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Prehistoric art atau seni prasejarah merupakan seni yang diproduksi dalam budaya prasejarah.

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In the history of art, prehistoric art is all art produced in preliterate, prehistorical cultures beginning somewhere in very late geological history, and generally continuing until that culture either develops writing or other methods of record-keeping, or makes significant contact with another culture that has, and that makes some record of major historical events. At this point ancient art begins, for the older literate cultures. The end-date for what is covered by the term thus varies greatly between different parts of the world.[a]

The earliest human artifacts showing evidence of workmanship with an artistic purpose are the subject of some debate. It is clear that such workmanship existed by 40,000 years ago in the Upper Paleolithic era, although it is quite possible that it began earlier. In September 2018, scientists reported the discovery of the earliest known drawing by Homo sapiens, which is estimated to be 73,000 years old, much earlier than the 43,000 years old artifacts understood to be the earliest known modern human drawings found previously.[2]

Engraved shells created by Homo erectus dating as far back as 500,000 years ago[3] have been found, although experts disagree on whether these engravings can be properly classified as 'art'.[4] From the Upper Paleolithic through to the Mesolithic, cave paintings and portable art such as figurines and beads predominated, with decorative figured workings also seen on some utilitarian objects. In the Neolithic evidence of early pottery appeared, as did sculpture and the construction of megaliths. Early rock art also first appeared during this period. The advent of metalworking in the Bronze Age brought additional media available for use in making art, an increase in stylistic diversity, and the creation of objects that did not have any obvious function other than art. It also saw the development in some areas of artisans, a class of people specializing in the production of art, as well as early writing systems. By the Iron Age, civilizations with writing had arisen from Ancient Egypt to Ancient China.

Many indigenous peoples from around the world continued to produce artistic works distinctive to their geographic area and culture, until exploration and commerce brought record-keeping methods to them. Some cultures, notably the Maya civilization, independently developed writing during the time they flourished, which was then later lost. These cultures may be classified as prehistoric, especially if their writing systems have not been deciphered.

The earliest undisputed art originated with the Homo sapiens Aurignacian archaeological culture in the Upper Paleolithic. However, there is some evidence that the preference for the aesthetic emerged in the Middle Paleolithic, from 100,000 to 50,000 years ago. Some archaeologists have interpreted certain Middle Paleolithic artifacts as early examples of artistic expression.[6][7] The symmetry of artifacts, evidence of attention to the detail of tool shape, has led some investigators to conceive of Acheulean hand axes and especially laurel points as having been produced with a degree of artistic expression.

Similarly, a zigzag engraving supposedly made with a shark tooth on a freshwater Pseudodon shell DUB1006-fL around 500,000 years ago (i.e. well into the Lower Paleolithic), associated with Homo erectus, could be the earliest evidence of artistic activity, but the actual intent behind this geometric ornament is not known.[5]

There are other claims of Middle Paleolithic sculpture, dubbed the " Venus of Tan-Tan" (before 300 kya) and the " Venus of Berekhat Ram" (250 kya). In 2002 in Blombos cave, situated in South Africa, stones were discovered engraved with grid or cross-hatch patterns, dated to some 70,000 years ago. This suggested to some researchers that early Homo sapiens were capable of abstraction and production of abstract art or symbolic art. Several archaeologists including Richard Klein are hesitant to accept the Blombos caves as the first example of actual art.

In September 2018 the discovery in South Africa of the earliest known drawing by Homo sapiens was announced, which is estimated to be 73,000 years old, much earlier than the 43,000 years old artifacts understood to be the earliest known modern human drawings found previously.[2] The drawing shows a crosshatched pattern made up of nine fine lines. The sudden termination of all of the lines on the fragment edges indicate that the pattern originally extended over a larger surface.[9] It is also estimated that the pattern was most likely more complex and structured in its entirety than shown on the discovered area. Initially, when this drawing was found, there was much debate. To prove that this drawing was created by Homo Sapiens, French team members who specialized in chemical analysis of pigments, reproduced the same lines using a variety of techniques.[10] They concluded that the lines making up the drawing were intentional and were most likely made with ocher. This discovery adds further dimensions to understanding the behavior and cognition of early homo sapiens.

Neanderthals may have made art. Painted designs in the caves of La Pasiega ( Cantabria), a hand stencil in Maltravieso ( Extremadura), and red-painted speleothems in Ardales ( Andalusia) are dated to 64,800 years ago, predating by at least 20,000 years the arrival of modern humans in Europe.[11][12] In July 2021, scientists reported the discovery of a bone carving, one of the world's oldest works of art, made by Neanderthals about 51,000 years ago.[13][14]

In November 2018, scientists reported the discovery of the oldest known figurative art painting, over 40,000 (perhaps as old as 52,000) years old, of an unknown animal, in the cave of Lubang Jeriji Saléh on the Indonesian island of Borneo.[15][16]

Some of the oldest undisputed works of figurative art were found in the Schwäbische Alb, Baden-Württemberg, Germany. The earliest of these, the Venus figurine known as the Venus of Hohle Fels and the Lion-man figurine, date to some 40,000 years ago.

Further depictional art from the Upper Palaeolithic period (broadly 40,000 to 10,000 years ago) includes cave painting (e.g., those at Chauvet, Altamira, Pech Merle, Arcy-sur-Cure and Lascaux) and portable art: Venus figurines like the Venus of Willendorf, as well as animal carvings like the Swimming Reindeer, Wolverine pendant of Les Eyzies, and several of the objects known as bâtons de commandement.

Paintings in Pettakere cave on the Indonesian island of Sulawesi are up to 40,000 years old, a similar date to the oldest European cave art, which may suggest an older common origin for this type of art, perhaps in Africa.[17]

Monumental open-air art in Europe from this period includes the rock-art at [ Côa Valley and Mazouco in Portugal, Domingo García and Siega Verde in Spain, and Rocher gravé de Fornols fr] in France.

A cave at Turobong in South Korea containing human remains has been found to contain carved deer bones and depictions of deer that may be as much as 40,000 years old. Petroglyphs of deer or reindeer found at Sokchang-ri may also date to the Upper Paleolithic. Potsherds in a style reminiscent of early Japanese work have been found at Kosan-ri on Jeju island, which, due to lower sea levels at the time, would have been accessible from Japan.

The oldest petroglyphs are dated to approximately the Mesolithic and late Upper Paleolithic boundary, about 10,000 to 12,000 years ago. The earliest undisputed African rock art dates back about 10,000 years. The first naturalistic paintings of humans found in Africa date back about 8,000 years apparently originating in the Nile River valley, spread as far west as Mali about 10,000 years ago. Noted sites containing early art include Tassili n'Ajjer in southern Algeria, Tadrart Acacus in Libya (A Unesco World Heritage site), and the Tibesti Mountains in northern Chad. Rock carvings at the Wonderwerk Cave in South Africa have been dated to this age. Contentious dates as far back as 29,000 years have been obtained at a site in Tanzania. A site at the Apollo 11 Cave complex in Namibia has been dated to 27,000 years.

Göbekli Tepe in Turkey has circles of massive T-shaped stone pillars dating back to the 10th-8th millennium BCE; the world's oldest known megaliths. Many of the pillars are decorated with abstract, enigmatic pictograms and carved animal reliefs.

Asia was the cradle for several significant civilizations, most notably those of China and South Asia. The prehistory of eastern Asia is especially interesting, as the relatively early introduction of writing and historical record-keeping in China has a notable impact on the immediately surrounding cultures and geographic areas. Little of the very rich traditions of the art of Mesopotamia counts as prehistoric, as writing was introduced so early there, but neighbouring cultures such as Urartu, Luristan and Persia had significant and complex artistic traditions.

The earliest Indian paintings were the rock paintings of prehistoric times, the petroglyphs as found in places like the Rock Shelters of Bhimbetka, and some of them are dated to circa 8,000 BC.[22][23][24][25][26] The Indus Valley civilization produced fine small stamp seals and sculptures, and may have been literate, but after its collapse there are relatively few artistic remains until the literate period, probably as perishable materials were used.

The Gobustan National Park reserve located at the south-east of the Greater Caucasus Mountains in Azerbaijan, 60 km away from Baku date back more than 12 thousand years ago. The reserve has more than 6,000 rock carvings depicting mostly hunting scenes, human and animal figures. There are also longship illustrations similar to Viking ships. Gobustan is also characterized by its natural musical stone called Gavaldash (tambourine stone).[27][28][29][30]

Prehistoric artwork such as painted pottery in Neolithic China can be traced back to the Yangshao culture and Longshan culture of the Yellow River valley. During China's Bronze Age, Chinese of the ancient Shang Dynasty and Zhou Dynasty produced multitudes of Chinese ritual bronzes, which are elaborate versions of ordinary vessels and other objects used in rituals of ancestor veneration, decorated with taotie motifs and by the late Shang Chinese bronze inscriptions. Discoveries in 1987 in Sanxingdui in central China revealed a previously unknown pre-literate Bronze Age culture whose artefacts included spectacular very large bronze figures (example left), and which appeared culturally very different from the contemporary late Shang, which has always formed part of the account of the continuous tradition of Chinese culture.

The earliest examples of Korean art consist of Stone Age works dating from 3000 BCE. These mainly consist of votive sculptures, although petroglyphs have also been recently rediscovered. Rock arts, elaborate stone tools, and potteries were also prevalent.

This early period was followed by the art styles of various Korean kingdoms and dynasties. In these periods, artists often adopted Chinese style in their artworks. However, Koreans not only adopted but also modified Chinese culture with a native preference for simple elegance, purity of nature and spontaneity. This filtering of Chinese styles later influenced Japanese artistic traditions, due to cultural and geographical circumstances.

The prehistory of Korean ends with the founding of the Three Kingdoms of Korea, which are documented in the Samguk Sagi, a 12th-century CE text written in Classical Chinese (the written language of the literati in traditional Korea), as beginning in the 1st century BCE; some mention of earlier history is also made in Chinese texts, like the 3rd-century CE Sanguo Zhi.

Clearer evidence of culture emerges in the late Neolithic, known in Korea as the Jeulmun pottery period, with pottery similar to that found in the adjacent regions of China, decorated with Z-shaped patterns. The earliest Neolithic sites with pottery remains, for example Osan-ri, date to 6000-4500 BCE. This pottery is characterized by comb patterning, with the pot frequently having a pointed base. Ornaments from this time include masks made of shell, with notable finds at Tongsam-dong, Osan-ri, and Sinam-ri. Hand-shaped clay figurines have been found at Nongpo-dong.

During the Mumun pottery period, roughly between 1500 BCE and 300 BCE, agriculture expanded, and evidence of larger-scale political structures became apparent, as villages grew and some burials became more elaborate. Megalithic tombs and dolmens throughout Korea date to this time. The pottery of the time is in a distinctive undecorated style. Many of these changes in style may have occurred due to immigration of new peoples from the north, although this is a subject of debate. At a number of sites in southern Korea there are rock art panels that are thought to date from this period, mainly for stylistic reasons.

While the exact date of the introduction of bronzework into Korea is also a matter of debate, it is clear that bronze was being worked by about 700 BCE. Finds include stylistically distinctive daggers, mirrors, and belt buckles, with evidence by the 1st century BCE of a widespread, locally distinctive, bronzeworking culture.

The time between 300 BCE and the founding and stabilization of the Three Kingdoms around 300 CE is characterized artistically and archaeologically by increasing trade with China and Japan, something that Chinese histories of the time corroborate. The expansionist Chinese invaded and established commanderies in northern Korea as early as the 1st century BCE; they were driven out by the 4th century CE. The remains of some of these, especially that of Lelang, near modern Pyongyang, have yielded many artifacts in a typical Han style.

Superb samples of Steppes art - mostly golden jewellery and trappings for horse - are found over a vast expanses of land stretching from Hungary to Mongolia. Dating from the period between the 7th and 3rd centuries BCE, the objects are usually diminutive, as may be expected from nomadic people always on the move. Art of the steppes is primarily an animal art, i.e., combat scenes involving several animals (real or imaginary) or single animal figures (such as golden stags) predominate. The best known of the various peoples involved are the Scythians, at the European end of the steppe, who were especially likely to bury gold items.

Among the most famous finds was made in 1947, when the Soviet archaeologist Sergei Rudenko discovered a royal burial at Pazyryk, Altay Mountains, which featured - among many other important objects - the most ancient extant pile rug, probably made in Persia. Unusually for prehistoric burials, those in the northern parts of the area may preserve organic materials such as wood and textiles that normally would decay. Steppes people both gave and took influences from neighbouring cultures from Europe to China, and later Scythian pieces are heavily influenced by ancient Greek style, and probably often made by Greeks in Scythia.

The Ain Sakhri Lovers from modern Israel, is a small Natufian carving in calcite, from about 9,000 BCE. Around the same time, the extraordinary site of Göbekli Tepe in eastern Turkey was begun. During the first phase, belonging to the Pre-Pottery Neolithic A (PPNA), circles of massive but neatly shaped T-shaped stone pillars were erected - the world's oldest known megaliths.[39] More than 200 pillars in about 20 circles are currently known through geophysical surveys. Each pillar has a height of up to 6 m (20 ft) and weighs up to 10 tons. They are fitted into sockets that were hewn out of the bedrock.[40] In the second phase, belonging to the Pre-Pottery Neolithic B (PPNB), the erected pillars are smaller and stood in rectangular rooms with floors of polished lime. On the smoothed surfaces of the pillars there are reliefs of animals, abstract patterns, and some human figures.

By convention, prehistory in the Near East is taken to continue until the rise of the Achaemenid Empire in the 6th century BCE, although writing existed in the region from nearly 2,000 years earlier. On that basis the very rich and long tradition of the art of Mesopotamia, as well as Assyrian sculpture, Hittite art and many other traditions such as the Luristan bronzes all fall under prehistoric art, even if covered with texts extolling the ruler, as many Assyrian palace reliefs are.

The Art of the Upper Paleolithic includes carvings on antler and bone, especially of animals, as well as the so-called Venus figurines and cave paintings, discussed above. Despite a warmer climate, the Mesolithic period undoubtedly shows a falling-off from the heights of the preceding period. Rock art is found in Scandinavia and northern Russia, and around the Mediterranean in eastern Spain and the earliest of the Rock Drawings in Valcamonica in northern Italy, but not in between these areas.[41][42] Examples of portable art include painted pebbles from the Azilian culture which succeeded the Magdalenian, and patterns on utilitarian objects, like the paddles from Tybrind Vig, Denmark. The Mesolithic statues of Lepenski Vir at the Iron Gate, Serbia date to the 7th millennium BCE and represent either humans or mixtures of humans and fish. Simple pottery began to develop in various places, even in the absence of farming.

Compared to the preceding Upper Paleolithic and the following Neolithic, there is rather less surviving art from the Mesolithic. The Rock art of the Iberian Mediterranean Basin, which probably spreads across from the Upper Paleolithic, is a widespread phenomenon, much less well known than the cave-paintings of the Upper Paleolithic, with which it makes an interesting contrast. The sites are now mostly cliff faces in the open air, and the subjects are now mostly human rather than animal, with large groups of small figures; there are 45 figures at Roca dels Moros. Clothing is shown, and scenes of dancing, fighting, hunting and food-gathering. The figures are much smaller than the animals of Paleolithic art, and depicted much more schematically, though often in energetic poses.[43] A few small engraved pendants with suspension holes and simple engraved designs are known, some from northern Europe in amber, and one from Starr Carr in Britain in shale.[44]

The rock art in the Urals appears to show similar changes after the Paleolithic, and the wooden Shigir Idol is a rare survival of what may well have been a very common material for sculpture. It is a plank of larch carved with geometric motifs, but topped with a human head. Now in fragments, it would apparently have been over 5 metres tall when made.[45]

In Central Europe, many Neolithic cultures, like Linearbandkeramic, Lengyel and Vinča,[46] produced female (rarely male) and animal statues that can be called art, and elaborate pottery decoration in, for example, the Želiesovce and painted Lengyel style.

Megalithic (i.e., large stone) monuments are found in the Neolithic Era from Malta to Portugal, through France, and across southern England to most of Wales and Ireland. They are also found in northern Germany and Poland, as well as in Egypt in the Sahara desert (at Nabta Playa and other sites). The best preserved of all temples and the oldest free standing structures are the Megalithic Temples of Malta. They start in the 5th millennium BC, though some authors speculate on Mesolithic roots. One of the best-known prehistoric sites is Stonehenge, part of the Stonehenge World Heritage Site which contains hundreds of monuments and archaeological sites. Monuments have been found throughout most of Western and Northern Europe, notably at Carnac, France.

In the central Alps, the Camunni made some 350,000 petroglyphs: see Rock Drawings in Valcamonica.

During the 3rd millennium BCE, the Bronze Age began in Europe, bringing with it a new medium for art. The increased efficiency of bronze tools also meant an increase in productivity, which led to a surplus - the first step in the creation of a class of artisans. Because of the increased wealth of society, luxury goods began to be created, especially decorated weapons.

Examples include ceremonial bronze helmets, ornamental ax-heads and swords, elaborate instruments such as lurer, and other ceremonial objects without a practical purpose, such as the oversize Oxborough Dirk. Special objects were made in gold; many more gold objects have survived from Western and Central Europe than from the Iron Age, many mysterious and strange objects ranging from lunulas, apparently an Irish speciality, the Mold Cape and Golden hats. Pottery from Central Europe can be elaborately shaped and decorated. Rock art, showing scenes from the religious rituals have been found in many areas, for example in Bohuslän, Sweden and the Val Camonica in northern Italy.

The Iron Age saw the development of anthropomorphic sculptures, such as the warrior of Hirschlanden, and the statue from the Glauberg, Germany. Hallstatt artists in the early Iron Age favored geometric, abstract designs perhaps influenced by trade links with the Classical world.

The more elaborate and curvilinear La Tène style developed in Europe in the later Iron Age from a centre in the Rhine valley but it soon spread across the continent. The rich chieftain classes appear to have encouraged ostentation and Classical influences such as bronze drinking vessels attest to a new fashion for wine drinking. Communal eating and drinking were an important part of Celtic society and culture and much of their art was often expressed through plates, knives, cauldrons and cups. Horse tack and weaponry were also decorated. Mythical animals were a common motif along with religious and natural subjects and their depiction is a mix between the naturalistic and the stylized. Megalithic art was still sometimes practiced, examples include the carved limestone pillars of the sanctuary at Entremont in modern-day France. Personal adornment included torc necklaces whilst the introduction of coinage provided a further opportunity for artistic expression. The coins of this period are derivatives of Greek and Roman types, but showing the more exuberant Celtic artistic style.

In much of western Europe elements of this artistic style can be discerned surviving in the art and architecture of the Roman colonies. In particular in Britain and Ireland there is a tenuous continuity through the Roman period, enabling Celtic motifs to resurface with new vigour in the Christian Insular art from the 6th century onwards.

The sophisticated Etruscan culture developed from the 9th to 2nd centuries, with considerable influence from the Greeks, before finally being absorbed by the Romans. By the end of the period they had developed writing, but early Etruscan art can be called prehistoric.

Ancient Egypt falls outside the scope of this article; it had a close relationship with the Sudan in particular, known in this period as Nubia, where there were advanced cultures from the 4th millennium BCE, such as the " A-Group", " C-Group", and the Kingdom of Kush.

In September 2018, scientists from the University of Bergen, the University of Bordeaux and the University of the Witwatersrand together reported the discovery of the earliest known drawing by Homo sapiens at Blombos Cave, South Africa which is estimated to be 73,000 years old, much earlier than the 43,000 years old artifacts understood to be the earliest known modern human drawings found previously.[2]

There is a significant body of rock painting in the region around Matobo National Park of Zimbabwe dating from as early as 6000 BCE to 500 CE.

Significant San rock paintings exist in the Waterberg area above the Palala River and around Drakensberg in South Africa, some of which are considered to derive from the period 8000 BCE. These images are very clear and depict a variety of human and wildlife motifs, especially antelope. There appears to be a fairly continuous history of rock painting in this area; some of the art clearly dates into the 19th century. They include depictions of horses with riders, which were not introduced to the area until the 1820s.

Namibia, in addition to the Apollo 11 Cave complex, has a significant array of San rock art near Twyfelfontein. This work is several thousand years old, and appears to end with the arrival of pastoral tribes in the area.[49]

Laas Geel is a complex of caves and rock shelters in northwestern Somalia. Famous for their rock art, the caves are located in a rural area on the outskirts of Hargeisa. They contain some of the earliest known cave paintings in the Horn of Africa, many of which depict pastoral scenes. Laas Geel's rock art is estimated to date back to somewhere between 9,000- 8,000 and 3,000 BCE.

Other prehistoric art in the Horn region include stone megaliths and engravings, some of which are 3,500 years old. The town of Dillo in Ethiopia has a hilltop covered with stone stelae. It is one of several such sites in southern Ethiopia dating from historic period[clarification needed ] (10th-14th centuries).

The early art of this region has been divided into five periods:

Works of the Bubalus period span the Sahara, with the finest work, carvings of naturalistically depicted megafauna, concentrated in the central highlands. The Round Head Period is dominated by paintings of strangely shaped human forms, and few animals, suggesting the artists were foragers.These artists may have been producing rock art 2,000 years before domestication. These works are largely limited to Tassili n'Ajjer and the Tadrart Acacus. Some works show figures with bows near herds of cattle and a reunion of members near cattle.[54]Round Heads are mostly found in Tassili and similar isolated Round-Head figures have been found in areas such as Jebel Uweinat and Ennedi. Which may indicate similar cultures between these populations. Other animals represented in the Round head art are hippopotamus, elephant, and bovids. Animals like antelope and mouflon are also represented; fauna remains have been found in archaeological sites during excavations. About 90% of Round Head art is animal representation. Toward the end of the period, images of domesticated animals, as well as decorative clothing and headdresses appear. Some domesticated animals are cattle from the Bovidae family.

Pastoral Period art was more focused on domestic scenes, including herding and dancing. As well as hunting scenes of mouflon. Unlike in the Round Head art, the bow is relevant to Pastoral art since hunting scenes were depicted during this time. Pastoral figures are seen on the same wall of Round Heads except they are along the borders. The foragers may have been respecting the previous artwork and did not paint over the figures. The quality of artwork declined, as figures became more simplified.

The Horse Period began in the eastern Sahara and spread west. Depictions from this period include carvings and paintings of horses, chariots, and warriors with metal weapons, although there are also frequent depictions of wildlife such as giraffes. Humans are generally depicted in a stylized way. Some of the chariot art bears resemblance to temple carvings from ancient Egypt. Occasionally, art panels are accompanied by Tifinagh script, still in use by the Berber people and the Tuareg today; however, modern Tuareg are generally unable to read these inscriptions. The final Camel period features carvings and paintings in which camels predominate, but also include humans with swords, and later, guns; the art of this time is relatively crude.

Belonging in the Lithic stage, the oldest known art in the Americas is the Vero Beach bone, possibly a mammoth bone, etched with a profile of walking mammoth that dates back to 11,000 BCE.[58] The oldest known painted object in the Americas is the Cooper Bison Skull from 10,900 to 10,200 BCE.[59]

The ancient Olmec "Bird Vessel" and bowl, both ceramic and dating to circa 1000 BC as well as other ceramics were produced in kilns capable of exceeding approximately 900 °C. The only other prehistoric culture known to have achieved such high temperatures is that of Ancient Egypt.[60]

Lithic age art in South America includes Monte Alegre culture rock paintings created at Caverna da Pedra Pintada dating back to 9250-8550 BCE.[61][62] Guitarrero Cave in Peru has the earliest known textiles in South America, dating to 8000 BCE.

Peru, including an area of the central Andes stretching from the northern part of the country to northern Chile, has a rich cultural history, with evidence of human habitation dating to roughly 10,000 BCE. Prior to the emergence of ceramics in this region around 1850 BCE, cave paintings and beads have been found. These finds include rock paintings that controversially date as far back as 9500 BCE in the Toquepala Caves. Burial sites in Peru like one at Telarmachay as old as 8600-7200 BCE contained evidence of ritual burial, with red ocher and bead necklaces.

The earliest ceramics that appear in Peru may have been imported from the Validivia region; indigenous pottery production almost certainly arrived in the highlands around 1800 BCE at Kotosh, and on the coast at La Florida c. 1700 BCE. Older calabash gourd vessels with human faces burned into them were found at Huaca Prieta, a site dating to 2500-2000 BCE. Huaca Prieta also contained some early patterned and dyed textiles made from twisted plant fibers.

The Initial Period in Central Andean cultures lasted roughly from 1800 BCE to 900 BCE. Textiles from this time found at Huaca Prieta are of astonishing complexity, including images such as crabs whose claws transform into snakes, and double-headed birds. Many of these images are similar to optical illusions, where which image dominates depends in part on which the viewer chooses to see. Other portable artwork from this time includes decorated mirrors, bone and shell jewelry, and unfired clay female effigies. Public architecture, including works estimated to require the movement of more than 100,000 tons of stone, are to be found at sites like Kotosh, El Paraíso, Peru, and La Galgada (archaeological site). Kotosh, a site in the Andean highlands, is especially noted as the site of the Temple of the Crossed Hands, in which there are two reliefs of crossed forearms, one pair male, one pair female. Also of note is one of South America's largest ceremonial sites, Sechín Alto. This site's crowning work is a twelve-story platform, with stones incised with military themes. The architecture and art of the highlands, in particular, laid down the groundwork for the rise of the Chavín culture.

The Chavín culture dominated the central Andes during the First Horizon, beginning around 900 BCE, and is generally divided into two stages. The first, running until about 500 BCE, represented a significant cultural unification of the highland and coastal cultures of the time. Imagery in all manner of art (textiles, ceramics, jewelry, and architectural) included sometimes fantastic imagery such as jaguars, snakes, and human-animal composites, much of it seemingly inspired by the jungles to the east.

The later stage of the Chavín culture is primarily represented by a significant architectural expansion of the Chavín de Huantar site around 500 BCE, accompanied by a set of stylistic changes. This expansion included, among other changes, over forty large stone heads, whose reconstructed positions represent a transformation from human to supernatural animal visages. Much of the other art at the complex from this time contains such supernatural imagery. The portable art associated with this time included sophisticated metalworking, including alloying of metals and soldering. Textiles found at sites like Karwa clearly depict Chavín cultural influences, and the Cupisnique style of pottery disseminated by the Chavín would set standards all across the region for later cultures. (The vessel pictured at the top of this article, while from the later Moche culture, is representative of the stirrup-spouted vessels of the Chavín.)

The Early Intermediate Period lasted from about 200 BCE to 600 CE. Late in the First Horizon, the Chavín culture began to decline, and other cultures, predominantly in the coastal areas, began to develop. The earliest of these was the Paracas culture, centered on the Paracas Peninsula of central Peru. Active from 600 BCE to 175 BCE, their early work clearly shows Chavín influence, but a locally distinctive style and technique developed. It was characterized by technical and time-consuming detail work, visually colorful, and a profusion visual elements. Distinctive technical differences include painting on clay after firing, and embroidery on textiles. One notable find is a mantle that was clearly used for training purposes; it shows obvious indications of experts doing some of the weaving, interspersed with less technically proficient trainee work.

The Nazca culture of southern Peru, which is widely known for the enormous figures traced on the ground by the Nazca lines in southern Peru, shared some similarities with the Paracas culture, but techniques (and scale) differed. The Nazca painted their ceramics with slip, and also painted their textiles. Nazca ceramics featured a wide variety of subjects, from the mundane to the fantastic, including utilitarian vessels and effigy figures. The Nazca also excelled at goldsmithing, and made pan pipes from clay in a style not unlike the pipes heard in music of the Andes today.

The famous Nazca lines are accompanied by temple-like constructions (showing no sign of permanent habitation) and open plazas that presumably had ritual purposes related to the lines. The lines themselves are laid out on a sort of natural blackboard, where a thin layer of dark stone covers lighter stone; the lines were thus created by simply removing the top layer where desired, after using surveying techniques to lay out the design.

In the north of Peru, the Moche culture dominated during this time. Also known as Mochica or Early Chimú, this warlike culture dominated the area until about 500 CE, apparently using conquest to gain access to critical resources along the desert coast: arable land and water. Moche art is again notably distinctive, expressive and dynamic in a way that many other Andean cultures were not. Knowledge of the period has been notably expanded by finds like the pristine royal tombs at Sipán.

In its later years, the Moche came under the influence of the expanding Huari empire. The Cerro Blanco site of Huaca del Sol appears to have been the Moche capital. Largely destroyed by natural events around 600 CE, it was further damaged by Spanish conquistadors searching for gold, and continues with modern looters.

The Middle Horizon lasted from 600 CE to 1000 CE, and was dominated by two cultures: the Huari and the Tiwanaku. The Tiwanaku (also spelled Tiahuanaco) culture arose near Lake Titicaca (on the modern border between Peru and Bolivia), while the Wari culture arose in the southern highlands of Peru. Both cultures appear to have been influenced by the Pukara culture, which was active during the Early Intermediate in between the primary centers of the Wari and Tiwanaku. These cultures both had wide-ranging influence, and shared some common features in their portable art, but their monumental arts were somewhat distinctive.

The monumental art of the Tiwanaku demonstrated technical prowess in stonework, including fine detailed reliefs, and monoliths such as the Ponce monolith (photo to the left), and the Sun Gate, both in the main Tiwanaku site. The portable art featured "portrait vessels", with figured heads on ceramic vessels, as well as natural imagery like jaguars and raptors. A full range of materials, from ceramics to textiles to wood, bone, and shell, were used in creative endeavours. Textiles with a weave of 300 threads per inch (80 threads per cm) have been found at Tiwanaku sites.

The Wari dominated an area from northern to central Peru, with their main center near Ayacucho. Their art is distinguished from the Tiwanaku style by the use of bolder colors and patterns. Notable among Wari finds are tapestry garments, presumed to be made for priests or rulers to wear, often bearing abstract geometric designs of significant complexity, but also bearing images of animals and figures. Wari ceramics, also of high technical quality, are similar in many ways to those of the preceding cultures, where local influences from fallen cultures, like the Moche, are still somewhat evident. Metalwork, while rarely found due to its desirability by looters, shows elegant simplicity and, once more, a high level of workmanship.

Following the decline of the Wari and Tiwanaku, the northern and central coastal areas were somewhat dominated by the Chimú culture, which included notable subcultures like the Lambayeque (or Sicán) and Chancay cultures. To the south, coastal cultures dominated in the Ica region, and there was a significant cultural crossroads at Pachacamac, near Lima. These cultures would dominate from about 1000 CE until the 1460s and 1470s, as the Inca Empire began to take shape and eventually absorbed the geographically smaller nearby cultures.

Chimú and Sicán Cultures

The Chimú culture in particular was responsible for an extremely large number of artworks. Its capital city, Chan Chan, appears to have contained building that appeared to function as museums-they seem to have been used for displaying and preserving artwork. Much of the artwork from Chan Chan in particular has been looted, some by the Spanish after the Spanish conquest. The art from this time at times displays amazing complexity, with "multimedia" works that require artists working together in a diversity of media, including materials believed to have come from as far away as Central America. Items of increasing splendor or value were produced, apparently as the society became increasing stratified. At the same, the quality of some of the work declined, as demand for pieces pushed production rates up and values down.

The Sicán culture flourished from 700 CE to about 1400 CE, although it came under political domination of the Chimú around 1100 CE, at which time many of its artists may have moved to Chan Chan. There was significant copperworking by the Sicán, including what seems to be a sort of currency based on copper objects that look like axes. Artwork includes burial masks, beakers and metal vessels that previous cultures traditionally made of clay. The metalwork of the Sicán was particularly sophisticated, with innovations including repoussé and shell inlay. Sheet metal was also often used to cover other works.

Prominent in Sicán iconography is the Sicán deity, which appears on all manner of work, from the portable to the monumental. Other imagery includes geometric and wave patterns, as well as scenes of fishing and shell diving.

Chancay culture Chancay culture, before it was subsumed by the Chimú, did not feature notable monumental art. Ceramics and textiles were made, but the quality and skill level was uneven. Ceramics are generally black on white, and often suffer from flaws like poor firing, and drips of the slip used for color; however, fine examples exist. Textiles are overall of a higher quality, including the use of painted weaves and tapestry techniques, and were produced in large quantities. The color palette of the Chancay was not overly bold: golds, browns, white, and scarlet predominate.

Pachacamac Pachacamac is a temple site south of Lima, Peru that was an important pilgrimage center into Spanish colonial times. The site boasts temple constructions from several periods, culminating in Inca constructions that are still in relatively good condition. The temples were painted with murals depicting plants and animals. The main temple contained a carved wooden sculpture akin to a totem pole.

Ica culture The Ica region, which had been dominated by the Nazca, was fragmented into several smaller political and culture groups. The pottery produced in this region was of the highest quality at the time, and its aesthetics would be adopted by the Inca when they conquered the area.

This time period represents the era in which the culture of the central Andes is almost completely dominated by the Inca Empire, which began its expansion in 1438. It lasted until the Spanish conquest in 1533. The Inca absorbed much technical skill from the cultures they conquered, and disseminated it, along with standard shapes and patterns, throughout their area of influence, which extended from Quito, Ecuador to Santiago, Chile. Inca stonework is notably proficient; giant stones are set so tightly without mortar that a knife blade will not fit in the gap. Many of the Inca's monumental structures deliberately echoed the natural environment around them; this is particularly evident in some of the structures at Machu Picchu. The Inca laid the city of Cusco in the shape of a puma, with the head of the puma at Sacsayhuaman, a shape that is still discernible in aerial photographs of the city today.

The iconography of Inca art, while clearly drawing from its many predecessors, is still recognizably Inca. Bronzework owes a clear debt to the Chimú, as do a number of cultural traditions: the finest goods were reserved to the rulers, who wore the finest textiles, and ate and drank from gold and silver vessels. As a result, Inca metalwork was relatively rare, and an obvious source of plunder for the conquering Spanish.

Textiles were widely prized within the empire, in part as they were somewhat more portable in the far-flung empire.

Ceramics were made in large quantities, and, as with other media, in standardized shapes and patterns. One common shape is the urpu, a distinctive urn shape that came in a wide variety of standard capacities, much as modern storage containers do. In spite of this standardization, many local areas retained some distinctive aspects of their culture in the works they produced; ceramics produced in areas under significant Chimú control prior to the Inca rule still retain characteristics indicative of that style.

Following the Spanish conquest, the art of the central Andes was significantly affected by the conflict and diseases brought by the Spanish. Early colonial period art, began to show influences of both Christianity and Inca religious and artistic ideas, and eventually also began to encompass new techniques brought by the conquerors, including oil painting on canvas.

The earliest evidence of decorated pottery in South America is to be found in two places. A variety of sites in the Santarém region of Brazil contain ceramic sherds dating to a period between 5000 and 3000 BCE. Sites in Colombia, at Monsú and San Jacinto contained pottery finds in different styles, and date as far back as 3500 BCE. This is an area of active research and subject to change. The ceramics were decorated with curvilinear incisions. Another ancient site at Puerto Hormiga in the Bolívar Department of Colombia dating to 3100 BCE contained pottery fragments that included figured animals in a style related to later Barrancoid cultural finds in Colombia and Venezuela. Valdivia, Ecuador also has a site dated to roughly 3100 BCE containing decorated fragments, as well as figurines, many represent nude females. The Valdivian style stretched as far south as northern Peru, and may, according to Lavallée, yet yield older artifacts.

By 2000 BCE, pottery was evident in eastern Venezuela. The La Gruta style, often painted in red or white, included incised animal figures in the ceramic, as well as ceramic vessels shaped as animal effigies. The Rancho Peludo style of western Venezuela featured relatively simple textile-type decorations and incisions. Finds in the central Andes dating to 1800 BCE and later appear to be derived from the Valdivian tradition of Ecuador.

The southern reaches of South America show evidence of human habitation as far back as 10,000 BCE. A site at Arroio do Fosseis on the pampa in southern Brazil has shown reliable evidence to that time, and the Tierra del Fuego at the southern tip of the continent has been occupied since 7000 BCE. Artistic finds are scarce; in some parts of Patagonia ceramics were never made, only being introduced by contact with Europeans.

The Gwion Gwion rock art are one of many styles of rock art found in Western Australia. They are predominantly human figures drawn in fine detail with accurate anatomical proportioning. They are usually dated to be at least 17,000 years old, and there have been suggestions they are as much as 70,000 years old.[120] The Sydney rock engravings are also a prominent rock art site in the country.[121]

The natives of Polynesia have a distinct artistic heritage. While many of their artifacts were made with organic materials and thus lost to history, some of their most striking achievements survive in clay and stone. Among these are numerous pottery fragments from western Oceania, from the late 2nd millennium BCE. Also, the natives of Polynesia left scattered around their islands Petroglyphs, stone platforms or Marae, and sculptures of ancestor figures, the most famous of which are the Moai of Easter Island.

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In the history of art, prehistoric art is all art produced in preliterate, prehistorical cultures beginning somewhere in very late geological history, and generally continuing until that culture either develops writing or other methods of record-keeping, or makes significant contact with another culture that has, and that makes some record of major historical events.

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Cueva de Ias Manos terletak dibagian selatan Argentina yang dibuat antara 13.000 dan 9.000 tahun yang lalu. Gua ini diberi nama "Gua Tangan" karena terdapat ratusan tangan yang dilukis di dinding gua. Cat yang digunakan merupakan cat alami yang dimasukan kedalam pipa tulang.

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Gua Altamira terletak di kota Santander, yang berada dipesisir utara Spanyol. Peninggalan yang terletak didalam Gua Altamira ini adalah lukisan hewan Bison. Diperkirakan lukisan ini adalah peninggalan dari 35.000 tahun lalu atau 22.000 tahun lalu, pada zaman es. Beberapa ahli berpendapat bahwa lukisan ini digunakan untuk menyampaikan informasi penting bagi kelangsungan hidup, dan sebagai ritual sihir untuk meningkatkan keberhasilan dalam berburu.

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Dolmen merupakan peninggalan prasejarah pada zaman Megalitikum atau zaman Batu Besar. Dolmen ini digunakan oleh manusia pada masa lampau untuk meletakan sesaji kepada Roh Nenek Moyang. Dolmen ditemukan di Eropa, Asia, dan Afrika. Diperkirakan Dolmen ini dari zaman Megalitikum awal, atau sekitar 10.000 tahun SM.

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Gua Magura terletak di Bulgaria Barat Laut. Lukisan ini berasal dari 8.000-6.000 SM, hingga 3.000-1.200 SM. Dan uniknya terdapat 700 lukisan yang dibuat dari kotoran kelelawar. Lukisan ini ternyata tidak berasal dari satu zaman saja. Diperkirakan dibuat dari zaman Paleolitikum, Neolitikum, zaman Tembaga, hingga zaman Perunggu awal.

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Pattachitra merupakan lukisan tradisional yang berasal dari Odisha, India. Lukisan ini didasarkan pada Mitologi Hindu dan diilhami secara khusus oleh sekte Jagannath dan Waisnawa. Warna yang digunakan dalam lukisan ini sepenuhnya menggunakan cara tradisional kuno oleh Chitrakaras yaitu pelukis Odiya.

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Kuil Dashavatara merupakan candi Hindu Wisnu pada awal abad ke-6 yang terletak di Deogarh, Uttar Pradesh. Kuil Dashavatara merupakan salah satu candi batu Hindu yang paling awal dan masih bertahan hingga sekarang. Kuil ini dibangun pada zaman Gupta yang menampilkan arsitektur gaya yang berornamen.

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Lukisan Mural Kerala adalah lukisan yang menggambarkan mitologi Hindu di Kerala, Epos, permainan klasik Krishna serta bentuk mistik Siva dan Shakti. Gaya seni tradisional ini berasal dari abad ke-7 dan ke-8 M, dan dicirikan oleh citra yang hidup, guratan yang berani, dan warna yang hidup. Warna merah oker, kuning oker, hijau kebiruan, putih dan murni banyak digunakan dalam lukisan mural Kerala.

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Kuil Matahari Konark merupakan salah satu kuil di India yang menggunakan teknik pahatan batu pada dindingnya. Kuil ini dibangun seperti model kereta perang dewa matahari. Konsep arsitektur yang dibangung oleh bangunan ini cukup kompleks

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Patung ini merupakan patung wanita telanjang yang berdiri bebas. Patung ini merupakan salah satu dari dua patung perunggu yang ditemuka di Mohenjo-Daro. Patung ini memiliki arti penting dalam peradaban Mohenjo-Daro, yaitu yang pertama pengetahuan tentang pencampuran logam, pengecoran dan metode pengolahan lainnya, yang kedua bahwa liburan, terutama tari, adalah bagian dari budaya peradaban tersebut.

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Kuda Terbang Gansu, juga dikenal sebagai Kuda Lari Perunggu atau Kuda Berderap yang Menginjak Burung Walet Terbang, adalah patung perunggu Tiongkok dari sekitar abad ke-2 Masehi. Ditemukan pada tahun 1969 di dekat kota Wuwei, di provinsi Gansu, sekarang berada di Museum Provinsi Gansu. Kuda Terbang Gansu ditemukan pada tahun 1969. Digali dari makam Han di Leitai di Wuwei. Makam itu milik Jenderal Zhang dari Zhangye.

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Pagoda Sakyamuni dari Kuil Fogong.  dari Kabupaten Ying , provinsi Shanxi, Tiongkok, adalah sebuah pagoda kayu Tiongkok yang dibangun pada tahun 1056, selama Dinasti Liao yang dipimpin Khitan. Pagoda tersebut, yang bertahan dari beberapa gempa bumi besar selama berabad-abad, mencapai tingkat kemasyhuran di Tiongkok sehingga diberi julukan umum "Muta".

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Hwaseong adalah sebuah kompleks benteng bertembok yang mengelilingi kota Suwon, Korea Selatan, yang dibangun antara tahun 1794 dan 1796 oleh Raja Jeongjo dari Dinasti Joseon untuk menghormati ayahnya Raja Sado yang dipaksa untuk bunuh diri oleh Raja Yeongjo.

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adalah lanskap terkenal yang dilukis oleh Jeong Seon pada masa pemerintahan Raja Yeongjo. Judulnya secara harfiah berarti "Pemandangan Umum Gunung Geumgangsan" atau Pegunungan Intan).

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Lukisan Sin Yun-bok, Wol-ha Cheong-in ("Kekasih di bawah bulan")

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Lukisan Sin Yun-bok, Wol-ha Cheong-in ("Kekasih di bawah bulan")

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Sin Yun-Bok adalah seorang pelukis yang berasal dari Dinasti Joseon, Korea. Bersama dengan Kim Hong-do, ia dikenal akan lukisannya yang menampilkan gambaran realistis tentang kehidupan pada akhir periode Joseon. Lukisan Sin Yun-bok pada masanya dianggap cukup erotis dan tidak pantas dalam masyarakat Konfusianisme Joseon yang mementingkan kesopanan, sehingga oleh penikmatnya, dikoleksi secara sembunyi-sembunyi.

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Kawanabe Kyosai adalah salah satu seniman Jepang paling terkemuka di zaman Edo. Karya seninya dipengaruhi oleh karya Tohaku, seorang seniman Kano dari abad keenam belas yang merupakan satu-satunya seniman pada masanya yang melukis layar seluruhnya dengan tinta pada latar belakang bubuk emas yang halus. Meskipun Kyosai paling dikenal sebagai karikaturis, ia menciptakan beberapa lukisan paling terkenal dalam sejarah seni Jepang abad ke-19. Tiger adalah salah satu lukisan di mana Kyosai menggunakan cat air dan tinta untuk membuat gambar ini.

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Hiroshi Yoshida – Fuji dari Danau Kawaguchi

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Hiroshi Yoshida – Fuji dari Danau Kawaguchi

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Hiroshi Yoshida dikenal sebagai salah satu tokoh terpenting dari gaya shin-hanga (shin-hanga adalah gerakan seni di awal abad ke-20 Jepang, selama periode Taishō dan Shōwa, yang merevitalisasi seni ukiyo-e tradisional yang berakar pada Edo dan periode Meiji (abad ke-17 hingga ke-19) Ia dilatih dalam tradisi lukisan cat minyak Barat, yang diadopsi di Jepang selama periode Meiji.

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Fujishima Takeji – Matahari Terbit di Laut Timur

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Fujishima Takeji – Matahari Terbit di Laut Timur

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Fujishima Takeji adalah seorang pelukis Jepang, terkenal atas karyanya dalam mengembangkan seni Romantisisme dan Impresionis dalam gerakan seni yōga (gaya Barat) pada lukisan Jepang akhir abad ke-19 dan awal abad ke-20.

Pada tahun 1905, ia melakukan perjalanan ke Prancis, di mana ia dipengaruhi oleh gerakan Prancis pada masa itu, terutama oleh aliran Impresionisme, yang dapat dilihat pada lukisannya Matahari Terbit di Laut Timur yang dibuat pada tahun 1932.

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Daruma adalah boneka sekaligus mainan asal Jepang dengan bentuk hampir bulat, dengan bagian dalam yang kosong serta tidak memiliki kaki dan tangan. Model dari benda ini adalah Bodhidharma, pendiri dari Zen. Boneka ini merupakan pembawa keberuntungan dan lambang harapan yang belum tercapai. Daruma dijual dengan kedua belah mata yang belum digambar. Orang yang ingin harapan atau cita-citanya terkabul menggambar salah satu sisi dari kedua matanya dengan kuas dan tinta. Bila harapan orang tersebut sudah tercapai, daruma akan menerima mata yang satunya lagi.

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Boneka atau 'Ningyo' memainkan peran penting dalam budaya Jepang. Dari ornamen yang digunakan untuk upacara hingga mainan dan hadiah, Ningyo bervariasi dalam gaya dan digunakan oleh banyak orang dari generasi ke generasi sebagai pusaka keluarga yang disayangi. Boneka kayu 'Kokeshi' sangat populer. Tampak sederhana, boneka kayu ini menggambarkan gadis-gadis muda, seringkali dilukis dengan sederhana namun indah – populer dengan banyak pengunjung internasional sebagai hadiah dan kenang-kenangan saat mereka berada di Jepang.

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Gondofares I adalah pendiri Kerajaan Indo-Phartia dan raja paling berpengaruhnya, memerintah dari 19 sampai 46. Seorang anggota dari Wangsa Suren, ia masuk pada garis pangeran lokal yang memerintah provinsi Parthia Drangiana sejak perseteruannya dengan Indo-Skitia pada sekitar tahun 129 SM. Pada masa pemerintahannya, kerajaannya menjadi independen dari otoritas Parthia dan bertransformasi menjadi kekaisaran, yang meliputi Drangiana, Arachosia, dan Gandhara. Ia dikenal karena Kisah Rasul Tomas, inskripsi Takht-i-Bahi, dan cetakan-cetakan koin berbahan perak dan tembaga.

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Relief batu yang terpisah-pisah dari seorang pria berdiri ini adalah produk kebangkitan estetika Timur dalam seni Parthia. Gaya yang dicontohkannya dicirikan oleh frontalitas yang ketat dan konsentrasi pada detail linier, khususnya penampilan tekstil yang hati-hati. Sosok yang ditampilkan di sini, diukir dengan relief yang sangat rendah, dapat diidentifikasi sebagai pemuja dengan tangan kanan mengangkat telapak tangan ke depan sebagai sikap hormat.

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Motif binatang sering terdapat pada panel dinding plesteran cetakan yang menghiasi istana dan rumah elit Sasania. Panel ini berasal dari iwan timur (aula berkubah) sebuah rumah besar di Umm ez-Za'tir di daerah Ctesiphon. Adegan tersebut menampilkan seekor babi hutan yang menerobos alang-alang. Pilihan binatang mungkin mengacu pada lanskap rawa Mesopotamia selatan, atau bisa juga hanya mewakili permainan seorang pemburu elit.

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Bagian atas berupa vas dengan satu pegangan (sekarang hilang). Itu tampak seperti mahkota bulat tinggi di atas kepala (terbuat dari dua cetakan setengah), yang memperlihatkan pipi bengkak, mata dan alis yang tebal, dan bibir kecil. Gaya rambut "melon" yang kaya pola dihiasi oleh diadem batang gandum dengan pita yang mencakup palmette, bulan sabit dan bintang, dan roset. Di bawah sebuah kalung, bejana meruncing menjadi kepala banteng dengan lubang tuang di mulutnya.

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Cerat ini menampilkan tingkat Hellenisme yang tinggi yang terlihat dalam banyak contoh seni Parthia. Kumis dan janggut awalnya bertatahkan pirit besi mengkilap, yang potongannya masih terlihat di janggut. Bagian tengah rambut adalah ciri khas Parthia yang juga ditemukan pada koin. Wajah panjang, kurus, dan hidung menonjol menunjukkan kemiripan dengan individu yang sebenarnya.

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Tembikar Iznik, yang mengambil nama dari sebuah kota di barat Anatolia dimana tembikar tersebut dibuat, adalah sebuah keramik yang didekorasi yang dibuat dari seperempat akhir abad ke-15 sampai akhir abad ke-17.

Koleksi keramik IstanaTopkapi meliputi lebih dari sepuluh ribu karya porselen Tiongkok namun tidak ada satupun tembikar İznik. Sebagian tembikar İznik yang masih ada berada di museum-museum di luar Turki, tetapi contoh tempat penghasil ubin dari kota tersebut masih ada di sejumlah kota di belahan Turki, seperti Istanbul, Bursa, Edirne, Adana, dan Diyarbakir.

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Objek ini memamerkan bahasa dekoratif Samarra, ibu kota kedua dan sementara Abbasiyah. Di antara berbagai gaya ornamen permukaan yang dibuat di Samarra, gaya miring adalah yang paling terkenal. Gaya ini mengacu pada bentuk ornamen yang didasarkan pada desain tumbuhan yang dipotong miring sehingga bagian depan dan belakang hampir tidak dapat dibedakan.

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Muslim adalah satu-satunya pembuat tembikar Mesir pada periode ini (ca. 1000) yang namanya dikenal. Dalam merepresentasikan elang heraldik ini, ia menggunakan motif yang sudah populer sejak lama dan tidak terbatas pada ikonografi karya-karya Fatimiyah.

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Baptistère de Saint Louis adalah objek seni Islam , terbuat dari kuningan tempa, dan bertatahkan perak, emas, dan niello. Itu diproduksi di zona Siro-Mesir, di bawah dinasti Mamluk oleh tukang tembaga Muhammad ibn al-Zayn. Objek ini sekarang berada di departemen Seni Islam Louvre dengan nomor inventaris LP 16. Meskipun namanya umum, objek ini tidak ada hubungannya dengan Raja Prancis Louis IX , yang dikenal sebagai Saint Louis (1226 - 1270). Itu digunakan sebagai tempat pembaptisan untuk Raja Prancis di masa depan, menjadikannya objek sejarah Islam dan Prancis yang penting.

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Masjid Syekh Lotfullah adalah salah satu mahakarya arsitektur Iran yang dibangun pada masa Kekaisaran Safawi , berdiri di sisi timur Lapangan Naqsh-i Jahan, Esfahhan , Iran . Pembangunan masjid dimulai pada 1603 dan selesai pada 1619. Dibangun oleh kepala arsitek Mohammadreza Isfahani , pada masa pemerintahan Shah Abbas I dari Persia. Atas saran Arthur Upham Pope, Reza Shah Pahlavi membangun kembali dan memperbaiki masjid tersebut pada tahun 1920-an.

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Budaya Asia Tenggara dipengaruhi oleh beberapa faktor eksternal. Di satu sisi mereka secara historis dibayangi oleh kerajaan tetangga besar India dan Cina, di sisi lain mereka dijajah dan ditindas oleh banyak negara yang berbeda, semua budaya dan bahasa yang berbeda, seperti di Vietnam dan Prancis. , Belanda di Indonesia dan Amerika, Inggris, Portugis dan Spanyol di daerah dan negara lain. Ini memberi Asia Tenggara latar belakang pengaruh yang sama di satu sisi, dan pengaruh yang sama sekali berbeda di sisi lain.

https://www.theartist.me/art-movement/southeast-asian-art/

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Wau Bulan mendapatkan namanya dari bentuk bulan sabit di bagian bawah (Bulan berarti "bulan" dalam bahasa Melayu Melayu). Dengan warna yang tepat, bulan terlihat seperti bulan sabit yang sedang terbang. Waubulan lebih besar dari layang-layang tradisional Malaysia lainnya. Ukuran tipikal adalah lebar 2,5 meter dan panjang 3,5 meter. Dengan demikian, hiasan yang terlukis pada badan layang-layang akan terlihat saat layang-layang tersebut diterbangkan tinggi di udara. Untuk membuat bulan lebih khas, biasanya dihiasi dengan pola warna yang besar dan berani. Waubulan adalah layang-layang Malaysia, yang dirancang dengan hiasan (biasanya dengan desain bunga) yang diterbangkan secara tradisional di negara bagian Kelantan, Malaysia. Itu adalah salah satu simbol nasional Malaysia, yang lainnya adalah kembang sepatu.

https://en.wikipedia.org/wiki/Wau_bulan

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Pagoda Shwesandaw adalah pagoda Buddha di Bagan, Myanmar. Ini adalah pagoda tertinggi di Bagan dan memiliki lima teras diatapi stupa silinder dengan payung berhias (hti). Dibangun oleh Raja Anawrahta pada tahun 1057, pagoda ini pernah berisi ubin terakota yang menggambarkan pemandangan dari Jataka. Di dalam pagoda terdapat rambut suci Buddha Gautama yang diterima oleh Thaton.

https://en.wikipedia.org/wiki/Shwesandaw_Pagoda_(Bagan)

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From Wikipedia, the free encyclopedia Click on a date/time to view the file as it appeared at that time. Date/Time Thumbnail Dimensions User Comment current 00:04, 4 March 2013 3,456 × 5,184 (6.57 MB) Jasoneppink~commonswiki {{subst:Upload marker added by en.wp UW}} {{Information |Description = {{en|Shwesandaw Pagoda}} |Source = {{own}} '''Previously published:''' https://secure.flickr.com/photos/jasoneppink/8451894647 |Date = 2013-01-05 |Author = [[User:Jasoneppink|J...

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Angkor Wat adalah bangunan keagamaan (kuil) terbesar di dunia berdasarkan wilayah karena luasnya 162,6 hektar (1.626 km²). Angkor Wat merupakan gabungan dari dua gaya arsitektur utama candi Khmer, yaitu gaya candi Gunungan dan gaya candi bertingkat. Angkor Wat dirancang menurut kosmologi Hindu-Buddha sebagai simbol Mahameru, tempat suci para dewa. Dikelilingi oleh tangki air sepanjang 5 km (3 mil) dan dikelilingi oleh tembok sepanjang 3,6 km (2,2 mil), candi-candi tersebut memiliki tiga serambi persegi panjang dengan ketinggian berbeda.

https://id.wikipedia.org/wiki/Angkor_Wat

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Ramakien adalah salah satu epos nasional Thailand, berasal dari Buddhis Dasaratha Jataka. Ini pada dasarnya adalah versi Thailand dari epik Hindu Ramayana. Ramakien adalah bagian penting dari kanon sastra Thailand. Raja Rama VI adalah orang pertama yang menekankan studi tentang Ramayana di Thailand dengan menelusuri sumber-sumber Ramakien dan membandingkannya dengan bahasa Sanskerta Valmiki Ramayana. Dia menemukan bahwa Ramakien dipengaruhi oleh tiga sumber: Ramayana, Wisnu Purana, dan Hanuman Nataka karya Valmiki (ketiganya berasal dari Hindu), serta cerita inti berdasarkan Dashratha Jataka Buddha.

https://en.wikipedia.org/wiki/Ramakien

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Rumah Gadang - Sumatera Barat, Indonesia

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Rumah Gadang atau Rumah Bagonjong "Rumah Minangkabau" adalah rumah tradisional Minangkabau di Sumatera Barat, Indonesia. Arsitektur, konstruksi, dekorasi interior dan eksterior, serta fungsi rumah mencerminkan budaya dan nilai Minangkabau. Rumah-rumah memiliki konstruksi atap berkubah yang dramatis dengan atap pelana bertingkat. Jendela tertutup dibangun di dinding, diukir dengan ukiran bunga yang dicat dengan indah. Istilah rumah gadang biasanya mengacu pada rumah komunal yang lebih besar, tetapi rumah individu yang lebih kecil berbagi banyak elemen arsitekturnya.

https://en.wikipedia.org/wiki/Rumah_Gadang

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Mesin cetak pertama kali didatangkan ke Indonesia (Batavia) pada tahun 1659

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Industri percetakan di nusantara berkembang dengan terbitnya surat kabar dan buku yang diperkirakan berkembang sejak abad ke-17 ketika mesin cetak pertama kali dibawa ke pulau Jawa pada tahun 1659. Karena belum ada operatornya, mesin tetap tidak terpakai. selama beberapa dekade. Tujuan misionaris membawa percetakan sangat erat kaitannya dengan niatnya untuk mencetak kitab suci dan buku pelajaran agama Kristen. Selain mencetak kitab suci, mereka juga menerbitkan surat kabar pendidikan Kristen.

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Iklan pertama di Hindia Belanda: 17 Agustus 1744

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Iklan pertama di Hindia Belanda: 17 Agustus 1744

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Pelopor pertumbuhan periklanan di Hindia Belanda adalah Jan Pieterzoen Coen. Ia adalah pendiri Batavia dan dari tahun 1619 hingga 1629 menjadi Gubernur Jenderal Hindia Belanda. PPPI (Persatuan Perusahaan Periklanan Indonesia) mengakuinya sebagai tokoh periklanan pertama di Indonesia. Pada masa pemerintahannya ia mengirimkan pesan kepada pemerintah daerah Ambon berjudul Memorie De Nouvelles, yang salinannya ditulis tangan pada tahun 1621. Tulisan tangannya yang indah mencerminkan naluri persaingan antara pemerintah Hindia Belanda. dan Portugis. Kedua negara tampaknya berselisih tentang produk rempah-rempah dari kepulauan Ambon dan Jan Pieterzoen Coen "menulis" iklan menentang perdagangan Portugis. Lebih dari seabad kemudian, setelah kematian Jan Pieterzoen Coen, manuskripnya dimuat di surat kabar Batavia Nouvelles pada 17 Agustus 1744. Batavia Nouvelles adalah surat kabar pertama di Hindia Belanda. Dengan demikian, iklan yang diterbitkannya merupakan iklan pertama di Hindia Belanda. Fakta ini menunjukkan bahwa surat kabar dan iklan lahir di Hindia Belanda pada waktu yang bersamaan.

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Surat kabar cetak pertama adalah De Bataviase Nouvelles yang terbit di Batavia tahun 1744, kemudian De Locomotief terbit di Semarang tahun 1852 dan Bataviassch Niewsblaad terbit di Batavia tahun 1885. Surat kabar pribumi dunia adalah Bromartani yang terbit di Surakarta tahun 1920. Beberapa surat kabar terbit dalam bahasa Indonesia (Melayu), di antaranya Soerat Kabar Bahasa Melajoe yang terbit di Surabaya pada tahun 1861. Saat itu, Bintang Timoer merupakan surat kabar dwi mingguan yang memuat berbagai berita sosial ekonomi. Kemudian pada tahun 1860 Semarang Selompret Melajoe de Semarang diterbitkan. Pada tahun 1883, para pengusaha Tionghoa mulai terjun ke dunia percetakan dan perdagangan buku, terutama melalui penerbitan buku-buku terjemahan sastra Tionghoa klasik, yang kemudian berkembang menjadi produk cetakan yang semakin luas.

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Ketika Republik Indonesia diproklamasikan pada tahun 1945, banyak pelukis yang ikut serta. Antara lain, "Merdeka atau Mati!" terukir di gerobak dan dinding. Kata-kata itu berasal dari penutup pidato "Lahirnya Pancasila" Bung Karno pada 1 Juni 1945. Saat itu Affandi ditugaskan membuat poster. Poster itu ide Bung Karno, gambar orang dirantai, tapi rantainya putus. Modelnya adalah pelukis Dullah. Kebetulan ia menjadi penyair Chairil Anwar (1922-1949). S Soedjojono bertanya kepada Chairil, maka Chairil menjawab enteng:
"Bung, ayo bung!" Dan poster sejarah sudah siap. Sekelompok pelukis mereproduksinya siang dan malam dan mengirimkannya ke daerah-daerah.

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Akademi Seni Rupa Pertama di Indonesia berdiri

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Akademi Seni Rupa Pertama di Indonesia berdiri

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Pada tanggal 15 Desember 1949, Akademi Seni Rupa Indonesia (disingkat ASRI) didirikan, pembukaannya dijadwalkan pada tanggal 15 Januari 1950. Ketergesaan ini rupanya didorong oleh keinginan untuk mendirikan akademi di Yogyakarta. masih menjadi ibu kota negara. Seperti diketahui, pada tanggal 27 Desember 1949, dua belas hari setelah keluarnya dekrit tersebut, Ratu Juliana menandatangani pengakuan kedaulatan Negara Kesatuan Republik Indonesia dan pada saat yang sama Republik Indonesia Serikat (RIS) didirikan dengan Jakarta sebagai Ibu Kota

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Lukisan Kakak Beradik - Basuki Abdullahi

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Lukisan Kakak beradik karya Basuki Abdullahi (1978) merupakan salah satu karyanya yang menunjukkan kekuatan penguasaan teknik realistik. Dengan pencahayaan samping, sosok kakak beradik di pelukan mereka seolah mengandung irama drama kehidupan. Melalui proporsi dan anatominya, pelukis ini mereproduksi gestur orang-orang selama perjalanan sunyi. Suasana hati ini karena ekspresi mereka jelas, tetapi mata mereka tampak redup. Meski pakaian mereka sederhana dan gelap, karakter para suster ini penuh dengan emosi. Basuki Abdullah ingin mengungkapkan rasa empatinya terhadap kasih sayang dan kemanusiaan berdasarkan teks-teks yang berbeda tersebut.

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Kebakaran Hutan adalah lukisan karya Raden Saleh yang menggambarkan Raja William III. diberikan pada tahun 1850. Setahun kemudian, Raden Saleh dijuluki "Pelukis Raja". Lukisan (1849) ini merupakan lukisan terbesar yang pernah dibuat oleh Raden Saleh. Salah satu mahakarya Raden Saleh dipajang dan menjadi milik National Gallery of Singapore. Selain kebakaran hutan, masih banyak lukisan lainnya, seperti Merapi, Eruption by Night (1865) dan Merapi, Eruption by Night (1865).

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Di lihat dari sisi gerakan seni rupa, lahirnya PITA MAHA adalah semacam pernyataan simbolik tentang eksistensi seniman Bali. Dengan adanya platform organisasi ini maka kontrol kualitas karya dan program pameran dapat terencana dengan baik, sehingga dalam praktiknya PITA MAHA biasanya berperan aktif dalam setiap perhelatan seni, penelitian PITA MAHA mencoba mempromosikan seni lukis Bali kepada pihak lain. daerah dan negara sangat gigih, dan kemudian pada pertunjukan di Paris, Prancis, dua anggota MAHA PITA meraih medali perak, yaitu Ida Bagus Gelgel dan Ida Bagus Kemben (Suwaji, 1981).

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Kelahiran Persagi tentunya bukan tanpa alasan atau kausalitas, Persagi lahir sebagai protes terhadap nilai estetika Mooi Indie. Tentu bukan karena hal-hal tersebut di atas, tetapi banyak faktor yang melatarbelakangi lahirnya gerakan budaya ini. Kondisi ekonomi dan politik saat itu menuntut pembaharuan di segala bidang, tak terkecuali seni dan budaya. Saat itu, kondisi ekonomi di Batavia benar-benar kacau. Pada tahun 1930-an situasi di Batavia berbeda dengan awal abad ke-20. Keadaan seperti itu membuat kondisi kehidupan masyarakat adat semakin sulit, itu pun belum bisa dikatakan kondisinya nyaman. Kondisi sosial yang melandasi situasi kehidupan yang sulit menginspirasi kesadaran dan visi baru Grup Persagi untuk menemukan realitas yang ada. Tokoh utama gerakan kebudayaan ini adalah Sudjojono yang menuliskan pemikirannya dalam artikel-artikel yang banyak beredar di majalah atau surat kabar pada masa itu.

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Warna biru dan merah Agus Djaya memancarkan suasana magis. Sosok-sosok penari dalam lukisannya tetap merepresentasikan suasana ritual masyarakat pecinta alam. Warna biru dan merah seolah menemukan karakter tersendiri, sehingga menjadi ekspresi unik bagi Agus. Pelukis kelahiran Pandeglang, Banten ini nampaknya sangat tertarik dengan dunia wayang. Ketika Agus berkarya dengan benda-benda wayang di atas kanvasnya, ia merasa kaya.

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Seni kontemporer dapat digambarkan sebagai wacana praktis seni rupa Barat, yang praktiknya terkait dengan tren postmodernisme. Kecenderungan ini secara tidak langsung mengimplikasikan wacana seni yang anti-modern. Karena salah satu paradigma munculnya postmodernisme adalah paradigma yang menolak modernitas.
Ciri-ciri modern yang terbengkalai adalah semangat universalisme budaya, kolektivitas, penyimpangan dari tradisi, prioritas teknologi dan individualitas. Keunggulan seni rupa Barat juga diakui secara luas selama periode ini, bahkan di dalam masyarakat Barat sendiri. Itulah sebabnya seni kontemporer biasanya terkait dengan penolakan terhadap budaya Barat, juga dari pihak Barat sendiri, sebagaimana beberapa filsuf Barat juga berfilsafat dari Timur.

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Seni instalasi adalah karya seni yang dibuat dengan menggabungkan berbagai media, baik dua dimensi maupun tiga dimensi, dan tidak terbatas pada pengelompokan jenis seni (lukisan, patung, dll) menjadi satu kesatuan baru.
Karya-karya ini juga biasanya menawarkan interaktivitas kepada pengunjung pameran, misalnya pengunjung dapat menuliskan pendapatnya di atas kanvas atau sesederhana pengunjung menggerakkan tombol.

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Happening Art merupakan perpaduan antara pameran seni rupa dan pertunjukan teater. Secara umum bentuk kesenian ini menghindari penggunaan unsur-unsur teater tradisional seperti: Cerita, aktor, karakter, dan adegan. Meskipun begitu, tema dan naskah dalam karya ini masih lengkap, hanya saja monolognya lebih banyak.

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Banyak orang, bahkan seniman itu sendiri, sering bingung membedakan antara performance art dan heppining art. Sementara performance art mirip dengan heppining art yang merupakan perpaduan antara seni pertunjukan dan seni visual, namun fokus performance tetap pada aspek visual. Spec art sama sekali tidak membutuhkan dialog atau monolog.

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Sebenarnya medium seni ini tidak begitu baru, namun kemunculannya lebih umum pada “zaman kekinian”, yang mengacu pada tahun 1970-an hingga saat ini (setidaknya sejak artikel ini ditulis). Pada dasarnya video art menampilkan gambar bergerak pada layar monitor.

https://serupa.id/seni-rupa-kontemporer/