1. Indigenous Americas 1000 B.C.E. – 1980 C.E. Content 5 153 - 166

2. 153. Chavín de Huántar Northern highlands, Peru. Chavín.900-200 B.C.E. Stone (architectural complex); granite (Lanzón and sculpture); hammered gold alloy (jewelry) Over the course of 700 years, the site drew many worshipers to its temple who helped in spreading the artistic style of Chavín throughout highland and coastal Peru by transporting ceramics, textiles, and other portable objects back to their homes. Form Function Themes Content Context Terms

3. 154. Mesa Verde cliff dwelling Montezuma County, Colorado Ancestral Puebloan (Anasazi) 450-1300 C.E. Sandstone The cliff dwellings remain, though, as compelling examples of how the Ancestral Puebloans literally carved their existence into the rocky landscape of today's southwestern United States. Form Function Themes Content Context Terms

4. 155. Yaxchilán Chiapas, Mexico. Maya. 725 C.E. Limestone (architectural complex) Yaxchilán is located on the south bank of the Usumacinta River, in Chiapas, Mexico. It was a significant Maya center during the Classic period (250-900 C.E.) and a number of its buildings stand to this day. Many of the exteriors had elaborate decorations, but it is the carved stone lintels above their doorways which have made this site famous. These lintels, commissioned by the rulers of the city, provide a lengthy dynastic record in both text and image. Form Function Themes Content Context Terms

5. 156. Great Serpent Mound Adams County, southern Ohio. Mississippian (Eastern Woodlands). c. 1070 C.E. Earthwork/effigy mound Form Function Themes Content Context Terms

6. 157. Templo Mayor (Main Temple) Tenochtitlan (modern Mexico). Mexica (Aztec). 1375-1520 C.E. Stone (temple); volcanic stone (The Coyolxauhqui Stone); jadeite (Olmec-style mask); basalt (Calendar Stone) The most spectacular expansion of the Templo Mayor took place in the year "1 Rabbit" (1454 A.D.) under the ruler Motecuhzoma I when impressive art works and architectural elements were added. Form Function Themes Content Context Terms

7. 158. Ruler's feather headdress (probably of Motecuhzoma II) Mexica (Aztec). 1428-1520 C.E. Feathers (quetzal and cotinga) and gold He headdress was probably part of the collection of artefacts given by Motecuhzoma to Cortés who passed on the gifts to Charles V. The headdress is made from 450 green quetzal, blue cotinga and pink flamingo feathers and is further embellished with gold beads and jade disks. Form Function Themes Content Context Terms

8. 159. City of Cusco, including O0rikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman) Central highlands, Peru. Inka. c. 1440 C.E.; convent added 1550-1650 C.E. Andesite Cuzco, which had a population of up to 150,000 at its peak, was laid out in the form of a puma and was dominated by fine buildings and palaces, the richest of all being the sacred gold-covered and emerald-studded Coricancha complex which included a temple to the Inca sun god Inti. Form Function Themes Content Context Terms

9. 160. Maize cobs Inka. c. 1440-1533 C.E. Sheet metal/repoussé, metal alloys While many ancient Andean art traditions favored abstract and geometric forms, Inka visual expression often incorporated more naturalistic forms in small-scale metal objects. This silver alloy corncob sculpture is one example of this type of object. Form Function Themes Content Context Terms

10. 161. City of Machu Picchu Central highlands, Peru. Inka. c. 1450-1540 C.E. Granite (architectural complex) The site contains housing for elites, retainers, and maintenance staff, religious shrines, fountains, and terraces, as well as carved rock outcrops, a signature element of Inka art. Form Function Themes Content Context Terms

11. 162. All-T'oqapu tunic Inka. 1450-1540 C.E. Camelid fiber and cotton The All-T'oqapu Tunic is an example of the height of Andean textile fabrication and its centrality to Inka expressions of power. Form Function Themes Content Context Terms

12. 163. Bandolier bag Lenape (Delaware tribe, Eastern Woodlands). c. 1850 C.E. Beadwork on leather This is an object that invites close looking to fully appreciate the process by which colorful beads animate the bag, making a dazzling object and showcasing remarkable technical skill. Form Function Themes Content Context Terms

13. 164. Transformation mask Kwakwaka'wakw, Northwest coast of Canada. Late 19th century C.E. Wood, paint, and string The masks, whether opened or closed, are bilaterally symmetrical. Typical of the formline style is the use of an undulating, calligraphic line. The ovoid shape, along with s- and u-forms, are common features of the formline style. Form Function Themes Content Context Terms

14. 165. Painted elk hide Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Resservation, Wyoming. c. 1890-1900 C.E. Painted elk hide Cotsiogo began depicting subject matter that "affirmed native identity" and appealed to tourists. The imagery placed on the hide was likely done with a combination of free-hand painting and stenciling. Form Function Themes Content Context Terms

15. 166. Black-on-black ceramic vessel Maria Martinez and Julian Martinez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century C.E. Blackware ceramic They discovered that smothering the fire with powdered manure removed the oxygen while retaining the heat and resulted in a pot that was blackened. This resulted in a pot that was less hard and not entirely watertight, which worked for the new market that prized decorative use over utilitarian value. The areas that were burnished had a shiny black surface and the areas painted with guaco were matte designs based on natural phenomenon, such as rain clouds, bird feathers, rows of planted corn, and the flow of rivers. Form Function Themes Content Context Terms