The Americas
Title: Chavin de Huantar Plan
Architect: Unknown
Date: 900BCE -200CE
Period/ Culture: Early Soutg America
Location: Andean Highlands of Peru
Scale: Big
Patron: Unknown
Materials: Stone
Techniques: Architecture
Intended Audience: Worshippers
At 10,330 feet in elevation, Chavin de Huantar sits in between the eastern and western Andes Mountains. There are two main temples in the complex, the Old Temple, built around 900 BCE, and the New Temple, built around 500 BCE. The New Temple expanded the Old Temple and added a rectangular sunken court. Most of the structures used roughly-shaped stones of many sizes to form walls and floors. The interior of the temple has many galleries. Some of the maze-like galleries are connected to each other, while others are separate.
Title: Lanzon Stela
Architect: Unknown
Date: 900- 200BCE
Period/ Culture: Chavin
Location: Chavin de Huantar, Peru
Scale: 15ft tall
Patron: Gods
Materials: White Granite
Techniques: Carved
Intended Audience: Priests, Gods
It is a wedge-shaped stone carved with supernatural images; located in the center of the old tomb. There is a figure with eyes, a mouth, and protruding fangs. The hands are tolon like. The fifure has animal and human like features. Fangs adn talons symbolize the jaguar. It uses contour rivalry (two images share parts or an outline). The eyebrows and hair represent snakes. It was visually confusing.
Title: Relief Sculpture from Chavin de Huantar
Architect: Unknown
Date: 900-200 BCE
Period/ Culture: Chavin
Location: Peru
Scale: Unknown
Patron: Unknown
Materials: Granite
Techniques: Relief Sculpture
Intended Audience: Incas, Gods
There are snakes at the bottom of the sculpture. In the bottom right corner there are talons. Right above are bird heads (geese?). In the middle row are sharp teeth. There is also a jaguar created at the the top, the most noticeable features are the eyes. Again, contour rivalry is used, the animals are connected to parts of animals.
Title: Nose Prnament
Architect: Unknown
Date: 500-200BCE
Period/ Culture: Chavin Huantar
Location:Peru, North Highlands
Scale: 2.3 cm
Patron: An elite person
Materials: Gold
Techniques: Hammered and Cut
Intended Audience: The elite peroson who wears it.
Serpent heads on either side of the loop that holds onto the septum, with swirls on the bottom. In general, snakes are important to the religion.
Title: Mesa Verde Cliff Dwellings
Architect: Unknown
Date: 450-1300 CE
Period/ Culture: Amasazi
Location: Colorado
Scale: Large
Patron: Amasazi people
Materials: Stone and Mud Mortra
Techniques: Masonry
Intended Audience: House the Ancestral Puebloan people
“Verde” is Spanish for green and “Mesa” means table in Spanish but on these it refers to the flat-topped mountains common in the southwestern United States. They were accessed with retractable ladders. The largest of the cliff dwellings is Cliff Palace, has about 150 rooms and more than 20 circular rooms. Due to its location it was well protected from the elements. The buildings originally ranged from one to four stories, and some even hit the natural stone ceiling. Mud mortar and stone was used instead of adobe, which was common prior to 1000 CE in the area. The stone and mortar buildings and the decorative elements and objects found inside them, provide important insights into the lives of the Ancestral Puebloan people during the thirteenth century. Families lived in units around a kiva which had a fire pit, and ventilation. Murals were also common
Title: Yaxchilan Structure 40
Architect: Unknown
Date: 725 CE
Period/ Culture: Late Classical Period
Location: Chipas, Mexico
Scale: It's a building
Patron: Brid Jaguar
Materials: Stone
Techniques: Masonry
Intended Audience: Whoever lived or visited there
This would have had elaborate decoration that included, niches, a roof comb, and sculpture all around. It has been restored and also has three doorways opening to a single room and the remains of a perforated roof comb. The room has the remains of murals that once covered all the interior walls. This place was hidden and could not be easily accessed. And it was build for Bird Jaguar IV.
Title: Yaxchilan lintel 25 of structure 23
Architect: Unknown
Date: 709CE
Period/ Culture: Mayan
Location: Yaxchilan
Scale: 109 x 78 x 6 cm
Patron: Bird Jaguar IV
Materials: Limestone
Techniques: Relief
Intended Audience: Visitors
The image depicts Lady K’ab’al Xook, wife of Shield Jaguar. Lady Xook performs a bloodletting ritual that has manifested a vision of a serpent. From the mouth of the serpent a warrior carrying a shield and spear emerges. Scholars have debated the identity of this figure, some arguing that it represents Shield Jaguar, others that it is Lady K’abal Xook herself in another form. By doing this, the queen showed her moral and physical strength and suitability as a ruler.
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Title: The Temple of Angkor Wat
Architect: King Suryavarman
Date: 800-1400 CE
Period/ Culture: Angkor Dynasty
Location: Cambodia
Scale: The entire site is 1,626,000 square meters
Patron: King Suryavarman II
Materials: Sandstone
Techniques: Stone Masonry
Intended Audience: Vishnu and King Suryavarman
The temple is made up of an expansive enclosure wall, which separates the sacred temple grounds from the protective moat that surrounds the entire complex. The temple proper is composed of three galleries with a central sanctuary, marked by five stone towers.The five stone towers are meant to represent the five mountain ranges of Mt. Meru- the mythical home of the gods for Hinduism and Buddhism. The entire temple was designed to represent parts of Mt. Meru. The galleries and the empty spaces created, along with the moat, are meant to represent the mountain ranges and oceans that surround Mt. Meru. Angkor Wat is also considered an axis-mundi, which is cosmic or world axis that connects heaven and earth. Embedded in the temple’s construction is a mandala. It is planned according to the rising sun and moon(days, months, and years. The central axis should be aligned with the planets)
Title: South Gate of the Temple of Angkor Wat
Architect: King Jayavarman VII
Date: 800-1400 CE
Period/ Culture: Angkor Dynasty
Location: Cambodia
Scale: The entir site is 1,626,000 square meters
Patron: King Suryavarman II
Materials: Sandstone
Techniques: Stone Masonry
Intended Audience: Vishnu and King Suryavarman
The South Gate of Angkor Thom is mountain-like. On the top are 3 faces. The identity of the faces is unknown; it could be Avolkiteshvara, or Mahayana, or Jayavarman VII. On the left side of the gate are 54 guardian gods, also called “devas.” On the right side are 54 demon gods, also called “asuras.” The devas pull the head of a snake, and the asuras pull the tail of the snake. The snake’s body is coiled around Mt. Meru. By pulling the snake in opposite directions, the ocean churned and milked
Title: The Churning of the Ocean Milk
Architect: Unknown
Date: 300-100 CE
Period/ Culture: Buddhist
Location: Madhya Pradesh, India
Scale: Large bas relief
Patron: King Suryavarman II
Materials: Sandstone
Techniques: Stone Masonry
Intended Audience: King Suryavarmanand Vishnu
Suryavarman II worshipped Vishnu rather than Shiva, which was odd because most worshipped Shiva. This relief is on the south side of the East Wall in the third enclosure of Angkor Wat. This relief depicts a story from Hindu religion. In the story the Ocean of Stars is being churned in order to obtain amrita, which is the nectar of immortal life. In order to obtain the amrita, it needs to be churned up from the bottom of the ocean. Both the gods (devas) and devils (assuras) of the Hindu religion had to work together to obtain the amrita. The gods and devils couldn't churn it, so they called upon the serpent king, Vasuki, to churn the ocean for them. There is also a mountain in this scene, Mount Mandara. Vishnu wraps the serpent god around the mountain so that the mountain rotates around the sea and churns it.
Title: Jayavarman VII as Buddha
Architect: Unknown
Date: 300-100 CE
Period/ Culture: Buddhist
Location: Madhya Pradesh, India
Scale: Large bas relief
Patron: King Jayavarman II
Materials: Stone and Sandstone
Techniques: Sculpture and Masonry
Intended Audience: King Jayavarman and Vishnu
Jayavarman VII was one of the greatest Khmer kings. He reigned as a powerful Khmer monarch from 1181-1218. He is the most famous of the Khmer kings. His life and reign were heaving influenced by his two wives, who were sisters. After his first wife died, he married her sister.This sculpture depicts Jayavarman VII as Buddha. Although Buddha himself was still not depicted in human form at this time, there were many sculptures in which there was an important person resembling BuddhaThis sculpture is meant to commemorate one of the great Khmer kings of all time by making him resemble Buddha. By connecting Jayavarman VII to Buddha, the power and importance of Jayavarman VII is increased by this link between a great monarch and one of the most popular religious, political, and social figures at this time.
Title: Angkor Wat Plan
Architect: Unknown
Date: 800-1400 CE
Period/ Culture: Khmer Empire
Location: Angkor, Cambodia
Scale: N/A
Patron: King Jayavarman II
Materials: N/A
Techniques: N/A
Intended Audience: King Jayavarman and Vishnu
At its highest point, it is 213 meters, or 699 feet tall. The height is achieved with three rectangular/square levels, each gets progressively smaller and higher. Covered galleries with columns define the boundaries of the first and second levels. The third level supports the five stone towers (the design of four towers on the corners and one in the middle is called a quincunx). The towers look like cones due to graduated tiers rising along the sides.
Title: Angkor Wat Site Plan
Architect: Unknown
Date: 800-1400 CE
Period/ Culture: Buddhist
Location: Madhya Pradesh, India
Scale: Pretty Big..
Patron: King Jayavarman II
Materials: Stone and Sandstone
Techniques: Sculpture and Masonry
Intended Audience: King Jayavarmanand and Vishnu
This plan is west facing, unlike the traditional Khmer temples which were east facing/oriented, leading people to believe that Suryavarman meant for it to be his funerary temple, further proved by the bas-reliefs going counter clockwise which is opposite to normal order. After a funeral the rituals take place in reverse. The temple is a representation of Mount Meru, where the gods live. It is a mix of temple mountain and gallery style.The cruciform terrace guarded by lions connecting the causeway to the central structure is a later addition. The building of temples by Khmer kings was a means of legitimizing their claim to political office and also to lay claim to the protection and powers of the gods.
Title: Lakshmana Temple
Architect: Unknown
Date: 930-950 BCE
Period/Culture: Chandella Period
Location: Khajuraho, India
Scale: 25.9 meters tall
Patron: Yashovarman
Materials: Sandstone
Techniques: Architecture
Intended Audience: Those who wanted to pray to Vishnu
The temple has nearly 600 images of gods, the main temple (east facing) is flanked by 4 free standing shrines at the corners of the platform. It is best known for its elaborate decoration
It has an entrance porch, a mandapa, and a maha-mandapa.
The walls have balconied windows. The sanctum doorway is of seven sakhas (vertical panels).The central one being decorated with various incarnation of Lord Vishnu. The Lintel depicts goddess Lakshmi in the centre flanked by Brahma and Vishnu. The sanctum contains four-armed sculpture of Vishnu.
Title: Detail from Lakshmana Temple
Architect: Unknown
Date: 930-950 BCE
Period/Culture: Chandella Dynasty
Location: Khajuraho, India
Scale: N/A
Patron: Yashovarman
Materials: Sandstone
Techniques: Relief Sculpture and masonry
Intended Audience: Those who wanted to pray to Vishnu
Mithuna -A man and woman are having sex; there legs are crossed over each other, because they are in a kamasutra yogic position. On the left is a man playing with his penis while the woman on the right is also masturbating. In society, sex was considered divine and the Kamasutra is a book about human sexuality, and India was open about these topics. Khajuraho had the Hindu and Jain religions. His erotic pose symbolizes regeneration and sexual pleasure. A detail like this can have many different messages; some interpret it as having tantric meaning and identity with deities and humans. It could represent changes to the body. It also relates to the Kama sutra.
Title: Detail from Lakshmana Temple
Architect: Unknown
Date: 930-950 BCE
Period/Culture: Chandella Period
Location: Khajuraho, India
Scale: N/A
Patron: Yashovarman
Materials: Sandstone
Techniques: Sculpture
Intended Audience: Those who wanted to pray to Vishnu
Lion statue that is standing/sitting with one paw up that is on top of a woman. The lion’s mane is sleek and textured. The body is sleek. Narasimha is one of Vishnu’s avatars who is half-man/half-lion. The rakshasa (Demon) was granted a gift from brahma. He could not be killed by man or animal, inside or out, day or night, on earth or the stars, with a weapon either living or inanimate. Vishnu descended as an anthropomorphic incarnation, with the body of a man and head and claws of a lion. He then disembowels the rakshasa at the courtyard threshold of his house.
Title: Lakshmana Temple Plan
Architect: Unknown
Date: 930-950 BCE
Period/Culture: Chandella Dynasty
Location: Khajuraho, India
Scale: approximently 25.9m x 25.9m
Patron: Yashovarman
Materials: Sandstone
Techniques: Masonry
Intended Audience: Those who wanted to pray to Vishnu
1 is the sanctum. A sanctum is a doorway of seven vertical panels.
2 is the pradakshina patha, used for circumambulation
3 is the antarala, which is a vestibule between the sanctum and the hall.
4 is the mahamdapa, a large column hall.
5 is the mandapa. A mandapa is a pavilion for public events.
6 is the mukha mandapa, a porch.
Title: Shiva as Lord of Dance (Nataraja)
Architect: Unknown
Date: 11th century
Period/ Culture: Chola Period
Location: Bamiyan Valley, Afghanistan
Scale: 69x 57 cm
Patron: Queen Sembiyan Mahedevi
Materials: Bronze Copper Alloy
Techniques: Carved into the side of a cliff in the Bamiyan Valley
Intended Audience: Hindus
Shiva is dancing in a flaming nimbus, dancing on a dwarf figure which means “becoming.”. He unfolds the universe to destroy it because the universe will be reborn. He has four arms. His hair flies out. Nataraja means dance, or performance. Shiva has a third eye; he once burned the god Kama with his third eye. He lifts up his right hand as a gesture, telling people to not be afraid (called abhaya). In his upper right hand he holds a damaru, a drum symbolizing the beats of creation and time. In his upper left hand he holds agni, the fire that will destroy the universe. His front left hand is near his foot, a sign that there will be liberation.Shiva dancing is the universe’s cycle of life and rebirth. It shows physical beauty and grace. These sculptures were also portable. Shiva has feminine qualities, which shows gender is less important than religion.