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I ndex

I. Warriors in the Art of Teotihuacan-And a comparison to a Chinese

counterpart-- Emelie Ask- Slides (3-4)

II. Teotihuacan warriors v.s Indian warriors- Sara Pelliccia- `Slides (5-7)

III. The Orient-Jennifer

-Slides (8-10)

IV. Longobards and Comparison- Zach

- -slides (11-16)

V. Longobards Cont. and Contrast -Nathan

-Slides (17-24)

W arriors in the Art of Teotihuacan

Text and drawings by Emelie Ask As can be read in the blog Warriors in Art, the

Teotihuacan art and society perceived of the figure of the warrior to be of highest status, and his important role was frequently reflected in the art produced. Not only were the warriors fundamental parts of the governing body, but they also protected the city’s inhabitants, and partook in rituals of sacrifice. In general, the idea or concept of a warrior was seemingly at core in the art works, and individual warriors were seldom depicted. This notion is reflected in the many warrior figurines (see drawing fig. 1), which also indicates a strong devotional relationship between the owner of these portable objects, and the object or the figure it is representing.

Fig. 1. Warrior or Spear thrower Figurine,

Teotihuacan, 0 – 650 AD. This warrior figurine shows a nude and stylistically minimalistic piece of art, with clean and simple lines. The figure’s hands are shaped as to capable of bearing a spear or some other kind of weapon, and this important artistic feature is the ultimate defining notion as to the figure’s identity or role.

Figure one: Warrior Spear Thrower

Figure Two: Tripod Vase

nd a comparison to a Chinese counterpart-

As mentioned, the warriors strong

status is further reflected in the frequent decoration of vases, depicting warriors in action (fig. 2).

Fig. 2. Tripod vase depicting a warrior, 400 –

650 AD. And in the Oriental Art… Some of the features of the above analyzed

Teotihuacan figurine are interestingly found in a similar warrior figurine from China (see drawing fig. 3), such as the size, and the holes rendered in the hands in order to hold weapons. This figurine is decisively more decorated though – and he is importantly not nude. Not only is he wearing a dress with indications of paths and decorations, but he is also wearing a protective helmet.

Fig. 3. Warrior, China, Six Dynasties, 220 – 581 AD. Both striking similarities but also important differences are identifiable between this and the above Teotihuacan figurine.

Figure Three: Chinese Warrior

Built up between about 100 BCE and 600 CE at the northeast of modern Mexico city, Teotihuacan was a powerful political, military, economic, and cultural centre that influenced the whole Mesoamerica. The enormous wealth of Teotihuacan was based not only on the monopoly it had on the long-distance trade, but also on a strict military regime which allowed the inhabitants to extend its sphere of influence beyond the Altiplano and the central highland. The presence of a strong elite class of warrior resulted in the formation of a state religion centered on war. Sometimes warriors and priests acted together in the performance of sacrificial rituals in which human hearts were devoured to gain the favor of the Gods. The strong connection between religion and state was not characteristic only of the Mesoamerican cultures, but also of the Oriental ones especially of the Indian one where the deities were often associated with war. In this section of the exhibition dedicated to the representation of the warriors throughout the centuries we propone an interesting comparison between these two cultures which, despite different in style and period, express a similar conception of the war-god and the importance the warriors’ political role in the government of the country.

1)Censer lid with a richly dressed warrior and applications in the shape of foodstuffs, ceramic, Theotihucan, Classic period (400-500 A.D.)

eotihuacan warriors vs. Indian

Warriors – Sara Pelliccia

2)Kashatrya warrior, relief, 500-600 BCE, Indian Museum, Calcutta

In Teotihuacan the warrior is often represented clothed in his sumptuous headgear and armor. the association with fruits and vegetables symbolizes his important role in the society as bringer of wealth and abundance in the economy of the reign.

In the India the kshatriya or warrior caste had a primary role in the effective defence of the country. They were assigned a social rank next to importance to the spiritual needs of the society. Indeed, they had to defend the noble cause of God, crown and country.

Frequently in Teotihuacan the warrior is associated with the rain-god Tlaloc who was able to destroy everything through his thunder and lightning. Here he is represented as a warrior showing ferociously his teeth and threatening directly the viewer.3) Disk representing Rain

God Tlaloc, ceramic, Teotihuacan, Classic period (400-600 A.D.)

4)Indra, Golden sculpture, c.1200, Nepal, Philadelphia Museum of Art

In the Indian culture, Indra was considered the God of the warriors. Just like Tlaloc, he was also a rain-god so he was venerated as bringer of water and fertility. Both these two deities show the ambivalence of war in its destructive but also useful function.

In this mural painting there is an another example of the link between religion and war in Teotihuacan. Here the warrior is depicted as a coyote devouring human hearts. The violence of the image recalls the bloody sacrifices preformed by the priests.

5) Mural painting representing two coyotes devouring human hearts, stucco and pigments, Teotihuacan, Classic period (400-600 A.D.)(Down- right)

riental Warriors;Their similarities and differences

The oriental culture is by far very different from the others in question. Their rise into a civilization was rapid and ordered. Dynasties ruled the Chinese empire for Millenia. Innovations such as the Junk ship, Gunpowder, a writing system and printing system, and water management made the Chinese far ahead of any other civilization. The idea of Warriors was however, similar in stature to Teotihuacan in the means that the warrior was somehow divine. The emperor himself was said to be a God amongst men. His armies were named after precious stones, and were said to wield weapons blessed by gods.

In Japan, the warrior was the ideal figure. Based off a strict code called Bushido, a Samurai (The warrior) would be in a small army under a clan leader, or a war lord. These small armies were then pledged by the clan heads to the Shogonate, the main Army under the reigning largest clan. Often wars erupted between the warlords of Japan in a time known as the ‘Era of Warring States’. Some famous names would be: Oda, Nobunaga; Okita, Souji; Hijikata, Toshi.

The warlords were said to be Oni; powerful devils who were part of nature and were spiritually immortal. It was believed that a good Samurai would become one in a fierce battle. One tale involving the birth of an Oni would be the tale of Hijikata Souji, who became known as the Houkuoki , or Cherry Blossom Oni, for his participation and death near mount Fuji.

Poster of Samuari fighting a Warlord: 7th Century Edo ‘Era of Warring states’, Museo Nazionale de’Orientale

Mask of the Oni; 7th Century Edo Museo Nazionale de’Orientale

Twin Katanas 7th Century Edo Museo Nazional de oritenale

Often these warriors or Oni were represented with face paint and wore rather large and flamboyant headdresses that marked them as ‘War Lords’. The stylization of the Samurai such as the one from this poster made during the Era of Warring States at around 5th Century in Edo, are strikingly similar to the fresco of the high priestess seeing the vision from Teotihuacan, a relief done in the great city. As for weaponry, the Samurai as well as Chinese warriors prided themselves in their metal work. Unlike most weapons, the Chinese Empire is famous for creating the most deadly, the Chinese straight sword; Duel hook swords; Chiuan Spears; and Sai. Their metal work was superb but there were sadly no examples of this in the museum. The Japanese prided themselves of their swords, different lengths depending, called Katanas. Long swords that were sharp on one side, usually straight and slightly curved. A well made blade was usually able to be told by its ‘watermark’ or the lines left from the water cooling the steel. A sword maker would carve his initials into the hilt before selling. The weapons in both these cultures were sometimes said to be mystically made and blessed, given as much attention as the warrior himself. In the aspect of importance of weapons and decoration of, the longobards had the most in common with the Chinese and Japanese cultures. The idea of how the warrior should act still remained oddly different.

omparison of the Longobards

toTeotihuacan

There is very little connection of the art of the Longobards

being similar to Teotihuacan, and the only such things I could compare were the fibulae to a wall mural of a coyote. The salamander like Fibulae reminds me of the anthropomorphic art of Teotihuacan but when it comes to figures, there is a loss of connection from Teotihuacan to the Longobards.

Longobard Fibulae 6th-7th Century

Mural painting representing two coyotes devouring human hearts, stucco and pigments, Teotihuacan, Classic period (400-600 A.D.)

ntroduction To the Longobard Art -Zach

In Byzantine Italy in 568, the Germanic based peoples titled the Longobards were making their way into Italy. After a vast conquest of Byzantine Italy the Longobard’s set up what was known as the Longobard kingdom, which later became the Kingdom of Italy, until ultimately defeated by the Franks in 774. Longobard Art quite simply revolutionized art at this time transforming it from simply being a stagnant object such as a painting, mosaic, or elaborate building, to an art that became key in the presentation and apparel of warriors. This presentation is made quite clear in the Museo Dell Alto Medio Evo, where many exhibits and artifacts from the Longobard period stand on display.

he Longobard Warrior

• This is the basic attire a standard Longobard warrior. They often had a substantial amount of “mail” armor that covered most of their body, and a powerful metal helm to protect their heads. They also often carried at least one spear, and shield, and often had a sword at their side.

• However this image of a Longobard warrior is the simplest example. A high ranking Longobard general was often dressed in much more intricately designed armor and often carried very sophisticatedly designed weapons. Making the general’s themselves works of movable art.

Standard Longobard Warrior, 6th-7th century. (568-774) Museo Del Alto Medio Evo.

One of the first obtrusive and observable items a Longobard Warrior would carry was their incredibly large shield. These shields were often made out of heavy material and decorated with detailed bronze knobs that were often covered with a gold overlay. The shields were often carried in the back with a strap that would be gripped by the warrior. As one can notice the shield often had simple yet interesting design with multi colors as decoration not simply one mono color, adding to the richness of the Longobard coat of arms.

When taking a closer look at the central hub of the shield one can notice the true intricacy and detail of the longobard metal-crafting. The nubs of gold and bronze that often held the several layers of the shield together often had intricate design surrounding the circumference.

• Longobard Shield Fragments, 6th-7th centuries Museo Del Alto Medio Evo.

Replica Of Longobard Shield, 6-7th Century. (568-774)

When one thinks of a warrior often flashy swords come into mind. The Longobards were no exception. The swords today may not look overly impressive but in the 6-7th centuries these fatal weapons were often mesmerizing to the eyes. Sword making was an art and this case is no different. This sword is a longobard sword made between the 6th-7th centuries and is covered with intricate detail at the hilt.

Sword detailings: The central piece of the hilt connecting

the blade and the handle was often very intricately detailed with every ounce of gold scrolled and designed.

The blade and under the most supportive parts of the blade were often made of a powerful bronze, that would have gleamed in it’s day.

Possibly the most amazing piece of the blade however was the lower end of the hilt. This piece was often two layers a layer that connected the handle to the tip and the tip of the hilt end itself. This was often intricately decorated as well.

Longobard Sword, 6th-7th centuries Museo Del Alto Medio Evo

In Period n Comparison to other Arts

There were many differences between appearances and portrayals of the warrior in the Longobard culture as opposed to other cultures of the period. Specifically when one looks at the warriors of the eastern world at the time many details can be observed. Many similarities can be observed in oriental culture when concerning Longobard art.

O riental Images of the warrior

There are not many images of the warrior depicted in oriental art, which is an extreme similarity to the art of the longobards. The Longobards, did not seem to depict a warrior in their art, with the main exception being portrayals of the great warrior Alexander the Great. Alexander was heavily displayed in Longobard art. This cup however displays what appears to be a warrior in ancient oriental art. However, the warrior is not at all similar to that of the Longobard yet again. The warrior in this case does not have the immense amount of armor as the Longobard warriors are portrayed do. However the shield and sword are still prevalent.

Red Figure Cup, Douris Painter, 480-490

L ongobard Art:Nathan Rice

Longobards were a people that inhabited the Northwestern portion of modern day Germany starting from around the 1st century CE. They formed part of a series of Germanic Tribes known as the Suebi. Up until the 4th and 5th century they seemed to have lived a settled life until they began a great migration southward into what is now Austria and along the Danube river. This migratory existence is reflected in their art, especially early artworks and can be seen by the tendency to craft what is useful and perhaps portable at the same time. Their most recurrent craftwork is the fibulae which had a definite utility and could be transported fairly easily, as a clasp to a cloak. Belt ornaments too seem to have played an important role in their art because while they may seem less artistic as objects, the intricate patterns and art that are engraved in them are very elaborate and artistic. Around 568 these migratory people cross the Julian Alps and enter into Italy and settle in the north and south of the peninsula coming into conflict at times with the Byzantine Empire in the. Corridor dividing the north and south and papal lands

At the end of the 6th century they engage in struggles with Byzantine-Frankish Alliance to re-conquer lands lost to them previously. Much of what remains in fact of Longobard art and artifacts are in fact military relics. Swords, shields, general works of art that are associated with a warrior people and because some fought on horses much remains of the harnesses and spurs that were used at the time. In the 7th century the Lombards convert to Orthodox Christianity from Arianism. Liudprand seems to be there most renowned and respected king and he reigned between 712-744 CE. He was concerned with the internal condition of his kingdom but later expanded its territories into Byzantine land. Surviving documents and coinage of his time seem to strengthen the idea that he was an influential if not the most influential king. During the era between 749-774 Longobard kings began invading Papal territories, this forced Pope Adrian I to seek help from the Franks who led by Charlemagne conquered the Longobard people and ruled over them as well as the Franks marking the end of their rule in Italy.

I conography and Theme

An essential theme to Longobard art is that of the warrior and war. Because they were a migratory people that basically were moving around in a period of general chaos and political disorder there was much fighting to be done in order to claim lands and establish kingdoms. As the Lombards engaged in campaigns to conquer Byzantine land a lot of their culture was based on warfare, this is reflected in their art because much of the objects that are being made while still retaining some religious aspects reflect a general tendency to glorify war. Il Museo Dell’ Alto Medio Evo in EUR displays a series of objects that embody the Longobard tradition of warring and representing war. Most of the Fibulae that are found there, especially those that still don’t have Greco Roman influences can be seen as being formed by various military objects interconnected to each other despite having animal like characteristics.

Fibule ad arco di II stile Animalistico

The following Fibula demonstrates a transition to more Greco-Roman style which was probably adopted after a settled period of the Italian peninsula. It is very different from the other Fibulae and is representative of the shift in cultural attitudes of the time as they assimilate aspects of previous peoples. However despite this transition in style note that there is still a reoccurring iconographic theme developed by attitudes of war and warrior culture.

This can be seen as it seems quite evidently like many of the shields that are found within the museums with not only similar shapes but also patterns within them as can be compared to the Umbone di Scudo con Scena di Battaglia. The Umbo of the shield can be seen as being represented in the middle in a non three dimensional and the surrounding knobs can certainly seem in both of these images. There are definite correlations between the two objects.

Umbone di Scudo con Scena di Battaglia

The photo of the Fibule ad arco di II stile Animalistico can demonstrate these militaristic tendencies. The lower portion of these objects seem to be characteristic of a helmet and what appears to be a headdress at the top seems to be formed by a series of other helmets. Even the center portion of the Fibulae have the resemblance of shields. Despite being very elaborate and intricate patterns engraved in the Fibulae the representations of animals and warrior objects is revealing of their artistic styles especially pre-conquering Italy.

This Guarnizione di Cintura in Bronzo Stagnato is triangularly shaped and seems to be reminiscent of a shield like structure. Furthermore the three circular patterns found within this shape are reminiscent of the round Lombard shields with an Umbo in the middle.

Other Guarnizioni seem to point at similar themes but with different shapes, the following images demonstrate the shift to portraying shields in art in semi circular and slightly rectangular shape, which is what can be easily associated with a typical medieval style shield and even with some Greco-Roman style shields.

Belt ornamentation also seem to be a very repeated element of Lombard art and they are interesting not only because they are mostly in the shapes of shields but especially because this shape transitions either over time or territory as the ornamentation seems to develop more distinctive characteristics. However one thing does remain clear and that is that they are almost exclusively patterns of war or associated with war. Shaped like shields they are also peculiar because they are not necessarily reflective of the shields used specifically by Longobard warriors however they do seem to fit the standard shape and characteristics of Medieval shields of the high middle ages especially those of northern Europe.

Guarnizione di Cintura

C ontrasted to Oriental Art

Compared to Oriental Art representations of war and or warriors is fairly different from the Longobards. One of the biggest differences is perhaps in the perception of warriors and their role in society. The Islamic or pre-Islamic warriors represented in the museum aren’t exactly one hundred percent warriors. They are actually hunters, and for them that was part of the role of the warrior within the society, it was a way to train for fighting. The Longobards saw the warrior as more of an intrinsic and separate role in society then that of the hunter and therefore developed a completely specialized purpose. Islamic warriors were excellent horsemen like the Longobards, and placed high value on their horsemanship. This following picture demonstrates the importance of horses in their culture as it is highly decorative and colorful as compared to the Longobards there seems to be more of a stress to harmonizing with the elements of nature and the art together with the human as opposed to the Longobards and their more dominant approach.

This picture depicting Alexander the Great riding two Griffons demonstrates this aspect of domination.

In Tibetan art we see that divinities are given the power too wield war and weapons. Compared to Longobards that saw war as an aspect of everyday life it seems that it was more of a divine responsibility to Tibetan culture.

A rt Bibligraphy

In order of apperance:

Emelie:I. Warrior Spear Thrower II. Tripod VaseIII. Chinese Warrior

Sara:IV. Censer lid with a richly dressed warrior and applications in the shape of foodstuffs, ceramic,

Theotihucan, Classic period (400-500 A.D.) V. Kashatrya warrior, relief, 500-600 BCE, Indian Museum, Calcutta VI. Disk representing Rain God Tlaloc, ceramic, Teotihuacan, Classic period (400-600 A.D.) VII. Indra, Golden sculpture, c.1200, Nepal, Philadelphia Museum of Art VIII. Mural painting representing two coyotes devouring human hearts, stucco and pigments,

Teotihuacan, Classic period (400-600 A.D.)

Jennifer: IX. Caligraphy: (13 letters)X. Poster from 7th century Edo: Museo Nazionale d’OrientaleXI. Mask from 7th Century Edo Theatre: Museo Nazionale d’OrientaleXII. Twin Katanas 7th Century Edo: Museo Nazionale d’Orientale

Zach:XIII. Standard Longobard Warrior, 6th-7th century. (568-774)Museo Del Alto Medio Evo.XIV. Replica Of Longobard Shield, 6-7th Century. (568-774) Museo Del Alto Medio Evo.XV. Longobard shield Fragments 6-7th Centuries Museo Del Alto Medio EvoXVI. Longobard Sword, 6th-7th centuries Museo Del Alto Medio Evo XVII. Red Figure Cup, Douris Painter, 480-490

Nathan:XVIII. Fibule ad arco di II stile Animalistico XIX. Umbone di Scudo con Scena di Battaglia (2 pics)XX. Guarnizione di Cintura (3 Pics)XXI. Alexander the Great and two GriffinsXXII. Tibetian Divinity