African Architecture and Art Quiz

A 13th-century mosque made primarily of mud bricks, located in Djenné, Mali. It was rebuilt using the same materials in the early 20th century. The mosque is considered one of the Wonders of Africa.

A large collection of plaques made from cast brass. The plaques are found in the Palace of the Oba and depict scenes from court life and the Oba's lineage, illustrating the significance of the oba in Benin's history.

The architectural style of a building or object. In the case of the Wall Plaques, the high relief is a distinguishing feature.

The purpose of a piece of art or artifact. The Wall Plaques serve both aesthetic and informative purposes. They adorn the Palace and represent the Oba's power and wealth.

The historical context surrounding the creation of a work of art. For the Wall Plaques, the Oba Esigie reigned during a time of significant interaction with Portugal, which introduced brass into the Benin culture.

The physical characteristics of a work of art. The Wall Plaques consist of hundreds of cast brass panels, each around 16 to 18 inches. Their placement in the palace is another notable feature.

A method used to create castings, where wax models are covered in clay and fired.

The ruler of Benin, who held significant political power and was often depicted in art.

A type of reliquary figure, revered by the Fang people, used for storing ancestral relics.

The Fang believed that their ancestors could continue to wield power from the afterlife, thus preserving the remains of important individuals in reliquaries.

A cylindrical shaped container made from bark, designed to hold and protect ancestral remains.

The use of various materials, techniques, and methods to create a specific kind of art.

A formal, three-dimensional creation, often meant to be viewed from all angles.

A calm and passive facial expression, often found in Byeri figures, emphasizing tranquillity.

The tension and energy conveyed in a sculpture, even when the figure is seemingly still.

The Fang people, living in Equatorial Africa, moved from village to village over a long period. This nomadic lifestyle made them value portable objects, especially those that held great significance in their ancestor worship.

The Fang people held a strong belief in ancestor worship. They thought their ancestors retained power even after death and could influence the future of their descendants.

The Fang people used reliquary figures to safeguard their ancestral relics. They believed these figures, placed on top of bark boxes containing skulls and bones, protected the sacred relics from negative forces.

The reliquary figures were created to protect the ancestors' remains, but also used in ceremonies and rituals. The sculptures were used in male initiation ceremonies to teach about history and empower the boys.

The Fang people believe the ancestors' remains, especially skulls and bones, had a powerful connection to the future. They are considered sacred and essential to their ancestor worship.

The byeri figures, which are guardian sculptures, were attached to the top of reliquary boxes to protect the sacred relics from unwanted forces, including women and uninitiated boys.

The byeri figures had an important role in ceremonies and rituals, particularly the male initiation ceremonies where they were used to tell stories and educate the youth about their ancestry and traditions.

The Fang people, unlike others, chose to keep the skulls and relics of their ancestors, instead of burying them, in bark boxes, These boxes served as a portable form of ancestor worship, allowing them to carry their ancestral heritage with them during their migrations.

A commemorative sculpture of a deceased Kuba king, representing his spirit in an idealized state, not an actual portrait.

A specific type of ndop sculpture representing a Kuba king, often distinguished by symbols on their base, unique royal regalia and specific poses like holding a peace knife.

The traditional burial practice of the Kuba people, which includes the creation of ndop sculptures to commemorate their Kings.

The style of ndop sculptures, characterized by cross-legged pose, an epicene body, and an uninvolved face, emphasizing a spiritual presence rather than a realistic representation.

The significance of ndop sculptures as historical records, as oral traditions were the main way to transmit history in Africa, making these sculptures valuable for understanding past events and leaders.

The intricate use of symbols on the base of ndop sculptures, reflecting the specific king's reign and achievements, making each piece unique and informative.

The role of economic factors in shaping the development of ndop sculptures, where apprentices copied their teachers until mastering the art, leading to the recognition of individual artists within the Kuba court.

The ndop sculptures serve as important markers of cultural ideals and reveal a chronological lineage through their visual signifiers, providing insights into Kuba beliefs and social structure.

A type of power figure used by the Kongo people of the Democratic Republic of the Congo. It serves as a witness to community events, enforces community norms, and protects against malevolent forces. Objects like nails and blades are often inserted into the figure, giving it supernatural power.

The Kongo people believed that their ancestors could wield power from the afterlife so they created figures, known as Nkisi Nkondi, to serve as guardians, enforce community norms, and protect the people from harm. These figures were adorned with nails, blades, and other sharp objects which were believed to attract supernatural protection.

The Nkisi Nkondi is made of wood and metal, which are then decorated with nails, blades, and other sharp objects. These sharp materials are believed to channel supernatural power and protect the community from harm. It's also believed that spirits can be called upon to bless or harm others using these figures.

The Nkisi Nkondi figures serve as witnesses and enforcers of community norms. They act as guardians, protecting the community from harm, and prompting people to act in accordance with community values.

The style of the Nkisi Nkondi often features sharp objects, like nails and blades, which are believed to attract supernatural powers. They are used to invoke the spirits and protect the community from harmful forces. The figures are designed to be both striking and intimidating.

The materials and techniques used to create an artwork. This includes the medium (e.g., wood, paint, clay), tools, and processes.

The original location where an artwork was placed or used. This could be a specific building, site, or community.

The current museum or institution that houses an artwork. This could be a local gallery, national museum, or private collection.

A person, group, or organization that financed or commissioned the creation of an artwork.

An all-female secret society among the Mende people of Sierra Leone, responsible for the initiation of young girls into womanhood and the transmission of cultural knowledge and values.

Ceremonies conducted by the Sande Society to mark the transition of young girls into adulthood, during which the Bundu Mask plays a central role in conveying cultural teachings and ancestral guidance.

The Bundu Mask exclusively represents feminine beauty and is utilized in the initiation rituals of the women's Sande society, breaking away from the predominantly male-focused themes in African masks.

The Bundu Mask is a powerful emblem of Mende traditions and spiritual beliefs.

The mask's elaborate coiffure and scarification patterns symbolize societal ideals of femininity and maturity.

The Bundu Mask is interpreted as a tangible manifestation of Mende cultural values and spirituality.

The presence of neck and nape in the Bundu Mask refer to philosophical and religious concepts.

The Bundu Mask is worn by women who have a certain standing within the society to receive the younger women at the end of their three months' reclusion in the forest.

Intentional scarring of the skin, often creating decorative patterns or markings that represent tribal affiliations, beauty standards, or rites of passage.

A hairstyle or hairdressing style, especially significant within Mende culture, where elaborate hair designs reflect ideals of femininity, beauty, and cultural identity.

Belief that deceased ancestors continue to exist and have an influence on the living, often invoked in rituals involving sacred objects like masks.

A small wooden sculpture representing the personal god 'Ikenga', associated with success, achievement, and strength in Igbo culture.

The Ikenga shrine figure is typically carved from wood, often depicting a muscular male figure seated or standing, symbolizing reflection and intellectual prowess.

The Ikenga shrine figure is often commissioned by individuals seeking personal empowerment and protection, and placed in shrines or household altars, serving as a tangible manifestation of aspirations and spiritual connection within Igbo society.

The Ikenga shrine figure features intricate details, typically depicting a powerful male figure with symbols of strength and authority, such as horns, weapons, or decorative scarification patterns.

The Ikenga figure often features prominent genitalia, symbolizing fertility and potency, reflecting the cultural beliefs and values associated with the deity it represents.

In Igbo cosmology, Ikenga is a personal god representing individual achievement, success, and strength. The Ikenga shrine figure serves as a physical manifestation of this deity, embodying the aspirations and protective powers sought by its owner.

A sculptural representation typically placed in religious or spiritual spaces, such as shrines or household altars. The Ikenga shrine figure, crafted from wood and adorned with symbolic elements, functions as a focal point for rituals and ceremonies associated with personal empowerment and protection.

The Ikenga shrine figure showcases several innovative aspects within its craftsmanship. Firstly, its portrayal of a personalized deity, Ikenga, reflects a unique cultural expression of individual empowerment and spiritual connection. Secondly, the figure's dynamic pose and muscular physique demonstrate a sophisticated understanding of anatomy and movement, indicating advanced sculptural techniques for its time. Additionally, the use of wood as the primary medium allows for intricate detailing and carving, showcasing the artist's skill and mastery of materials.

The veneration figure may serve as a conduit for communication with ancestral spirits, offering guidance, blessings, and protection to the living.

A cultural practice involving the deliberate scarring or marking of the skin, often used to denote social status, identity, or ritual significance.

The Ikenga figure stands as an innovative example of how art can encapsulate cultural identity, spiritual beliefs, and artistic ingenuity in a singular object.

Created primarily during the 18th and 19th centuries, these figures were commissioned by individuals seeking personal empowerment and success. They were typically placed in shrines or household altars, serving as focal points for rituals and ceremonies.

The Igbo people believed in the presence of personal gods, and the Ikenga figure embodied the spirit of Ikenga, associated with achievement, strength, and intellectual prowess. These figures reflect the rich spiritual and cultural heritage of the Igbo society, showcasing their intricate carving techniques and symbolic representations of power and prosperity.