Friday –TURN IN: Ch. 15 & Ch.34 worksheet (to me) 1.Beginning (5 min) finish putting together...
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Transcript of Friday –TURN IN: Ch. 15 & Ch.34 worksheet (to me) 1.Beginning (5 min) finish putting together...
Friday– TURN IN: Ch. 15 & Ch.34 worksheet (to me)
1. Beginning (5 min) finish putting together posters.
2. (3 min) presentations (everyone take notes).please write down name/ short description of artwork
3. (Last 15 min: Jeopardy Review Game)– If we run out of time, I’ll put this on my website
so you can review at home.
• Will only have 1 or 2 questions relating to African Art.– Based on the 4 images I gave you.
Test is Primarily Ancient Near East & Egyptian.
UNIT 1 TEST• TEST Monday, STUDY!
– UNIT 1 Image Packet– UNIT image P.P. on my website– My WEBSITE: Online Resources: Image P.P. by Darrocott
• ( ARTWORK BY THEMES)
– STUDY VOCAB FROM QUIZZES!
• The FORMAT (will have some images)
– Identification– Multiple choice– Short answer– Short essay (2)– Long essay (1)
There will be chance for extra credit points
Will use bell curve if needed
DO NOT SKIP CLASS!MAKE-UP TEST IS ALL LONG ESSAYS.
Art of Africa
Core Beliefs
• Honor Ancestor• Worship Deities• Elevate Rulers to Sacred Status
Nomadic vs. Farmers
• Nomadic Art: – Personal adornment, rock engravings, animal/
ritual paintings
• Settled Farmers: – Figures (wood, clay, metal) shrines to ancestor
deities. Pray for good crops.
THE ART• THEMES: Images of Identity/ Status/
Worship/ Power/ and Gender Roles
• Naturalism &/or Extreme Stylization (abstract/ exagerations)
• Materials: wood, terrecotta, ivory, brass (casting), textiles
Below: Head from the Nok culture, c. 500 BCE-200 CE,
terracottaRight: Standing Nok figure
Nok culture/ problems of preservation of African art/ stylization vs. naturalism
style characteristics: piereced eyes, mouth, & ear holes. Let heat get out during firing.
Broken bands on neck, ~ indication of elevated status
Head of a King (Ife), c. 13th century CE, brass
naturalistic sculpture in the city of Ife/
scarification on the face
of an oni “King”/ holes along the neck
Right: King (Ife, Nigeria), eleventh to twelfth century, zinc
brassBelow: Memorial Head (Benin,
Nigeria), c. 1400-1550 CE, brass
• Belief: – Head is the Location
of Wisdom, Destiny, Essence of Being, & ability to communicate with spiritual forces in the ancestral world.
• Casting Tradition
• Memorial Heads• “Rolled Collars”
Head of an oba (Benin), c. 1700-1897
CE, brass
kingdom of Benin/ an “oba” with
identification marks (ikharo)/ appearance
of casting due to contact with
Portuguese traders/ coral-bead necklaces
threaded with elephant hair/ eyes
with pupils inset with iron
Brass commemorative head with tusk from the
altar for Oba Ovonramwen,
photographed in 1970
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Mounted King and Attendants (Benin), c. 1550-1680, bronze
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Mounted King and Attendants (Benin), c. 1550-1680, bronze
high relief cast sculpture created for a door/ use of hierarchical proportion/ flanking figures used to create a symmetrical
composition suggesting order reinforced by cosmic imagery or
symbolism
Oba wearing coral-beaded regalia and seated on a dais
Africa after 1800
• Europeans :– Exploration– Trade– Influences to African Cultures (christianity)
Children & Continuity of Life
Children- – symbolize the future.– social security (for parents)
•Yoruba- 1 of highest rates of twin births• Often birth complications (deaths)
Left and Right: Twin figures (ere ibeji) from the Yoruba (Nigeria), 20th century, wood
Art forms of deceased honored. (dress, dance, sing to it)
Belief: honoring will bring good fortune to the surviving members.
Twin figures of the Yoruba (Nigeria), early twentieth century, cowrie shells and wood
Spirit World
• Many cultures believe there are many different spirits involved for human offers
• Nkisis: objects that harness spirit forces
• Diviner: specialist in ritual & spiritual practices
Power figures of the Kongo culture (Zaire), 19th century, wood, nails, pins,
blades, and other materials
power figures (nkisi nkonde) of the Kongo
culture/ bilongo ingredients drawn from
plants, animals, and minerals (includes human hair, nail clippings, etc…) to bring a “neutral figure”
to life
Nails or pointed objects driven in (or removed) to provide a particular function
(oath-taking, healing, etc…)/
“pakalala” pose, a stance of alertness, ready to strike or
attract/ problematic issues regarding
Western concepts of “art” and “artist”
Abogunde of Ede. Shango shrine figure holding a dance staff, Yoruba (Nigeria), nineteenth
century, wood and beads
large number of orisha of the Yoruba/ Shango, god of thunder/
oshe shango staff used in a ritualistic hypnotic state/ balancing a double axe,
carrying the burden of child-bearing and child rearing/
suggestion of purity through nudity
A figure of Eshu of the Yoruba
(Nigeria), twentieth century, wood and
cowrie shells
Eshu (disorder) and Orunmila (order) / mediator between gods and humans/
long braids of cowrie shells,
referencing his role as god of the marketplace
Ancestral Couple (?) (Dogon, Mali), c. 19th century, wood
Dogon concept of the primordial couple/ protective
male and the nurturing female/ reverence for ancestors
Male Chi Wara Antelope Headdress, Bamana, Mali, 19th-
20th century, wood
Reliquary guardian figure of the Kota (Gabon), nineteenth
and twentieth centuries, wood, copper, iron, and brass
Kota funerary figures (mbulu-ngulu)/ bwete bundle of bones
and relics/ highly stylized human form to suggest non-
human spiritual forces/ reflective brass and copper
used as an apotropaic device to deflect evil forces
Kente cloth of the Ashanti (Ghana), 20th century, silk
Ashanti, known for their woven textiles/ kente cloth, woven with patterns signifying rank/ warp (vertical threads in weaving that are attached to
the top and bottom of a loom, through which a weft is woven)/ weft (threads of yarn woven over and under warp threads)/ worn when the king held
court
An akuaba figure of the Akan (Ghana),
nineteenth-twentieth century, wood
Shrine figure (akua mma) of the Ashanti
(Ghana), wood
Figure of a Tano priest of the Akan (Ghana),
nineteenth-twentieth century, wood
Female mask of the Mende (Sierra Leone), wood
masks from the Mende worn by priestesses or judges (when women rule for three years in a ritual calendar, alternating with men) in ritual dance/ the
Sande society of women (complementary to the Poro
society of men)
a small closed mouth and downcast eyes (indicating a serious
demeanor) and a high, broad forehead (wisdom)/
black surface evoking ancestral spirits
emergent from their underwater homes (also symbolized by the turtle
on top)
Lets Analyze!
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