Introduction
Warfare is an idea that has existed for almost as long as humanity itself. It has plagued every generation, each with their own horror stories. There is evidence of warfare scarred onto the face of the earth left by soldiers from long ago, though there is other evidence of warfare that exists as texts, tapestries, and paintings. These pieces of evidence show an in-depth investigation into the chaos of warfare, sometimes it’s a more personal look into that chaos. Throughout these different cultures that experienced warfare, we get to experience different points of view; though those views are usually from the winner’s point of view. Each unique perspective gives us, the viewer, insight into these cultures and how these times of war shaped these cultures. Warfare is different throughout cultures, and throughout time. Learning how others have fought and died, better prepare us, and teach us so much about how others lived. The pieces of art that are being shown today each have something important, unique, and gruesome to share with us. We will be visiting three different parts of the world: Europe, Asia and the Americas. In each of these parts of the world, there are many similarities that are shared, but there are also many differences in how each of the cultures viewed warfare. One similarity is that they all seem to understand and portray the complete chaos of war. Capturing that chaos is very effective in most cases. This exhibition is built up of artworks that are meant to show the importance of warfare in different cultures, how its shaped events and history, and the impressions that they left behind for us to learn from.
Warfare
Columns depicting Toltec Warriors, 900-1200 CE, Tula, Mexio
Noted as gifted craftsman, artisans, and creators, the Toltec people were also known for their militaristic society. These columns, each standing fifteen feet tall, are highly ornamented and decorated with body armor and accouterments, representative of the Tula style. Tula, the capital of the Toltec empire, was a large city, with two pyramids; one of which supports the warrior columns. At the height of their power, the Toltec's controlled most of what is now Mexico. The Aztec's, who came after the Toltec's, revered them and saw them as the precursors to their own civilization. Most of our knowledge that has been acquired about the Toltec's actually comes from the Aztec's and their oral history. Toltec influence may have reached all the way to the Yucatan Peninsula. These warriors are indicative of the power that they once held. By representing these columns as warriors, it depicts them as strong, sturdy forces that will not be easily toppled over. They stand over their capitol city, ready to defend their people and their home. These columns were important to the Toltec’s because they were representative of their culture and values. Each is decorated with the signature breastplates and come with spears at their sides; highlighting their significant power and prominence. These columns originally supported a roof, that has, by now, deteriorated and disintegrated. These impressive pieces of artwork would’ve been intimidating to others visiting the pyramid. There is not much known about the decline of the Toltec’s, only hypothesis’s that maybe there was a large drought, but others think there was warfare involved.
Bonampak, Room 2, Chiapas, Mexico, 300-900 CE
The archaeological site known as Bonampak, or "painted wall", houses the most famous paintings in the Mayan world. The murals were commissioned by the last ruling family of Bonampak and were never completed. One of the murals, Room 2, depicts the greatest battle scene in Mayan art. Originally, there were over one hundred figures cast for the original painting. Members of the court display their power over their defeated rivals in the battle scene. There are three Maya noblemen, each one has a spiritual animal as their headdress, each one more intimidating than the last. There are two constellations, possibly hinting that this great battle had something to do with the Maya Creation Story. This mural also gives us a glimpse into the types of fighters the Maya were and even showed us what kinds of weapons that they would use. The chaos of the figures approximates the chaos of warfare. The outcome of the battle can already be seen; the victorious are wearing elaborate war costumes, while the defeated have already been stripped of their armor (and sometimes their limbs). On another wall, we can see the victory celebration and sacrifice of the others who were defeated. It seems as though there is more focus on the defeat and sacrifice, then there is on the actual victory. This room is the only one painted with this scene of warfare, and shows the significance and importance of warfare in the Maya culture. This painting captures the chaos of warfare and illustrates the significance of sacrifice.
Terracotta Army, Lishan, China, 200-250 BCE
The Terracotta Army refers to the roughly 7000 warriors, 600 horses, and 100 chariots that were found in the grand mausoleum of one of China’s greatest emperors, Shi Huangdi. His longing for immortality brought about the need to have an army that would be able to protect him either while his tomb for an eternal slumber, or to accompany him into the afterlife. The realistic figures give us a glimpse into the structure of Chinese warfare, from their weapons, to the chariot mechanics, to the armor that they wear. Each warrior appears to be a unique portrait, each one different from the last. Especially with the details in the hair and fingers, it was meticulously planned so that it would look like an army composed of unique individuals. In addition to making each of the figures unique, each one would’ve probably held a real weapon, either a sword or a bow, but most have either been stolen or been destroyed over the course of time. The warriors stand in regular rows, each in various, shifting positions; some are crouching, and most are standing. Their mix and arrangement of officers gives the illusion of a full army that is ready for battle. The layout matches the troop deployment mentioned in various ancient military treaties. These figures were not glazed, rather they were lacquered to protect them and then painted with bright colors, such as red. This incredible feat shows the immense organizational skills and attention to detail that demonstrates the power that Shi Huangi held over his people and the country.
Night Attack on the Sanjo Palace, Heigi Era, Japan, second half of 13th century
Designed to be unrolled in sections and inspected up-close, the scroll depicts a bird’s eye view on the attack. The story unfolds from left to right and happens sequentially, meaning that we get to see the main characters of the story multiple times. The high amount of details that were put into this scroll make is a uniquely valuable look into the time period. From the buildings, corridors, and surrounding walls to the array of foot soldiers, priests, and even the occasional lady, are easily identifiable by their unique weapons, robes, and armor. Unfurled, the viewer begins at a point of ominous calm that escalates the further you read into the scroll. The energy of the painting is high and can be seen in the horrified expressions of some of the people depicted. This scroll depicts the beginning of a long blood-bath, collectively called gunki monogatari, have inspired many bodies of work and pieces of art. In this scroll, it is told from the victor’s perspective and it celebrates the change in rulership from a royal court to samurais. This attack, in real life, was an attempt to seize power from the emperor. The sense of chaos is still there, but it seems more controlled than the other pieces we have looked at. It was more deliberate and is shows through the details in the scroll.
Haniwa Warrior, Ota City, Japan, 250-600 CE
Though the body and face lack both definition and detail, there is a surprising amount of work put into the armor and other ornaments that they wore. The rivets in the details of the helmet suggest that the warriors wore metal helmets to protect themselves and the armor you can clearly see linked together. Standing up-right, this figure might not appear intimidating at first, but it’s not until you look at the closer details of his weapons and armor that you understand that he is extremely well armed and protected, making him a formidable foe and the viewer a little more apprehensive. The intended function for this particular haniwa is clear: to protect the tomb which it was placed a top of, but what isn’t clear is if every haniwa, figurative or non-figurative, was made for the same purpose. This warrior haniwa is a national treasure in Japan and shows the high level of details in the craftsmanship of this piece. There were several other haniwa warriors that were found in and around the area, suggesting that there was a haniwa manufacturer somewhere in the area.
Bayeux Tapestry, Canterbury, England, 1070 CE
The Bayeux Tapestry, sitting at twenty inches high and almost 230 feet in length, tells the story of the struggle for the throne to England. The dispute takes place between William, Duke of Normandy and Harold, Earl of Wessex. William, who eventually became known as William the Conqueror, invaded and took over England in 1066, becoming the first Norman king of England. The tapestry depicts the events leading up to the invasion, culminating in the Battle of Hastings. Sometimes viewed as a type of chronical, there are some events that have been included that do not relate to the Norman conquest. However, it is still a rich representation of such an important historical moment and provides an important visual source for textiles surviving this long. The tapestry was made within a generation of the Battle of Hastings, and because of this, is considered to be a fairly accurate retelling of the story. Again, this tapestry is told from the victor’s point of view and was probably commissioned by William’s half-brother. The highly organized composition takes the viewer fluidly from one scene to the next. The main events are condensed in the larger, middle zone of the tapestry. The attention to detail in the embroidery also gives us insight to the every day life of someone who lived in the eleventh century as well as objects that no longer survive.
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The Bonampak Murals. Accessed December 11, 2019. https://www.mexicolore.co.uk/maya/home/the-bonampak-murals.
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Cartwright, Mark. “Terracotta Army.” Ancient History Encyclopedia. Ancient History Encyclopedia, December 8, 2019. https://www.ancient.eu/Terracotta_Army/.
Haniwa Armored Man - eKokuhou. Accessed December 11, 2019. http://www.emuseum.jp/detail/100200?d_lang=en&s_lang=en&word=&class=&title=&c_e=®ion&era=&cptype=&owner=&pos=97&num=1&mode=detail¢ury.
Kessler. “The Americas.” Kingdoms of the Toltecs - Toltecs. Accessed December 11, 2019. https://www.historyfiles.co.uk/KingListsAmericas/CentralToltecs.htm.
Shirai, Yoko Hsueh, and Yoko Hsueh Shirai. “Haniwa Warrior.” Smarthistory. Accessed December 11, 2019. https://smarthistory.org/haniwa-warrior/.
Sigur, Hannah, and Hannah Sigur. “Night Attack on the Sanjô Palace.” Smarthistory. Accessed December 11, 2019. https://smarthistory.org/night-attack-on-the-sanjo-palace/.
Smith, Michael E. “‘Toltec Empire’ (2016).” Academia.edu. Accessed December 11, 2019. https://www.academia.edu/23055486/_Toltec_Empire_2016_.
Tanton, Kristine, and Kristine Tanton. “The Bayeux Tapestry.” Smarthistory. Accessed December 11, 2019. https://smarthistory.org/the-bayeux-tapestry/.
The Bonampak Murals. Accessed December 11, 2019. https://www.mexicolore.co.uk/maya/home/the-bonampak-murals.
The Editors of Encyclopaedia Britannica. “Toltec.” Encyclopædia Britannica. Encyclopædia Britannica, inc., November 18, 2019. https://www.britannica.com/topic/Toltec.
The Editors of Encyclopaedia Britannica. “Tula.” Encyclopædia Britannica. Encyclopædia Britannica, inc., January 24, 2019. https://www.britannica.com/place/Tula-ancient-city-Mexico.