African art
Yoruba "Ibeji/Twin" Figures (brown wood with beads aluminum bracelets, and traces of camwood 12 and 11 inches.)
Appear in identical pairs and the purpose of the rituals is to propitiate witches. Twin figures are probably the best known form of Yoruba sculpture. twins were considered dangerous to their parents, and in the past the weaker twin was allowed to die. A twin figure was carved it to represent the dead twin; it was of the same sex and with the facial scarification worn by members of its lineage. A second figure was made if the living twin did not survive. These figures were fed sacrifices and, if one twin was still alive, given similar beads and clothing.
North African
Area studied include: Algeria, Libya and Mauritania. In some areas "periods" are identified by what's depicted. For example there was: The hunter period, Archaic period, Ox or cattle period, Horse period, (chariot or horsemen) Camel period,
Akan Region
As defined here is not separated stylistically from the Western Guinea Coast by any sharp dividing line, but it is clearly distinguished by the absence of circumcisions and excision, and by matrilineal, instead of patrilineal descent.The Akan region is essentially maskless, in part because of the general absence of puberty ceremonies and associations with secret rituals.
Ashanti/Asante"Firtility Dolls
Fertility Dolls(Akuaba)-represent the ideal of beauty, fertility made by the Ashanti people of the Akan region. They have round heads.They are also placed on shrines. The Ashanti are also well known for their clothes their stools and objects covered in gold leaf and solid gold.
Fon "Legba"shrine figure(wood;16 1/4inches. Population 400,00)
Fon boys were circumcised in formally as late as the 17 to 19 years of age, but their king is said to have prohibited masked associations because they threatened his authority.
Igbo "Ikenga" Figure(A personal shrine which symbolizes a man's strength and fortune. Wood with black and white paint 21 1/4 inches.)
Ikenga are carved human heads with hornlike Projection and mounted on pedestals, or more elaborate figurines.
Igbo Ukwu Vessel
Is an ancestral culture of Present day Ibo or Igbo people in Southern Nigeria. Igbo Ukwu arts are often led bronze and like other objects considered are rough arts although they traded with people their artwork is considered original and many objects were "discovered" on land of the three Anozie brothers.Igbo Ukwa artists depicted more animals, and insect than humans.
Benin plaque and Head
Is perhaps an area and place of arts and artifacts most often studied by westerns. The culture existed before the Portuguese "art"objects are often dated between the 1400 and 1897. Their arts are known for the frequent depiction of kings "in" bronze head "portraits" (which were often surmounted by carved Ivory tusks) and were placed on royal ancestor altars. The artist also created many plaques (used to commemorate important events). These plaques were said to be influenced by European illuminated and illustrated manuscript.
Ife Head
Is southwest of Nigeria in the area still considered scared Ile Ife. The artist etaded depictions of humans, animals because of their realistic deception of many westerns are attracted to the Ife arts they were often dated to period between the 12th-century and the 15th century. Although used among the Yoruba the objects are believed to have been used in other ways by there Ife ancestors.
SOUTH-WEST AFRICAN, PAINTING ON ROCK: the "WHITE LADY" OF BRANDBERG
It was the with slight variations which ensured the certainty of touch of the old African masters, for as we have mentioned, the African sculptor uses no sketch-book to practise in: his practice is in the finished sculpture. The visual presentation of the Biblical stories in Christian churches, which was the primary aim of the Oye Ekiti scheme, corresponds very closely to the way in which sculptures, paintings, and stained glass in the European churches of the Middle Ages served both to inspire christian sentiments in the worshippers and to instruct those members of the congregation who could not read. The Oye Ekiti scheme, however, attempted to go further and instituted ceremonies which employed these Christian images in ways which resembled the pagan ones. At Christmas-time children carried Christian images in procession, an idea copied from a traditional festival in which the images are paraded round the town in celebrating a general benediction on the community. This is quite distinct from the cults which use masks.
Baga "Nimba" mask(darkened wood 41 inches private collection)
Names for a goddess of fertility, was used in the Simo association, which is the Baga equivalent of Poro. It is a helmet and mask in the form of a huge female bus with a projecting face, prominent nose, and pendulous breasts between which there are two holes out of which the man who wears it can see. It was worn over the head after the rice harvest during rituals intended to insure the fertility of the fields and of people.
Paleolithic
Old age stone. 200,000 B.C.E to 35,000 B.C.E Works on rock surfaces
Bambara "Tyi Wara
One of the most famous genres of African art is the wooden Bambara antelope (tyiwara,kun or sogoni kun), which is fastened to a basketry cap and worn on top of the head. This symbolizes Tyiwara, the legendary being who taught mankind to cultivate the land with digging sticks. When a new field was to be cleared, two members of the tyiwara association would appear, wearing a pair of antelope headpieces, one male and one female bent over their sticks, they would imitate the play of young antelopes in order to propitiate the earth spirits and insure the field's fertility.
Baule figure (male figure Blackened wood with beads and metal pendant;14 inches.)
Originated in Ghana, but migrated to the Ivory Coast and settled near mask making groups. Believed they were influenced by those and also created many mask.The Baule are also known for their figures representing ancestors, bush/nature spirits and "spirit spouses." Various functions have been ascribed to them, some were covered with gold leaf. One of the first example of African art to be appreciated in Europe are relatively realistic and very carefully finished.
SONGE, KIFWEBE MASK PAGE 166 #121 southeastern part of Congo layered hairstyle
Songye kifwebe association mask. Wood with red, white, and black paint; 22 3/4 inches. Songye charm figures plate 122 vary considerably but are usually typified by a large head with an angular, projecting jaw, a fanlike treatment of the hands, bent legs, and large feet. Some have sheet copper attached to the face, cowries inserted in the eye sockets, or, as in some Kongo and Yaka figures, the head turned sideways. Magical substance is contained in horns which protrude from the head or are attached to the body, and it may be inserted in cavities in the stomach. Similar human figures support carved wooden stools and neck rests. Songye smiths were renowned for their skill. They forged ceremonial iron axes with copper-covered handles which were widely traded in the eastern Congo. They also wrought, rather than cast, human figures in copper.
Engraving (on rocks)
Technique
Bassa Mask(9 1/2 inches Blackened wood), Miniature Mask (3 1/4 inches) and Dan Mask(Blackened wood; 8 3/4 inches.)
The Bassa (population 150,000) of the coastal region of central Liberia are reported to do little wood carving yet they do carve human figures facial mask for the Poro association and replicas of these mask in miniature which presumably have functions similar to the maskettes of Dan. The Dan (population 150,000) Live in northern liberia and the western ivory coast where they are known respectively as Gio and Yakuba.
Mende "Bundu" Helmet Mask(wood with a black paint 17 inches private collection.)
The Mende (population 600,000) Live in Sierra Leone and adjacent parts of Liberia. These blackended helmet masks with thick necks fit over the wearer's head; often there are rolls of flesh on the neck, the face has a high forehead and sometimes approaches a diamond shape, and the female hairdress is shown in detail.
NALU, BANDA HORIZONTAL HEAD PIECE- page 56 #22
The Mende (population 600,000) live in Sierra Leone and adjacent parts of Liberia. The functions of their Poro and Sande associations (known as Poe and Bundu) have been discussed. No Poe masks have been published to my knowledge, but a number of Bundu masks are known Plate23. These blackened helmet masks with thick necks fit over the wearer's head; often these are rolls of flesh on the neck, the face has a high forehead and sometimes approaches a diamond shape, and he female hairdress is shown in detail. Most Mende carvings represent women. Female figure plate 24 and human heads on cosmetic palettes, loom sticks, pipes combs, harps, and Bundu staffs also have a feminine hairdress, high forehead, and flesh rings on the neck. The female figures were presumably used in divination by the njayei association, which resembles yassi, a healing association of the bulom that meets in houses decorated with spots. The Bassa (population 500,000) of the coastal region of central Liberia are reported to do little wood carving. Yet they do carve human figures plate 26, facial masks for the Poro association , and replicas of these masks in a miniature plate 27, which presumably have functions similar to the maskettes of Dan.
PENDE, MASK PAGE 144 #104 MAKE VARIOUS MASKS
Wood with red, white, and black paint, raffia cloth, and braided raffia, 15 inches. Private collection. A wooden helmet mask (giphogo) with a tubular nose and a rounded beard that projects forward is used among the main Pende group plate 105. Wooden masks, of which there are several other types, are usually painted red, white, and black. Other masks (minganji) of vegetable material, including a large flat basketetry disc to which tubular eyes or a small wooden face are attached (gitenga), police the circumcisions. Large wooden birds or female figures were placed on the roofs of Chiefs huts, which were also decorated with carved and painted doorframes. The Pende also carved small figurines-often reminiscent of the kwese-stools, drums, ivory, and wood whistles and snuffboxes, cups, tobacco mortars, staffs, and adze handles.
YOMBE MOTHER AND CHILD FIGURE PAGE 134 #91 ANCESTRIAL EFFIGY (MINTADI)
YOMBE mother and child. Yellow wood; 12 3/4 inches. Buffalo museum of science.
YAKA, DIVINER'S SLIT GONG (MUSICAL INSTRUMENT) PAGE 144 #103-SUKU
Yaka. Diviners slit gong (mukake). Wood; 8 3/4 inches. Private collection. Mons masks have a human face with braided raffia hair, a bulging forehead, half-closed eyes, eyebrows which run from ear to ear and meet above a slightly upturned nose, and a pointed chin; a variant adds a long carved beard that curves slightly forward plate 104. Miniatures of these masks are carved in ivory, bone, and wood, or cast in open molds in lead, copper, and brass, and are worn by men, tied about the neck, as protective amulets.
KONGO "CHARM FIGURE" (WITH IRON)- PAGE 136 #93
power figure (nail fetish) (nkisi) right Kongo charm figure. Darkened wood with iron, clay, and shells; 32 1/2 inches. Private collection
NUBIAN PYRAMID
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Fon figure of "Gou" God of war and Iron 65 inches.
Ceremonial axes with openwork brass blades were made for use in worshiping the God of thunder and as batons. The most remarkable forged iron sculpture in all of Africa was made by the Fon.
CHOKWE, MALE FIGURE PAGE 151 #109 REMEMBER ANCESTORS
Chokwe. Male figure (kaponya) blackened wood; 23 inches. Private collection. The Chokwe carved forceful human figures (tuponya), blackened, with elongated arms, large hands and feet, and bent legs, some wearing headdresses representing the cikungu mask plate 109. These commemorated ancestors and were fed cassava in times of misfortune and illness. Smaller, more restrained Chokwe figures have often been attributed to the Lunda, who controlled them politically since the sixteenth century, Chokwe combs, metallophones, drums, snuffboxes, cups, and Chiefs chairs and staffs were decorated with human figures and representations of these masks. The Chokwe also carved whistles, pipes, and fly whisk handles.
Ewe Region
Concentrating on Fon people, they like the AKON people did not use many mask, but created figures (of wood or metal) representing tradition gods and goddesses of nature. This area of the Vodon (protective spirits) tradition that influences Haitian, Brazillian/Nago+New Orleans "African Diaspta" cultures.l
Nok Terra-cotta Head 5 1/2 inches(Northern Nigeria)
Culture began approximately 3500 B.C.E Terracottas are often dated to the "hey day" of Nok (the period between 400 B.C.E to 200 B.C.E. Nok artists were said to be objects of various size, most between the size of a inches to 4 feet some life-size. We could also recognize Nok terra-cottas by the pierced + open lips, nostrils, ears, eyes and pupils
KUBA KINGFIGURE WITH GAME BOARD PAGE155 #110 OBJECT INFRONT OF THEM SYMBOLIZES WHO IS PORTRAYEL
KUBA king figure with game board. Brown wood; 26 3/4 inches. KUBA chronicles list 125 kings, the ninety-eighth of whom is believed to have reigned during the solar eclipse of 1680. Shamba bolongongo, the ninety-third king, whose reign has been placed at 1600-20, was a culture hero under whom the kingdom flourished. He is credited in these verbal traditions with the introduction of cassava, Palm oil, tobacco, embroidery, and raffia pile cloth, and with having his own statue carved in wood. A series of commemorative figures carved by court sculptors depict individual kings wearing flat headdresses and seated cross legged with a cup, game board (lela), slave bird, or other symbol derived from legendary accounts of their reigns plate 110. These carvings don't date back to ancient times, however, and the series is far from complete
KUBA YOLO ASSOCIATION PALM WINE CUP PAGE158 #114
KUBA. Palm wine cup with YOLO association hand. Brown wood with shell inlay and metal staples; 8 1/2 inches. Lowie museum, Berkeley. The shene-malula mask and other mask types are used in the babende association, which served as the Kings secret police. Wooden hands, carved separately or on drinking cups plate 114 and drums, were insignia of the YOLO, a military association that required its members to produce the hand of a slain enemy as proof of their courage
KUTA, RELIQUARY FIGURE PAGE 129 #87
KUTA. Reliquary figure (mbulu-ngulu). Brass covered wood; 25 1/4 inches. Louie Museum, Berkeley
Dogon Equestrian figure(darkened wood; 26 1/4 inches)
Known for their figures which are often include representation of the Nommow (are known for geometric patterns) and their mask. Over 80 types are acknowledge. They are said to be among the tallest in Africa
LUBA BULI, NECK REST WITH FEMALE FIGURE PAGE 170 #126
Luba (BULI)neck rest with female figure. Darkened wood 7 1/2 inches A series of small BULI figures, neck rests plate 126, and stools, all of which are distinguished by a long-faced (and long handed) style, have attracted special interest both because of their great sculptural quality and because they may be the work of a single carver in the small chiefdom of BULI (population 5000) among the northern Luba of Katanga. These carvings have downcast faces, half closed eyes, and sometime sunken cheeks
LUBA STOOL WITH FEMALE FIGURE PAGE 169 #124
Luba stool with female figure. Brown wood; 15 1/2 inches lowie museum, Berkeley Luba kifwebe masks are painted black and white and decorated with curvilinear grooves like those of the songye, and they have a protruding nose and mouth; but they are basically hemispherical in structure plate 123. They were worn in a masked dance (maybe a kifwebe) to celebrate the arrival of an important visitor and the death or appointment of a village dignitary. A blackened helmet mask has large horns that curve forward from the back of the head.
LULUA FEMALE FIGURE -BASCOM PAGE 161 #118 BLACKENED WOOD LOTS OF SCARIFICATION
Lulula female figure (pfingu) blackened wood 10 1/2 inches The lulua or bena luluwa (populations 300,000) live between the kasai and sankuru rivers, south of the kuba. They developed a striking sculptural style which readily differentiates their figurines from other, especially their profusion of facial and bodily scarifications. In addition to freestanding figures (pfingu) which often hold a cup in the left hand plate 118, the lulua carved short staffs with a mother and child, tobacco mortars with a small crouching figure plate 119, masks, drums, pipes and neck rests.
South Africa
Many works were created by the so-called "bushman." It said that easier works depict scenes of peace. These works are also dated based on the number of colors used.Example: monochromatic, polychrome and two colors used.
Yoruba Gelede Masks( wood with tan,blue,white and black paint 13 3/4inches.)
Mask used in the gelede cult were normally worn slanting down over the top of the face so that the wearer, whose identity was not secret, could see out through the eyeholes.
Painting
The Transvaal Ndebele are justly famous for their painted house walls, and there are occasional representational designs in basketry.
Senufo "Rhythm Pounder"(Brown wood 23 1/2 inches)
The grades of this association used staffs, topped by human figures, large carvings of the hornbill, carved drums, and tall human figures with which the dancers pounded the ground in time to the drumbeat and like all groups studied, they make numerous functional objects. They had objects created for society of divines.
LUMBU, PAINTED "WHITE-FACED" MASK PAGE 131 #89
The lumbu or balumbo (population 12,000) live in Gabon, south of the fang. They are one of a number of the matrilineal groups living near the lower Ogowe River who use similar white faced masks plate 89, including the galwa, lali, mpongwe, nzebi, punu, sangu, and Sira. Among the punu and sangu, and perhaps the others as well, these masks was worn by stilt dancers who represented spirits of the dead. Figures plate 90, hooks for hanging baskets, and figures attached to a bundle of magical substance were carved in the same style. Attributions of these pieces are uncertain because they were originally identified as mpongwe, a small group that numbers only 1,000, or simply as Gabon, and later as of the "Ogowe River style."
Bobo butterfly mask (wood with red, white, and black paints; 51 1/4 inches).
These were worn during funeral rites and when invoking the deity, Do, for rain and fertility of the fields after planting and harvesting. Butterflies, which swarm after the first rains, are associated with the planting season, and a large, horizontal butterfly mask plate is worn by a dancer who twist his head about so that the mask almost appears to be spinning.
