African Art 1100-1980 PDF

content Area: Africa, 1100-1980 c.E. Content African Art 27 TIME PERIOD: FROM PREHISTORIC TIMES TO THE PRESENT Some chiefAfrican civilizations include: Civilization 11th-21st Centuries Cameroon Great Zimbabwe Bamileke 13th-19th Ce...

content Area: Africa, 1100-1980 c.E. Content African Art 27 TIME PERIOD: FROM PREHISTORIC TIMES TO THE PRESENT Some chiefAfrican civilizations include: Civilization 11th-21st Centuries Cameroon Great Zimbabwe Bamileke 13th-19th Centuries Nigeria Benin 16th-21st Centuries Congo Luba 17th-19th Centuries Congo Kuba 17th-21st Centuries Ghana Ashanti 17th-21st Centuries Chokwe Congo 17th-21st Centuries Yoruba Nigeria 19th-21st Centuries Côte d'Ivoire Baule 19th-21st Centuries Igbo Nigeria 19th-21st Centuries Fang Cameroon, Gabon, Location Time Period Equatorial Guinea Zimbabwe 1lth-15th Centuries Mende 19th-21st Centuries Sierra Leone ENDURINGUNDERSTANDING: Art making is influenced by available materials and processe LearningObjective:Discuss how material, processes, and techniques influence the making awork of art. (For example: Bundu mask) Essential Knowledge: African art is seen as a combination of the work of art itself in the context of events, media, and ceremonies. There is a wide variety of materials used in African art. ENDURINGUNDERSTANDING: The culture, beliefs, and physical settings ofa region play an importantrole in the creation, subject matter, and siting of works of art. LearningObjective: Discuss how the culture, beliefs, or physical setting can influence t making of a work of art. (For example: Lukasa (memory board)) Essential Knowledge: Human life began in Africa. African art makes its first appearance around 77,000 yea ago. Rock art is the earliest form of African art. Animals are depicted most often. The Saharawasonce avastgrassland. AFRICAN ART 499 Created with Scanner Pro African art is often rooted in belief systems and ideas. It is more concerned withthesnik espiri tual and intellectual than the physical. African art is involved in important stagesof human life. Important civic and religious centers are often placed apart from placesthatinvoa herding or agriculture. ENDURING UNDERSTANDING: Cultural interaction through war, trade, andtravelcan influence art and art makin Learning Objective: Discuss how works of art are influenced by culturalinteraction. ( example: Aka elephant mask) Essential Knowledge: African art has been impacted by migration, world religions, and internationaltrade. For many years, African art has been thought of as primitive by theoutsideworld.How: ever, African art is now understood as a vibrant series of artistic traditions. Contemporary African art understands artistic influences from aroundtheworl  ENDURING UNDERSTANDING: Art and art making can be influenced by a variety ofcon cerns including audience, function, and patron. Learning Objective: Discuss how art can be influenced by audience, function, and/orpat (For example: Mblo) Essential Knowledge: African art is participatory. The arts express beliefs and maintain social andhuman relationships. African works are meant to be used and performed rather than simply viewed. Art is created for everydayuse and important occasions. The object generallybelongsto the person who commissioned it. Performances are highly organized. When an artwork represents authority, it legitimizes a leader. African art is presented to audiences through song and dance for specificreason ENDURING UNDERSTANDING: Art history is best understood through anevolvingtradition of theories and interpretations. Learning Objective: Discuss how works of art have had an evolving interpretation basedon visual analysis and interdisciplinary evidence. (For example: Great Zimbabwe) Essential Knowledge: African art has been generally collected by outsiders. Generally, the artist's nameandthe date of creation are not known. Art history as a science is subject to differing interpretations and theories thatchange over time. African art has had a global impact. HISTORICAL BACKGROUND s pouec Despite the incredible vastness of the African continent, there are a number ofsimilaritiesin the way in which African artists create art, stemming from common beliefs theyshare. Africans believe that ancestors never die and can be addressed; hence a senseof familyand a respect for elders are key components of the African psyche. Many African sculpturesare representations of family ancestors and were carved to venerate their spirits. AP ART HISTORY 500 Created with Scanner Pro  Pertility, both of the individual and the land, is highly regarded. Spirits who inhabit the forestsor are associated with natural phenomenon have to be respected and worshipped. Seulpturesof suckling mothers are extremely common; it is implied that everyone suckles fromthe breast of God. Great ancient civilizations in Nubia, Egypt, and Carthage dominated politics in North Africafor centuries before empires began to develop in southern Africa, or much of the rest ofthe world.  African kingdoms came and went with regularity; more populous and dominant people occupiedwide swaths of African territory. Strong indigenous states were established in ChristianAksum in present-day Ethiopia in the fourth century, and in the Luba Empire concentrated in central Africa beginning in the fifteenth century. In the twelfth centu an important center evolved in southern Africa on the Zimbabwe plateau. Whatever the location, African states developed strong cultural traditions yielding a great variety of artistic expression. African affairs were largely internal struggles because outsiders were held back by natu ral barriers like the Sahara Desert and the Indian Ocean. However, by the fifteenth centu African politics became greatly complicated by Asian and European incursions on both the eastand west coasts of the continent. In general, outsiders restricted themselves to coastal areasthat afforded the most access to African goods, and few bothered with the interior of thecontinent. All this changed in the late nineteenth century when a large series of invasions calledthe Scramble for Africa divided the continent into colonies. The era of European control spanned less than a century. Most states achieved indepen dencein the1960s, with the Portuguese colonies waiting until the 1970s. Colonization brought African cultural affairs in direct contact with the rest of the world. Today African artists work both at home and abroad, using native and foreign materials, and marketing their work on a global scale. Patronage and Artistic Life Since traditional Africans rely on an oral tradition to record their history, African objects are unsigned and undated. Although artists were famous in their own communities and were soughtafter by princes, written records of artistic activity stem principally from European or Islamicexplorers who happened to encounter artists in their African journeys. African artists worked on commission, often living with their patrons until the commis sion was completed. The same apprenticeship training that was current in Europe was the standard in Africa as well. Moreover, Africans also had guilds that promoted their work and helped elevate the profession. As a rule, men were builders and carvers and were permitted to wear masks. Women painted walls and created ceramics. Both sexes were weavers. There were exceptions; for example, in Sierra Leone and Liberia women wore masks during important coming-of-age ceremonies. The most collectable African art originated in farming communities rather than among nomads,who desired portability. To that end, the more nomadic people of East Africa in Kenya and Tanzania produced a fine school of body art, and the more agricultural West Africa around Sierra Leone and Nigeria achieved greatness with bronze and wood sculpture. African art was imported into Europe during the Renaissance more as curiosities than as artistic objects. It was not until the early twentieth century that African art began to find tr acceptance in European artistic circles. AFRICAN ART 501 Created with Scanner Pro AFRICAN ARCHITECTURE Traditional African architecture is built to be as cool and comfortable as a building couldoe get in the hot African sun, and therefore is made of  mud-brick walls and thatched roofs.Whila mud brick is certainly easy and inexpensive to make, it has inherent problems.Allmud-brick buildings have to be meticulously maintained in the rainy season; otherwise, muchwould wash away. Nonetheless, Africans build huge structures of mud brick withhorizontallyplacet timbers as maintenance ladders. In a culture that generally eschews stonework, both in its architecture and itssculpture the royal complex at Zimbabwe (Figure 27.1) from the fourteenth century is mostunusual. The sophisticated handling of this type of masonry implies a long-standing tradition ofcon: struction of permanent materials, traces of which have all but been lost. Great Zimbabwe, Shona peoples (Southeastern Zimbabwe), c. 1000-1400, coursedgranite blocks, Zimbabwe (Figures 27. la and 27.1b) Form Walls: 800 feet long, 32 feet tall; 17 feet thick at base. Walls slope inward toward the top; made of exfoliated granite blocks. Function Zimbabwe was a prosperous trading center androyal complex; items from as far away as PersiaandChina have been found. Stone enclosurewas probablya royalresidence. Context Zimbabwe derives fromn a Shona term meaning"ven erated houses" or "houses of stone." Internal and externalpassagewaysaretightly bounded, narrow, and long: occupants areforced to walk in single file, parallelingexperiencesint African bush. Figure 27.la: Conical tower of Great Zimbabwe, c. 1000-1400, coursed granite blocks, Zimbabwe The conical tower is modeled on traditionalshapes of grain silos; control over food symbolizedwealth, power, and royal largesse. The tower resemblesa granary andrepresenteda good harvest and prosperity; grain gathered,stored, and dispensed as a symbol of royal power. Abandoned in the fifteenth century probablybecau the surrounding area could no longer supply foodand there was extensive deforestation. ContentArea Africa, Image 167 Web Source http:/whc. unesco.org/en/list/364 Cross-Cultural Comparisons for Essay Question1: Ashlar Masonry Saqsa Waman (Figure 26.8c) Figures 27.lb: Circular wall of Great Zimbabwe Angkor Wat (Figure 23.8a) Pantheon (Figures 6.1la, 6.11b) 502 AP ART HISTORY Created with Scanner Pro GreatMosque, founded c. 1200, rebuilt 1906–1907, adobe,Djenné, Mali (Figure 27.2) Form Threetall towers; center tower is a mihrab. Verticalfluting drains water off the surfaces quickl Materials Made ofadobe, a baked mixture of clay and straw; adobehelps maintain cooler temperatures. Torons:wOodenbeams projecting from walls. ,Woodenbeams act as in-place ladders for the main tenanceof the building. Function Largest mud-brick mosque in the world. Content Crowning ornaments have ostrich eggs, symbols of fertility and purity. adobe, Roofhasseveralholes with terra cotta lids to circu- Figure 27.2: Great Mosque, founded c. 1200, rebuilt 1906-1907, Djenné, Mali lateair into the main room. Context Inhabited since 250B.C.E.,Djenné became a market center and an important link in the trans-Saharan gold trade. Two thousand traditional houses survive, built on small hills to protect against seasonal flood Once a year there is a community activity to repair the mosque called Crepissago de la Grand Mosquée. ContentArea Africa, Image l68 WebSource http:llwhc. unesco.orglen/listll16 Cross-Cultural Comparisons for Essay Question 1: Other Mosques - GreatMosque, Córdoba (Figures 9.14a, 9.14b, 9.14c)wi Mosque of Selim II (Figures 9.16a, 9.16b, 9.16c) - Great Mosque, Isfahan (Figures 9.13a, 9.13b, 9.13c) AFRICAN SCULPTURE Despitethe number of sculptural traditions in Africa, there are certain similarities. African art is basically portable. Large sculptures, the kind that grace the plazas of ancient Egypt or Rome, are unknown. Woodis the favorite material. Trees were honored and symbolically repaid for the branches taken from them. Ivory is used asa sign of rank or prestige. Metal shows strength and dura bility, and is restricted to royalty. Stone is extremely rare. Figures are basically frontal, drawn full-face, with attention paid to the sides. Symmetry is occasionallyused, but more talented artists vary their approach on eachside of the object. Africans did no preliminary sketches and worked directly on the wood. There is a certain stiffness to all African works. Heads are disproportionately large, sometimnes one-third of the whole figure. Sexu characteristics are also enlarged. Bodies are immature and small. Hands and feet are very small; fingers are rar AFRICAN ART 503 Created with Scanner Pro Multiple media are used. It is common to see wood sculptures adorned withfeath eathers fabric, or beads. African sculpture prefers geometrization of forms. It generally avoidsphysicalreal: eality  representing the spirits in a more timeless world. Proportions are therefore manipulat Important sculpture is never created for decoration, but for a definite purpose. Afie masks are meant to be part of a costume that represents a spirit, and can only comealivewhesen ceremonies are initiated. Every mask has a purpose and represents a different spirit.Wheen the masks are worn in a ceremony, the spirit takes over the costumed dancer andhisidentiity remains unknown-every part of his body is hidden from view. Moved by the beatofadrum the masked dancer connects with the spirit world and can transmit messagestovillagerswho are witnesses. BENIN Wall plaque, from Oba'spalace,Edo peoples, Kingdom of Benin (Nigeria), l6thcentury, cast brass, Metropolitan Museum of Art, New York (Figure 27.3a) Form and Content Hierarchical proportions: largest figure is the kin Symbolsof high rankareemphasized. King is stepping on a fallen leader. Emphasis on heads; bodies are often small and immature. Ceremonial scene at court. Technique High-reliefsculpture. Lost-wax process. Materials One of900brass plaques produced, each between 16and 18inches. Metal products are rare in Africa, making these objects extremelyvaluable. There wasan active trade with the Portuguese for brass. Function It decoratedthewallsoftheroyalpalaceinBenin. It was part of a sprawlingpalacecomplex; wooden pillarscoveredwithbrass plaques. Context Shows aspectsof court life in the Benin culture. Cross-culturalinfluence - Thehorse,an animal imported into Africa. - Rosetteshapes inspired by Christian crosses from Europe. Figure 27.3a: Wall plaque, from Oba's palace, Edo peoples, Kingdom of Benin (Nigeria), 16th century, cast necklaces ofcora The oba (king) was believed to be a brass, Metropolitan Museum of Art, New York May have been executed to reflect European books and direct descendant of Oranmiyan,theleg endary founder prints thatwe available in Africa. of the dynasty. Imported goods reflected status: i.e., the king wears Only the oba was allowed to be shielded in the way depicted on the plaque. ContentArea Africa, Image 169 Web Source http:/hwww.metmuseum.orglartlcollection/search/310752 AP ART HISTORY 504 Created with Scanner Pro Cross-Cultural Cros Comparisons for Essay Question 1: ThelateOba Akenzua II in full regalia, including a coral Bronze and Brass Work - Donatello, David (Figure 15.5) garment andheadpiece (Figure 27.3b) Great Buddha at Todai-ji (Figure 25.lb) Context Shivaas Lord of Dance (Figure 23.6) ,Coralisan important symbol of the identity of the oba, ruler of the land, with Olokun, ruler of the sea. CONTEXTUALIMAGE Regaliareflects a continuous tradition of kingship and garment and headpiece royal attire fr the sixteenth century to the present. Photo dated December 24, 1964 ContentArea Africa, Image 169 ASHANTI GoldenStool (sika dwa kof), Ashanti peoples (south central Ghana) c.1700,gold over wood, and cast gold attachments, location unknown (Figure 27.4) Form Entire surface inlaid with gold. Bells hang from the side to warn the king of danger. Symbol of the Ashanti nation, in Ghana. Replicasoften used in ceremonies, but each replica is Containsthe soul of the nation. different. Function Never actually used as a stool; never allowed to touch the ground; it is placed on a stool of its own. Figure 27.4: Golden Stool (sika dwa kofi), Ashan peoples (south central Ghana) c. 1700, gold over wood, and cast gold attachments, location unknown Figure 27.3b: The late Oba Akenzua ll in full regalia, including a coral L According to Ashanti tradition, it was brought down from heaven by a priest and fell into the lap of the Ashanti king, Osei Tutu. It becamethe repository of the spirit of the nation; it is the symbol of themystical bond among all Ashanti. Context A new king is raised over the stool. The stool is carried to the king on a pillow; he alone is allowed to touch it. Taken out on special occasions. War of theGoldenStool:March-September1900: Conflict over British sovereignty in Ghana (formerly the Gold Coast A British representative who tried to sit on the stool caused an uproar and a subsequent rebellion. The war ended with British annexation and Ashanti de facto independence. ContentArea Africa, Image 170 Web Source https:llwww.britannica.com/topic/Golden-Stool Cross-Cultural Comparisons forEssay Question 1:Sacred Objects the Kaaba (Figure 9.1la) - Lanzón Stone (Figure 26.1b) - Gold and jade crown (Figure 24.10) AFRICAN ART 505 Created with Scanner Pro  Brooklyn, New York (Figure 27.5a) Form Characteristics ofa ndop: - Cross-leggedpose. - Sits on abase. - Epicenebody. Face seems uninvolved, above mortal affairs. A peace knife in his left hand. Royal regalia: bracelets, arm bands, belts, headdress. Function Ndop sculptures are commemorative portraits of Kuba rulers,presentedinan ideal state. Not an actualrepresentation ofadeceasedking but of his spirit. Made afterthedeathofthe king. Figure 27.5a: Ndop (portrait figure) of King Mishe miShyaa maMbul, Kuba peoples, Democratic Republic of the Congo, 1760-1780, wood, Context Brooklyn Museum, Brooklyn, New York Each king is commemorated by symbols on the base of KUBA the figure;thiskingh a sword in his left hand in a Ndop (portrait figure) of King Mishe miShyaang nonaggressive pose, handle facing out. maMbul, Kubapeople Democratic Republic of the Congo, 1760-1780, wood, BrooklynMuseum. One oftheearliestexistingAfrican wood sculptures; oldestndop inexistence. Rubbed with oil to protect it from insects. Acted as a surrogate for the king in his absence. Kept in theking'sshrine with other works called a set of "royal charms." ContentArea Africa, Image 171  Web Source https:lwww.brooklynmuseum.orglopencollectionlobjects/4791 Cross-Cultural Comparisons for Essay Question 1: AuthorityFigures - Houdon,GeorgeWashington (Figure 19.7) - Lindauer, Tamati WakaNene (Figure 28.7) - Code of Hammurabi (Figures2.4a,2.4b) CONTEXTUAL IMAGE Kuba Nyim (ruler) Kot a Mbweeky III in state dress with royaldrum in Mushenge, Democratic Republic of the Congo (Figure 27.5b) Form Photo of aKubakingenthronedwearingroyalregalia: Headdress. Necklace of leopard teeth. Sword. - Lance. Drums of reign. Basket. Figure 27.5b: Kuba Nyim (ruler) Kot a Mbweeky IIl in state dress with Costuming extremely elaborate; could weigh 185 royal drum in Mushenge, Democratic Republic of the Congo pounds; kingneededhelp to move. Photo made in 1971, capturing a royal event. 506 AP ART HISTORY Created with Scanner Pro Contert Ruleroften buried with the material after his death. Costuming represents the splendor of king's court, his ContentArea Africa, Image 171 greatness, and his responsibilities. Sumbolizes the king's wealth, status, power. KONGO Kubataste of accumulation of objects..Continuous tradition of honoring a Kuba king. Powerfigure (Nkisi n'kond), Kongo peoples, Democratic Republic of the Congo, c. la 19thcentury,wood and metal, Metropolitan Museum of Art, New York (Figure 27.6) Republic of the Congo, c. late 19th century, wood and metal, Metropolitan Museum Form Alertpose. Rigidfrontality. Arms akimbo, in an aggressive stance. Wearsa headdress worn by chiefs or priests. Nailsare pounded into the figur Functionand Context Spirits are embedded in the images. Spirits can be called upon to bless or harm others, cause death or give life. In orderto prod the image into action, nails andbladesare often inserted into the Figure 27.6: Power figu (Nkisi n'kond), Kongo peoples, Democratic work or removed from it. of Art, New York Medical properties are inserted into the body cavity, thought to be a person's life or soul. The figure has a role as a witness and enforcer of community affair The figurealso cautions people on theconsequencesof actions contrary to communi norms. ContentArea Africa, Image 172 Web Source http:l/metmuseum.orglartlcollection/search/320053 Cross-Cultural Comparisons forEssayQuestion 1:Wood Sculpture Röttgen Pietà (Figure 12.7) - Transformation mask (Figures 26.12a, 26.12b) - Nio guardian figure (Figures 25.lc, 25.l BAULE Portrait mask (Mblo), Baule peoples (Côte d'Ivoire), early 20th century, wood and pigment (Figure 27.7) Form Broad forehead, pronounced downcast eyesockets, column-shaped nose: features associated with intellect and respect. Quiet faces; introspective look; peaceful face; meditative; eyebrows in an arch. Function or her honor. Presented at Mblo performances in which an individual is Figure 27.7: Portrait mask (Mblo), Baule peoples (Côte d'lvoire), early 20th century, wood and pigment honored with ritual dances; tributes are performed in his AFRICAN ART 507 Created with Scanner Pro fortheperforman is accompanied by the actual person in the performance. The honoreereceivesa mask-an artistic double of theperSon--asagift. Context The masks are commissioned by a group of admirers, not by an individual; thisonewa made by the artist Owie Kimou. The masksareanidealized representationof a realperson. This is the idealized representation of MoyaYanso. From theIvoryCoast. ContentArea Africa, Image 174 Web Source http:l/metmuseum.orgartcollection/search/319512 Cross-Cultural Comparisons forEssay Question 1: Commemoration - Rivera,Dreamof a SundayAfternoon on theAlameda Park (Figure22.20) - Lin, VietnamVeterans Memorial (Figures29.4a,29.4b) - Olmec-style mask (Figure26.5d) CHOKWE Female (Pwo) mask, Chokwe peoples, Democratic Republic of theCongo,late 19th to early 20th century, wood, fiber, pigment, and metal, NationalMuseum African Art, Washington, D.C. (Figure 27.8) Form Characteristics: Enlarged eye sockets. Pushed-in chin. - Slendernose. High forehead. Figure 27.8: Female (Pwo) mask, Balanced features. Chokwe peoples, Democratic Republic of the Congo, late 19th to early 20th century, wood, fiber, pigment, and meta National Museum of African Art, Washington, D.C. - Almost-closedeyes. Content Marks around the eyes may suggest tears; scarification marks includingcosmo gram on forehea White powder around the eyes connects the figure toa spiritual real Function These are female masks used by men in ritual dances. Male dancers are covered with their identities masked; they are dressed  aswomenwith braided hair. During the ritual, men move like women. Depicts female ancestors. Context Chokwe, a matriarchal society. The maskisdiscarded when not in use and can be buried with the dancer. ContentArea Africa, Image 173 Web Source http:/mnetmuseum.org/exhibitions/viewtexhibitionld=%7B3836826F-b523- bac3-dacb7ld75b5c%7D&oid=320516 508 AP ART HISTORY Created with Scanner Pro Cross-Cultural Comnparisons for Essay Question 1: Faces Head of a Roman patrician (Figure 6.14) Transformation mask (Figures 26.12a, 26.12b) - Lindauer, Tamati Waka Nene (Figure 28.7) MENDE Bundumask,Sande society, Mende peoples (West African forests of Sierra Leone andLiberia), 19th to early 20th century, wood, cloth, and fiber, private collecti (Figure 27.9a) Form ldealized female beauty, both physically and morally: - Elaborate hairstyle symbolizes wealth; worn by women of status. - High forehead indicates wisdom. - Smalleyes in the shape of slits: she should be demure. - Tight-lipped mouth, symbolizing secrets not revealed. - Smallears: avoids gossip. Rings around the neck symbolize concentric waves from which the water spirit,Figure 27.9a: Bundu mask, Sowei, breaks through the surface; also symbolizes the fat Mask rests on woman's head; head is not placed inside associated with a pregnant body. the Small horizontal features. mask. Function Mask is coated with palm oil for a lustrous effect; it has a Used for initiation rites to adulthood. shiny black surface. Used by the elder women of the Sandesociety, a group Black color symbolizes water, coolness, and humanity. of Context women who prepare girls for adulthood and their role in Only African wooden masks that are worn by women. society. Costumed women wear a black gown made of raffia th Sande society, Mende peoples (West African forests of Sierra Leone collection and Liberia), 19th to 20th century, wood, cloth, and fibe private hides the body. Figure 27.9b: Bundu masks worn in a ceremony Costumed as a Sowei, the female water spirit. Femaleancestorspirits. Symbolic of the chrysalis of a butterfly; young woman entering pubert Individuality ofeach mask isstressed. ContentArea Africa, Image 175 Web Source www.mnetmuseum.orglartlcollection/search/313757 CONTEXTUAL IMAGE Bundumasks worn in a ceremony (Figure 27.9b) Cross-Cultural Comparisons for EssayQuestion 1: Art as Part of a Performance - Presentation of Fijian mats and tapa cloths to Queen Elizabeth II (Figure 28.10) - Viola, The Crossing (Figures 29.18a, 29.18b) Plaque of the Ergastines (Figure 4.5) AFRICAN ART s09 Created with Scanner Pro a). c. 19th to 20th century, wood,Brooklv IGBO Ikenga (shrine figure), Igbopeoples (Nigeria), c. 19th to 20th centu Museum, Brooklyn, NewYork (Figure 27.10) Function and Content Ikenga cy. and alerts to speak at public forums. means"strong right arm" and thus Ikenga embracestraditional physicalprowess. It masculineassociationsof honorstherighthand,whichholdstools strengthandpoten Oftena mix ofhuman, orweapons,makessacrifices  animal, andabstractformns. Carved from hardwoods, considered masculine. ductsrituals, ank. It tells oftheowner'smorality,prosperity,achievements,genealogy,andsocialranl Context Enormous horns symbolize power. version. Requiresblessings before use; As themanachievesmoresuccess,he mightcommissiona more elaboratev consecrated with offerings before thercan kinsmen It ismaintainedin theman'shomeandisdestroyedwhen theownerdies;anothe reuse it if notdestroyed. Figure 27.10: Ikenga (shrine figure), lg peoples (Nigeria), c. 19th-2Oth century, wood, bjects/101836 Brooklyn Museum, Brooklyn, ContentArea Africa, Image 176 WebSource Cross-CulturalComparisonsforEssayQuesti on l:Sculpturein theRound - Kneelingstatue https:llwww.brooklynmuseum.org/opencollectionlo ofHatshepsut(Figure3.9b) York Rodin,  TheBurghersof Calais (Figure21.15) New - Abakanowicz,AndrogyneIII(Figure29.7) LUBA Lukasa (memory board), MbudyeSociety, Luba peoples, Democratic Republicofthe Congo,c. 19th to 20th century, wood, beads, and metal, Brooklyn Museum,Brooklyn, New York (Figures27.1 la and 27.11lb) Form Carved from wood in an hourglassshapeand adorned with beads,shells, or metal. Back, expressed by Luba people asthe"outside, resembles the shell of a turtle. Function Court historian who serves as readerof thememoy board holds the lukasa in his left handandgentiy touches the beads that he will discusswithhisrint index finge Ability to read the board is limited to afewpeople. u Memory board helps the user rememberkeyele Figure 27.1la: Lukasa (memory board), Mbudye Society,. Luba peoples, Democratic Republic of the Congo, c. 19th-2Oth century, wood, beads, and metal, Brooklyn Museum, Brooklyn, New York ments in a story; for example: Kinship. - Courtceremonies. Figure 2711b: Court historian Genealogy. - Migrations. - Lists ofkings. using Lukasa (memory board) Heroes. 510 AP ART HISTORY Created with Scanner Pro Contert Cachboard's design is unique and represents the divine revelations of a spirit medium expressedin sculptural form. Memoryboards are controlled by the Mbudye, a council of men and women who interpret Me thepolitical and historical aspects of Luba society. Joomorphic elements represented by the turtle, an animal that lives on both land and  water;the dual nature of the turtle is a metaphor for the Luba people's political orga nizationas founded by two distinctly opposed embodiments of power: Kongolo Mwamba,avatar of all excess and tyranny, and Mbidi Kiluwe, sophisticated cultural herowho introduced royal culture to the Luba people. Readingexample: - One colored bead can stand for an individual. - Largebeads surrounded by smaller beads can signify a ruler and his court. Lines of beads are journeys or paths, migrations or genealogies. ContentArea Africa, Image 177 WebSource https:llwww.brooklynmuseum.org/opencollectionlobjects/1022 10 CONTEXTUAL IMAGE Court historian using lukasa (memory board) (Figure 27.1 1b) BAMILEKE Akaelephant mask, Cameroon (western grasslands region), c. 19th to 20th century, wood,woven raffia, cloth, and beads (Figures 27.12a and 27.12 Form The maskhas the featuresof an elephant: long trunk, largeears (symbolizing strength and power). Elite Kuosi masking society owns and wears the masks; The mask fits over the head and two folds hang down in worn on front (symbolizing the trun and behind the body. important ceremonial occasions. Humanface. Only important people in society can own and wear an Materials elephant mask. Beadwork on a fabric backing; beadwork is a symbol of Context power. Performance art: maskers dance barefoot to a drum and Lavish use of colored beads and cowrie shells displays gong; they wave spears and horsetails. the wealth ofthe members of the men's Kuosi society; the ContentArea Africa, Image 178 colors and patterns expressthe society's cosmic and Figure 27.12a: Aka elephant mask, Cameroon (western grassfields region political functions. c. 19th-20th century, wood, woven raffia, cloth, a beads Function Figure 27.12b: Men wearing aka elephant masks Web Source www.metmuseum.orglart/collection/search/314264 during a ceremony 511 AFRICAN ART Created with Scanner Pro  CONTEXTUAL IMAGE Men wearing aka elephant masks during a ceremony (Figure 27.12b) Cross-Cultural Comparisons for Essay Question 1: Spiritual World Bernini, Ecstasy of Saint (Figure 3.9b) FANG Teresa(Figures 17.4a, 17.4b) Staff god (Figures 28.5a, 28.5b) Kneeling statue of Hatshepsut e Reliquary figure (byeri), Fang peoples (southern Cameroon), c. 19thto20thcentu wood, Brooklyn Museum, Brooklyn, New York (Figure 27.13) Form Feet dangling over the rim, a gesture of protecting the contents. Prominent belly button and genitals emphasize life; the prayerfulgestureandsom. ber look emphasize death. = Emphasis on the head and the tubular nature of the body. Function Such figures were placed on top of cylinder-like containers madeofbarkthathe skulls and other bones of important clan leaders. The reliquary figure guards the head box against thegaze of women oryoungboy Context Figure 27.13: Reliquary The surfaceswere ritually rubbed with oils to add luster and protectagainst insects figure (yeri), Fang peopl (southern Cameroon), c. 19th-20th century, wood, Brooklyn Museum, Brooklyn, New York Byeri figures are composed of characteristics the Fang people placea highvalueo tranquility, introspection, and vitality. The Fangpeoplewere nomadic; these figures were made tobeportabl The abstraction of the human body is an attraction for theearly-twentieth-century artists. ContentArea Africa, Image 179 WebSource https:/lwww.brooklynmuseum. orglopencollectionlobjectsl4755 Cross-Cultural Comparisons for Essay Question 1: Male Figure - Apollo from Veii(Figure5.5) - Donatello, David(Figure l5.5) - Nio guardian figure (Figures 25.lc, 25.1 YORUBA Veranda post of enthroned king and senior wife (Opo Ogoga), OloweofIse(Yoruba peoples), 1910-1914, wood and pigment, Art Institute of Chicago,Chicago,Ilinois (Figure 27.14) Form Woodensculpture with tall vertical emphasis. Complicated and elaborate use of negative space. Negative space creates an openness in the composition. Most veranda posts were painted; this work has traces of paint remaining. Figure 2714: Veranda post of enthroned king and senior wife (Opo Ogoga), Olowe of lse (Yoruba Function peoples),1910-1914, wOod andpigmnent,Art Institute of Chicago, ia. Chicago, llinois Olowe of Ise carved veranda posts for the rulers of the Ekiti-Yoruba kingdom inNgent One of fourcarved for thepalaceatIkere,Nigeria. 512 AP ART HISTORY Created with Scanner Pro Context The king is the focal point between himself and others represented on the post. Behind the king, his large-scale senior wife supports the throne. she crowns the king during the coronation; protects him during his reign. Thesmaller figures include his junior wife; his flute player, Eshu, the trickster god; a figureof a fan bearer now missin  ContentArea Africa, Image l180 WohSource http:llwww.artic.eduwaiclcollectionslartwork/102611?search_no=1&index-0 , Cross-Cultural Comparisons for Essay Question 1: Multi-Figure Sculptures Helios, horses, and Dionysos (Figure 4.4) - Rodin, The Burghers of Calais (Figure 21.15) King Menkaura and queen (Figure 3.7) VOCABULARY Adobe:a building material made from earth, straw, or clay dried in the sun (Figure 27.2) Aka:an elephant mask of the Bamileke people of Cameroon (Figure 27.12a) Byeri:in the art of the Fang people, a reliquary guardian figure (Figure 27.1 Bundu:masks used by the women's Sande society to bring girls into puberty (Figure 27.9a) Cire perdue: the lost wax process. A bronze casting method in which a figure is modeled clay and covered with wax and then recovered with clay. When fired in a kiln, the wax mel away, leaving a channel between the two layers of clay which can be used as a mold for liquid metal (Figure 27.3a) Fetish: an object believed to possess magical powers Ikenga: a shrine figure symbolizing traditional male attributes of the Igbo people (Figu 27.10) Lukasa:a memory board used by the Luba people of central Africa (Figure 27.11) Mblo: a commemorative portrait of the Baule people (Figure 27.7) Ndop: a Kuba commemorative portrait of a king in an ideal state (Figure 27.5a) Nkisi n'kondi: a Kongo power figure (Figure 27. Pwo:a female mask worn by women of the Chokwe people (Figure 27.8) Scarification: scarring of the skin in patterns by cutting with a knife: when the cut heals, raised pattern is created, which is painted Torons: wooden beams projecting from walls of adobe buildings (Figure 27.2) SUMMARY African artists operated under the same general conditions of artists everywhere learning their craft in a period of apprenticeship, working on commission from the powerful and politi cally connected, and achieving a measure of international fame. However, because African artists relied on the oral tradition, little written documentation of their achievements has been recorded. Africans achieved great distinction in the carving of masks, both in wood and metal. Costumed dancers don the mask and assume the powers of the spirit that it represents. The role of the mask, therefore, indeed the role of African art, is never merely decorative, but func tional and spiritual; works are imbued with powers that are symbolically much greater than the merely visible representation. AFRICAN ART 513 Created with Scanner Pro PRACTICE EXERCISES Multiple-Choice Questions 1-3 refer to the image below.  1. The function of the complex at Great Zimbabwe included (A) a storehouse for grain used for dispersal in times of need (B) amilitary fortress used to keep invaders out (C) a religious center meant to represent a Christian presence in Africa (D) a trading center with a stock and currency exchange 2. Visitors who entered Great Zimbabwe were meant to be left with the feeling that they were in a major city and transportationhub (A) to be impressed that this was the center of manufacturing and industry (B) to admire the impressive and extensive use of stone in a part of theworldthat (C) specialized in more perishable types of construction (D) to admire the painted friezes depicting the military exploits of theking 3. The stone walls of Great Zimbabwe exemplify the Southern African architectural practices of (A) using ashlar masonry to create force-dependent structures making the stones from mud-backed bricks, similar to adobe construction (B) (C) spanning large interior spaces with great arches (D) employing flying buttresses to support the massive wal 4. Pwo masks and Bundumasks are similar in that they both are (A) honoring women with an idealized representation (B) representations of an actual woman, and the rituals portray events fromherlite (C) worn by women in actual ceremonies (D) representations of the spirit of a deceased female ancestor 514 AP ART HISTORY Created with Scanner Pro  The power of Nkisi n'kondi figures is activated 5 (A) nailing blades into the surface of a figu (B) carrying a figure in a procession around a village squa (C) "marrying" the image to a second power figu (D) masking the figure to allow its powers to work unse Long Essay Practice Question 1: Comparison SuggestedTime: 35 minutes Thiswork is a Pwo mask from the Congo created in the early twentieth century. Selectand completely identify another work of art that was worn as a mask. Bothmasks were worn in ceremonies. Describe the purpose of each ceremony. In addition to the masks, what other materials were used in the ceremony? Analyzehow the forms of both masks were meant to enhance the meaning of the ceremony. Howdo the masks differ in function? Malagan mask Transformation mask Buk (mask) AFRICAN ART 515 Created with Scanner Pro ANSWER KEY 5. A 1. A 2. C 3. A 4. A ANSWERS EXPLAINED Multiple-Choice 1. (A) Christianitywas unknown in this part Owewas of Africa at this time.AlthoughZirs an important trading center, the modern concept of a stock and currer unknown.  Leaders controlled the food supply as a Chang was symbol ofpower. 1ilture, making this complexadmi. 2. (C) Stone buildings are rare in traditional African culture, making this coe rablefrom botharchitecturalandengineeringpoints of view. 3. (A) No mortar is used in the construction of GreatZimbabwe;therefore.it is ea eof ashlar masonry. Bothmasks honor women. The Pwo mask is worn by men to honorfemaleanca ancestors: (A) the Bundu maskhonors young women on the road to adulthood. 4. 5. (A) The power figure isactivated by nailing blades into the surfac Long Essay Rubric For the Pwo mask, answers couldinclude: Task Point Value Select and completely identify another work of art that was worn as a mask. Music. Both masks were Costumes. worn in ceremonies. Describe the purpose Chokwe, a of each ceremony. In addition to the masks,what other materials were used in the ceremony? Analyze how the forms of both masks were meant to enhance the meaning of the ceremony. How do the masks differ in function? 516 AP ART HISTORY 1 point for Pwo mask Female masks are used by men matriarchal society. in ritualdances. Male dancers It 1 point for Pwo mask are covered with theiridentities depictsfemaleancestorsw masked, dressed as women with ithparticular characteristics: braidedhait. enlarged eye sockets, pushed-ln 1 point for Pwo mask It's a ritual in which men chin, slender nose, high movelikewomen. The forehead, balanced features, ritualdepictsfemaleancestor almost-closed eyes. See s. Response depends on the 1 other mask chosen. Dance.  the following. Created with Scanner Pro For the Malagan, Transformation, Point Value Task and Buk masks, answers could include: select and completely identify Malagan mask: Coast of Canada, late 19th century, wood, paint, and string. another work ofart that was New IrelandProvince of PapuaNewGuinea, c. 20th Buk mask: worn as a mask. 1; two Torres Strait, mid- to late 19th century, wood, figment, fiber and sh Transformation mask: century, turtle shell, wood, fiber, identifie Kwakwaha'wakw,Northwest feathers, and shel are needed to earn a point Both masks were 1 point for Malagan mask: worn in ceremonies. Describe the purpose ofeach ceremony. In addition to the masks, what other materials were used in the ceremony? each work 1 point for each work  AFRICAN ART 517 Malagan ceremonies send the Chanting. souls of the Ceremonies take place in a deceased on their way to the purpose-built structure. otherworld. Transformation mask: Transformation mask: Drumming. Although these masks could be Costumes. used at a potlatch, most often they Ceremony takes place in a "big were used in winter initiation rites house." ceremonies. Buk mask: Opening the mask reveals the face Fire. of an ancestor; there is an Drumming. ancestral element to the ceremony. Chanting. Buk mask: Grass costumes. Ceremonies could involve initiation, funerary rites, and ensuring a good harvest. Malagan mask: Dance. Music. Costumes. Created with Scanner Pro Point Value and Buk masks, answers Task couldinclude: 1 point for For the Malagan,Transformation, Analyze how the Malagan mask: forms of both masks each work 1 were meant to enhance the meaning of the ceremony. How do the masks differ in function? 518 AP ART HISTORY  theircarving. importantcolors denoting Mask violence, war, andmagic. indicates the Transformation mask: relationship During a ritual performance, the of aparticular weareropensand closes the deceased transformation mask usingstrings. person to a Bird exterior opens to reveal a clan and to humanfaceonthe interior. livingmembers At the moment of the family. Large oftransformation,theperforme haircomb r turns his back to the audience reflects a toconcealthe action and heighten hairstyle of the mystery. thetim but Buk mask: masks are not Masks combine human and physical animalforms. Turtle shell is portraits, peculiar to this region andmayhave onlyportraits had symbolic overtones. of the soul. Human face may represent a Painted black, culturalheroor ancestor. yellow, and Response depends on the masks red: chosen;however, differences can be noted in the purpose ofthe ceremony and therefore the mask. Masks are extremely intricate in Created with Scanner Pro