Ap Art History Unit 4
City of Cusco, including Qorikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman). Central highlands, Peru. Inka. c. 1440 CE; convent added 1550-1650 CE. Andesite.
Barrons Book
City of Machu Picchu. Central highlands, Peru. Inka. c. 1450-1540 CE. Granite (architectural complex).
Barrons Book
Lukasa (memory board). Mbudye Society, Luba peoples (Democratic Republic of the Congo). c. 19th to 20th century CE. Wood, beads, and metal.
Barrons Book
Reliquary figure (byeri). Fang peoples (southern Cameroon). c. 19th to 20th century CE. Wood.
Barrons Book
Templo Mayor (Main Temple). Tenochtitlan (modern Mexico City, Mexico). Mexica (Aztec). 1375-1520 C.E. Stone (temple); volcanic stone (The Coyolxauhqui Stone); jadeit (Olmec-style mask); basalt (Calendar Stone).
Barrons Book
Power figure (Nkisi n'kondi). Kongo peoples (Democratic Republic of the Congo. c. late 19th century CE. Wood and metal.
FORM: Wood, metal, resin Wood sculpture FUNCTION: The piece was sought to inspire awe, to intimidate, and to evoke power without bounds. CONTEXT: African power figures are among the ubiquitous genres identified with African Art. Conceived to house specific mystical forces they were collaborative creations of Congo sculptors and ritual specialists. CONTENT: Wood sculpture, Spiky, Rough.
Maize cobs. Inka. c. 1440-1533 C.E.Sheet metal/repoussé, metal alloys.
Form and Content: Was a gold and silver alloy object that was offered to the gods. Was life size and was a very hollow object and was made out of metal and used a Repousse technique. Function: Could have been used for gardening and could have represented a good harvest for the year. Context: Maize was a very important food source in the Andes Mountains and was very common in Peru due to the oxidized silver.
Portrait mask (Mblo). Baule peoples (Côte d'Ivoire). Early 20th century CE. Wood and pigment.
Form: A wooden mask painted with african pigments Function: The MBLO Mask was used for ENTERTAINMENT and for ceremonial dances in honor of their african ancestors. CONTENT: This is a idealized figure and it has a very broad forehead and long nose and these features represent intelligence and beauty under the baule standards. Context: these masks for multisexual and could be worn by multiple sexualitys and depicted real people within the african masks which was extremely rare during african art
Chapter 216: Staff god. Rarotonga, Cook Islands, central Polynesia. Late 18th to early 19th century CE. Wood, tapa, fiber, and feathers.
Form: Had a large column core that was placed in common places people visited within the village which shows its importance. The polished pearls and the red feathers that are displayed were used to represent the soul of the deity that was held inside. Function: Was a sacred object/tool, and was very important to the people of Polynesia. The barkcloth was specifically made by women and was used to protect the power of their ancestors. Content: Was used to represent the Polynesian God Tangaroa who was very important to this culture. The body was used to represent a spinal column, and contained an elongated body. Context: Most of the staff gods were destroyed by the British, the top part was saved and was used as a trophy by the British to show their strength. The image of the area is the only way that we know the staff's function, how it was used. Reverend John Williams saw that the statue had red feathers and also contained a shell that was made out of pearls.
Chapter 156: Great Serpent Mound. Adams County, Southern Ohio. Mississippian (Eastern Woodlands). c. 1070 CE. Earthwork, effigy mound.
Form: Has the shape of a rattlesnake/serpent and was an earthwork, and was made out of an effigy mound. The mound was very long and was over 13000 feet long but was 4 feet tall, the architect used the natural topography to their advantage. The snake's head is pointed east while the snake's tail is pointing west which could symbolize winter and summer. Function: Was built during the time that the Haley comet passed and most likely had an astronomical function, due to it lining up with the solstices on both sides. Content: We can see a large serpent/large rattlesnake and was made in a slight crescent shape. Was used as a powerful deity of Native American culture and symbolized the underworld. Context: The mounds were not kept the same over the years and were frequently updated and became larger overtime. The effigy mounds were also very popular during this time, were related to snakes and how they provided fertility for their crops. There are burial sites nearby which could be related to the mound.
Chapter 162: All-T'oqapu tunic. Inka 1450-1540 CE. Camelid fiber and cotton.
Form: It had a rectangular shape and there was a slit in the center which represented the head, and was folded in half and there are arms sewn in on the sides. Composed of small rectangular shapes that were named t'oqapu, these t'oqapu represented different events in Inka history. Function: This was used as a garment to society events and was used to represent your social class and showed high social class due to how expensive the fabrics were that helped make this tunic, was also believed to have been worn by an Inka ruler. Content: If there are more colors that are presented it shows a higher social status due to how uncommon and expensive dye was at this time period. There were also dyes that were used from many different regions of Inkan territory which shows unity within the Inkan Empire. Context: Represents Inkan culture and how they loved and valued abstract designs, and this tunic represented unity and order between the Inkan community. These tunics were hand woven by women and were fine and that's why they were used by important figures in society. Also had 100 threads per square centimeter which represents how important this tunic was.
Tamati Waka Nene. Gottfried Lindauer. 1890 CE. Oil on canvas.
Form: Tamati Waka Nene was the subject of this painting and was the chief of the Maori clan who then converted to Wesleyan religion. Lindauer's paintings were very realistic and were very anthropomorphic and naturalistic due to the background. Was made in the posthumous period and was based on John Crombie's painting. Function: Was used to represent an ancestral presence inside of the world of the living. This painting embodied the Maori chief Tamati Wake Nene and was a representation of his spirit inside of the living world. Was likely hung on the walls of a family home. Content: We are able to see very detailed designs which were likely made due to Tamati Wake Nene's rank in society. We see elaborate tattoos, we see a staff that contained an eye on it and had feathers coming off of it to show the Maori's connection with nature. We see oversized green earrings which were likely made to represent emeralds. Context: Based on your rank in society you would get different designs and would have a more detailed design. Also shows some European influence due to it being oil painting and shading and also used naturalistic ideals in the background. The painter was born in Bohemia and frequently created paintings of Maori Chief's.
Chapter 214 (or watch this video): Moai on platform (ahu). Rapa Nui (Easter Island). c. 1100-1600 CE. Volcanic tuff figures on basalt base.
Form: The foreheads on the figures are highlighted compared to the whole body, the noses are also large but very broad at the same time and the lips are thin and pouting, the ears are large and reach the top of the head. The backs have tattoos on them which could represent their culture, there is white coral in their eyes and are made to show the white part of your eye. The figure also contains breasts and navels which signify that it is a woman and the breast and navel are delineated. Function: The figures are made to personify the personalities of dead kings and also to commemorate their rule. Also commemorated the first settlers, not only the kings. Content: Tried to be humanistic but some features are not that humanistic such as the nose, forehead and the lips and the ears which also show how different the Moai are. This most likely took a long time to be created due to how detailed everything was on the figure. Context: There are 900 statues in the whole monument and they are extremely heavy and mostly male which shows hints of sexism inside of their culture, all of them are facing towards Easter Island. They were all found on a large platform named an Ahu that was made out of stone mixed with the ashes from cremations, the platform that they are found on were also extremely sacred.
Chapter 158 (or watch this video): Ruler's feather headdress (probably of Motecuhzoma II). Mexica (Aztec). 1428-1520 CE. Feathers (quetzal and cotinga) and gold.
Form: The headdress was created out of 400 long green feathers and was made out of gold which represented strength and social status. Was made out of the sacred quetzal birds which were very rare and each bird only has two feathers each which shows how long and important this headdress took. The number 400 for Aztecs was very important which symbolized longevity and strength which shows how important this headdress was. Function: This was used as a ceremonial headdress and was important to the Aztec culture. It was also used as an elaborate costume during ceremonial dances. Content: This headdress was filled with feathers and was most likely got from the vast Aztec trading network. Context: This was a gift from the Viceroy Of Spain named Motecuhzoma III and was created by an artist who specifically specialized in creating feather art. Was also very unique due to it being the only European feather headdress in the world that has been found. Also shows the value of trading inside of the Aztec Empire and shows globalization and cultural diffusion.
Chapter 218 (or watch this video): Buk (mask). Torres Strait. Mid- to late 19th century CE. Turtle shell, wood, fiber, feathers, and shell.
Form: The mask combines human and animal forms, the animal part is the bird which we are able to see at the top. It is also made out of a turtle shell, combined with wood, fiber, feathers and a shell. There are also many decorative pieces that can be found on the Buk mask that help us identify this specific mask. Function: This mask was worn over their head during certain rituals and ceremonies, and was part of a larger green costume that was supposed to represent the earth and grass. Was used during male initiation, death, fertility or to represent a good harvest. Content: This Mask is made out of Turtle shell and wood and fiber and feathers and a shell. This shows how diverse the materials that were used. Context: The ceremonies that these masks were involved in used drums and the beats they could make from them, fire and they had their elders/ancestors chanting. Torres Strait was the water passageway between Australia and New Guinea and the human face on it represents an important ancestor.
Chapter 168: Great Mosque of Djenné. Mali. Founded c. 1200 CE; rebuilt 1906-1907 CE. Adobe.
Form: The mosque was made out of adobe brick, was very unique due it being the largest building that was ever created from mud and brick combined. This was three tall towers and the center tower in specific was named a mihrab. The vertical fluting that was included specifically helps drain the water off that would collect after rains. Function: The function of this Mosque was to allow for people to practice religion near them and was an important mosque due to its location within "the holy land". Content: We see certain objects sticking out of the wall which result in the reader to believe they are a type of scaffolding specifically made by the architect. The roof also was very advanced for its time due to making holes to higher air circulation within the mosque. Context: Was an important trading site during the Trans-Saharan trade period and was always used for monks to live in. It was also rebuilt before during 1906-1907 CE.
Chapter 153: Chavín de Huántar. Northern highlands, Peru. Chavín. 900-200 BCE. Stone (architectural complex); granite (Lanzón and sculpture); hammered gold alloy (jewelry).
Form: The temple is shaped like a U and it is a relief architecture and contains sunken relief. It is also made out of stone and granite and gold alloy and also contains a powerful curving. In between the east and western parts of the Andes mountains, was at 10315 in elevation and was 16 meters high. Function: This was used as a religious capital for people who lived in Peru near the Northern Highlands, was a temple which was 60 feet tall and contained a jaguar sculpture that represented power. There were also many hidden entrances which led to the many stone corridors. Served as a cult figure for specifically people of the Chavin culture. (Used by specifically the Chavin People Content: Only the priest and specifically people who were high in social class were allowed access to the Lanzon who was a human and jaguar mix. The Lanzon statue was large and had a head of a snake and was a powerful figure due to its human and animal parts. It also contained a nose ornament which represented power and strength of the Chavin People. Context: The nose ornament could be worn by both genders and was worn under the nose. It had two snake heads on both sides and these two snake heads showed strength and authority of the wearer and was one of the first large scale religious metal objects that was created by the Chavin People. Was also created during 900-200 BCE and was a very important part of the Chavin Culture.
Chapter 158 (or watch this video): Malagan display and mask. New Ireland Province, Papua New Guinea. c. 20th century CE. Wood, pigment, fiber, and shell.
Form: There was very specific detail on this carving and took very long to make due to how specific they were based on every detail. They were painted using black, yellow and red paint and these colors specifically meant violence, war and magic which was very important to the citizens of Papua New Guinea. Function: The sculptures that were commissioned are sculptures of the dead and they were a direct representation of their soul and were not physically there. Indicates the relationship between a dead person and their clan or group of family. The large hair comb represents a hairstyle that was possible during their time and the masks are not physical but only represent the soul of the dead. Content: Mask is very detailed and carved very specifically and used many colors such as red, white and black. We can also see many sculptures and these sculptures were made of wood and were painted using pigment. Context: Malagan ceremonies would help the souls of their dead to pass on to the afterlife which we can relate to many other cultures. Depending on your importance your ceremony would be right after your death or could happen a long time after you die and could last a long time or a short time. These ceremonies were very expensive and families would gather and they would have to pool their money together and be able to afford these ceremonies.
Chapter 154 (and watch this video): Mesa Verde cliff dwellings. Montezuma County, Colorado. Ancestral Puebloan (Anasazi). 450-1300 CE. Sandstone.
Form: There were over 600 structures in the dwelling and it was made out of sandstone, it was specifically built right into a cave which connected the guests with the environment. There were also many murals and these murals were specifically designed geometrically. Function: The pueblo was built into a cliff and could house a maximum of 100 people, this was used as a retreat and where clans would sometimes gather to show alliances and to support each other in many ways such as defending each other. Content: The top of the ledge kept all the supplies that were used in the house and served as a storage area, was cool and didn't get much rain so it was always dry and was only accessible by a ladder. Housed many people and gave each family one room. There was a plaza that was built in front of the complex and the kivas faced the plaza. Contained many small rooms which were specifically used for ritual purposes. Context: There was terrace farming and there was a huge plateau above the pueblo, so it was used for farming and to provide the food that the people staying at the pueblo would eat. There was a water source near and housed people for two hundred years until the water source dried up which they couldn't do without.
Wall plaque, from Oba's palace. Edo peoples, Kingdom of Benin (Nigeria). 16th century CE. Cast brass.
Form: This plaque was created primarily from brass and uses hierarchical proportions through the use of depicting the king as the tallest figure and his followers below/shorter than him. We also see the king stepping on a smaller figure who was a previous leader who he had defeated. Function: This was used to represent the king of Nigeria's power over his empire and depict the daily life of somebody who lived within Nigeria during this time period. Content: We are able to see a sort of ceremonial sense also because of him standing up right and holding his kids which may be a ceremony of him being crowned king. The heads are also specifically bigger than the rest of their body in proportion which shows strength and knowledge. Context: This art was created during the 16th century and can be specifically attributed to the Benin culture. We can also see a lot of influence from other nations and we can see Benin involvement within cultural diffusion and trade being shown here.
Chapter 155: Yaxchilán. Chiapas, Mexico. Maya. 725 CE. Limestone (architectural complex).
Form: This structure was created using limestone and was built on many platforms that ascended up and looked down on the main plaza. There were three doors that all lead to one central room within the complex and was decorated with stucco. Used a Corbel arch in the interior. Function: Was used to commemorate the rise of a new king to the Mayan Throne and it showed his strength. Was also used to represent Shield Jaguar's lineage and also was to justify his right to rule the entire Mayan Empire. Was also used to relay a message of the history of this complex and how it was built overtime. Content: The woman in the carving is holding a bowl and it has bloodletting ceremony materials which depicts their culture and what type of methods of medicine they used. The woman is burning Paper in a dish as a gift to the netherworld which shows how religious Indegenous Americans were. The serpent also has two heads where one was a warrior and another is a war god which shows how important war was to the Mayans. Context: The ceremony that is being depicted was used to commemorate Shield Jaguar II rise to the throne and him taking over the Mayan Empire. Was dedicated to Lady Xook who was the Shield Jaguar II wife, was very important to Mayans and was found in Chiapas, Mexico and was created during 725 CE. Also depicts Shield Jaguar II as a war hero and how he was the savior of the Mayans.
Veranda post of enthroned king and senior wife (Opo Ogoga). Olowe of Ise (Yoruba peoples). c. 1910-1914 CE. Wood and pigment. (wrong image)
Form: This was a veranda post that was created from wood and pigment, and they were extremely tall. We can also see very small traces of paint left after how long it has lasted, due to it being from so long ago. Function: Was a carved veranda post specifically made for the rulers of the Yoruba Nigerian kingdom. Content: We can see the king is the specific focal point of this art due to it being the tallest and in the middle. We can see his wife behind him supporting him which shows unity. Context: This was created in the Nigerian Kingdom of Yoruba during 1910-1914 and was used as a veranda for the king. The smaller figures are his "junior wife", his flute player, Eshu and the good of trickery.
Chapter 223: Presentation of Fijian mats and tapa cloths to Queen Elizabeth II. Fiji, Polynesia. 1953 CE. Multimedia performance (costume; cosmetics, including scent; chant; movement; and pandanus fiber/hibiscus fiber mats), photographic documentation.
Form: Used many costumes, cosmetics that had a scent to them when presenting to Queen Elizabeth II, used dance and chants to convey the importance of Tapa cloths and Fijan mats. Also used hibiscus mats and used pandanus fiber. Function: In order to honor the queen's visit huge tapa clothes were created in order to commemorate the Queen's coronation for being crowned the Queen of England. Many important people came to this and drank liquids from containers that people all shared a drink of. Helped maintain the relationship between the Queen and Fiji due them having a strong political relationship. Content: Was a mat and contained many people in costumes, had a geometric pattern and was extremely detailed. Context: A large piece of barkcloth was created two days before the queen left and it contained her initials in it and was used to commemorate her rule and to also show respect to her.
Chapter 166: Black-on-black ceramic vessel. Maria Martínez and Julian Martínez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century CE. Blackware ceramic.
Form: Uses a black on black vessel and it is highly polished and it was very important so it was used a lot. Uses contrasting shiny black and uses matte black, uses symmetry on both sides. An example is that it is evenly thick on both sides of the vessel and there were no imperfections on the vessel, the no imperfections represent how perfection that is required. Function: There was a thousand year tradition and it was present in the Southwest primarily where present day Mexico is and it represented their culture. Maria Martinez used a technique that made the pottery lighter, less thick and this vessel was different from previous pottery. Content: Uses a technique of clay and volcanic ash, was scraped till it was smooth with a gourd then after that was polished using stone. Create a matte finish due to the technique that Maria Martinez used. Context: This represented a turning point because pueblos were declining and the regular tradition was being replaced with more modern ways of art. Julian and Maria's artwork revived the art of pueblos and they added their own style which helped them leave their mark.
Chapter 217: Female deity. Nukuoro, Micronesia. c. 18th to 19th century CE. Wood.
Form: Was a wooden sculpture and was 40 centimeters long, it uses a basic geometric form, was carved using european tools or an adze. Uses some anthropomorphic features caused by horizontal lines and has kneecaps, a navel and also has a waistline. Function: Was used to represent religion, the deity's were specific gods each of the sculptures represent a different deity. All deity's had their own specific name, were used during annual harvest rituals, and were given offerings of food. People felt like the spirits of the deity's were summoned during the harvest rituals. Content: Was thought to have been inhabited by pieces of wood and animals, There were consistent sacrifices to the deity and these sacrifices represented a good harvest each year. Context: Were usually kept in religious buildings that were public to the community and were used as a site to worship their religion. They were usually decorated and dressed in certain garments, and were stolen by the missionaries who invaded the country.
Chapter 213: Nan Madol. Pohnpei, Micronesia. Saudeleur Dynasty. c. 700-1600 CE. Basalt boulders and prismatic columns.
Form: Was artificial islands and they were all connected by canals and spanned 170 acres in size in total. Was built into the water on a lagoon, the seawalls were 15 feet tall and 35 feet thick. Tides frequently flushed the canals clean, the walls were created out of Basalt Boulders and Prismatic Columns. The islands were made in a specific pattern, were made from southwest to northeast to use up the trade winds. Function: This was a very ancient city and was used as the capital of the Saudeleur Dynasty of Micronesia. Had many functions such as being a ceremonial site, political center, had many dwellings and had many tombs. Content: There were canals that ran through this site and they were made to connect the 92 artificial islands and was connected to a lagoon which shows how the MIcronesians took advantage of their environment. Context: The city was built so that it could separate the upper class from the lower class and to promote society inequality. The Kin arranged for the upper class to live closer to him so based on how close you lived in proximity to him it would represent your social class.
Chapter 165: Painted elk hide. Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Reservation, Wyoming. c. 1890-1900 CE. Painted elk hide.
Form: Was created out of painting elk hide and they used dye and paints that were gained through trade which shows globalization. We see Bison and Horse being depicted which helps us understand what they ate. Function: Was used by a warrior as a robe which was able to help identify the warriors and also showed strength of the warriors. May have also been used as a wall hanging, to show the strength of the Aztec Peoples. Content: Shows traditional aspects of the Cotsiogo People and how they were very nostalgic and were not very practical, how they hunted bison using bows and arrows, they changed from nomadic hunting due to almost killing bison to the point where they were almost extinct, the bison were considered as gifts from their Creator/God. This can be attributed to hide painting and this hide can be used to depict past events. Context: Men specifically painted these hides and they were used to depict daily life such as heroic actions and battles that were won and personal achievements. Eventually these hides were found in European and American markets which shows the cultural diffusion and the globalization that was happening at this time.
'Ahu 'ula (feather cape). Hawaiian. Late 18th century CE. Feathers and fiber.
Form: Was created out of thousands of bird feathers that were combined, birds had little useable feathers which meant that this activity would take a long time to do.
Chapter 164: Transformation mask. Kwakwaka'wakw, Northwest coast of Canada. Late 19th century CE. Wood, paint, and string.
Form: Was created out of wood and string and paint, and was symmetrical and had both animal and human characteristics. There were multiple layers and when you opened the mask then you would see a human face and you would see a birdlike exterior. Function: Was used in a ceremony named Poltach which helped memorialize their dead and also unite families during marriage. Was not only used by one culture but was used by multiple native american cultures in Northwest Canada. Content: The bird that is being displayed is a crow specifically and was created out of painted wood and was opened and closed to show the human and crow side using a string. Context: Was a part of a full body costume and was the head part of the full body costume. There were strings on the mask to help open and close the mask during the ritual dance/ceremony. Was mostly used in winter initiation ceremonies and was also used during Potlatch, they were inherited throughout a family and passed down due to how important they were.
Bandolier Bag. Lenape (Delaware tribe, Eastern Woodlands). c. 1850 CE. Beadwork on leather.
Form: Was held as a hip level strap and was strapped across the weared chest and was constructured of wool, cloth, cotton and leather. Function::Was a cross body bag that was specifically worn by native american men and women. They are also still worn to this day, are specifically worn by women. Acted as a symbol of an elaborate garb. Content: Was very large and was a heavily beaded pouch to show cultural identity and had a slit on the top of it.
Chapter 219: Hiapo (tapa). Niue. c. 1850-1900 CE. Tapa or bark cloth, freehand painting.
Form: Was used using the Tapa technique which was cloth, the pieces were pressed down and then used paste to combine all the pieces together. Used stencils and dye to paint the rest of the Tapa that had nothing on it and had no pattern. When the Tapa eventually dried the designs were repainted sometimes in order to make the color more prominent. Function: Was often worn as a piece of clothing, but was used primarily before cotton. Was used as a gift sometimes, due to its importance in society and to people and was used as a sort of currency. Content: Some Tapas were made for people with a high social class, these figures with a high social class usually wore these Tapas during important events in their lives. These designs usually represented marine life and different animals in the area such as jellyfish and starfish. Context: The Tapa was primarily worn by women, was usually used to commemorate a ritual or ceremony or was used to honor their ancestors. Hiapo was used in Niue for Tapa, missionaries from Europe usually brought Tapa cloth.
Chapter 167: Conical tower and circular wall of Great Zimbabwe. Shona peoples (Southeastern Zimbabwe). C. 1000-1400 CE. Coursed granite blocks.
Form: Was very enclosed and had multiple areas that it was a part of. The walls were also very used due to no mortar being used and only granite being used. Was also 800 feet long and 32 feet tall and 17 feet thick towards the bottom part of it. Function: The enclosure that was brought by this wall was most likely to prevent intruders from getting into a royal family's home. Zimbabwe was also a main trading post so could've been used to separate traders from citizens. Due to all the trading it also allowed for a lot of religion being spread around. Content: It was a very large and thick wall and it had multiple passageways within it. There is also a chevron pattern towards the top of the wall and the tower specifically was a religious center. Context: Zimbabwe was known for their houses of stone so it was most likely used to "protect these houses of stone. The tower also represents a good harvest within African culture and was a good symbol of good luck.
Chapter 171: Ndop (portrait figure) of King Mishe miShyaang maMbul. Kuba peoples (Democratic Republic of the Congo). C. 1760-1780 CE. Wood.
Form: We see the figure depicted in a sitting down cross legged pose. This figure was also created out of wood and the figure is holding a knife in his hand which represents peace within Congo. Function: This style of art was specifically used to commemorate previous rulers of Kuba and to show them in a strong state and to show how wise they were. Wasn't an actual representation of the king but was a representation of his spirit and could only be created after his death. Content: This figure is sitting on a base with a knife pointing out in a peaceful way and looks extremely peaceful. Context: Each king is different due to different symbols on the base of each of the figures, this king specifically has a knife pointing out. This was the oldest ndop that has ever been found, and was specifically rubbed with oil to protect it from being infested with insects.
Sika dwa kofi (Golden Stool). Ashanti peoples (south central Ghana). c. 1700 CE. Gold over wood and cast-gold attachments.
Form:-carved from a single piece of wood-gold over wood-four corner posts and open central post-saddle shaped seat-gold leaf-retangular base Content:-Story of Golden Stool (priest named Anoyke had power to bring stool from the sky into lap of Osei-gold in Ashanti culture= trade material-at death, ancestral stools are blackened and kept in special shrine rooms Function:-symbolic stool signifying divine royal power (soul of the ashanti people) Context:-Ashanti royalty in Kumasi-South central Ghana-1700 CE
Ikenga (shrine figure). Igbo peoples (Nigeria). c. 19th to 20th century CE. Wood.
Form:-tall-abstracted male figure-wood-prominent horns-holding swords-expresses strength Content:-a person object associated with an individual-male power of the right hand-large horns-right hand holds the sword-seated-left hand holds severed trophy head Function:-given to young males-Igbo person shrine figure Context:-Igbo people-19th-20th century
Female (Pwo) mask. Chokwe peoples (Democratic Republic of the Congo). Late 19th to early 20th century CE. Wood, fiber, pigment, and metal.
Function: Used in ritual dances Worn by men to depict women In the ritual dance, the masks hid the identify of the men and they moved like women. It was also designed to depict female ancestors. Form: - white powder around the eyes: (Content: connected to her spiritual realm) - symmetrical - the hairstyle is in constant circles - slender nose - high forehead - balanced features - pushed in chin - pounded dots around the eyes Context: The Pwo Mask was made by the Chokwe peoples, located in modern-day Democratic Republic of the Congo The Chokwe peoples were a matriarchal society The mask was discarded when it was not in use along with buried with the dancer who wore it. Content: Mask was made to be worn by men but was used to represent women. The mask appears to have a large head, representing its wisdom (that its brain holds), and calm face to reflect respect to the audient.
Bundu mask. Sande Society, Mende peoples (West African forests of Sierra Leone and Liberia). 19th to 20th century CE. Wood, cloth, and fiber.
Function: The main function of the Bundu masks was to guide women into initiation and adulthood and teach them how to be a good wives and good mothers. Form: -The people that were wearing the masks were covered in raffia. -The shininess of the mask was supposed to represent the inner person that women should strive to be. Context: Multiple groups of people wore this mask like the Mende people and they would be taken from their regular routines to an isolated spot in the forest to learn how to be a good wife and mother to society. The Sande/Bundu society is a secret society in Liberia that girls were initiated to. There's symbolism from being taken from the village to a dangerous/risky area. The girls would have their bodies covered in white clay to make the person dry, pasty, and ugly, attributes that contrast from the regular ideas of what girls should be due to them not having become women yet. Content: There is a lot ot of symbolism used to portray how people in the Made societies expected women to act. For example, the small eyes are supposed to mean that women should stay reserved and pure, the small mouth is supposed to mean that women should keep quiet and not engage in gossip, the small ears mean that the women should not listen to any gossip. Another example would be the rolls that are seen on the side are supposed to be the ideal beauty standard of the women. They were supposed to be full figured so that they would be able to produce enough children. Lastly, the marks under the eyes are supposed to represent the tradition of scarification that many women did.
Navigation chart Marshall Islands, Micronesia. 19th to early 20th century C.E. Wood and fiber
Slopped lines that indicate wave swell show technological advancement in society, intricate weaving Form: Made out of wood and fiber and could float, diagnol lines were added to show the wind and water currents. Function: Memorized before a voyage in order for you to know where and how to travel around. It was made specifically for one person and other people were unable to read it. Context: Marshall Islands layed very low under sea level and was hard to see, charts were called wapepe Content: Many wood sticks were put together which made it very delicate and showed the technological advancements of this society.
Aka elephant mask Bamileke (Cameroon, western grassfields region). c. 19th to 20th century C.E. Wood, woven raffia, cloth, and beads
The elite Kuosi masking society controls the right to own and wear elephant masks, since both elephants and beadwork are symbols of political power in the kingdoms of the Cameroon grasslands. Masked performances have a variety of purposes. Both of the masks displayed here were performed to support political authority, but in different contexts. The mask may have exerted the will of village elders by imposing economic prohibitions or organizing hunting parties to provide for and protect the village.
