T3 Image Review

Africa Test 3 Image Review
African Art History
Gerard Bowles
6/20/03
The order these images of art and cultures is based on your Visona textbook. However, I want to say I don't always agree with this order. About 1/5 of these images are from the textbook, the additional images I feel are more appropriate examples (textbooks don't always receive permisssion to use the best images). My sources are available in the source file.

1. People unknown, Cross River, Nigeria. Carved stones (Akwanshi), example of 1 of some 300 stones, from 1 to 6'. c. 16th-19th c. Basalt stone. Photo, 1974. Akwanshi means "dead persons in the ground." Revered as ancestors in contemporary ceremonies. Area occupied by the Nnam group of Ejagham peoples. (331.cross.akwan-.s.JPG)
2. People unknown, Cross River, Nigeria. Standing Figure. Copper alloy. Musee Barbier-Mueller, Geneva. Casting, lost-wax process. Part of cast objects found called "Lower Niger Bronze Industry." perhaps Igbo or Yoruba related. (332.cross-r.fig.s.JPG)
3. Cross River region, Ekoi or Ejagham people. "Ikem" Crest Mask. Prv. Coll. Image © John Urban. These are danced in ceremonies by certain societies. The mask is worn on top of the head, held by a basket and chin strap, for an imposing effect. Materials are often skin, teeth, bone, pigment, basketry, metal etc. Willett writes "these masks seem to have originated among the Ekoi or Ejagham," but are now used by other area peoples. At the Proctor Gallery masks like this sell for close to $10,000. (336.cross-r.crest.mask.s.jpg)
4. Grasslands region, Cameroon. Kwifo mask with earth spider motif headdress, before 1914. Wood, ht 27". Field Mus. of Natural History, Chicago. Kwifo society mask (350.grass-cam.mask.s)
5. Grasslands region, Cameroon. Bandjoun Kingdom Mask, 18th c. Wood, ht. 18.5. Museum Rietberg, Zurich. Visona p. 352. As Visona points out, this may be most famous mask from the Cameroon Grasslands. Masks like this were used in the historical kingdom of Bandjoun by an association and danced at ceremonies. (352.cam.grass.mask.18c.s.JPG)

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6. Fang, Dogon and Bangwa female power figures. Most of these types of portraits were ancestors--powerful women who were queens or spiritual leaders. They are sculpted to show the power of the female spirit and flesh--one in the same in traditional African beliefs, and nature-related religions in Western culture. In most Western art, we have illustrated women as weak, to help perpetuate male domination--control of wealth. Visona p. 355. (355.fang.dog.bangwa.fem.s.jpg)
7. Fang, Ngil mask, Gabon © John Urban. The masks, linear and planar, were used by men of Ngil, a judiciary association, to exercise social control. They represented ancestors, have slit eyes and often symbols of tattooing and various helmet coiffures. Size varies greatly, and style somewhat, since the (fahng) Fang live in both Gabon and southern Cameroon. These are among the works that so fascinated and influenced Matisse, Picasso, Brancusi, Modigliani and others--and changed the course of Western art. Visona: Fang 355, Ngil masks p 361. (355.fang.ngil.mask.s.jpg)
8. Fang (Mabea). Bieri Figure. Wood. Musee Barbier-Mueller, Geneva. This reliquary figure was created by the Mabea people, who arrived in the area after the (fahng) Fang, and create a substyle of Fang style figures. As Visona points out, typical of Mabea, is the head is less than 1/4 the figure height. (357.fang.biere.s.JPG)
9. BaKota/Kota, Gabon. Reliquary Figure. Wood, brass, copper, ht 30 1/4". Volkerkunde Museum Der Universitat, Zurich. Visona p. 359. The Bakota guardians, "mwete" (Visona: "Mbulu-Ngulu"), are flat, more abstracted, with their oval, concave faces sheathed in metal (brass or copper). Stylized coiffures and occasional repousee work adorn the "legged head" figures (A diamond shape below the neck is an abstracted body form.) which gleamed at night to protect against evil. These figures were mounted on containers holding relics of important clan ancestors, serving as guardians. They were also questioned as oracles. (359.kota.rel-fig.s.JPG)
10. BaKota/Kota, Gabon. Reliquary Figure. Wood, brass, copper, ht 16 1/16". Musee Barbier-Mueller, Geneva. Visona p. 359. (359.kota.rel-fig2.s.JPG)

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11. Vili, BaKongo. Female Fetish Figure. Tamarin Gallery. This fetish, which represent a female ancestor, dates from the 30's. It has three magic charges: on the stomach, the head and the back. They are referred to as "nkisi", and call upon the supernatural forces. They serve for divination as well as for rituals of initiation, therapeutic, protection or vengeance. (369.kon.vili.fem-fetish1.s.JPG)
12. Yombe, Dem. Rep. of Congo. Nkisi, of Nkondi Type, detail. Coll. c. 1905. Wood, metal, glass, & mixed media, ht 38 1/8". Barbier-Muller Coll., Geneva. Suzanne Preston Blier, , p. 223, The Royal Arts of Africa, 1998. This is a Nkondi type nkisi. "The medicine pack on the belly of this nkondi identifies the stomach with both well-being and sorcery. The enclosing mirror or shell is sometimes said to serve as a portal into the world of sorcery and anti-sorcery. The open mouth refers to the "feeding" of the nkisi to arouse it to undertake a particular action. Although male nkisi are considered more dangerous than female, most objects are shown sexless." - Blier (Blier can 'ring the bell')
13. Yombe, Bakongo culture. Mask. 18th c.? Ht. 9". Tamarin Gallery. A divination mask used by the "nganga" to identify sorcerers who disturb the harmony of the community. Or, a royal mask used in the exercise of power, including maintaining order and applying justice. These are possible by the mask's ability to communicate with the beyond forces. (369.kongo.yombe.mask)
14. Chokwe. Chibunda Ilunga Figure. 19-20th c. Wood and human hair. Location not ident. Portrait sculpture of important leaders and ancestors, like Chibunda Ilunga, were represented with idealized figures with exaggerated muscles and strong, repetitious curves, indicating a physical and spiritual power beyond mere naturalistic representation. Lines like this are often used more extensively in important crafts. (380.chokwe.chib-.fig.s.JPG)
15. Chockwe Pwo Mask. Angola. Masks representing ideal young female beauty, Mwana Pwo, are among the most elegant and delicately carved in Africa. Their serene expression commands respect and help support the authority of Chokwe rulers. Most share the depiction of facial scarification patterns, filed teeth, fanciful and inventive hairstyles, tear motifs and cruciform markings on the forehead, creating distinctive Chokwe heads. The Ckockwe are a matrilineal society. (380.chokwe.pwo-mask.s.jpg)

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16. Chockwe Pwo Mask, 2nd, Angola. (380.chokwe.pwo-mask2.s.jpg)
17. Chokwe. Chihongo Mask. Royal Museum of Central Africa, Tervuren. Chihongo roughly translates as "spirit of wealth." Chokwe male masks, Chihongo, depicting a powerful and wealthy man, are identified by the horizontal crescent-shape, ridge-like beard. They are danced with the Mwana Pwo to bring fertilitry and prosperity to the community. As Visona points out, these are the most popular and best-known entertainment. (384.chockwe.chihongo.s.JPG)
18. Yaka, fetish figure. Zaire. © John Urban. Yaka of Zaire protective fetish figures abound, in a variety of sizes and styles. Most are Khosi, holding ingredients from nature to give them power and are hung with charms or amulets of horns, shells, twigs, feathers, herbs, fibers and fur. Several combine male and female in one figure creating the mythological primordial being from whom man and woman evolved. Others, known as Phuungu, have torsos wrapped like a Christo sculpture with cloth until almost spherical, hiding their magic. All the fetishes seem quite spiritual, for they gained their power among the Yaka because the people believed in them. (385.yaka.fetish-fig.s.jpg)
19. Yaka mask. Zaire. © John Urban. The name, "Yaka" means "the strong ones." Their masks, used in initiation ceremonies, are polychromed, with heavy raffia collars and strong features. Varied superstructures include figures, animals, horns or twigs abstractly covered with cloth and painted. The masks (and figures) include many from the Western Yaka, with their exaggerated and bizarre features, most notably an upturned nose. (385.yaka.mask.zaire.s.jpg)

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20. Pende. Cup. Wood. Prv. Coll. I don't need to repeat the significance of the cup. (391.bapende.cup.wood.s.jpg)
21. Pende Ikhoko Mask-Pendant. Prv. Coll. These are very popular within and outside the Pende. They are a miniature version of mukanda mbuya masks, carved in bone and worn as pendants around the neck. Called ikhoko, they are scrubbed daily with sand to preserve their natural color, and this wears the features smooth. They are made for aesthetic purposes, but similar wooden miniatures appear to have been made for healing. Mbuya masks portray characters including a chief, sorcerer, clown, and others. Considering the crown this is probably the chief. (Visona p. 394) (391.bapende.pendant.s.JPG)
22. Pende, maternity figure, Zaire © John Urban. Maternity is an important and popular theme in many African cultures. The maternity theme is represented with a diversity in size, symbolism, intimacy and style. Most depict the ideals of beauty, fertility, character and action and many signify much more, whether the primordial mother or a legendary founding ancestor. Commonly used as shrine figures, they were often objects of petitions or prayers for fertility and successful births. The prevelance of the maternity theme testifies to the importance of women and children to the continuity of each people. (391.pende.mother-child.s.jpg)
23. Kuba. Ndop (Royal Portrait Figure) for Shyaam AMbul A-Ngong. 18th c. Wood, ht 21 3/8. The British Mus., London. Visona p. 397. Portrait figures like this, were not just a portrait, but the soul double of the king. Some say upon death the life force and kingship passed to the ndop. The figure was an important memorial to the people, until "acquired" by the British. (397.kuba.ndop.s.JPG)
24. BaKuba cup. The BaKuba are one of the tribes in Africa that lavish artistry on objects of everyday use. (396.kuba.cup.s.JPG)

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25. Kuba. Bwoom Mask. Wood, sheet copper, beads, shels, hide, ht 13". Royal Mus. of Central Africa, Tervuren. Visona p. 404. These masks, along with ngady a mwash and related masks of Kuba ancestors, are extremely popular among collectors for their colorful assortment of colorful beads and exciting designs. Different face shapes are used, some, like this one, suggests a pygmy, relating to an African tradition I have discussed. (404.kuba.bwoom-mask.s.JPG)
26. Kuba. Mwaash A Mboy mask. Zaire. © John Urban. This complex mask, with its elephant trunk and leopard skin, represents kingly power in a ritualized reenactment of Kuba mythological origins and royal power struggles. Portraying both the god Woot and the first king, the character marries his sister, Ngaady A Mwaash, and contests with his brother, Bwoom, who speaks for the commoners. As with most Kuba art, the piece is highly covered with geometric abstract designs. (404.kuba.mboy.mask.jpg)
27. Kuba, Ngaady A Mwaash mask. Zaire. This mask, covered with geometric designs typical of Kuba art, is one of many designs that portrays the wife of the first Kuba king in a ritualized reenactment of Kuba mythological origins and royal power struggles. A Kuba ideal of beauty, Ngaady A Mwaash was fought over by Mwaash A Mboy, her husband and king, and his brother, Bwoom. As Visona points out the mask represents the essence of womanhood and the diagional lines below the eyes represent tears for the hardships of women. (404.kuba.ngaady.mask.s.jpg)
28. BaKete. Helmet Mask. Ht 21". Formally coll. of Jay T. Last. Willett 1993. This is a helmet mask used in boys' initiation rites by the BaKete, who live under the Kuba kingdom. There are similarities in Kuba use (see Visona 2001 p. 403, lower left mask), but the BaKete designs are more refined, and I believe the Kete should be credited. Visona does not recognize the BaKete, and identifies this type of mask as the Kuba female ngady a mwash type, but it is obviously too masculine, and dissimilar to other ngady designs. (405.bakete.helmet.mask.s.JPG)

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29. Bena Lulua figure detail (Bena is pronounced "bana" with a short "a"). They are neighbors of the BaKuba, and carve small ancestor figures, covered with face and body scarification, in the same way they decorated themselves in the past. Perani & Smith (1998) write the horn on top of the head symbolize power, for they say these figures commemorated deceased ancestors. Visona talks about the "Lulua" as several groups living along the Lulua River, does not specify "Bena Lulua," and her design detail symbolisms are not confirmed by Perani & Smith, Willett (1993), and other scholars. (406.bena-lua.fig-det.s.jpg)
30. BaLuba, Mask. Zaire. Wood, cowry shells, beads, brass, feathers, fur, fiber, paint. c.1940. 12 1/2 ht x 10 x 17. Luba (or "BaLuba") masks, called Bifwebe, are usually round, but share the striations and wonderful abstractions of the masks of the Songye, their neighbors in Zaire. The Luba are also well known for their stools and headrests, prestige objects commonly using female caryatid figures depicting founding ancestors that literally and figuratively provide support. The elaborate cascading coiffures and scarification patterns attest to the high rank of both the subject and the owner of the object. (414.baluba.mask.JPG)
31. BaLuba. Statue of a female ancestor. Ht 17.5". British Mus. Willett p. 25. "The rounded and smooth forms are typical of most BaLuba sculptures." These are considered some of the most beautiful sculpture of Africa. What appeals to the Western taste is naturalism with smooth lines, abstraction of non-essential parts (fingers, etc.), a polished finish, serene expression, and historical scarification patterns. Oddly, Visona does not provide good Luba examples. (414.luba.fem-ances.s.JPG)
32. Tabwa. Female Figure, 19th-20th c. Wood, ht. 18 1/4". Metro. Mus. Art, NY. Visona p. 420. We examined a slide of a similar figure in the British Museum. These are highly prized by museums, but were only made from the mid. 1800s to early 1900s. An influence is seen from the nearby Luba, but the smooth contour lines flowing down the entire body, scarification patterns, rounded expressive eyes, and precise carving, demonstrate important cultural traits for African art history. (420.tabwa.fig.s.JPG)

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34. BaLuba. Kifwebe Mask. Musee Royal de l' Afrique Centrale, Tervuren. Willett p158. Willett points out this mask includes decoration that might be from the BaSongye, and it is used in ceremonies associated with chieftaincy. As Visona points out, they are usually danced in male/female couples and representing spirits, connect this and the spirit world. Visona p. 418. (418.luba.kifwebe.mask.s.jpg)
35. Songye, Kifwebe mask. Zaire. © John Urban. Songye Kifwebe masks, are known for their distinctive exaggerated forms and aggressive strength. The striated facial forms are dynamic, with projecting mouths, noses and crests symbolizing the level of power, or grade of the masked figure. Used by the secret men's society for social control and protection, they were danced at important funerals, visits and investitures. Female masks, more restrained and elegant, are usually painted white and lack the crest found on male Kifwebes. (423.songye.kif.mask.s.jpg)
36. Songye, Kifwebe mask. No info. avail. This illustrates a slightly different design of this mask. (423.songhay.kif.mask2.s.jpg)

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