Cultural artifact in the context of Azilian

Western culture, also known as Western civilization, European civilization, Occidental culture, Western society, or simply the West, is the internally diverse culture of the Western world. The term "Western" encompasses the social norms, ethical values, traditional customs, belief systems, political systems, artifacts and technologies primarily rooted in European and Mediterranean histories. A broad concept, "Western culture" does not relate to a region with fixed members or geographical confines. It generally refers to the classical era cultures of Ancient Greece, Ancient Rome, and their Christian successors that expanded across the Mediterranean basin and Europe, and later circulated around the world predominantly through colonization and globalization.

Historically, scholars have closely associated the idea of Western culture with the classical era of Greco-Roman antiquity. However, scholars also acknowledge that other cultures, like Ancient Egypt, the Phoenician city-states, and several Near-Eastern cultures stimulated and influenced it. The Hellenistic period also promoted syncretism, blending Greek, Roman, and Jewish cultures. Major advances in literature, engineering, and science shaped the Hellenistic Jewish culture from which the earliest Christians and the Greek New Testament emerged. The eventual Christianization of Europe in late-antiquity would ensure that Christianity, particularly the Catholic Church, remained a dominant force in Western culture for many centuries to follow.

Folklore is the body of expressive culture shared by a particular group of people, culture or subculture. This includes oral traditions such as tales, legends, proverbs, poems, jokes, and other oral traditions. This also includes material culture, such as traditional building styles common to the group. Folklore also encompasses customary lore, taking actions for folk beliefs, including folk religion, and the forms and rituals of celebrations such as festivals, weddings, folk dances, and initiation rites.

Each one of these, either singly or in combination, is considered a folklore artifact or traditional cultural expression. Just as essential as the form, folklore also encompasses the transmission of these artifacts from one region to another or from one generation to the next. Folklore is not something one can typically gain from a formal school curriculum or study in the fine arts. Instead, these traditions are passed along informally from one individual to another, either through verbal instruction or demonstration.

In the practice of religion, a cult image is a human-made object that is venerated or worshipped for the deity, spirit or daemon that it embodies or represents. In several traditions, including the ancient religions of Egypt, Greece and Rome, and Hinduism, cult images in a temple may undergo a daily routine of being washed, dressed, and having food left for them. Processions outside the temple on special feast days are often a feature. Religious images cover a wider range of all types of images made with a religious purpose, subject, or connection. In many contexts "cult image" specifically means the most important image in a temple, kept in an inner space, as opposed to what may be many other images decorating the temple.

The term idol is an image or representation of a god used as an object of worship, while idolatry is the worship of an "idol" as though it were God.

A tool is an object that can extend an individual's ability to modify features of the surrounding environment or help them accomplish a particular task, and proto-typically refers to solid hand-operated non-biological objects with a single broad purpose that lack multiple functions, unlike machines or computers. Although human beings are proportionally most active in using and making tools in the animal kingdom, as use of stone tools dates back hundreds of millennia, and also in using tools to make other tools, many animals have demonstrated tool use in both instances.

Early human tools, made of such materials as stone, bone, and wood, were used for the preparation of food, hunting, the manufacture of weapons, and the working of materials to produce clothing and useful artifacts and crafts such as pottery, along with the construction of housing, businesses, infrastructure, and transportation. The development of metalworking made additional types of tools possible. Harnessing energy sources, such as animal power, wind, or steam, allowed increasingly complex tools to produce an even larger range of items, with the Industrial Revolution marking an inflection point in the use of tools. The introduction of widespread automation in the 19th and 20th centuries allowed tools to operate with minimal human supervision, further increasing the productivity of human labor.

An artifact or artefact (British English) is a general term for an item made or given shape by humans, such as a tool or a work of art, especially an object of archaeological interest. In archaeology, the word has become a term of particular nuance; it is defined as an object recovered by archaeological endeavor, including cultural artifacts (of cultural interest).

"Artefact" is the general term used in archaeology, while in museums the equivalent general term is normally "object", and in art history perhaps artwork or a more specific term such as "carving". The same item may be called all or any of these in different contexts, and more specific terms will be used when talking about individual objects, or groups of similar ones.

Shisa (シーサー, shīsā) is a traditional Ryukyuan cultural artifact and decoration derived from Chinese guardian lions, often seen in similar pairs, resembling a cross between a lion and a dog, from Okinawan mythology. Shisa are wards, believed to protect from some evils. People place pairs of shisa on their rooftops or flanking the gates to their houses, with the left shisa traditionally having a closed mouth, the right one an open mouth. The open mouth shisa traditionally wards off evil spirits, and the closed mouth shisa keeps good spirits in.

In the practice of religion, a cult image is a human-made object that is venerated or worshipped for the deity, spirit or daemon that it embodies or represents. In several traditions, including the ancient religions of Egypt, Greece and Rome, and Hinduism, cult images in a temple may undergo a daily routine of being washed, dressed, and having food left for them. Processions outside the temple on special feast days are often a feature. Religious images cover a wider range of all types of images made with a religious purpose, subject, or connection. In many contexts "cult image" specifically means the most important image in a temple, kept in an inner space, as opposed to what may be many other images decorating the temple.

The term idol, usually pejorative in English (except in Indian English where it usually carries no hostile implication), is an image or representation of a god used as an object of worship, while idolatry is the worship of an "idol" as though it were God. Anthropologists reporting on many cultures are generally sceptical that images themselves are in fact regarded as deities within religions, rather than representations of deities; this, however, has been since antiquity the recurrent charge of those opposed to religious images.

Cultural genocide or culturicide is a concept first described by Polish lawyer Raphael Lemkin in 1944, in the same book that coined the term genocide. The destruction of culture was a central component in Lemkin's formulation of genocide. The precise definition of cultural genocide remains contested, and the United Nations does not include it in the definition of genocide used in the 1948 Genocide Convention. The Armenian genocide Museum defines culturicide as "acts and measures undertaken to destroy nations' or ethnic groups' culture through spiritual, national, and cultural destruction", which appears to be essentially the same as ethnocide. Some ethnologists, such as Robert Jaulin, use the term ethnocide as a substitute for cultural genocide, although this usage has been criticized as risking the confusion between ethnicity and culture. Cultural genocide and ethnocide have in the past been used in distinct contexts. Cultural genocide without ethnocide is conceivable when a distinct ethnic identity is kept, but distinct cultural elements are eliminated.

Culturicide involves the eradication and destruction of cultural artifacts, such as books, artworks, and structures. The issue is addressed in multiple international treaties, including the Geneva Conventions and the Rome Statute, which define war crimes associated with the destruction of culture. Cultural genocide may also involve forced assimilation, as well as the suppression of a language or cultural activities that do not conform to the destroyer's notion of what is appropriate. Among many other potential reasons, cultural genocide may be committed for religious motives (e.g., iconoclasm which is based on aniconism); as part of a campaign of ethnic cleansing in an attempt to remove the evidence of a people from a specific locale or history; as part of an effort to implement a Year zero, in which the past and its associated culture is deleted and history is "reset". The drafters of the 1948 Genocide Convention initially considered using the term, but later dropped it from inclusion. The term "cultural genocide" has been considered in various draft United Nations declarations, but it is not used by the UN Genocide Convention.

A cultural icon is a person or an artifact that is identified by members of a culture as representative of that culture. The process of identification is subjective, and "icons" are judged by the extent to which they can be seen as an authentic symbol of that culture. When individuals perceive a cultural icon, they relate it to their general perceptions of the cultural identity represented. Cultural icons can also be identified as an authentic representation of the practices of one culture by another.

In popular culture and elsewhere, the term "iconic" is used to describe a wide range of people, places, and things. Some commentators believe that the word "iconic" is overused.

A cultural trait is a single identifiable material or non-material element within a culture, and is conceivable as an object in itself.

Similar traits can be grouped together as components, or subsystems of culture; the terms sociofact and mentifact (or psychofact) were coined by biologist Julian Huxley as two of three subsystems of culture—the third being artifacts—to describe the way in which cultural traits take on a life of their own, spanning over generations.

The American Museum of Natural History (AMNH) is a natural history museum on the Upper West Side of Manhattan in New York City. Located in Theodore Roosevelt Park, across the street from Central Park, the museum complex comprises 21 interconnected buildings housing 45 permanent exhibition halls, in addition to a planetarium and a library. The museum collections contain about 32 million specimens of plants, animals, fungi, fossils, minerals, rocks, meteorites, human remains, and human cultural artifacts, as well as specialized collections for frozen tissue and genomic and astrophysical data, of which only a small fraction can be displayed at any given time. The museum occupies more than 2,500,000 sq ft (232,258 m). AMNH has a full-time scientific staff of 225, sponsors over 120 special field expeditions each year, and averages about five million visits annually.

The AMNH is a private 501(c)(3) organization. The naturalist Albert S. Bickmore devised the idea for the American Museum of Natural History in 1861, and, after several years of advocacy, the museum opened within Central Park's Arsenal on May 22, 1871. The museum's first purpose-built structure in Theodore Roosevelt Park was designed by Calvert Vaux and J. Wrey Mould and opened on December 22, 1877. Numerous wings have been added over the years, including the main entrance pavilion (named for Theodore Roosevelt) in 1936 and the Rose Center for Earth and Space in 2000.