Wednesday, September 12, 2007
blog/journal 4
In about a page or so, describe some of the diverse values Africans expressed through art, architecture, religion, music, and lifestyles in the early years of African civilization (approximately 400-1450). See chapter 9 and the internet for ideas. Do you see any lingering influences of these cultural values here in the United States or anywhere else?
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African art is unlike European art, it serves a purpose. It may be used in a household, or fulfill a social religious role. Furniture, dished, and utensils are always designed with a decorative theme to it. The most common decorative everyday item would be baskets, handmade pottery, carved wooden vessels, stools, and headrests. When I think African art, I think of those uniquely designed masks which always seem to be different. Masks were worn during festival, celebrations, and ceremonies. It would serve the purpose of cleanse, honor, entertain, and bless.
African religion art was created to contact ancestors or nature spirits. They used art objects like wooden or clay figures, these would be used to make contact with spirits and guide their powers. They also placed baskets filled with bones and other remains of the dead kept in the huts at the edge of the village. This made it so only designated villagers could, or would enter
Jewelry was another unique creation were every peace was different. Jewelry consist of earrings, necklaces, armlets, rings, pendants, belts, and bracelets. Jewelry was made from fold, brass, leather, or ivory, and covered with beads, feathers, and seeds.
African music can be heard through the artistically created instruments such as, drums, slit gongs, rattles, double bells, harps, fiddles, and I could go on. Music would be played during festivals, celebrations, and ceremonies. But where would the music be without the dance? Answer: It wouldn’t. The dancing consists of wild moves and just about every piece of art they’ve made, they wear. They would dance out stories, and perform spiritually.
African music plays a huge peace in today society for it has shaped the blues and jazz we listen to here in America. Blues and jazz often carryout the same rhythms and sounds we here today.
Albert Hofmann out…
From what I could get from this chapter, the primary values that were held by early Africans were expressed primarily in their art. Most of the art that survives from this period is depicting hunting or farming, warfare, ceremony, or the family unit. Depictions of hunting have been found all across Africa, from cave walls to hide or canvas paintings. These works of art tend to show a coordinated group of hunters pursuing herds of animals. This shows that throughout time, from early nomadic tribes all the way to coordinated city-states, the population has relied on their hunting ability to survive.
On the opposite end of the spectrum from hunting is farming. The development of agriculture in the Nile Delta region marked a significant shift in how humans lived. Art from the time shows fields being cultivated along rivers, plants being harvested, and food being produced from the harvested goods. Many of these depictions show us today how integral this way of life was to the expansion of humans in the area, they clearly illustrate how agriculture was the most central force in the history of Africa.
Another facet of life that is also often depicted in African art is warfare and ceremony. Many paintings, figurines, and carvings show warriors armed with all sorts of weapons, dressed in fantastically adorned outfits with some even made up to look like animals themselves. Some regions of Africa were rich in precious metals and jewels and these were liberally applied to their art, people were shown wearing elaborate jewelry which could have been a display of power or station in the community.
The family unit and relationships have also been displayed frequently in African art. There are a large number of statues that have been found showing the nature of relationships between men and women in early times. Men were typically shown to be providers and protectors, where women were depicted as nurturers and caregivers.
Most of the architecture that we have discovered displays a good understanding of geometry and mathematics; however they were relatively limited by their available resources. Many of the structures don’t exist anymore because they were constructed with wood and clay which are much more susceptible to weather and decay than the stone and metal structures in Europe and northern Africa.
Some of the values Africans expressed through art, architecture, religion, music, and lifestyles are still remnant today. However, most of the physical evidence of these values can only be presented through the art and architecture of early African civilization.
Some African cultures displayed the roles of men and women in their society through art, men being the progenitor, protector, and provider; women being the child bearer and nurturer. Some people today still believe in the role of the sexes today, that both men and women play certain parts in society. Other pieces of art display cultures herding and domesticating animals, which is also a major theme in any cultures development. Then, some artwork shows war between two religious groups or offerings from one group to another, there were even offerings of slaves from one group to another. So, even back then war between religions and slavery were present were they are still present in some countries of the world today. Sculptures have been found that resemble monoliths topped with soapstone symbols of animals, whether they are religious artifacts or symbols of power is still under debate. The one thing that can be said about the sculptures is that they resemble modern day gargoyles and statues that have significant memorial purposes.
Sculptures and art are not the only means African cultures expressed their beliefs and values, some can be found in the architecture of that time period. Many African cultures displayed their knowledge of math and architecture as well as wealth and manpower when they created structures like the Great Friday Mosque, Djenne. A lot of cultures wished to show their wealth and power, this came in the form of architectures like the Great Mosque at Kilwa. However, not all architecture was meant to show wealth, some were used as displays of power and used for defensive purposes. The Ruins of Great Zimbabwe is considered the most impressive monument in the African interior.
African art
African art, art created by the peoples south of the Sahara.
The predominant art forms are masks and figures, which were generally used in religious ceremonies. The decorative arts, especially in textiles and in the ornamentation of everyday tools, were a vital art in nearly all African cultures. The lack of archaeological excavations restricts knowledge of the antiquity of African art. As the value of these works was inseparable from their ritual use, no effort was made to preserve them as aesthetic accomplishments. Wood was one of the most frequently used materials—often embellished by clay, shells, beads, ivory, metal, feathers, and shredded raffia. The discussion in this article is limited to the works of the peoples of W and central Africa—the regions richest (because of the people's sedentary lifestyles) in indigenous art
Western Sudan and Guinea Coast
In this region the style of woodcarving is abstract. Distortion is often used to emphasize features of spiritual significance. The figures of the Dogon tribe of central Mali stress the cylindrical shape of the torso. Some wooden carvings were made by an earlier people, the Tellem. Sculptures such as masks carved of soft wood are homes for the spirits and are discarded once they have been used in rituals. The Dogon have three distinctive styles of sculpture: masks incorporating recessed rectangles, ancestor sculptures carved in abstract geometric style used as architectural supports, and freestanding figures made in a cylindrical style. High-ranking Dogon families often had carved doors on their granaries.
The Bambara people of W Mali are famous for their striking wooden headdresses in the form of stylized antelope heads. The art of the Baga of NW Guinea includes snake carvings, drums supported by small free-standing figures, and spectacular masks. Poro society members in Liberia made ceremonial masks notable for their size, color, and vitality of expression. The Dan are known for their quasi-naturalistic, smoothly carved masks that represent materializations of spirits of the forest. Many of their masks are used to instruct initiates and relate to various social responsibilities, such as fighting fires and making peace. The Dan also carve large wooden spoons with anthropomorphic features used in ceremonies to show the importance of women.
The Baule of Côte d'Ivoire (the Ivory Coast) carve figures to house the spirits of the dead or to represent a spiritual spouse or soul mate. These have precise renderings in high relief of ornate hairdresses and scarification patterns (see body-marking). The art of the Guro of Côte d'Ivoire consists almost entirely of human masks and of loom pulleys. Senufo masks represent human features with geometric projections and legs jutting out from each side of the face.
The Ashanti kingdom of Ghana employed (18th and 19th cent.) a system of brass weights based on a unit that was used to weigh gold dust, the state currency. These weights are small figures, many less than 2 in. (5 cm) high, which were cast in the cire perdue (lost wax) process found in many W African regions. They portray human and animal forms with a liveliness and spontaneity unusual in African art. Many are associated with proverbs that provide cultural continuity. The artists of Dahomey produced appliquéd textiles, including banners using colorful materials that often depict historical events.
Cameroon and Gabon
The small tribes of the Cameroon grasslands display a fairly homogeneous style. Sculpture is bold in execution and vital in expression. Wood carvings include large house posts, masks, and other ritual objects. Among the Mangbetu people of Gabon, the decorative motifs on stringed musical instruments, drums, and spoons emphasize the human figure, often elongated with smooth surface planes. Some figures are said to act as guardian spirits over ancestors whose bones are kept in boxes. The art of the Bakota people is best known for highly stylized wood and metal figures that were placed in reliquaries.
The Congo Region
The sculpture of the Kongo kingdom is usually characterized by naturalism. Each of the culture's ancestor figures represents a personalized portrait and reveals details of body decoration and dress. The best-known art works of the Bateke of the W Congo are small power figures. These figures stand with arms close to the body in a stiff, frontal pose. The Bapende sculptors of the W Congo give a fluid surface to their ivory pendants portraying human faces. The Bembe created small-scale sculptures in wood meant to contain the spirits of the ancestors. Typical of these figures are thick lips and beards and eyes often inlaid with porcelain.
In the Bushongo kingdom statues of royalty were carved (17th to 19th cent.). The king was shown in a pose of static aloofness, wearing a flat crown and often holding a ritual sword. The Basonge of the central Congo carved small standing power figures and masks, bold in proportion and anticipating cubism. The Baluba of the SE Congo produced bowls and stools supported by slender figures. Small ivory masks and neck rests were made in the E Congo. The art of the Chokwe of S Congo and Angola consists of freestanding figures, ceremonial staff heads, masks, and carved stools. The dynamically carved figures are particularly outstanding.
Influence on Western Art
African art came to European notice c.1905, when artists began to recognize the aesthetic value of African sculpture. Such artists as Vlaminck, Derain, Picasso, and Modigliani were influenced by African art forms. Interest in the arts of Africa has flourished, and many modern Western artists have rediscovered the enduring qualities of African art. In the latter part of the 20th cent., African art has come to be appreciated for its intrinsic aesthetic value as well as continuing to be a source of inspiration for the work of Western artists.
African art
African art, art created by the peoples south of the Sahara.
The predominant art forms are masks and figures, which were generally used in religious ceremonies. The decorative arts, especially in textiles and in the ornamentation of everyday tools, were a vital art in nearly all African cultures. The lack of archaeological excavations restricts knowledge of the antiquity of African art. As the value of these works was inseparable from their ritual use, no effort was made to preserve them as aesthetic accomplishments. Wood was one of the most frequently used materials—often embellished by clay, shells, beads, ivory, metal, feathers, and shredded raffia. The discussion in this article is limited to the works of the peoples of W and central Africa—the regions richest (because of the people's sedentary lifestyles) in indigenous art
Western Sudan and Guinea Coast
In this region the style of woodcarving is abstract. Distortion is often used to emphasize features of spiritual significance. The figures of the Dogon tribe of central Mali stress the cylindrical shape of the torso. Some wooden carvings were made by an earlier people, the Tellem. Sculptures such as masks carved of soft wood are homes for the spirits and are discarded once they have been used in rituals. The Dogon have three distinctive styles of sculpture: masks incorporating recessed rectangles, ancestor sculptures carved in abstract geometric style used as architectural supports, and freestanding figures made in a cylindrical style. High-ranking Dogon families often had carved doors on their granaries.
The Bambara people of W Mali are famous for their striking wooden headdresses in the form of stylized antelope heads. The art of the Baga of NW Guinea includes snake carvings, drums supported by small free-standing figures, and spectacular masks. Poro society members in Liberia made ceremonial masks notable for their size, color, and vitality of expression. The Dan are known for their quasi-naturalistic, smoothly carved masks that represent materializations of spirits of the forest. Many of their masks are used to instruct initiates and relate to various social responsibilities, such as fighting fires and making peace. The Dan also carve large wooden spoons with anthropomorphic features used in ceremonies to show the importance of women.
The Baule of Côte d'Ivoire (the Ivory Coast) carve figures to house the spirits of the dead or to represent a spiritual spouse or soul mate. These have precise renderings in high relief of ornate hairdresses and scarification patterns (see body-marking). The art of the Guro of Côte d'Ivoire consists almost entirely of human masks and of loom pulleys. Senufo masks represent human features with geometric projections and legs jutting out from each side of the face.
The Ashanti kingdom of Ghana employed (18th and 19th cent.) a system of brass weights based on a unit that was used to weigh gold dust, the state currency. These weights are small figures, many less than 2 in. (5 cm) high, which were cast in the cire perdue (lost wax) process found in many W African regions. They portray human and animal forms with a liveliness and spontaneity unusual in African art. Many are associated with proverbs that provide cultural continuity. The artists of Dahomey produced appliquéd textiles, including banners using colorful materials that often depict historical events.
Cameroon and Gabon
The small tribes of the Cameroon grasslands display a fairly homogeneous style. Sculpture is bold in execution and vital in expression. Wood carvings include large house posts, masks, and other ritual objects. Among the Mangbetu people of Gabon, the decorative motifs on stringed musical instruments, drums, and spoons emphasize the human figure, often elongated with smooth surface planes. Some figures are said to act as guardian spirits over ancestors whose bones are kept in boxes. The art of the Bakota people is best known for highly stylized wood and metal figures that were placed in reliquaries.
The Congo Region
The sculpture of the Kongo kingdom is usually characterized by naturalism. Each of the culture's ancestor figures represents a personalized portrait and reveals details of body decoration and dress. The best-known art works of the Bateke of the W Congo are small power figures. These figures stand with arms close to the body in a stiff, frontal pose. The Bapende sculptors of the W Congo give a fluid surface to their ivory pendants portraying human faces. The Bembe created small-scale sculptures in wood meant to contain the spirits of the ancestors. Typical of these figures are thick lips and beards and eyes often inlaid with porcelain.
In the Bushongo kingdom statues of royalty were carved (17th to 19th cent.). The king was shown in a pose of static aloofness, wearing a flat crown and often holding a ritual sword. The Basonge of the central Congo carved small standing power figures and masks, bold in proportion and anticipating cubism. The Baluba of the SE Congo produced bowls and stools supported by slender figures. Small ivory masks and neck rests were made in the E Congo. The art of the Chokwe of S Congo and Angola consists of freestanding figures, ceremonial staff heads, masks, and carved stools. The dynamically carved figures are particularly outstanding.
Influence on Western Art
African art came to European notice c.1905, when artists began to recognize the aesthetic value of African sculpture. Such artists as Vlaminck, Derain, Picasso, and Modigliani were influenced by African art forms. Interest in the arts of Africa has flourished, and many modern Western artists have rediscovered the enduring qualities of African art. In the latter part of the 20th cent., African art has come to be appreciated for its intrinsic aesthetic value as well as continuing to be a source of inspiration for the work of Western artists.
African culture of the period 400-1450 had many basic values shared by other cultures across the globe. The family, religion, respect, war and the hunt were common themes in the works which survive. Perhaps, one aspect which is overlooked in African art is the idea of art or pieces of art as totems or talismans. Artists would create images of powerful, strange or new creatures in order to “capture” some of the magic of the creature itself. This practice was meant to minimize or eliminate potential evil demons. In specific cases these Icons would have features or attributes one might recognize as human or animal, in other examples the artwork was tailored around the mythology of the demon or spirit, for example one spirit or demon which was in charge of death or sickness was attracted to shiny or reflective surfaces, so the tribesman fashioned an Icon with mirrors all about the exterior of the figurine. This would mean the death demon would take less interest in the tribe than the Icon, thus sparing villagers.
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