Unit 6: Art of Africa Flashcards
1
Q
Great Zimbabwe: Identifiers
A
Style: Shona People
Artist: Unknown
Location: Zimbabwe
Date: 1000-1400 CE
2
Q
Great Zimbabwe: Form
A
- 3 distinct sections of
Great Zimbabwe: 1. The Hill Ruins
2. The Great Enclosure (circular wall)
3. the Valley Ruins - Walls 800 feet long, 32 ft. tall
- built from cut granite blocks, walls slope inward
- smaller stone structures and towers
*conical tower is surrounded by circular wall
3
Q
Great Zimbabwe: Function
A
- Conical tower: used as a granary, A Shona ruler showed their power by the amount of grain they had
- Circular wall: demonstrates power, protect houses, people, and markets, site of religious rituals, wall separated commoners from royal families
4
Q
Great Zimbabwe: Content
A
- Zimbabwe was a trading center and royal complex; items from Persia, China, Tanzania found
- 250 clay structures: interior furnishing
- built around cave that held religious importance to Shona people
- large towers connected to the wall provide a 360 view of approaching enemies
5
Q
Great Zimbabwe: Context
A
- Zimbabwe means “houses of stone”
- internal and external passageways tightly bounded, narrow, and long; occupants walk in single file, paralleling experiences in African bush
- conical tower modeled on traditional shapes of grain silos; control over food symbolized wealth, power, and royal largesse
- tower resembles a granary and represented a good harvest and prosperity; grain gathered, stored, and dispensed as a symbol of royal power
- abandoned around 15th century, surrounding area could no longer supply food + deforestation
6
Q
Great Zimbabwe: Context 2
A
- soapstone sculpture of a seated bird resting on atop a register: discovered within circular wall
- sculpture though to represent power of Shona kings
- Conical tower believed to be made to worship the supreme all creator god, Mwari
- Shone are the largest ethnic group in Zimbabwe
7
Q
Great Mosque of Djenne: Identifiers
A
Style: Islamic Architecutre
Artist: Unknown
Location: Mali
Date: 1200 CE
8
Q
Great Mosque of Djenne: Form
A
- 3 tall towers; center tower is a mihrab
- vertical fluting drains water off the surfaces quickly
- made from abode (mud brick)
- rectilinear and partly enclosed by an exterior wall
- supported by 90 pillars, 3 minarets
- earthen roof, terracotta lids cover holes on the roof
*Toron’s - timer poles pole out of the mosque called torons for decoration and climbing the mosque for replastering
9
Q
Great Mosque of Djenne: Function
A
- Largest mud-brick mosque in the world: still has a practicing congregation, epicenter for religious and cultural life
- Location of Crepissage, a festival dedicated to replastering of the Mosque
- political symbol to Europe: French took control in 1892
10
Q
Great Mosque of Djenne: Content
A
Topping conical pillars are ostrich eggs: symbols of fertility, purity, & good fortune
* timber beams throughout are both decorative and structural
11
Q
Great Mosque of Djenne: Context
A
- inhabited since 250 bce, djenne became a market center and important link in the trans-Saharan gold trade
- rebuilt 3 times: built by first Muslim ruler in Djenne- Koi Konboro, Islamic culture had impact on region
- tombs of scholars adjacent to mosque
- French journalist Felix Dubois published plan for 1907 rebuilding
12
Q
Wall Plaque, from Oba’s Palace: Identifiers
A
Style: Edo People
Artist: Unknown
Location: Benin
Date: 1500 CE
13
Q
Wall Plaque, from Oba’s Palace: Form
A
- lost wax casting technique
- brassworking took technical skill
- traditional depictions of figures from Beninese culture combined with brass work of European cultures
- Manilla: bracelet worn by Portuguese, melted down to make plaques
14
Q
Wall Plaque, from Oba’s Palace: Function
A
- Decorated palace walls: made in Paris and attached to pillars in Oba’s palace
- show court rituals that occurred in the palace
- order of plaques in kingdom show history of kingdom
- sequence unknown due to items being taken by westerners in 19th century
15
Q
Wall Plaque, from Oba’s Palace: Content
A
- king attended by several court attendants: attendants appear smaller, less important than the king
- king shown riding a horse and wearing expensive necklaces and jewelry: reference to first Oba to travel by horse
- Rosette may be reference to Christian crosses or designs illuminated manuscripts
16
Q
Wall Plaque, from Oba’s Palace: Context
A
- trade with Portuguese empire: began 15th century
- 18th century: Portuguese empire began declining
- British began advancing into Benin: tension; British sought to dominate local peoples and extract resources
- Punitive Expedition of 1897: British raided Oba’s palace and burned city around it
- took art valuables back to Britain: this piece was stolen, ownership currently under debate
17
Q
Sika dwa kofi (Golden Stool): Identifiers
A
Style: Ashanti People
Artist: Unknown
Location: Ghana
Date: 1700 CE
18
Q
Sika dwa kofi (Golden Stool): Form
A
- made of wood and gold
- carved using traditional Ashanti methods
- carved using a single block of wood
- crescent shaped seat that is held off the ground by a flat base
19
Q
Sika dwa kofi (Golden Stool): Function
A
- stool is divine throne of Ashanti people
- bells on stool supposed to warn king of danger
- stool used in celebrations and processions
- believed to embody spirit of Ashanti nation
- nobody allowed to sit on it so they keep it on its side`
20
Q
Sika dwa kofi (Golden Stool): Content
A
- carved wood block coverd with gold
- 2 bells tied to each end of it
- contains intricate designs in midsection connecting seat to the base
- seen with small figures attached to seat
21
Q
Sika dwa kofi (Golden Stool): Context
A
- when each person comes of age they are given a stool from their parents
- each person gets their own stool and people do not share them
- high Priest Okomfo Anokye go the stool to drop into the lap of the first king
- stool is more important to the Ashanti people than the king
- many conflicts have broken out over it most recent in 1921
22
Q
Ndop of King Mishe miShyaang maMbul: Identifiers
A
Style: Kuba People
Artist: Unknown
Location: Democratic Republic of Congo
Date: 1760 CE
23
Q
Ndop of King Mishe miShyaang maMbul: Form
A
- carved out of wood
- intricate detailing on arms, drums, face, and platform
- 1978 inches
24
Q
Ndop of King Mishe miShyaang maMbul: Function
A
- commemorates accomplishments of King it portrays
- record of the king’s reign
25
Ndop of King Mishe miShyaang maMbul: Content
* anthropomorphic figure with enlarged head
* head considered center of intelligence and idea
* sits corss-legged on raised platform
* holds royal drum and wears a hat (crown?)
26
Ndop of King Mishe miShyaang maMbul: Context
* commissioned in 1710 by Kuba King Mishe ... maMbul at height of his reign
* celebrates his generosity and great number of loyal subjects
* Ndop is record of his reign and solidifies his accomplishments
* purchased by Brooklyn Museum in 1961
* collected in 1909 by a colonial minister in Belgian Congo Kuba people di not have written historical records; instead used Ndops
27
Power Figure (Nkisi n'kondi): Identifiers
Style: Kongo People
Artist: Unknown
Location: Democratic Republic of Congo
Date: 1875 CE
28
Power Figure (Nkisi n'kondi): Form
* wood and metal; a power figure (a magical form seemingly carved in the likeness of a human)
29
Power Figure (Nkisi n'kondi): Function
* Strong sculptural tradition
* used power figures as reminders of social obligations and enforcers of proper behavior
* healing and protection to community
* symbolize honoring of contracts and agreements
* wooden figure mean to highlight its function in human affairs
30
Power Figure (Nkisi n'kondi): Content
* elongated belly button with cowrie shell, symbols of fertility, link to ancestors, and wealth (shells used as currency)
* wide, staring eyes and imposing stance- ensure no other forces interfere ritual function
* medicinal combinations inside them, covered by a piece of glass, represents other world, symbolized contact with supernatural
31
Power Figure (Nkisi n'kondi): Context
* spiritual importance and protection
* mediators between ancestral spirit world and living world
* historic document of people who look for help from ritual specialist
*confiscated/destroyed by missionaries of late 19th century when found
* carved by spiritual specialist who activiate4s figures by driving metal objects into wooden surface to make it angry and rouse to action
32
Female (Pwo) Mask: Identifiers
Style: Chakwe People
Artist: Unknown
Location: Democratic Republic of Congo
Date: 1900 CE
33
Female (Pwo) Mask: Form
* Wooden mask, carved from wood Alstonia
* wood stained with red clay and oil
* eyes covered in white clay
* braided fiber coiffure
* made by a man & worn by a man to honor a women (mothers)
34
Female (Pwo) Mask: Function
* dancing mask: ritualistic/religious- walked in a graceful and stately way, slow and respectful
* one of the most popular masks
* honor the founding female ancestor of Chakwe lineage: matrilineal society
35
Female (Pwo) Mask: Content
* Pwo: younger woman who has given birth
* adorned jewelry, tattoos, and elaborate hairstyle
* eyes closed - she is already knowing: spiritual ability of second sight, power comes from being able to give birth
* tattoos- around eyes
* hairstyle popular at the time: women could see themselves in this mask
36
Female (Pwo) Mask: Context
* matrilineal culture
* dance the pwo to honor founding female ancestor of their lineage
* man dresses as woman for the dance
* when mask becomes unusable it dis discarded, when the wearer dies it is buried with the dancer
* culture relatively unknown to Europeans: did not begin trading till 1900s, traded with other African groups
37
Portrait Mask (Mblo): Identifiers
Style: Baule People
Artist: Unknown
Location: Côte d’Ivoire
Date: 1900 CE
38
Portrait Mask (Mblo): Form
* made of wood
* symmetrical
* high foreheads and large eyes
39
Portrait Mask (Mblo): Function
* dancing mask (religious)
* showed beauty of Baule culture
* Mblo masks shows Baule sculpture style
40
Portrait Mask (Mblo): Content
* pays tribute to community's most admired member: man normally gave woman mask to award her for her dancing skills & beauty
* woman is Moya Hanso and man is her stepson
41
Portrait Mask (Mblo): Context
* shows respect Baule people have for their ancestors
* masks were carv3ed to represent a specific person (though not a portrait) so each one was different)
* mask shows refined details and powerful presence
* individuals are honored by these details
42
Bundu Mask: Identifiers
Style: Mende People
Artist: Unknown
Location: Sierra Leone
Date: 1900 CE
43
Bundu Mask: Form
* carved out of wood
* coated with palm oil: glow/shiny surface
* worn on top of the head- not in front of the face
* face of the wearer is obscured by raffia
44
Bundu Mask: Function
* made by a man
* worn by women and ritual was for women: initiation of young girls, instructed on how to become good wives and mothers in order to have productive adulthood
* represents ideal feminine beauty: white clay - dry
45
Bundu Mask: Content
* shiny surface on mask represents healthy glowy skin
* rolls at back of neck: fertility and reproduction/ wealth and high status
* mouth - small and pursed indicated composure, not gossip (dangerous)
* nose delicate looking, loathing of bad smells, pureness
* eyes cast downward, goodness, reveals a persons true feelings/reserved
* eyes are slits: conceal identity and make it impossible to communicate w eye contact
46
Bundu Mask: Context
* Sande Society is a secret society, mask and society instructs girls how to cook, raise kids, be good wife, cultural values
* surface of mask indicates transition to womanhood
* one of the only masks made for women, most made for men
* costume worn in ceremony is made of raffia, no part of body left 3exposed to not allow spirits to enter and to not let identity be known
47
Ikenga (Shrine Figure): Identifiers
Style: Igbo People
Artist: Unknown
Location: Nigeria
Date: 1900 CE
48
Ikenga (Shrine Figure): Form
* carved wooden sculpture
* extreme variation in size
* taller than they are wide
49
Ikenga (Shrine Figure): Function
* Personal use: source of strength and power for the owner, designs and carvings to show that you were an expert at your profession
* not meant to be a true portrait
* kept in home of owner, in sanctuary
50
Ikenga (Shrine Figure): Content
* human face and animal attributes
* most ikenga hold a sword in their right hand
* figure carved to represent who3ever commissioned figure to be made
* horns represent owners individual identity
51
Ikenga (Shrine Figure): Context
* made by Igbo people of present day Nigeria
* Igbo civilization began in 19th century and still survives
* most of the art was not meant to be interpreted literally
52
Lukasa (Memory Board): Identifiers
Style: Luba People
Artist: Unknown
Location: Democratic Republic of Congo
Date: 1900 CE
53
Lukasa (Memory Board): Form + Function
Form: wood, beads, metal, handheld wooden objects
Function: * illustrate political and historical ideas
* enables oral retelling of history in Luba culture
* periodically used in spiritual rituals
* allude to ancestral deities; record names of royal Luba line
54
Lukasa (Memory Board): Content
* wooden boards covered with beads, metal, and shells, assembled so as to tell a story
* narrow center of board- easier to hold
55
Lukasa (Memory Board): Context
* provides info on how they maintain order and discipline in society
* only most senior members of the council can interpret boards
* Luba had access to a great variety of natural resources
* read by touching surface with forefinger
56
Aka Elephant Mask: Identifiers
Style: Bamileke People
Artist: Unknown
Location: Cameroon
Date: 1900 CE
57
Aka Elephant Mask: Form
* tunic made of brown cloth with geometric shapes
* mask made out of black fabric with small blue, white, gold and orange beads and circular diamond shapes
58
Aka Elephant Mask: Function
* mask was sued during masquerades: demonstrate social hierarchy
* patterns on mask represent societies political factions
59
Aka Elephant Mask: Content
* 2 large circular ears on both sides and a long piece of cloth covered in beads that ran down body representing trunk
* holes cut into mask for persons eyes and mouth
* covered in beads and decorations in different colors: main piece is isosceles triangle, related to patterning of leopard
60
Reliquary Figure (byeri): Identifiers
Style: Fang People
Artist: Unknown
Location: Cameroon
Date: 1900 CE
61
Reliquary Figure (byeri): Function
* guard family reliquary boxes
* consulted when considering an important decision
* used to teach ancestral history to young men of society
* express spiritual ideas
62
Reliquary Figure (byeri): Content
* head symbolic of infant
* body = adult
* enlarged head indicating intelligence
* bulging bellybutton- link to ancestors
* bulging muscles contrast with a contemplative/serene face + symmetrical pose
* popular hairstyle
* elongated torso, downcast eyes, closed mouth
* powerful musculature
* wooden carved figure
63
Reliquary Figure (byeri): Context
* admired qualities of Fang people
* guard boxes contents from forbidden gaze of people
* contained bones of important members of society
* not in cemeteries- nomadic culture
* abstraction
* guardian figure not realistic
* honor/respect by closed eyes and patient expression/ strength to ward off spirits/humans
64
Veranda Post of enthroned king and senior wife (Opo Ogoga): Identifiers
Style: Yoruba People
Artist: Olowe of Ise
Location: Nigeria
Date: 1910 CE
65
Veranda Post of enthroned king and senior wife (Opo Ogoga): Form + Function
Form: * 1 of 5 carved wooden posts
* painted
* hand carved
* hardwood timber
* 5 ft. high
Function: veranda post, architectural, structural support for palace at Ikere
66
Veranda Post of enthroned king and senior wife (Opo Ogoga): Content
* depicts king seated (focal figure)
* senior wife behind, crowning him, large scale and pose underscore her importance: participating in coronation and political advisor to king
* small figures at feet of king represent a female kneeling, court messenger, Osun the river god
67
Veranda Post of enthroned king and senior wife (Opo Ogoga): Context
* influential style in Yoruba culture for centuries
* Olowe considered by many the best Yoruba carver ever, died in 1938
* most important of the 4 veranda posts commissioned, focal point of entry
