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OVERALL VIEW AS SEEN FROM THE PYRAMID OF THE MOON AND PLAN OF THE CEREMONIAL CENTER OF THE CITY OF TEOTIHUACAN Mexico. Teotihuacan culture, c. 100–650 ce.

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OVERALL VIEW AS SEEN FROM THE PYRAMID OF THE MOON AND PLAN OF THE CEREMONIAL CENTER OF THE CITY OF TEOTIHUACAN Mexico. Teotihuacan culture, c. 100–650 ce.

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The people of Teotihuacan worshipped deities that were recognizably similar to those worshipped by later Mesoamerican people, including the Aztecs, who dominated central Mexico at the time of the Spanish Conquest. The Great Pyramid was destroyed along with the rest of the Aztec civilization by the Spanish conquistador Hernan Cortes and his army in 1521.

It is significant to plot on this map because the Temple of the Feathered Serpent was enlarged several times, and as was characteristic of Mesoamerican pyramids, each enlargement completely enclosed the previous structure like the layers of an onion.

Tenochtitlan, the great Aztec capital, housed the Great Pyramid, a four-stepped structure some 60 meters high. At its top, two shrines honoured Huitzilopochtli, the Aztec god of sun and war, and Tlaloc, god of rain and fertility.

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PALACE (FOREGROUND) AND TEMPLE OF THE INSCRIPTIONS (TOMB-PYRAMID OF PAKAL THE GREAT)Palenque, Mexico. Maya culture. Palace, 5th–8th century ce; Temple of the Inscriptions, c. 683 ce.

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PALACE (FOREGROUND) AND TEMPLE OF THE INSCRIPTIONS (TOMB-PYRAMID OF PAKAL THE GREAT)Palenque, Mexico. Maya culture. Palace, 5th–8th century ce; Temple of the Inscriptions, c. 683 ce.

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The Temple of the Inscriptions is a nine-level pyramid that rises to a height of about 75 feet. The consecutive layers reflect the belief, current among the Aztec and Maya at the time of the Spanish conquest, that the underworld had nine levels.

It is significant to plot on this map because it is interesting culture:
Priests would climb the steep stone staircase on the exterior to reach the temple on top. Also, inscriptions line the back wall of the outer chamber, giving the temple its name. Lastly, the five entrances in the front of the building are surrounded by five piers bearing both carved images and hieroglyphic texts in Maya script.

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Machu Picchu was used as housing for the Inca aristocracy after the Spanish conquest of in 1532.

It is significant to plot on this map because of the stonework structures of great refinement and durability, built by Inca builders. Additionally, it was an important agricultural center, away from the main roads. Lastly, it is considered as the most amazing urban creation of the Inca Empire and one of the most important heritage sites in the world. It sits on top of a mountain, offering spectacular scenery with significant endemic biodiversity of flora and fauna.

Still, Machu Picchu remains the great unknown, the reason why was not destroyed by the ancient conquerors.

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POWER FIGURE (NKISI NKONDE)From the Democratic Republic of Congo. Kongo culture,19th century ce. Wood, nails, pins, blades, and other materials,height 44″ (111.7 cm). The Field Museum, Chicago

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POWER FIGURE (NKISI NKONDE)From the Democratic Republic of Congo. Kongo culture,19th century ce. Wood, nails, pins, blades, and other materials,height 44″ (111.7 cm). The Field Museum, Chicago

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The creation of Nkisi Mangaaka in the latter half of the nineteenth century in the coastal Chiloango River region coincided with a period of great tumult, as colonial authority expanded and Europeans sought control of the export trade in ivory, rubber, and palm oil. Slavery within Kongo continued, even as the international slave trade ended, in order to provide manpower for the production of these labour-intensive commodities.

It is significant to plot on this map because it has such a unique feature and meaning; nails, which figure prominently in many minkisi, might also represent attempts to drive away destructive forces believed to be the cause of individual ailments or broader social and political ills. It is ideally made for harnessing spirit forces or powers to protect people. Specifically, nails and blades on the sculpture demonstrate that activated the spirit that was accessible through the figure. As such,  it is represented as a container of sacred substances which are activated by supernatural forces that can be summoned into the physical world.

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Art A Brief History by Marilyn Stokstad Michael W. Cothren (z-lib

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With the collapse of the Atlantic slave trade in the 19th century, European imperialism continued to focus on Africa as a source for raw materials and markets for the goods produced by industrialized nations.

It is significant to plot on this map because it reflects the lifestyle of the Nankani that has a profound influence on the art that is produced. These influences include the physical environment, the agrarian customs and the general Nankani culture itself. Hence, the Nankani Compound in Sirigu, Ghana, in its art celebrates all that is important to their life and this is shown (the same) on their pottery, baskets, their homes and even on the skin thus cementing cultural identity.

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Art A Brief History by Marilyn Stokstad Michael W. Cothren (z-lib