Of Past and Present

FOREWORD

As a species, we have thrived for over 100,000 years. What has not changed throughout time is our drive for creativity and ability to connect to those around us through artistic forms.

“Of Past and Present” explores the historical and cultural impact of ancient artifacts through the convergence of graphic design, archaeology, and art history. This discovery is approached through the creation of letterforms and illustrations based on the material culture of four civilizations: Mesopotamia, Indus Valley, Mesoamerica, and South America.

Objects in the collection were selected based on their historical impact and value in relation to their individual culture. Once establishing the original sources, the letterforms were created from the formal qualities presented in each artifact.

To communicate each letters’ origin, I illustrated each artifact with assigned colors for each civilization. Colors were designated to past cultures in association with important values upon their society. For example, teal was given to Mesoamerica to highlight the importance of jade within their civilization.

Once the illustrations and typography were created, I then produced animations of both sources morphing into each other.

After doing so, animations were linked to posters through the augmented reality app, Artivive, where viewers can see the artifact and type morph into its original source. Viewers are then challenged to decipher the message created by the collection through the AR element. As a whole, the piece reveals “more alike than different” representing the commonalities of today with that of the past.

By merging graphic design, art history and archaeology through this perspective, audiences are reminded of the impact of ancient civilizations while also gaining a greater understanding of each culture. In addition, viewers are able to see the power of design to grant these artifacts another life while at the same time honoring the value they placed upon their original makers.

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CONTENTS 04

Mesopotamia 06

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30 San Lorenzo Olmec Head 3

Stone Panel, Northwest Palace of Ashurnasirpal II

32 Figure Vessel

08 Painted Bowl

33 Bench Figure

09 Stone Mold

34 Flint with Heads of K’awiil

10 Horse from the Standard of Ur

35 Cociyo Urn

12 Lamassu, Palace of Sargon II

36 Yaxchilan Lintel 24

14 Relief Fragment

37 Double-Headed Serpent

15 Lama Deity 16 Painted Beaker 17

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Mesoamerica

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South America 40 Miniature Figure of a Gold Llama

Cup Supported by Hero and Animals

42 Feathered Tunic

Indus Valley

43 Embroidered Paracas Fragment

20 Polychrome Pottery

44 Stirrup Spout

21 Dancing Girl

45 Ornamental Plaque

22 Priest King

46 Blackware Vessel 47 Miniature Dress

24 Terracotta Mother Goddess

48 Confronting Figures Bottle

25 Seal of Pashupati/Female Deity 27 Faience Tablet

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Acknowledgements 52 Credits

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Mesopotamia

Periods covered: Akkadian, Assyrian, Susa, Bakun

Mesopotamian civilizations began to form around the time of the Neolithic Revolution (1200 BCE). These civilizations formed in Western Asia along the Tigris and Euphrates rivers in what is today Iraq and Kuwait.

Mesopotamia is associated with the earliest use of painted ornament on pottery, which typically involved geometric zones of design. Themes within Mesopotamian art began with a more religious or political function until the development of kingship in the Akkadian period (2334-2154 BC) where a majority of art related to heightening the king’s status.

In addition to pottery, relief sculpture was also typical within Mesopotamian art. Materials were often of clay, metal, or stone due to limited resources in their environment. In addition, these reliefs were often of hieratic scale to boost elite or religious figures.

By the Assyrian period (900-600 BCE), winged deities became a common element within Mesopotamian art. These deities often acted as guards to the elite and reflected the culture’s religious and mythical beliefs. Themes of military conquest increased during this period as well to assist in the glorification of military prowess.

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MESOPOTAMIA

Stone Panel, Northwest Palace of Ashurnasirpal II Date: 865-860 BC Period: Neo-Assyrian

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MESOPOTAMIA

This relief depicts the old tradition of royal lion hunts which were common in Mesopotamian art with examples known as early as 3000 BC. The motif of Ashurnasirpal II, recognized by the distinctive royal hat, is hunting lions from his chariot and is depicted three separate times upon the reliefs in his palace at Nimrud.

Letterform “H” was created based off the tassels on the horse to emphasize the importance of battle animals upon the overall perception of Mesopotamian kings.

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MESOPOTAMIA

Painted Bowl Date: 5000-4000 BC Period: Bakun This bowl was excavated at the site of Tall-i Bakun, a short distance from the later site of Persepolis. Unlike Susa pottery in southwest Iran, the local tradition in this region was dominated by bowls with exterior designs. These are typical of the Sialk III period, which was contemporary with Ubaid and Early Uruk cultures of Mesopotamia.

The schematic design of the human figure with a bird-like head was a common tradition within the Sialk III period, which is the origin of the letterform “E”.

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MESOPOTAMIA

Stone Mold Date: 1920-1740 BC Period: Old Assyrian This mold was a part of the widespread production of molds across the Middle East.

While this particular piece was found in northern Mesopotamia, various elements relate to Anatolian styles which suggests its involvement in trade routes.

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MESOPOTAMIA

Horse from the Standard of Ur Date: 2600-2400 BCE Period: Early Dynastic III

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MESOPOTAMIA The Standard of Ur is one of the most well known pieces from Mesopotamia and reveals a wealth of information about the civilization. This box was discovered in the Royal Cemetery of Ur and is divided into a ‘War’ and ‘Peace’ side. The scenes on the ‘War’ side display consecutive episodes of a battle at Ur while the ‘Peace’ side includes the ritual celebrations following it.

This artifact acts as one of the earliest representations of a Sumerian army, where horses were a key element.

I modeled the “F” letterform off of the horse’s curves and pointed tail to symbolize the value of horses to Mesopotamian society.

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MESOPOTAMIA

Horse from the Standard of Ur Date: 2600-2400 BCE Period: Early Dynastic III

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MESOPOTAMIA The Standard of Ur is one of the most well known pieces from Mesopotamia and reveals a wealth of information about the civilization. This box was discovered in the Royal Cemetery of Ur and is divided into a ‘War’ and ‘Peace’ side. The scenes on the ‘War’ side display consecutive episodes of a battle at Ur while the ‘Peace’ side includes the ritual celebrations following it.

This artifact acts as one of the earliest representations of a Sumerian army, where horses were a key element.

I modeled the “F” letterform off of the horse’s curves and pointed tail to symbolize the value of horses to Mesopotamian society.

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MESOPOTAMIA

Lamassu, Palace of Sargon II Date: 721-705 BC Period: Neo-Assyrian

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MESOPOTAMIA

This colossal sculpture of a winged bull was one of a series that guarded Sargon II’s entrance to his throne room in his palace at Khorsabad, the capital city of the Neo-Assyrian Empire during his reign. The figure, known as a lamassu, is a composite mythological being with the head of a human, body and ears of a bull, and wings of a bird. These winged-bulls were common throughout Mesopotamian art as they acted to protect royalty and to embody the power of the king.

The lamassu as a figure is a recognizable icon of both Mesopotamia and ancient art, which led me to create a letterform from this artifact. The circles forming the “I” take inspiration from the spiral elements and symbolize the shape of an eye to communicate the lamassu’s function as a watcher for Mesopotamian royalty.

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MESOPOTAMIA

Relief Fragment Date: 704-681 BC Period: Assyrian This relief fragment dates to Assyrian king Sennacherib’s reign and was found in the Southwest Palace of Nineveh in northern Iraq. The fragment originally comes from a larger scene of an Assyrian campaign.

The waves in the back of the piece act as a rushing river to indicate depth of field among the soldier and horse. This type of landscape imagery was unusal in later Assyrian palace reliefs which led me to embrace its forms as the main element to create the letterform “O”.

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MESOPOTAMIA

Lama Deity

Date: 2100-2000 BC Period: Assyrian

Mesopotamian lama deities were protective spirits associated with the sun god Shamash. The combination of the human face and body of a bull was similar to the function of lamassu, as they acted as guarding figures.

To create the “E”, I took inspiration from the hollowed out shapes on the body which were originally inlaid with lapis lazuli, an important stone in Mesopotamia.

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MESOPOTAMIA

Relief Fragment Date: 704-681 BC Period: Assyrian This relief fragment dates to Assyrian king Sennacherib’s reign and was found in the Southwest Palace of Nineveh in northern Iraq. The fragment originally comes from a larger scene of an Assyrian campaign.

The waves in the back of the piece act as a rushing river to indicate depth of field among the soldier and horse. This type of landscape imagery was unusal in later Assyrian palace reliefs which led me to embrace its forms as the main element to create the letterform “O”.

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MESOPOTAMIA

Lama Deity

Date: 2100-2000 BC Period: Assyrian

Mesopotamian lama deities were protective spirits associated with the sun god Shamash. The combination of the human face and body of a bull was similar to the function of lamassu, as they acted as guarding figures.

To create the “E”, I took inspiration from the hollowed out shapes on the body which were originally inlaid with lapis lazuli, an important stone in Mesopotamia.

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MESOPOTAMIA

Painted Beaker Date: 4200- 3800 BC Period: Susa I This vessel was typical of grave pottery throughout Susa. The vessels are different in design but all share geometric qualities such as the abstracted lines, which formed the letter “S”.

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MESOPOTAMIA

Cup Supported by Hero and Animals Date: 4200-3800 BC Period: Susa Series of figures depicted on this cup, engaged in static combats, are common in Mesopotamian art but their exact meaning is unknown.

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Indus Valley Periods covered: Mohenjo-Daro, Harrappa The Indus Valley civilization emerged during the second half of the third millennium BCE. The two major sites, Harrappa and MohenjoDaro, occupy modern day northeast Afghanistan to Pakistan and northwest India.

Little is known of the civilization due to the lack of temples or palaces and the yet-to-be deciphered script. This leads to a heavy reliance on the forms of art to help gain a wider understanding of the civilization’s beliefs and forms of governance.

Forms of art found from various sites include sculpture, pottery, jewelry, terracotta figures, and a large abundance of small seals.

Seals remain as the most commonly discovered artifact primarily in Harrappa, where depictions of animals and mythological beings were of typical nature.

As for materials, most artifacts are of stone, bronze, terracotta or clay. Indus Valley themes include animals or mythological beings, with the most frequent being the unicorn.

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INDUS VALLEY

Polychrome Pottery Date: 3000-2800 BC Period: Early Harappan This vessel was most likely used for storage purposes as was much of the pottery found throughout Harappa.

This piece shows the technique of polychrome in ceramics, where black forms the exterior decoration.

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INDUS VALLEY

Dancing Girl Date: 2300-1750 BC Period: Mohenjo-Daro The Dancing Girl figurine is made of bronze, using the lost-wax casting technique. The statue led archaeologists to discover the civilization’s understanding of sophisticated metallic methods and that entertainment, especially dance, was an essential part of their culture.

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INDUS VALLEY

Priest King Date: 2000-1900 BCE Period: Late Mohenjo-Daro

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INDUS VALLEY

The Priest King acts as one of the only clues to understanding the religious and social lives of those who inhabited Mohenjo-Daro. Because there is little evidence of social hierarchy and religion, this figure is often debated to represent either a king or a god.

The clothed robe bears the sacred trefoil pattern that is frequent throughout Harappa and Mohenjo-Daro, suggesting a religious function. The figure has a short beard and shaven upper lip, resembling some figures of both gods and men found in ancient Sumer.

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INDUS VALLEY

Priest King Date: 2000-1900 BCE Period: Late Mohenjo-Daro

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INDUS VALLEY

The Priest King acts as one of the only clues to understanding the religious and social lives of those who inhabited Mohenjo-Daro. Because there is little evidence of social hierarchy and religion, this figure is often debated to represent either a king or a god.

The clothed robe bears the sacred trefoil pattern that is frequent throughout Harappa and Mohenjo-Daro, suggesting a religious function. The figure has a short beard and shaven upper lip, resembling some figures of both gods and men found in ancient Sumer.

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INDUS VALLEY

Unicorn Seal Date: Excavated 1931, Date Unknown Period: Mohenjo-Daro Stamp seals often mark ownership and status within ancient civilizations. For Harappa, seals were found in the hundreds throughout excavations. They are often of animals, humans, mythical creatures, or deities.

The unicorn is the most common motif on Indus seals and likely represents a mythical animal. The arching horn was a symbolizer of these figures, which led me to use its form to create the letter “L”.

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INDUS VALLEY This figure depicts the idea of the Mother Goddess, which is associated with motherhood, fertility and the continuation of life.

Terracotta Mother Goddess

Date: 3rd Millenium BC Period: Harappan

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INDUS VALLEY

Unicorn Seal Date: Excavated 1931, Date Unknown Period: Mohenjo-Daro Stamp seals often mark ownership and status within ancient civilizations. For Harappa, seals were found in the hundreds throughout excavations. They are often of animals, humans, mythical creatures, or deities.

The unicorn is the most common motif on Indus seals and likely represents a mythical animal. The arching horn was a symbolizer of these figures, which led me to use its form to create the letter “L”.

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INDUS VALLEY

Terracotta Mother Goddess

Date: 3rd Millenium BC Period: Harappan

This figure depicts the idea of the Mother Goddess, which is associated with motherhood, fertility and the continuation of life.

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INDUS VALLEY

Seal of Pashupati/ Female Deity Date: 2500-2400 BC Period: Mohenjo-Daro This figure is potentially an early form of the Hindu god Shiva, meaning “lord of beasts”. The surrounding elements of various animals such as the elephant and rhinoceros suggest the figure’s mastery over wild animals.

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INDUS VALLEY

Faience Tablet Date: Excavated 2000, Date Unknown Period: Harappan This mold-made tablet displays a narrative scene of two bulls fighting under a tree. The backside of the tablet displays the yet-tobe deciphered Indus script, which shows the importance of these objects upon the understanding of Indus Valley as a whole.

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Mesoamerica Periods covered: Olmec, Maya, Chupicuaro, Zapotec, Aztec Mesoamerica’s first recognizable civilizations began around 1500 B.C. The region comprises of modern day Costa Rica, Nicaragua, Honduras, El Salvador, Guatemala, Belize, and central to southern Mexico.

While Mesoamerica cultures are widely diverse, archaeologists have recognized similar concepts of time and a high value of materials, such as jade and bird feathers throughout each civilization. In addition, common themes revolve around cosmology, religion, and rulership.

The earliest systems of art patronage, where the elite hires full time artists for their courts, occurs in the Maya region.

The Maya were known for stone potraiture sculptures, or stela, that depicted rulers and helped decipher Mayan hieroglyphs. In addition, murals and ceramics were another common art form.

Other common materials throughout Mesoamerica involve stone or wood figurines, metalwork, and jade figurines.

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MESOAMERICA

San Lorenzo Olmec Head 3 Date: Excavated 1946, Date Unknown Period: Olmec

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MESOAMERICA

This colossal Olmec head is one of seventeen heads to be discovered throughout San Lorenzo and La Venta; two of the most important Olmec centers.

The exact meaning of the heads has been lost over time, but several theories suggest they represented rulers due to the distinct qualities portrayed. They may also carry ritual purposes, as some archaeologists believe they were used as markers of rulership.

Inspiration for the letterform “O” comes from the unique shape of the head and the expressive curves seen throughout the face, for instance, the nose, chin, and lips.

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MESOAMERICA

Figure Vessel Date: 3rd-1st C BC Period: Chipicuaro The bold geometric patterns displayed on this piece are characteristic works of Chupicuaro style. Ceramic vessels from this region merge human and vessel forms, where arms function as handles and feet form the base of the vessel.

Letterform “K” takes shape from the striking step-fret pattern seen on the body continuining from the figure’s chest and onto the back of the vessel.

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MESOAMERICA This stylized figure includes elongated features and proportions, though largely still displaying human attributes. Bench figures such as these are known from highland central and southern Mexico and Guatemala and have earlier antecedents in the Olmec Gulf Coast.

Bench Figure Date: 5th-2nd C BC Period: Epi-Olmec

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MESOAMERICA

Figure Vessel Date: 3rd-1st C BC Period: Chipicuaro The bold geometric patterns displayed on this piece are characteristic works of Chupicuaro style. Ceramic vessels from this region merge human and vessel forms, where arms function as handles and feet form the base of the vessel.

Letterform “K” takes shape from the striking step-fret pattern seen on the body continuining from the figure’s chest and onto the back of the vessel.

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MESOAMERICA

Date: 5th-2nd C BC Period: Epi-Olmec

This stylized figure includes elongated features and proportions, though largely still displaying human attributes. Bench figures such as these are known from highland central and southern Mexico and Guatemala and have earlier antecedents in the Olmec Gulf Coast.

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MESOAMERICA

Flint with Heads of K’awiil Date: 600-900 CE Period: Maya Late Classic The K’awiil flint is an example of the mastery of flint chipping accomplished by the Maya. Typically, flints were used for sacrificial and ceremonial use. This piece represents K’awiil, the god of royal lineage.

Inspiration for the letter “N” comes from the flint’s sharp edges which has been a designator for these objects to be named as “eccentric flints”.

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MESOAMERICA

Cociyo Urn Date: 400-500 AD Period: Early Classic Zapotec Zapotec culture was commonly associated with the worship of a complex pantheon of nature gods, for instance the god of lightning and rain, who is portrayed on this piece. Various elements allude to the depiction of a deity, such as the nasal extension which develops from earlier snake and jaguar allusions. The inclusion of the jaguar connections is rooted in the association of the jaguar’s roar with the reverberation of thunder.

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MESOAMERICA

Yaxchilan was a significant Maya center during the Classic period (250-900 CE). These lintels were vital keys to understanding dynastic kingship of the Maya.

Lintel 24 is part of a series depicting rituals performed by Shield Jaguar II and his wife, Lady K’abal Xook. The lintels depict the act of blood-letting, an essential aspect of rulership and rituals among the Maya.

Yaxchilan Lintel 24 Date: After 709 CE Period: Late Classic Maya

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The letterform “F” takes its shape from the spear held by Shield Jaguar II (right) which is described from texts as a “burning spear” that illuminated rituals held at night or in private chambers.

MESOAMERICA

Double-Headed Serpent Date: 15th-16th C Period: Aztec Serpent imagery played a vital role in Aztec religion and was widely used within Mesoamerican iconography.

Serpents are associated with a variety of gods such as the feathered serpent Quetzalcoatl. The ability of the species to move between water, earth and the forest canopy underlines their symbolic role as intermediaries between layers of the cosmos, and important aspect in Mesoamerican ideology and beliefs.

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MESOAMERICA

Yaxchilan was a significant Maya center during the Classic period (250-900 CE). These lintels were vital keys to understanding dynastic kingship of the Maya.

Lintel 24 is part of a series depicting rituals performed by Shield Jaguar II and his wife, Lady K’abal Xook. The lintels depict the act of blood-letting, an essential aspect of rulership and rituals among the Maya.

Yaxchilan Lintel 24 Date: After 709 CE Period: Late Classic Maya

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The letterform “F” takes its shape from the spear held by Shield Jaguar II (right) which is described from texts as a “burning spear” that illuminated rituals held at night or in private chambers.

MESOAMERICA

Double-Headed Serpent Date: 15th-16th C Period: Aztec Serpent imagery played a vital role in Aztec religion and was widely used within Mesoamerican iconography.

Serpents are associated with a variety of gods such as the feathered serpent Quetzalcoatl. The ability of the species to move between water, earth and the forest canopy underlines their symbolic role as intermediaries between layers of the cosmos, and important aspect in Mesoamerican ideology and beliefs.

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South America Periods covered: Paracas, Moche, Tiwanaku, Ica, Inca South American cultures began to rise around 3500 BCE along the Andes region on the west coast. Cultures within this region dealt with high altitude and varying ecosystems, leading to a range of artistic practices.

One of the most valued types of art within Andean culture are textiles, which were a symbol of status and wealth. Artisans within this region mastered every major technique and utilized various materials such as wool from llamas and alpacas.

Along with textiles, ceramics represented religious beliefs and status, while also having a domestic function. Common methods within Andean art are slip-painted pottery in red and white and bichrome vessels.

In addition, Andean artists were highly skilled in metalwork, with objects typically holding ceramonial or religious functions. The Inca in particular are known for their miniature gold and silver figurines, which were accompanied by miniature textiles.

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SOUTH AMERICA

Miniature Gold Figure of a Llama Date: 1400-1532 Period: Inca

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SOUTH AMERICA

Miniature objects in the Andes were common due to a long tradition of beliefs relating to an ideal but invisible world that can be represented through small figurines.

These objects were often gold and used as offerings to accompany sacrificial rituals. In addition, these miniature figurines would often be dressed in full sets of woven textile clothing and feather headdresses.

Inspiration for the letterform “A” comes from the tapered legs and ears of the llama. While this figure is quite minimal, it obtained a great amount of importance to the Inca as llamas were essential to Inca society.

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SOUTH AMERICA

Feathered Tunic Date: 15th-17th C Period: Chimu The Chimu’s elite contact to populations of the Amazonian Basin provided the bright colored feathers used in various items, such as the one depicted above.

While feather workers used coastal birds, the tunic above includes rainforest birds such as Amazona parrots and Razor-billed Corassows.

The letterform “R” is built from the stylized depiction of the legs to emphasize the importance of birds among Chimu society, as they were closely associated to the idea of human and agricultural fertility.

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SOUTH AMERICA Textiles of South America were used to express identity and are considered the first art form in the region. They conveyed political, social and occupational status through material, color, and motifs and often accompanied burials.

Embroidered Paracas Fragment

This embroidered piece depicts a feline deity with the head of snakes coming out through the tail, head and mouth.

Date: 800-200 AD Period: Paracas

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SOUTH AMERICA

Feathered Tunic Date: 15th-17th C Period: Chimu The Chimu’s elite contact to populations of the Amazonian Basin provided the bright colored feathers used in various items, such as the one depicted above.

While feather workers used coastal birds, the tunic above includes rainforest birds such as Amazona parrots and Razor-billed Corassows.

The letterform “R” is built from the stylized depiction of the legs to emphasize the importance of birds among Chimu society, as they were closely associated to the idea of human and agricultural fertility.

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SOUTH AMERICA

Embroidered Paracas Fragment Date: 800-200 AD Period: Paracas

Textiles of South America were used to express identity and are considered the first art form in the region. They conveyed political, social and occupational status through material, color, and motifs and often accompanied burials.

This embroidered piece depicts a feline deity with the head of snakes coming out through the tail, head and mouth.

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SOUTH AMERICA

Stirrup Spout Date: 100 BC/AD 500 Period: Moche Ceramic art of the Moche often incorporated zoomorphic figures, such as the snakes seen on this vessel. This form of ceramics, known as stirrup spout bottles, were one of the most common forms among Moche art.

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SOUTH AMERICA

Ornamental Plaque Date: 400-1100 AD Period: Tiwanaku Birds were of economic, artisanal, political, and religious value throughout South America. For the region of Tiwanaku, birds were often connected to deities as seen in this ornamental plaque. The function of this piece is unknown but is ilkely to have accompanied a high-status member due to the gold material.

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SOUTH AMERICA

Blackware Vessel Date: 100 BC/AD 500 Period: Moche Narrative scenes were a common theme in Moche ceramics. Deer and seal hunts, ceremonies, warriors in battle and processions were often depicted. The vessel above depicts a figure fighting a crab.

The shape of letterform “T” comes from the legs of the figure and emphasizes the unique qualiities that come from the monochrome material used on the bottle.

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SOUTH AMERICA

This miniature feathered dress is one of a large group of similar garments found in an offering in the lower Ica Valley in southern Peru. The miniature dress would likely have been put on statues, possibly as an offering.

Miniature Dress Date: 12th-13th C Period: Ica

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SOUTH AMERICA

Blackware Vessel Date: 100 BC/AD 500 Period: Moche Narrative scenes were a common theme in Moche ceramics. Deer and seal hunts, ceremonies, warriors in battle and processions were often depicted. The vessel above depicts a figure fighting a crab.

The shape of letterform “T” comes from the legs of the figure and emphasizes the unique qualiities that come from the monochrome material used on the bottle.

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SOUTH AMERICA This miniature feathered dress is one of a large group of similar garments found in an offering in the lower Ica Valley in southern Peru. The miniature dress would likely have been put on statues, possibly as an offering.

Miniature Dress Date: 12th-13th C Period: Ica

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SOUTH AMERICA

Confronting Figures Bottle Date: 4th-7th C Period: Moche

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SOUTH AMERICA

This stirrup spout bottle shows a prominent subject of Moche iconography, Wrinkle Face and Iguana facing each other.

The left side depicts Wrinkle face, a fanged anthropomorphic figure with a feline headdress and snake-headed belt. The right side shows Iguana, the anthropomorphized lizard, wearing a bird headdress. Throughout Moche history, the two companions were portrayed in a wide range of complex scenes.

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SOUTH AMERICA

Confronting Figures Bottle Date: 4th-7th C Period: Moche

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SOUTH AMERICA

This stirrup spout bottle shows a prominent subject of Moche iconography, Wrinkle Face and Iguana facing each other.

The left side depicts Wrinkle face, a fanged anthropomorphic figure with a feline headdress and snake-headed belt. The right side shows Iguana, the anthropomorphized lizard, wearing a bird headdress. Throughout Moche history, the two companions were portrayed in a wide range of complex scenes.

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ACKNOWLEDGEMENTS First and foremost, I’d like to take this opportunity to thank the Hixson-Lied College of Fine and Performing Arts at the University of Nebraska-Lincoln for an amazing four years. I can not thank this college enough for how much I have learned and grown within the field of design. Every project from the beginning has influenced the way I approached my capstone project and will continue to impact me throughout my career.

I’d also like to thank Dr. Effie Athanassopoulos at the University of Nebraska-Lincoln. Her class, World Archaeology/Global Heritage, heavily influenced this project as a whole. While my interest in archaeology has always been prevalent, her class impacted the ways I viewed material culture, social systems, and civilizations of the past. Without enrolling in the course, this capstone project would likely not have revolved around the same topic.

Lastly, a huge thank you to my capstone professor, Benjamin Evjen. This project would not exist without his continual guidance throughout the semester. From start to finish, the encouragement of exploration and the act of making has opened up new avenues both within this project and upon my approach to design. In addition, the way in which he structured the course allowed for collaborative ideation upon a concept that was initially quite daunting. Thank you!

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CREDITS

Images Bench Figure, 1979.206.1123, © The Metropolitan Museum of Art

Polychrome Pottery, Kevin Standage, National Museum, New Delhi – Harappan Gallery

Blackware Vessel with a Relief Depicting a Figure Fighting a Crab, 1957.580, The Art Institute of Chicago

Painted Beaker, 1924,0902.2, © Trustees of the British Museum

Colossal Lamassu Sculpture from the Palace of Sargon II at Khorsabad, D. 20004, © Oriental Institute of the University of Chicago

Painted Bowl, 1936,0613.2, © Trustees of the British Museum

Confronting Figures Bottle, 1978.412.70, ©The Metropolitan Museum of Art Cup Supported by Hero and Animals, © 2022 The University of Chicago Dancing Girl Figurine, © Harappa.com 1995-2022 Double-Headed Serpent Turquoise Mosaic, Am1894,-.634, © Trustees of the British Museum Eccentric Flint with Heads of K’awiil, Dallas Museum of Art Faience Tablet, © Harappa.com 1995-2022 Feathered Tunic, 63.163, © The Metropolitan Museum of Art Figure Vessel, 1979.206.606, © The Metropolitan Museum of Art Lama Deity, The Museum of Fine Arts, Houston Mantle Fragment with Embroidered Paracas Feline God, © AMANO, Museo Textil Precolombino - Lima 2015 Miniature Gold Llama Figurine, Am1921,0721.1, © Trustees of the British Museum Miniature Dress, © The Metropolitan Museum of Art Ornamental Plaque with Bird Deity, © 2019 The Museum of Fine Arts, Houston

Priest King, Mohenjo-Daro, © Harappa.com 1995-2022 Relief Fragment: Cavalryman Leading his Horse Beside a Stream, 32.143.18, © The Metropolitan Museum of Art San Lorenzo Olmec Head 3, Maribel Ponce Ixba Seal of Pashupati/Female Deity, © 2022 Khan Academy Stirrup Spout Vessel Depicting Man Holding Decorated Textile, 1957.580, The Art Institute of Chicago Stone Panel from the Northwest Palace of Ashurnasirpal II Room B, Panel 19), 1847,0623.11, © Trustees of the British Museum Terracotta Mother Goddess, Indus Valley, © University of Washington Libraries, Special Collections {INC0865} The Standard of Ur, 1928,1010.3, © Trustees of the British Museum Unicorn Seal, © Harappa.com 1995-2022 Urn in the Form of Cociyo, God of Lightning and Rain, AP 1985.09, Kimbell Art Museum, Acoustiguide Inc. Figure Vessel, 1979.206.606, © The Metropolitan Museum of Art Yaxchilan Lintel 24, Am1923,Maud.4, © Trustees of the British Museum

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