AP Art History Unit 6 Africa

AP Art History Course Study Guide Unit 6: Africa 167. Conical tower and circular wall of Great Zimbabwe. Southeastern Zimbabwe. (Shona peoples. c. 1000–1400 C.E. Coursed granite blocks) a. Context: i. Took over 30 years to complete ii. Conical tower believed to be made to worship the god Mulan iii. Built in a time of great wealth success of Great Zimbabwe b. Content: i. Zimbabwe=Judicial Center or Ruler’s court ii. Clay structure, excavations have revealed interior furnishings such as potstands, elevated surfaces for sleeping and sitting as well as hearth iii. 1. 2. 3. 4. 5. 3 areas: Hill Ruin (on a rocky hill-top) a. Incorporates a cave that remains sacred site for Shona ppl today; cave accommodate the residence of the ruler and his immediate family; b. Held a structure surrounded 30 feet high walls c. Flanked by cylindrical towers: monoliths carved with elaborate geometric patterns The Great Enclosure: a. Walled structure punctuated with turrets and monoliths; massive outer wall id 32 feet high b. Inside Great Enclosure is a smaller wall parallel to the exterior wall creating a tight passageway leading to large towers c. Accommodate a surplus population and it's religious and administrative activities Valley Ruins: a. Hub for commercial exchange and long distance trade; found porcelain fragments and long distance trade, beads crafted in SE Asia and copper b. Monolithic soapstone sculpture of a seated bird resting atop of a register of zig zags Conical Tower: walls were constructed from granite blocks; had no military function; didn’t use mortar to bind the stones; ashlar masonry carefully cut the stone walls Symbolize the power and prestige of the rulers: a shona ruler shows his largess towards his subjects through his granaly, often distributing grains: symbolizing his protection c. Form: i. Geometric shapes and Patterns d. Function AP Art History Course Study Guide i. ii. Wall separated the commoners from the royal families Circular wall=demonstrate power and protect houses and the commercial markets iii. Long distance=trade Great Mosque of Djenné. (Mali. Founded c. 1200 C.E.; rebuilt 1906–1907. 168. Adobe) a. Context: i. Largest mud-brick structure in the world ii. Rebuild 3 times iii. Built in a market place iv. Ostrich egg represents fertility v. Tombs of great Islamic Scholars are adjacent to the mosque b. Content: i. 3 minarets ii. Earthen roof iii. Qibla faces Mecca iv. Terracotta lids over holes on the roof v. Imber poles poke out of the mosque called torons for decorations and climbing the mosque for replatering vi. Straits symbolizes transition from everyday life of the marketplace to a sacred place c. Form: i. Made from cylindrical adobe (mudbrick) ii. Made by hand with contribution from the whole society-- complex organization of society iii. Supported by massive pillars iv. Contains a Mihrab d. Function: i. Signs of the chiefs religious devotion to Islam ii. Mosque=center for prayers and community iii. Location of crepissage, a festival dedicated to the replastering of the mosque: communal effort 169. Wall plaque, from Oba’s palace. (Edo peoples, Benin (Nigeria). 16th century C.E. Cast brass) a. Context: i. Beninese mainly traded Portuguese empire ii. A new system of trade that was recently enabled due to the British imperial conquests of Benin iii. Portuguese empire began declining around the 18th century and British began making inroads into Benin iv. Portuguese seek mutually beneficial trade whereas British sought to dominate the local ppl and extract resources AP Art History Course Study Guide b. Content: i. Depicts the King attended by several court attendants; king depicted in the center=emphasize his power ii. Attendants appear smaller than the king (Benin artists had not used depth yet) iii. iv. v. King is shown riding horse and wearing expensive necklaces and jewelry Hierarchical scale is used to show the relative importance of the Oba to the surrounding figures Distinct use of proportion in which the Oba’s head is larger because Oba was known as “Great Head” as he is the center of wisdom/power c. Form: i. Cast brass relief plaque ii. Brass=valuable material iii. Plaque combines traditional depictions of figures and brass work of European cultures d. Function: i. Decorated palace walls. Plaques were made in pairs and attached to pillars ii. Shows court rituals that occurred in palace and the order of plaques in the palace show the history of the Kingdom 170. Sika dwa kofi (Golden Stool). (Ashanti peoples (south central Ghana). c. 1700 C.E. Gold over wood and cast-gold attachments) a. Context: i. The ashanti group is the largest ethnic group in Ghana today ii. Their king Osei Tutu iii. Believed the golden stool descended from the heavens to Osei Tutu and the chiefs iv. Priest - Okomfo Anokye v. The stool is sacred vi. King is viewed as a divine medium vii. The kingdom was rich in gold viii. Lost the Ashanti war against the Europeans that exploited the people and the land for gold ix. The ashanti people people hid the stool away from the Europeans to keep it safe b. Content i. A seat with two bells tied to the end ii. Intricate designs in the middle part iii. Small figures attached to the seat iv. Believed to contained the soul of the people c. Form i. Gold over wood ii. 18 inches high AP Art History Course Study Guide iii. iv. v. 24 inches long 12 inches wide carved using ashanti methods vi. Crescent shaped seat d. Function i. It is a sacred piece for the Ashanti people 171. Ndop (portrait figure) of King Mishe miShyaang maMbul. (Kuba peoples (Democratic Republic of the Congo). c. 1760–1780 C.E. Wood) a. Context i. Made by the Kuba people ii. Commissioned by Kuba King Mishe miShyaang maMbul at height of his reign iii. Stolen by a colonial minister and then sold to the Brooklyn museum iv. Kuba kingdom flourished during the 17th to 18th century b. Content i. Calm, expressionless faces ii. Sits cross legged on a platform iii. Holds a royal drum and a belt to identify the king iv. Captures the ideal king v. Other symbols of the king;s wealth and family are included vi. Head center of intelligence c. Form i. Exaggerated features ii. Not individualistic characters d. Function i. Ndop is a record of the king’s rule ii. Celebrates his rule and generosity 172. Power figure (Nkisi n’kondi). (Kongo peoples (Democratic Republic of the Congo). c. late 19th century C.E. Wood and metal) a. Context: i. Spiritual importance and protection=important to kingo ppl ii. Power figures were confiscated and destroyed by missionaries of the late 19th century when found because they were evidence of sorcery iii. Carved by a spiritual specialist who activates the figure by driving nails, blades, and other metal objects into it's wooden surface to make it angry and rouse it into action iv. Would be activated by a Shaman by the storage of medicinal combinations (bilongo) in the head to create a link between the spiritual and physical world b. Content: AP Art History Course Study Guide i. ii. iii. iv. Wooden human figure meant to highlight it's function in human Elongated belly button with cowrie shell fertility link to ancestors and wealth Often contain medicinal combinations inside them covered by a piece of glass (Glass represent the other world) Nkisi container of sacred substances activated by supernatural forces that summon spirits into the natural world c. Form: i. Imposing figure leaning forward wide stance signifies strength and importance ii. Contains different types of insertions d. Function: i. Used as reminders of social obligations and enforcers of proper behavior ii. Brought healing and protection to the community iii. Symbolize an honoring of contracts and agreements iv. Served as a mediator between ancestral spirit world and the living world 173. Female (Pwo) mask. (Chokwe peoples (Democratic Republic of the Congo). Late 19th to early 20th century C.E. Wood, fiber, pigment, and metal) a. Context: i. Chokwe is a matrilineal society b. Content: i. Cingelyengelye on forehead and cheeks ii. Hairstyle = common chokwe women hairstyle called coat which includes a braided headband and heavy fringe coated with red earth (plaiting) iii. Pwo- founding mother and deity who represents fertility iv. This mask represent Pwo Meana: a younger and more idealized form v. Tattoos: 1. Left cheek=cingelyengelye: occurred as a necklace in form of a cross cut from the plate and worn by chokwe as an amulet 2. Right cheek=cuijingo: in combination with a cross denotes a spiral brass bracelet 3. Forehead=mitelumuna (knitted eyebrows) an allusion to discontentedness or arrogance 4. Under the eyes is the masoji, signifying tears vi. Whiteness around the eyes: spiritual realm /her eyes are important part of face vii. Huge eyes suggest that she is on a different level of spirituality AP Art History Course Study Guide c. Form: i. Neat lines and circles use of symmetric shape ii. Glowing reddish brown surface represents healthy skin iii. Slender nose, elliptical mouth and hemispherical ears d. Function: i. Honor a chokwe women who had successfully given birth ii. 2 performers: 1 wearing pwo mask and the other wear male counterpart: they would dance and perform rituals meaning to fibe the tribe fertility and prosperity iii. Used during male initiation rites to show them the type of ideal type of women that they should because looking for a wife 174. Portrait mask (Mblo). (Baule peoples (Côte d’Ivoire). Early 20th century C.E. Wood and pigment) a. Context: i. Baule peoples: 400,000 lived in villages in Cote D'ivoire ii. Known for wood sculptures and ceremonial masks iii. Baule society=matriarchal b. Content: i. Mask is an idealized portrait of Moya Yanso: a women known in Kami for her beauty and incredible dancing ability; mask displays her at her prime ii. High forehead and small mouth > convey intelligence and posture iii. Left eye is slightly higher than right eye; gives feeling of complexity iv. Tubular pieces above.are just decorative v. The folds near the mouth conveys age vi. Brass would shine in the sunlight to represent good health c. Form: i. Oblong face shape is black in color with triangular brown marking ii. Traces of orange and red paint remain near lips, eyes, nose iii. Nose is long and mouth is closed iv. Ears are rounded nubs d. Function: i. Part of masquerade called a gbagba in the village of Kami in the early 1900s ii. The mask concealed until a climactic moment when they are revealed iii. Watched by an audience iv. Masks kept out of sight when not in use v. Meant to honor a respected member of Baule society AP Art History Course Study Guide 175. Bundu mask. (Sande Society, Mende peoples (West African forests of Sierra Leone and Liberia). 19th to 20th century C.E. Wood, cloth, and fiber) a. Context: i. During ceremonies women bodies were painted with white clay; made them unattractive because they have not become women yet ii. Mende people = large ethnic group iii. Patrilineal and patriarchal iv. Religion: Ngewo-single creator of universe b. Content: i. Full costume; made of a gown of raffia fibers and the 2-4 ib mask represents sowo ii. Masks deep black sheen and smoothness: shows ideal image in contrast to the white clay iii. Sheen created by a coat of palm oil which helps to represent healthy and beautiful skil iv. Mask is idealized v. Stylized neck rings symbolizes fertility, good health, and high status vi. Small mouth means a women should not gossip vii. Small ears mean women shouldn’t listen to gossip viii. Eyes are largely closed and downward cast ix. 4 lines under eyes=ideal aesthetic c. Form: i. Dark; painted wood materials forms a head that resembles a thimble ii. A small face with small features is central and towards the bottom of the head iii. A sharp point extends up from the face, possibly forming the forehead iv. Geometric designs surround the pointed forehead on either side v. Folds extended from the face to the back of the head vi. Fibers resembles hair extended from head d. Function: i. Part of a public masquerade that celebrates girls maturation 1. A female dancer appears in acostume represent sowo (water spirit of the sande society) 2. Creates an image that young girls should strive for 3. Thought to be a spirit 4. Spiritual knowledge and how to be a wife AP Art History Course Study Guide 176. Ikenga (shrine figure). (Igbo peoples (Nigeria). c. 19th to 20th century C.E. Wood) a. Context: i. Made by Igbo people in Nigeria ii. Began in 19th century iii. Lives in remote inland area where they are isolated and independent from other tribes b. Content: i. An “ikenga” is carved wooden figure that has a human face and animal attributes ii. Horns symbolizes aggressiveness and ambition because they believe that ram fifth with the head and head initiates good actions iii. Most Ikenga holds swords=to show power iv. The figure is carved to resemble whoever commissioned it c. Form: i. Carved wooden figures ii. Masculine sculpture genre are so much taller and wider iii. All have ram horns but vary in size d. Function: i. Celebrates the Igbos belief in the importance of individual achievement ii. A source of strength and power for the owner iii. Emphasize the power of the right hand usually because they hold a sword on right hand iv. They are also meant to symbolize the significance of that person in society or past accomplishments of the person v. Usually get burned with the owner 177. Lukasa (memory board). (Mbudye Society, Luba peoples (Democratic Republic of the Congo). c. 19th to 20th century C.E. Wood, beads, and metal) a. Context: i. Start of 1500s, Luba people began to emerge as a powerful nation in central africa b. Content: i. Wooden plank that has metal beads and other beads specifically placed to make patterns in touch in visualization to discuss the history of the Luba people ii. Designed specifically to tell a story and remember the past easily for those who are trained to able to do so c. Form: i. Varied in size but small enough to hold AP Art History Course Study Guide d. Function: i. Used as a way to record and remember important times and events in Luba people’s society ii. Men of memory could only read it iii. Readers must hold it in their left hand and trace patterns with their right index fingers 178. Aka elephant mask. (Bamileke (Cameroon, western grassfields region). c. 19th to 20th century C.E. Wood, woven raffia, cloth, and beads) a. Context: i. Kuosi-elite masking society that owned and wore these includes: royal family, wealth title holders and warriors b. Content: i. Intended to worship the elephant-this animal was always seen as a symbol of sovereignty and royal authority ii. Beads imported from venice and middle east represent great wealth and status iii. Black beads- relationship between living and the dead iv. White beads-ancestors and medicines v. Red Beads-life and women vi. Triangular pattern of beads-similar to the configuration of a leopard’s spots: this animal was also seen as a great symbol of power and authority: required a lot of respect c. Form: i. Composed of colored cloth and beads ii. Round eyes with read beads and white cloth-strong navy blue tones in the cloth iii. cowrie shells decorated on the face and rest of mask iv. 2 long panels and represent the elephant trunk-woven raffia fiber adorns the edges of the trunch v. Geometric designs vi. 2 circles=elephant ears d. Function: i. This piece of art was meant to be used in performance-the wearer also wore a tunic and a decorative headdress very dramatic- many ppl wore these masks and emerge from a large palace compound ii. Purpose was to emphasize the complete power and dominance of the Bamileke King AP Art History Course Study Guide 179. Reliquary figure (byeri). (Fang peoples (southern Cameroon). c. 19th to 20th century C.E. Wood) a. Context: i. Fangs lived in rainforest: Equatorial Africa ii. Fang ppl believe ancestors had power even in afterlife so they worshipped and preserved men who found lineages and women who were successfully given birth to many children iii. These figures sits on top of reliquary boxes: nomadic culture of b. Content i. Head is symbolic of infant with the body of an adult ii. Highlights the continuous cycle of the human development iii. Enlarged head- intelligence iv. Bulging belly button and high forehead- a recently born baby v. Bulging muscles vi. Infants form a link between living and the dea vii. Expressionless face viii. Symmetrical body ix. Elongated torso x. Downcasted eye xi. Closed mouth xii. Popular hairstyle of men at that time c. Form i. Reduced Geometric forms ii. Wooden carved figure iii. Abstract d. Function i. Guarded family reliquary boxes( container for holy relics) ii. Express spiritual ideas 180. Veranda post of enthroned king and senior wife (Opo Ogoga). (Olowe of Ise (Yoruba peoples). c. 1910–1914 C.E. Wood and pigment) a. Context i. Shows influential style that has been in Yoruba for centuries ii. Most important of the four veranda post commissioned, focal point b. Content: i. Depicts the King seated ii. Senior wife behind him, crowning him, is in large scale to show her importance iii. A junior wife is at his feet along with a trickster god, Esu, playing the flute and a fan bearer (now missing) AP Art History Course Study Guide iv. v. vi. Exaggerated proportions Interrelationship with the other figures and open space between them Conveys a close relationship between the King and the Queen 1. Patterns of beads in queen’s bracelet repeated in the King’s crown c. Form: i. One of the four carved wooden posts., painted with an unknown pigment d. Function: i. Veranda post ii. Structural support for palace at Ikere