The Aka Elephant Mask is an aesthetic item worn during rituals, performances, and masquerades to symbolize important leaders.The hoods fit tightly over the masker’s head, while two hanging panels conceal the body. The mask is decorated with beaded sculptural crests in geometric patterns, which had the appearance of leopards and elephants which were considered royal animals.
The Bundu masks are ceremonial headpieces from the Sierra Leone- Liberia area made by a female group of Mende leaders known as the Sande society. Constructed of metal, wood, raffia palm, and pigment, the masks are used for
Great Zimbabwe Conical Tower and Circular Wall was built in 1000-1400 CE or the Middle Ages or African Iron Age with granite blocks as a settlement and dry stone monument that was once home to an estimated 18,000 people during the 15th century. The structure was also home to the Great Zimbabwe ruler's house that is located on a hill top and referred to as the Great Enclosure. The main stylistics of the structure include herringbone and dentelle designs, verticle grooves, elaborate chevron design along the great mortar-less recessed stone walls, creating an inward slope and showing, symbolically, power and protection.
#177 Lukasa
D/P- 1800 to 1900, Mbudye Society, Luba People, Democratic republic of Congo, Africa
T/M - woods, multicolor beads, and metal; embossed with carved symbols
FUN - memory board; present a conceptual map of fundamental aspects of Luba culture
C/C- illustrations of the Luba political system, historical chronicles of the Luba state, and territorial diagrams of local chiefdoms; masses of shells and beads
STY - hourglass shaped item (concave figure); different colored beads for visual stimulation, pastel colors on this specific one, as well as high relief
I/C - Lukasa belong to regional chapters of the Luba Mbudye association. Mbudye is a council of men and women charged with sustaining and interpreting the political and historical principles of the Luba State
Link - http://www.metmuseum.org/toah/works-of-art/1977.467.3
D/P- 1800 to 1900, Mbudye Society, Luba People, Democratic republic of Congo, Africa
T/M - woods, multicolor beads, and metal; embossed with carved symbols
FUN - memory board; present a conceptual map of fundamental aspects of Luba culture
C/C- illustrations of the Luba political system, historical chronicles of the Luba state, and territorial diagrams of local chiefdoms; masses of shells and beads
STY - hourglass shaped item (concave figure); different colored beads for visual stimulation, pastel colors on this specific one, as well as high relief
I/C - Lukasa belong to regional chapters of the Luba Mbudye association. Mbudye is a council of men and women charged with sustaining and interpreting the political and historical principles of the Luba State
Link - http://www.metmuseum.org/toah/works-of-art/1977.467.3
Veranda Post:
T/F: wood and pigment
FUN:carved supporting royal palace
C/C: series of carved supports designed for exterior courtyard of Yoruba ,image of the oba (king)
STY: 2 tiered composition, equestrian warrior above a female caryatid, arms raised, contrast in figures alignment, dynamic, compressed at the top and open at the bottom, 2 smaller figures at the base
I/C:oba depicted with royal crown, Twin Figures (Ibeji) are similar, identified their patrons through physical might
T/F: wood and pigment
FUN:carved supporting royal palace
C/C: series of carved supports designed for exterior courtyard of Yoruba ,image of the oba (king)
STY: 2 tiered composition, equestrian warrior above a female caryatid, arms raised, contrast in figures alignment, dynamic, compressed at the top and open at the bottom, 2 smaller figures at the base
I/C:oba depicted with royal crown, Twin Figures (Ibeji) are similar, identified their patrons through physical might
Ikenga, created in the 1800-1900s by the Ibgo people of Nigeria out of wood, serve as a religious/ritualistic shrine figure used for personal shrines celebrating success of the patron which connects to the deep rooted value the Ibgo people place on individual achievement.
D/P: 1850-1900’s (late 19th cent. - 20th cent.)
Function: worn during the final sequence during ritualistic Mblo dances by an honored patron; wood sculpture, motif of feminine beauty
L/C: (Baule Peoples), Africa ← Ivory Coast
T/M: wood and pigment
C/C: fantastical series of wild animal horns adorn the crown of the mask; broad forehead and downcast eyes; countenance displays intense introspection, three evenly distributed triangles
STY: highly refined details, rigidly asymmetrical features represent individuality, even quantity of animal horns for balance,
I/C: the forehead and eyes are associated with intellect and respect in Baule culture; Mblo performances consist of a succession of dances that escalate in complexity and importance; chinese and native cultures also wear masks in rituals
D/P: 1850-1900’s (late 19th cent. - 20th cent.)
Function: worn during the final sequence during ritualistic Mblo dances by an honored patron; wood sculpture, motif of feminine beauty
L/C: (Baule Peoples), Africa ← Ivory Coast
T/M: wood and pigment
C/C: fantastical series of wild animal horns adorn the crown of the mask; broad forehead and downcast eyes; countenance displays intense introspection, three evenly distributed triangles
STY: highly refined details, rigidly asymmetrical features represent individuality, even quantity of animal horns for balance,
I/C: the forehead and eyes are associated with intellect and respect in Baule culture; Mblo performances consist of a succession of dances that escalate in complexity and importance; chinese and native cultures also wear masks in rituals
Ndop Portrait of King Mishe miShyaang maMbul
D/P:1760-1780 CE, Kongo people, Democratic republic of Congo Africa
T/F: Wood, very smooth texture
Function: portrays idealized portraits of individual kuba rulers
C/C: Portrays King Mishe sitting crossed legged on a raised platform. He is holding a short sword in one hand and his body is decorated with belts, armbands, a headdress, which were all signs of royalty.
Sty: rounded contours, composed/regal pose or posture, idealized features, static (lacks movement), little negative space
I/C: Ka statues from Egypt; This specific statue is believed to be the oldest ndop statute in existence. Historically, Kuba artists were professional woodcarvers, blacksmiths, and weavers who worked exclusively for the nyim. Kuba artists learned their art by becoming apprentices to others who were well-known and accomplished in their community. Commissioned by king mmambul himself.
Link: https://www.khanacademy.org/humanities/art-africa-oceania-americas/africa-art/kuba/a/ndop-portrait-of-king-mishe-mishyaang-mambul
D/P:1760-1780 CE, Kongo people, Democratic republic of Congo Africa
T/F: Wood, very smooth texture
Function: portrays idealized portraits of individual kuba rulers
C/C: Portrays King Mishe sitting crossed legged on a raised platform. He is holding a short sword in one hand and his body is decorated with belts, armbands, a headdress, which were all signs of royalty.
Sty: rounded contours, composed/regal pose or posture, idealized features, static (lacks movement), little negative space
I/C: Ka statues from Egypt; This specific statue is believed to be the oldest ndop statute in existence. Historically, Kuba artists were professional woodcarvers, blacksmiths, and weavers who worked exclusively for the nyim. Kuba artists learned their art by becoming apprentices to others who were well-known and accomplished in their community. Commissioned by king mmambul himself.
Link: https://www.khanacademy.org/humanities/art-africa-oceania-americas/africa-art/kuba/a/ndop-portrait-of-king-mishe-mishyaang-mambul
The Great Mosque of Djenne, found on the Bani River flood plain in the city of Djenne in Mali, is a 13th century adobe mosque and an architectural achievement among the Sudano-Sahelian architecture style. Constructed in a traditional trapezoidal mosque floor plan with symmetrical qibla walls facing Mecca, prayer halls with mihrab prayer niches and three towers covered in cone shaped spires/minaretes all built on a platform to prevent flooding. This mosque was constructed of sun baked adobe bricks and coated with plaster for a smooth finish.
|
Power Figure (Nkisi n’Kondi) is a religious/ritualistic pottery statue made of wood and metal. These figures were used as pottery and containers for medicinal herbs but were also viewed as charms bringing power. Characterized by their stylized representation of the body, including rounded body contours, slightly opened mouths, and half closed semi circled eyes, they were connected closely to the spirit Nkisi. This spirit was intertwined with the ideas of sacred medicine and the figures themselves were believed to have originated from the first sacred medicine brought down from the heavens to earth. The statue itself was thought to be a container holding multiple sacred substances that could be summoned into the physical world.
(Pwo) Female Mask were made in the late 19th to 20th century by the Chokwe people of the Democratic Republic of Congo. Made from wood, fibers, brass, pigment, and metal, these masks honor founding female ancestors and are used ritualistically during coming of age celebrations. These masks depict a stylized and idealized woman with features such as enlarged, closed eyes highlighted and emphasized through an encasement of light pigment, small nose, boxed lips, slender face, and are decorated with hoop earrings and large, intricate braids. The masks are heavily intertwined with the matriarchal lineage in Chokwe society and the mask's counterpart Cihongo. Together the two represent fertility and prosperity and continue to inspire contemporary artists.
The Wall Plaque from Oba’s Palac, constructed in 1500’s CE by the Edo Peoples in Benin Nigeria from cast brass, one of over 900 depicting political/self importance and depict aspects of court life around the palace's pillars.The palace was part of Benin city’s court life which was established around the same time as Western Europe's imperialisation of Africa. This highly structured government was led by the king or Oba, who ruled over citizens both politically and religiously. To enforce this, he had two types of guards, which are shown with him on the plaque. Though town chiefs worked with the daily life of the people, the palace chiefs spent their time helping the royal family and protecting the Oba. The plaque depicts a very stylized figure of the king with his guards. Hieratic scale used emphasizes the king and exemplify the importance of his position. The hair and clothing utilize distinct patterns that repeat. The overall composition is very symmetrical with two of the guards are holding shields on either side, also emphasizing the king.
Veranda Post:
T/F: wood and pigment
FUN:carved supporting royal palace
C/C: series of carved supports designed for exterior courtyard of Yoruba ,image of the oba (king)
STY: 2 tiered composition, equestrian warrior above a female caryatid, arms raised, contrast in figures alignment, dynamic, compressed at the top and open at the bottom, 2 smaller figures at the base
I/C:oba depicted with royal crown, Twin Figures (Ibeji) are similar, identified their patrons through physical might
T/F: wood and pigment
FUN:carved supporting royal palace
C/C: series of carved supports designed for exterior courtyard of Yoruba ,image of the oba (king)
STY: 2 tiered composition, equestrian warrior above a female caryatid, arms raised, contrast in figures alignment, dynamic, compressed at the top and open at the bottom, 2 smaller figures at the base
I/C:oba depicted with royal crown, Twin Figures (Ibeji) are similar, identified their patrons through physical might
Golden Stool:
T/F: gold over wood and cast gold attachments
FUN: religious ka statue portrait
STY: each stool was made specfically for new leaders, each was specific with varying symbols and pictures usually of animals. Each stool is made from alstonia boonei (a type of tree) and follows the diameters of: being curved, being 46 cm high, 61 cm across, and 30 cm deep
I/C:-stools are the central symbols of Akan politics-the golden stool sppeared to Osei Tutu, the first asantehene, or great chief, founder of the Asante Confederacy -the stool is believed to be alive, was never blackened, and is placed on its wn chair; bells are rung to announce its presence. with each new emperor a new stool was madeI/C:-the soul was believed to reside in the stool after death
Link: http://www.aluka.org/stable/10.5555/al.ch.document.bfacp1b10179
T/F: gold over wood and cast gold attachments
FUN: religious ka statue portrait
STY: each stool was made specfically for new leaders, each was specific with varying symbols and pictures usually of animals. Each stool is made from alstonia boonei (a type of tree) and follows the diameters of: being curved, being 46 cm high, 61 cm across, and 30 cm deep
I/C:-stools are the central symbols of Akan politics-the golden stool sppeared to Osei Tutu, the first asantehene, or great chief, founder of the Asante Confederacy -the stool is believed to be alive, was never blackened, and is placed on its wn chair; bells are rung to announce its presence. with each new emperor a new stool was madeI/C:-the soul was believed to reside in the stool after death
Link: http://www.aluka.org/stable/10.5555/al.ch.document.bfacp1b10179