery either decorated with visually interesting lines and geometric patterns of different textures or animals. A few examples of their weaving have survived. The textiles, patterned with darker earth tones to illustrate their gods, suggesting narrative aspect to their art, and ritualistic use of the material. This is also true of the gold ornaments, including nose rings, headbands and necklaces.

Next, we visit the Nazca civilization (200 BC to 600) found in the desert on the South coast of Peru. Their principal cultural complexes can be found at Cahuachi and Ventilla. This group consist of small villages spread out over terraces hillsides near irrigated floodplains each with their own chief. Even with the use of irrigation, they had to make use of an extensive trade route to endure – trading as far as the Amazon, this can be seen from the feathers found in the graves. Most of what we know of their cultural practices comes from excavations of tombs. Tombs were built as shafts, 4.5 m deep, lined with mud bricks – containing not only the mummified remains in upright sitting position but also their earthly belongings – that could be revisited. Colourfully decorated textiles and ceramics are characteristic of the Nazca culture. Their favourite colours were maroon, light purple and blue-grey. Pots have a wide variety of forms and are mostly light cream or red background with black outlined patterns or figures. While some images are highly abstract and ornamental, others depict narrative scenes like battles. The most popular subjects depict shellfish, monkeys, condors, mythically transformed creatures especially felines, gods and shamans. However, they are best known for their geoglyphs – large linear designs on the landscape that can only be fully appreciated from the air. Archaeologists believe that these lines where used to point to sacred sites and show people where water could be found. Their exact purpose may never be known but some believe that the lines were made to walk along during religious festivities.

Image 3. Killer Whale, Nazca Culture, pottery, Larco Museum. Lima, Perú by Lyndsayruell (Wikipedia)

Image 4. “The Dog” from the air (Wikipedia)

Class learn about metal sheets: Nazca inspired pewter

In our discussion after the informative talk about Andean art, we found it is interesting to note that similarities can be drawn between the Nazca and the San people (South Africa). Both of these cultures use a form of trans-inducing foods to create art for religious purposes. They use of landscape as part of their art that serves as a pointer for the next generation on where to find food or water. Lastly, both of these cultures have images of transformed mythical creatures in their pictographs.

Our journey will continue to Mochica on the North coast of Peru. Until next time – keep drawing.

Some more Andean art inspired project: Making a clay horse

 

 

Krabbel Krappie Blog – An Introduction

For me art is the means to see the light in the darkness, to find beauty in the unexpected, and to make dreams reality, to keep on seeking the image hidden by everyday troubles.

You see??! Do you see the ordinary becoming extraordinary, can you find inspiration for making and being creative?

Come along with me on a creative journey of discovery. I find inspiration everywhere. My biggest problem: using it before the next idea comes by; although some is abandoned beforehand to live on in my dreams alone while others, being in constant flux, change until they are “abandoned” just like Picasso said “Paintings are never finished but merely abandoned” as a finished artwork.

Why doodling is essential for all creative beings…even sea snails doodle in the sand  (Ha-ha)

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Doodling helps us to form connections that we would otherwise never have recognized. It helps create bridges and form paths in our brain, a mental road-map of sorts that leads to creative solutions. This is the reason why we remember information better if we were busy doodling while listening and why many study methods encourages students to draw while learning a new skill. Luckily, you do not need much to doodle…just look at those sea snails doodling around until they make up their minds on where to go. So pick up a pen, or whatever mark making tool you can lay your hands on, and start doodling.

The next hick-up many people, myself included, have is where to start? Anywhere – just make a mark and continue from there, you could use letters, objects you see around you, something that makes you happy of the thing that you just cannot figure out what it represents. Renaissance artist, Leonardo da Vinci, is said to have searched for images in clouds, cracks in the pavement etc. When last did you look at the clouds and went “I see a … elephant … a dolphin … Mrs Scrooges with her dog …etc. Look! Look again and draw – even if it is only in the air – if the Rock and Roll fans can play air guitar then the creative artists can air draw J Remember drawing is fun and true freedom if we choose to be free to create!

Examples of doodles by my students and me that I trust you will find inspiring:

A few quick watercolor studies 2015 Accidental ink drawing 01 African animal doodle 01 African animal doodle 02 African animal doodle 03 Drawing of shell 02

Happy doodling!

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