Project Wellspring

Di Luo's Teaching Portfolio

Asian Art 2a. Indus Valley Civilization

https://prezi.com/embed/gitkzjiduvnl/?bgcolor=ffffff&lock_to_path=0&autoplay=0&autohide_ctrls=0&landing_data=bHVZZmNaNDBIWnNjdEVENDRhZDFNZGNIUE43MHdLNWpsdFJLb2ZHanI0VTJQT0ZnTXBVQ0cvRmpuYlMrS2FURzRBPT0&landing_sign=Bl9XW7VtPECV6q0NcKMkjJXR1P4NxtWtpixt_VKS5Wc

Reading Assignment

Required

  • Lee, pp. 18-23
  • Neave, pp. 3-8

Recommended

Key works

Great Bath

Mohenjo-daro
Brick; h. 8′ (2.44m), l. 39′ (10.89m), w. 23′ (7.01m)

Mohenjo Daro, now in Pakistan

3rd-2nd cent. BCE, Indus Valley Civilization

Dancing Girl

Dancing Girl of Mohenjo-daro
Copper; h. 4 1/4″ (10.3cm)

Mohenjo Daro, now in Pakistan

2500 BCE, Indus Valley Civilization

National Museum, New Delhi

Mother Goddess

Terracotta; h. 7″ (18cm)

Mohenjo Daro, now in Pakistan

2900-1600 BCE, Indus Valley Civilization

National Museum, Karachi

Pashupati Seal

Shiva Pashupati
White Steatite; w. 1 3/8″ (3.5cm)

Mohenjo Daro, now in Pakistan

2350-2000 BCE, Indus Valley Civilization

National Museum, New Delhi

Quiz Questions

Answer ANY TWO of the following questions:

  1. What was the Great Bath used for? How do we know? (In other words, what evidence helped us determine its purpose?
  2. Why have scholars identified the Dancing Girl as the representation of a “girl” whereas the Mother Goddess the representation of a “goddess”? What physical/formal properties of the two figurines support this identification?
  3. List two notable visual features of the Pashupati Seal. What, in your opinion, do these features imply about the identity of the central figure?
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This entry was posted on January 13, 2017 by in session and tagged , , , , , .
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