5: Appendix
- Page ID
- 375347
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 5.2: Understanding Art - Supporting Images
- 5.2.1: Seated Figure, Djenné peoples
- 5.2.2: Terracotta Warriors
- 5.2.3: Woman with Wax Tablets and Stylus
- 5.2.4: Sugar Cane
- 5.2.5: Justinian and Attendants
- 5.2.6: Sol
- 5.2.7: Adoration of the Magi
- 5.2.8: Lancet Windows - Reims Cathedral
- 5.2.9: Portrait of Wally Neuzil
- 5.2.10: Self-Portrait with her Daughter
- 5.2.11: Oath of the Horatii
- 5.2.12: Cornelia Pointing to Her Children as Her Treasures
- 5.2.13: Buddha Shakyamuni or Akshobhya
- 5.2.14: Beaker with Inverse Face
- 5.2.15: Sistine Chapel
- 5.2.16: La Mozquita
- 5.3: Elements of Art and Principles of Design - Supporting Images
- 5.3.1: Color and Value
- 5.3.1.1: Mother and Child
- 5.3.1.2: Young Woman Watering a Shrub
- 5.3.1.3: Peasant Mother
- 5.3.1.4: The Banjo Lesson
- 5.3.1.5: Red Room
- 5.3.1.6: Color Structure
- 5.3.1.7: Peach Blossom Spring
- 5.3.1.8: Bridalveil Fall
- 5.3.1.9: Green_Wheat_Fields,_Auvers
- 5.3.1.10: A Piece of Wood II / From Knot of Wood
- 5.3.1.11: Atlantic Ocean, Cliffs of Moher
- 5.3.1.12: The Bay
- 5.3.1.13: Calla Lily
- 5.3.1.14: Fotogramm
- 5.3.1.15: Untitled (from Testimony)
- 5.3.1.16: I will not make boring art
- 5.3.1.17: The Two Disciple at the Tomb
- 5.3.1.18: The Supper at Emmaus
- 5.3.1.19: Battlefield
- 5.3.1.20: Migrant Mother
- 5.3.1.21: Monument for V. Tatlin
- 5.3.1.22: The Artist Helps the World by Revealing Mystic Truths
- 5.3.2: Line, Shape, and Form
- 5.3.2.1: The Four Horsemen, from The Apocalypse
- 5.3.2.2: The Tetons - Snake River
- 5.3.2.3: In the Car
- 5.3.2.4: Navigation Chart
- 5.3.2.5: The Virgin of the Rocks
- 5.3.2.6: Improvisation 28
- 5.3.2.7: Joinville Soldier Walking
- 5.3.2.8: Composition with Yellow, Blue, and Red
- 5.3.2.9: The Marriage of Reason and Squalor, II
- 5.3.2.10: Ta Moko
- 5.3.2.11: Muqarnas
- 5.3.2.12: Ceramic Lantern, 13th Century Syria
- 5.3.2.13: Korwar
- 5.3.2.14: West Buddha, Bamiyan
- 5.3.3: Space
- 5.3.3.1: La Donna Velata
- 5.3.3.2: Grand Canyon of the Yellowstone
- 5.3.3.3: St. John the Evangelist in the Lindisfarne Gospels
- 5.3.3.4: The Ultrecht Psalter
- 5.3.3.5: The Harley Psalter
- 5.3.3.6: The Eadwine Psalter
- 5.3.3.7: Christ Giving the Keys of the Kingdom to St. Peter
- 5.3.3.8: Saint Mark Preaching in Alexandria
- 5.3.3.9: Life as a Picture - A Picture of Life Series
- 5.3.3.10: Perspective Painting of the Lake to the East
- 5.3.3.11: The Clivus Scauri in Rome
- 5.3.3.12: Chamber of the Sphinx
- 5.3.3.13: Cloister of St. Trophime
- 5.3.3.14: Landscape with St. John on Patmos
- 5.3.3.15: The Oxbow
- 5.3.3.16: For Sunday's Dinner
- 5.3.3.17: Still Life with Oysters, Cookies, and Comfits
- 5.3.3.18: Lozenge Composition with Yellow, Black, Blue, Red, and Gray
- 5.3.3.19: Airplane Flying- Suprematist Composition
- 5.3.3.20: Altar Group with Oba Akenzua I
- 5.3.3.21: The Gates
- 5.3.3.22: Storyteller with Twenty Figures
- 5.3.4: Texture and Pattern
- 5.3.4.1: Balloon Dog
- 5.3.4.2: Chair
- 5.3.4.3: Fangding Ritual Food Vessel with Abstract Decor
- 5.3.4.4: Crater Moon
- 5.3.4.5: Still Life, Claesz
- 5.3.4.6: Buffalo
- 5.3.4.7: Vairocana Buddha
- 5.3.4.8: Bowl
- 5.3.4.9: Hypostyle Hall
- 5.3.4.10: Bowl with a Majlis Scene by a Pond
- 5.3.4.11: Autumn Rhythm - Number 30
- 5.3.4.12: Small Wood Where I Met Myself
- 5.3.4.13: Garbhadhatu (Taizokai) Mandala (Womb World)
- 5.3.4.14: Mulholland Drive
- 5.3.4.15: The Block
- 5.3.5: Balance and Movement
- 5.3.5.1: Chiswick House
- 5.3.5.2: The Ideal City
- 5.3.5.3: Temple of Artemis
- 5.3.5.4: Villa Savoye
- 5.3.5.5: Four Mandalas of the Vajravali
- 5.3.5.6: Doryphoros
- 5.3.5.7: The Mulberry Bend
- 5.3.5.8: Akbar on horseback, hunting animals within an enclosure
- 5.3.5.9: Silver Upper White River
- 5.3.5.10: Storm King Wavefield
- 5.3.6: Naturalism, Realism, Abstraction, and Idealization
- 5.3.6.1: The Doubting of Thomas
- 5.3.6.2: Saint Paul the Hermit
- 5.3.6.3: Portrait of Daruma
- 5.3.6.4: Two Lovers
- 5.3.6.5: Painterly Realism of a Boy with a Knapsack - Color Masses in the Fourth Dimension
- 5.3.6.6: Electrical Prisms
- 5.3.6.7: Boxes
- 5.3.6.8: The Second of the Sixteen Rakan
- 5.3.6.9: Portrait of a Man in Red Chalk
- 5.3.6.10: Slab Man
- 5.3.6.11: Father
- 5.4: Analyzing Art
- 5.4.1: Formal and Historical Analysis
- 5.4.1.1: Madonna of the Meadow
- 5.4.1.2: Third of May, 1808
- 5.4.1.3: Plowing of the Nivernais
- 5.4.1.4: Wivenhoe Park
- 5.4.2: Iconography and Iconographic Analysis
- 5.4.2.1: Look Mickey
- 5.4.2.2: Humanscape 70 (Comic Whitewash)
- 5.4.2.3: Crucifixion
- 5.4.2.4: Icon with the Heavenly Ladder of Saint Climacus
- 5.4.2.5: Buddha from Gandhara
- 5.4.2.6: Shah Jahan Holding an Emerald
- 5.4.2.7: Caligula
- 5.4.2.8: Nitza Tufino
- 5.4.2.9: Page from the Codex Zouche-Nuttall
- 5.4.2.10: The Dinner Party
- 5.4.3: Questions_to_Consider
- 5.5: Considering History
- This page explores artworks that embody cultural heritage, complemented by supplemental images for visual comparison. It encourages readers to delve into the significance and context of these pieces, highlighting the role of artistic expression in enhancing the understanding of cultural heritage.
- 5.5.1: What is Cultural Heritage?
- 5.5.1.1: Mona Lisa
- 5.5.1.2: Nampeyo, polychrome Jar
- 5.5.1.3: Hileq and Bileq
- 5.5.1.4: Medallion Carpet, The Ardabil Carpet
- 5.5.1.5: Abdoulaye Ndoye, Ahmed Baba
- 5.5.1.6: Djingareyber Mosque
- 5.5.1.7: Amrita Sher-Gil Self-Portrait as a Tahitian
- 5.5.1.8: Faith Ringgold, Dancing at the Louvre
- 5.5.1.9: Lysippos of Sikyon, Apoxyomenos (Scraper)
- 5.5.1.10: Plate with Hunting Rams
- 5.5.2: Asia Cultures and Brief History
- 5.5.2.1: Standing Bodhisattva Maitreya
- 5.5.2.2: Handheld Prayer Wheel
- 5.5.2.3: Mosaic, Great Mosque of Damascus
- 5.5.2.4: Torah case
- 5.5.2.5: Six Gentlemen 六君子图
- 5.5.2.6: Buncheong Jar with Cloud and Dragon Design
- 5.5.2.7: Wang Meng, Ge Zhichuan Moving to the Mountains 葛稚川移居圖
- 5.5.2.8: Heavenly Horse from the West
- 5.5.2.9: Angkor Wat
- 5.5.2.10: Mahabodhi Temple
- 5.5.2.11: Scenes In and Around the Capital
- 5.5.2.12: Kathakali Dance
- 5.5.2.13: Participation of Women in Work
- 5.5.2.14: Timur’s entry into Samarkand
- 5.5.2.15: Abanindranath Tagore
- 5.5.2.16: Khem Karan, View of the Siege of Baghdad in 1258
- 5.5.2.17: Han Jar Overpainted with Coca-Cola Logo
- 5.5.2.18: Knotted Carpet with Human Figures and Brahmi/Khotanese Inscriptions
- 5.5.3: Africa Cultures and Brief History
- 5.5.3.1: Running Horned Woman
- 5.5.3.2: Linguist Staff Okyeamepoma
- 5.5.3.3: Memorial Head (Ntiri)
- 5.5.3.4: Gold weight- Geometric
- 5.5.3.5: Great Mosque of Djenné
- 5.5.3.6: Lidded Saltcellar
- 5.5.3.7: Shrine Head
- 5.5.3.8: Shell Vessel with Leopard from Igbo-Ukwu
- 5.5.3.9: Queen Mother Pendant Mask
- 5.5.3.10: Head of an Oba
- 5.5.3.11: Bet Giyorgis Church
- 5.5.3.12: Painted wooden lion’s head, Early Coptic period
- 5.5.3.13: Coptic ostrakon, Early Islamic period
- 5.5.3.14: Jar, late 3rd–4th century
- 5.5.3.15: Conical Tower, Great Zimbabwe
- 5.5.3.16: Power Figure (Nkisi Nkondi)
- 5.5.3.17: Zlan of Belewale, Ceremonial Ladle
- 5.5.3.18: Crucifix, 16th–17th century
- 5.5.3.19: Ritual Vessel (Aduno Koro)
- 5.5.3.20: Seated Portuguese Male
- 5.5.3.21: Takienta
- 5.5.3.22: Figurative Harp (Domu)
- 5.5.3.23: Barkcloth, 1930
- 5.5.3.24: Plaque- Equestrian Oba and Attendants
- 5.5.3.25: Asante kente cloth
- 5.5.3.26: Cloth, 1968 (Asante people)
- 5.5.3.27: Mantle
- 5.5.3.28: Kabyle Fibulae (Brooches)

