|
Post by Honorebu on Dec 5, 2015 17:21:59 GMT
Nigeria; Yoruba (Ife) peoples
Head of Lajuwa
Clay
H. 32.8 cm (12 15/16")
National Museum, Lagos
|
|
|
Post by Shymmex on Dec 5, 2015 18:35:01 GMT
The person is definitely from NL. Let's invite him to the other thread. You mean the random discussions thread?Yes.
|
|
|
Post by Honorebu on Dec 5, 2015 18:37:56 GMT
Palace door at Ise
|
|
|
Post by Honorebu on Dec 5, 2015 19:24:34 GMT
THE FAMOUS ESIE SOAP STONES OF KWARA STATEThe stone images of Esie, Africa’s largest and most mysterious collection of stone statuary. Esie museum has the largest collection of soapstone images in the world
Nigeria; Esie peoples
Figure
Soapstone
H. 78 cm (30 11/16”)
National Museum, Lagos, Nigeria
|
|
|
Post by Shymmex on Dec 5, 2015 23:24:40 GMT
|
|
|
Post by Honorebu on Dec 20, 2015 4:34:57 GMT
How come I'm just seeing this?
Yeah Esie is a town occupied by Igbominas
|
|
|
Post by Honorebu on Jan 9, 2016 1:13:41 GMT
Yoruba Female (12th–15th century) Geography: Nigeria, Ife Culture: Yoruba peoples. Medium: Terracotta, 21.6 x 13.3 cm
|
|
|
Post by Honorebu on Jan 9, 2016 1:15:28 GMT
|
|
|
Post by Honorebu on Jan 9, 2016 1:17:25 GMT
|
|
|
Post by Shymmex on Jan 10, 2016 21:59:00 GMT
Fragment of a Head
ARTS OF AFRICA ART OF PORTRAITS
While Western artists have historically often attempted to represent a person exactly how they look, many African artists instead have created portraits based on a specific physical or personality feature of the subject. This terracotta head, most likely depicting the oni, or king, of ancient Ife, shows that Yoruba sculpture was already highly developed a thousand years ago. Ife court art interprets the human figure with extraordinary naturalism. This head, however, is not intended to be truly representational or realistic. It shows the oni in the prime of life, with no imperfections. Fiegnon is composed chiefly of a discarded oil jerry can. Although Fiegnon may appear to resemble a mask, Romuald Hazoumé has noted that his works are, in fact, portraits—of particular individuals or of social types. With its long braids, this work represents a Fulani man Hazoumé met fishing in the lagoon where he found the oilcan. The striking differences in style and materials in these two portraits may also reflect a marked gap in status and power between their two subjects. This text refers to these objects: L54.5; 2014.32.2 CULTURE Yoruba MEDIUM Terracotta Place Made: Ife, Osun State, Nigeria DATES 1100-1500 DIMENSIONS 6 x 3 1/4 x 3 3/4 in. (15.2 x 8.3 x 9.5 cm) (show scale) COLLECTIONS Arts of Africa
|
|
|
Post by Shymmex on Jan 10, 2016 22:00:07 GMT
Gelede Mask
ARTS OF AFRICA
On View: African Storage Annex, East Gallery, 1st Floor Gelede masks, such as this one, are worn by male Yoruba dancers at festivals honoring the women of the community, living and dead, especially the powerful Great Mothers, including both the elderly women of the community and the ancestors of Yoruba society. The gelede performances entertain and educate, and document elements of everyday life, such as the woman’s head tie in this example. Through their movements, gelede dancers express Yoruba ideals of male and female behavior. CULTURE Yoruba MEDIUM Wood, pigment Place Made: Nigeria DATES late 19th or early 20th century DIMENSIONS 11 3/4 x 9 1/4 x 12 in. (29.8 x 23.5 x 30.5 cm) (show scale) COLLECTIONS Arts of Africa
|
|
|
Post by Shymmex on Jan 10, 2016 22:01:08 GMT
Dance Wand (Oshe Shango) ARTS OF AFRICA An oshe shango, or dance wand, is carried by devotees at the annual festival for Shango, the god of thunder and lightning. The double ax-blade motif on the figure's head represents a thunderbolt, associated with the sudden, overwhelming, and unpredictable power of of Shango. The female figure balancing the thunderbolts on her head represents a devotee of the god. CULTURE Yoruba (Igbomina subgroup) MEDIUM Wood, pigment GEOGRAPHICAL LOCATIONS Possible place made: Osun State, Nigeria Possible place made: Kwara State, Nigeria DATES late 19th or early 20th century DIMENSIONS 19 1/2 x 7 x 3 1/4 in. (49.5 x 17.8 x 8.3 cm) (show scale) COLLECTIONS Arts of Africa
|
|
|
Post by Shymmex on Jan 10, 2016 22:02:56 GMT
Housepost, One of Pair ARTS OF AFRICA On View: African Storage Annex, East Gallery, 1st Floor Figurative posts often support the verandas of distinguished places such as important shrines or the dwellings of kings, titled elders, and priests. Just as a post supports the house, the carved figures represent the individuals who support and uphold the leader in his office. This text refers to these objects: 82.154.2; 82.154.1 CULTURE Yoruba MEDIUM Wood, pigment Place Made: Nigeria DATES late 19th or early 20th century DIMENSIONS 64 x 9 1/4 x 6 in. (162.6 x 23.5 x 15.2 cm) (show scale) COLLECTIONS Arts of Africa
|
|
|
Post by Shymmex on Jan 10, 2016 22:04:10 GMT
Kneeling Female Figure Yoruba, Areogun of Osi ARTS OF AFRICA Attributing a specific piece of ritual African art to a particular artist is seldom possible, in part because the artists often perpetuated the myth that the objects were not the work of human beings, and also because the original collectors of these pieces rarely inquired about the artists' names. This piece, however, has been attributed to Areogun of Osi, one of the most prominent Yoruba artists of the twentieth century. His distinctive style is identifiable in the figure's elaborate openwork headdress, proportionally large ears, and curved breasts. Kneeling female figures, often nude, are common in Yoruba religious art. In this pose, the figure represents a supplicant before the orisha, or deity, on whose altar it is placed. The image beautifies the altar and thereby honors orisha. ARTIST Areogun of Osi, ca. 1880-1954 MEDIUM Wood Place Made: Osi-Ilorin, Kwara State, Nigeria DATES late 19th or early 20th century DIMENSIONS 8 1/2 x 2 x 2 1/2 in. (21.6 x 5.1 x 6.4 cm) (show scale) COLLECTIONS Arts of Africa
|
|
|
Post by Shymmex on Jan 10, 2016 22:05:31 GMT
Mask ARTS OF AFRICA We rarely know the names of past African artists, but Ali Amonikoyi is an exception, largely because he was a distinctive artistic innovator. He used metalworking techniques to make objects normally carved in wood and then used these objects in a nontraditional context. Moreover, he produced his works in proximity to colonial officials who observed and recorded his personal and artistic history. Amonikoyi was a Yoruba born in Nigeria who migrated to Togo. There he used ancient brass-casting techniques to make mask forms resembling Yoruba gelede masks. These masks were placed on top of graves as memorials to the deceased, rather than being worn in dance performances. CULTURE Yoruba MEDIUM Copper alloy Possible Place Made: Kete Krachi, Volta Region, Ghana DATES ca. 1910 DIMENSIONS 10 1/2 x 7 1/4 x 5 1/2 in. (26.7 x 18.4 x 14.0 cm) (show scale) COLLECTIONS Arts of Africa
|
|