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1Apollo 11 stones c. 25,500–25,300 B.C.E. Prehistoric Southern AfricaOrigin: Namibia Size: Approx. 5"×4"Charcoal on quartzite stone fragments.Animal form shown in strict profile; simple, dark, and clear line drawing.Depicts an animal, possibly a feline, with horns of an Oryx, known as a therianthrope (part-human, part-animal).Among the oldest known examples of representational art in the world; found in a cave used by nomadic hunter-gatherers.To document spiritual or ritual beliefs, possibly shamanistic or related to animal behavior.Oldest dated figurative art in Africa. Convention: Use of profile view for animals.Early Shamanismhttps://smarthistory.org/wp-content/uploads/2018/08/apollo-11-thumb.jpghttps://docs.google.com/document/d/1mC4WenKydOSleuEA-XqgoF5rpMqIR89dqRBFaXzzEVs/edit?usp=drivesdk
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2Great Hall of the Bullsc. 15,000–13,000 B.C.E.Paleolithic Europe Origin: Lascaux, France Size: Wall painting, varies.Pigments (ochre, charcoal, manganese) mixed with animal fat and applied to rock using moss, hair, or reeds.Utilizes twisted perspective (horns from front, body from side); large, overlapping figures create an illusion of deep space and motion.Hundreds of animal figures (bulls, horses, deer), some pregnant. Only one human-like figure (bird-headed man).Deep within a cave, far from living areas, suggesting a sacred or ritual space. Created by hunter-gatherers.Rituals to ensure a successful hunt; animal worship; or a form of visual communication/storytelling.Innovation: Monumental scale of some animals; use of the cave's contours to enhance naturalism.Hunting Magic, Fertilityhttps://smarthistory.org/wp-content/uploads/2022/08/Prehistoric_Sites_and_Decorated_Caves_of_the_Ve%CC%81ze%CC%80re_Valley-108435.jpghttps://docs.google.com/document/d/1WM8YhA6_-1CSTfvzZVGXUOF6MwEs7QqUXy5H23iVs1A/edit?usp=drivesdk
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3Camelid Sacrum in the Shape of a Canine c. 14,000–7000 B.C.E. Prehistoric Meso-Central AmericanOrigin: Tequixquiac, Central Mexico Size: Approx. 7"×3"Carved from a camelid (llama/alpaca family) sacrum bone.Uses the natural triangular shape of the bone. Subtractive technique to create eye holes and muzzle, minimal detail.A simplified mask-like head of a canine. The sacrum bone was considered sacred (linked to fertility and rebirth).Part of a tradition of bone carving; the sacrum's location (near reproductive organs) and triangular shape held symbolic significance.To serve as a ritual mask or a sacred object related to fertility and the spiritual world.Innovation: Early use of an organic natural material for sculptural representation of a creature.Spiritual Rebirthhttps://smarthistory.org/wp-content/uploads/2016/03/camelid.jpghttps://docs.google.com/document/d/16i3NNgQSJoI4KZITz4Q4ORaoJ3ytpffyAeJBzkZ4sCQ/edit?usp=drivesdk
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4Running Horned Woman c. 6000–4000 B.C.E. .Prehistoric Northern AfricaOrigin: Tassili n'Ajjer, Algeria Size: Wall painting, varies.Pigment (ochre) applied to rock face.Large figure in a dynamic pose, profile perspective. Uses dots/body paint as a decorative element. Hierarchical scale used to distinguish figures.A large, decorated female figure with horns running/dancing, surrounded by smaller, static figures. She appears to be a deity or ritual leader.Located in a secluded area. Reflects a shift to settled (Neolithic) communities and more complex religious practices centered on deities.To commemorate or invoke a deity/spirit in an agricultural or rainmaking ritual.Convention: Focus on the human figure and ritual. Innovation: Highly sophisticated pigment and decorative detail.Deity and Ritualhttps://smarthistory.org/wp-content/uploads/2021/09/enhanced.jpeghttps://docs.google.com/document/d/1modzkB2juFWkBVNX2vIlbBbBDCOoULvvKQc7IaJ2VSs/edit?usp=drivesdk
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5Beaker with Ibex Motifsc. 4200–3500 B.C.E.Prehistoric Near EastSusa, Iran11"×7" (height × diameter)Painted terra cotta (clay) vessel.Clear geometric shapes and a strong focus on pattern and line. Animals are highly stylized and elongated (Ibex has enormous horns).Upper registers feature running dogs and aquatic birds. The central focus is a massive, stylized Ibex, likely a clan symbol.Found in a cemetery near Susa, often alongside high-status burials. Reflects a sedentary agricultural society and specialized craftsmanship.As a funerary object, possibly containing food or drink for the deceased; or as a prized possession demonstrating status.Innovation: Early use of a potter's wheel; sophisticated use of stylized, decorative zoomorphic forms.Clan Identityhttps://smarthistory.org/wp-content/uploads/2023/07/12906002764_4ecca85fcc_o-scaled.jpghttps://docs.google.com/document/d/1UL_WRS1gVMN0mdanQUTI9XMGZIMlFKM_SXD1CNn80lc/edit?usp=drivesdk
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6Anthropomorphic Stelec. 4000 B.C.E.Prehistoric Near East Ha'il, Saudi ArabiaOrigin: Ha'il, Saudi Arabia Size: Approx. 3 feet tall.Sandstone.A highly stylized (abstract) representation of a human. Low relief carving emphasizes the belt, double-bladed dagger, and necklace.A male figure with a trapezoidal head. The prominent weapons and belt suggest a warrior or leader.Found along ancient trade routes in a region of early agriculture and nomadic herding. Associated with funeral practices.Grave marker, or possibly a ritual object for burial or trade-related rites.Convention: Creation of stele (upright stone slab) as a commemoration marker.Commemoration, Statushttps://smarthistory.org/wp-content/uploads/2021/09/anthro-stele-1000px.jpeghttps://docs.google.com/document/d/1cRHQIIWA1QI-ZBY0zyU_VxvUtiUL-E8ZEuWkbyUGINk/edit?usp=drivesdk
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7Jade Congc. 3300–2200 B.C.E. Prehistoric ChinaLiangzhu, China Approx. 10 in. tall.Carved and sanded jade (a very hard, difficult-to-carve stone).A rectangular outer section surrounding a hollow circular inner section (square and circle motif). Incised lines create abstract face/mask designs on the corners.The abstract faces—likely spirit or deity figures—may be an early representation of the taotie motif.Found in high-ranking burials, often in great numbers around the deceased's body. Jade was highly valued for its durability and symbolic association with permanence.To serve as a ritual object in burial and worship, possibly symbolizing the earth (square) and the heavens (circle).Innovation: The extremely difficult and precise abrasion process required to carve the jade.Afterlife and Spirithttps://smarthistory.org/wp-content/uploads/2018/06/jadecong.jpghttps://docs.google.com/document/d/1rSix1gOFEz1aa319OAJ2hCY4XpTtVDcxnHKRiROtGF0/edit?usp=drivesdk
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8Stonehengec. 2500–1600 B.C.E.Neolithic EuropeWiltshire, U.K. Sarsen stones up to 13 feet high, 25 tons.Sandstone (sarsen) and volcanic rock (bluestone).An earthwork and a stone circle (cromlech) using post-and-lintel construction. Stones were shaped and placed in a complex, concentric arrangement.A massive monument aligned with the sunrise on the summer solstice and sunset on the winter solstice.Constructed in multiple phases over 1,000 years, indicating a large, organized society. The stones link local and distant geography.Astronomical observatory, calendar, ceremonial site for sun/ancestor worship, or a large burial ground.Innovation: The colossal scale; use of highly sophisticated carpentry techniques applied to stone (mortise-and-tenon joints).Cosmos and Ancestryhttps://smarthistory.org/wp-content/uploads/2021/09/14425050602_1aed5cdd31_3k-scaled.jpghttps://docs.google.com/document/d/1FNAmltFLeH3URdxNANYWu1wwBPMOwll82KCyOIMpSWk/edit?usp=drivesdk
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9The Ambum Stonec. 1500 B.C.E. Prehistoric Pacific IslandsAmbum Valley, Papua New GuineaApprox. 8 in. highCarved from greywacke (a very hard, dense stone).A small, freestanding sculpture with a rounded base, showing an elongated neck and head. Achieved through subtractive sculpting and high polish.An animal, possibly an echidna (long-beaked anteater) or a fruit bat embryo. It is a zoomorphic figure with possible human features.One of the oldest sculptures from Oceania. Greywacke's durability made it a valuable and powerful object.A pestle (tool for grinding), or more likely, a ritual object (wok long or ancestor/fertility stone) used in magic and religious ceremonies.Innovation: Creation of a complex, three-dimensional, freestanding sculpture out of a very hard stone in the Neolithic era.Fertility and Powerhttps://smarthistory.org/wp-content/uploads/2016/09/ambumnga.jpghttps://docs.google.com/document/d/1bpI5BrJN2fEbuO0PebL3poTe-xoUnDrWgAFQpUQ_FKs/edit?usp=drivesdk
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10Tlatilco Female Figurinec. 1200–900 B.C.E.Prehistoric Meso-Central AmericanTlatilco, Central MexicoApprox. 3–15 in. high.Ceramic (earthenware clay) and pigment.Exaggerated hips, thighs, and narrow waist. Lack of hands and feet directs focus to the body. Features an abnormal trait: two fused faces on one head, showing symmetry in duality.A naked female figure emphasizing fertility and the feminine role in the cycle of life. The two-faced feature suggests the concept of duality.Found in grave sites. Represents a tradition of female figurines, indicating an interest in shamanism and life/death cycles in Pre-Columbian cultures.A fertility object for agricultural or human reproduction, or a ritual burial offering.Convention: Representation of a deity or spirit through a human figure. Innovation: Artistic focus on physical deformity/duality to convey a spiritual message.Duality and Fertilityhttps://smarthistory.org/wp-content/uploads/2023/11/default-e1701372072437.jpghttps://docs.google.com/document/d/1etFQjYnT5MD3v8Vb_3x9jtmMUpchKcy0hufHvHXpfMI/edit?usp=drivesdk
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11Terra Cotta Fragmentc. 1000 B.C.E.Prehistoric Pacific IslandsSolomon Islands, Reef IslandsSize: Fragment, original vessel would be large.Incised terra cotta (pottery).Uses intricate geometric patterns (dentate stamping) made by pressing a carved tool into the wet clay. Features repeating circular and linear designs.Highly abstract designs including a human face with a bridge of the nose and forehead divided by hatching lines.Part of a larger vessel. Found across the Lapita cultural range, it is a marker of the spread and identity of this seafaring people.Likely a fragment of a utilitarian vessel (for storage or cooking) or a ceremonial pot.Innovation: Use of dentate stamping—a specific carved tool used to create a widespread and recognizable artistic tradition.Cultural Identityhttps://smarthistory.org/wp-content/uploads/2016/12/lapitafragment.jpghttps://docs.google.com/document/d/1NoYSgtYJUSZDPyeTfaIN5WFfJxEoJidm8g7Pd5m_arE/edit?usp=drivesdk
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