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https://www.youtube.com/watch?v=pZOUV_rTyj0
https://smarthistory.org/nike-winged-victory-of-samothrace/
https://smarthistory.org/fort-ancient-culture-great-serpent-mound/
https://smarthistory.org/bamiyan-buddhas/
https://smarthistory.org/nan-madol/
https://smarthistory.org/ryoanji-peaceful-dragon-temple/

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The ten artworks chosen all have a similarity in their connection to the environment. These works have used the environment either for symbolic meaning, architectural purposes, or to serve religious beliefs. All of them, though, share their use of the environment, integrated in their work, to add on to the artwork.

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Unit 10 - Vietnam Veterans Memorial. Washington, D.C., U.S. Maya Lin. 1982 CE. Granite.

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Unit 10 - Vietnam Veterans Memorial. Washington, D.C., U.S. Maya Lin. 1982 CE. Granite.

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In Vietnam Veterans Memorial, the designer, Maya Lin, wanted to convey meaning by having the work sunken into the ground. By having the viewer walk down the path, decreasing in elevation, it represents a cut in the earth, showing how traumatic the Vietnam War was. This sunken style, with the use of a built environment conveys the trauma of the war.

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Unit 9 - Nan Madol. Pohnpei, Micronesia. Saudeleur Dynasty. c. 700–1600 CE. Basalt boulders and prismatic columns.

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Unit 9 - Nan Madol. Pohnpei, Micronesia. Saudeleur Dynasty. c. 700–1600 CE. Basalt boulders and prismatic columns.

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The site of Nan Madol was built as a sacred and administrative site for the Saudeleur Dynasty. They would utilize a coral reef as a foundation to construct hundreds of islets with an intersecting pattern of basalt columns. They would use a canal system between these islets to move around the site. The canals were also said to have brought the eels and an eel deity. These sacred histories were told to explain the canals and their meaning. There is a clear use of the environment in the construction and utilization of this site with coral foundations and canals.

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Unit 8 - Ryoan-ji. Kyoto, Japan. Muromachi period, Japan. c. 1480 CE; current design most likely dates to the 18th century CE. Rock garden.

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Unit 8 - Ryoan-ji. Kyoto, Japan. Muromachi period, Japan. c. 1480 CE; current design most likely dates to the 18th century CE. Rock garden.

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In Ryoan-ji, we see a rock garden that was positioned in a way to be view with contemplation and stillness by Zen Buddhists, who focused on nature and simplicity. This is a dry garden with gray pebbles surrounding rocks with moss. At any time you can’t see more than 14 of the 15. This built environment was made to inspire contemplation and peace for many followers of Zen Buddhism.

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Unit 7 - Buddha Bamiyan, Afghanistan. Gandharan. c. 400–800 CE (destroyed in 2001). Cut rock with plaster and polychrome paint.

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Unit 7 - Buddha Bamiyan, Afghanistan. Gandharan. c. 400–800 CE (destroyed in 2001). Cut rock with plaster and polychrome paint.

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Bamiyan was an important site of the Silk Road, which facilitated the spread of Buddhism, in first millennium CE. The Buddha was carved on the side of a cliff-face as a Vairochana Buddha in high relief. The interior space was used to circumambulate the Buddha and had many rooms for religious worship. There is also niches all along the cliff for worship. This shows how Buddhists utilized the environment for their religious practices and purposes.

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Unit 5 - Great Serpent Mound. Adams County, southern Ohio. Mississippian (Eastern Woodlands). c. 1070 CE. Earthwork/effigy mound.

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Unit 5 - Great Serpent Mound. Adams County, southern Ohio. Mississippian (Eastern Woodlands). c. 1070 CE. Earthwork/effigy mound.

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The Great Serpent Mound was built as a mound by the Mississippian peoples. This mound has an unknown purpose, but it is believed that it has some celestial meaning. The head points at the sunset of the summer solstice and the tail points at the sunrise of the winter solstice. This mound, unlike the others, has no artifacts in it. This shows how the natives of this region utilized mounds to have certain celestial meanings.

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Unit 5 - Mesa Verde cliff dwellings. Montezuma County, Colorado. Ancestral Puebloan (Anasazi). 450–1300 CE. Sandstone.

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Unit 5 - Mesa Verde cliff dwellings. Montezuma County, Colorado. Ancestral Puebloan (Anasazi). 450–1300 CE. Sandstone.

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The ancestral Puebloans would move to cliff alcoves as a means for protection for the heat of the sun and the cold of the winter. The cliff may have provided defense to invaders. This is a shift from th radiation Al location near the water for the natives. This shift shows how these peoples utilized the environment for a practical purpose of defense to then build under their towns.

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Unit 4 - Spiral Jetty. Great Salt Lake, Utah, U.S. Robert Smithson. 1970 CE. Earthwork: mud, precipitated salt crystals, rocks, and water coil.

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Unit 4 - Spiral Jetty. Great Salt Lake, Utah, U.S. Robert Smithson. 1970 CE. Earthwork: mud, precipitated salt crystals, rocks, and water coil.

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In Spiral Jetty, Smithson would use volcanic rocks and put them in a spiral in the Great Salt Lake. This artworks shows a movement to take art off the wall and put it in nature. You have to travel to go out and see this work. The art is connected to nature and its natural cycle, hence it can’t be conserved and will stick to this natural process. This earthwork is trying to use the environment to convey the meaning of the natural cycle of the world.

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Unit 4 - Fallingwater. Pennsylvania, U.S. Frank Lloyd Wright (architect). 1936–1939 CE. Reinforced concrete, sandstone, steel, and glass.

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Unit 4 - Fallingwater. Pennsylvania, U.S. Frank Lloyd Wright (architect). 1936–1939 CE. Reinforced concrete, sandstone, steel, and glass.

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This work was made as a commission from department store tycoon Edgar Kaufmann Jr., who wanted to his home to be in nature. When Wright wa s presented with this, he placed the home on the waterfall, to make it so that it flows through the house. Wright felt that architecture was connected to nature and we see this with his use of glass and his plan’s accommodation for trees. He uses the environment as part of the work to show how humans and nature are connected.

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Unit 2 - Winged Victory of Samothrace. Hellenistic Greek. c. 190 BCE. Marble.

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Unit 2 - Winged Victory of Samothrace. Hellenistic Greek. c. 190 BCE. Marble.

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Winged Victory of Samothrace was placed in a sanctuary in an valley on the island of Samothrace. This valley had many places for rituals for a secret cult. Many argue wether the Nike was enclosed or in the open, but it was placed on a boat to represent victory and had real wing blow towards it, since it was at a high elevation of the valley for all to see. This shows how they used physical wind and placement to show the Nike in a 3/4th perspective. Hence, environment was used to convey greater meaning in this work.

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Unit 2 - Mortuary temple of Hatshepsut. Near Luxor, Egypt. New Kingdom, 18th Dynasty. c. 1473–1458 BCE. Sandstone, partially carved into a rock cliff, and red granite.

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Unit 2 - Mortuary temple of Hatshepsut. Near Luxor, Egypt. New Kingdom, 18th Dynasty. c. 1473–1458 BCE. Sandstone, partially carved into a rock cliff, and red granite.

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This Mortuary temple was built with multiple terraces into a cliff-face. This temple honored Hatshepsut, an Egyptian ruler. This axial (longitudinal plan) would stretch into the mountain were there contained many sphinxes, statues, and a sanctuary for Amun-Re, a sacred god in statue form, house in the mountain. The large cliff shows stability and drama with its size. This is connected with nature with the use of the cliff.