Result of the research : 'chokwe'
African Art on the Internet
15th Triennial Symposium on African Art, Arts Council of the African Studies Association, 2011, Wednesday, March 23 - Saturday, March 26, 2011, UCLA, Los Angeles, California
http://www.acasaonline.org/conf_next.htm
Addis Art - Ethiopian Art and Artists Page
Contemporary Ethiopian art and artists - paintings, sculptures and digital art work by students and professionals from Addis Ababa, Ethiopia. University instructor, Getahun Assefa's paintings, drawings, sculpture, digital art. Also work by his brother, Tesfaye Assefa. Based in Addis Ababa, Ethiopia. [KF] http://www.addisart.com/
Addis Art - Nouveau Art from Ethiopia
Artists include Shiferaw Girma and Lulseged Retta. Photographs of each artist's work, a biography, and video. Founded by Mesai Haileleul. [KF] http://www.addis-art.com/
Adire African Textiles - Duncan Clarke
History, background, and photographs of adire, adinkra, kente, bogolan, Yoruba aso-oke, akwete, ewe, kuba, and nupe textiles. The symbolism of images is often provided. One can purchase textiles as well. Clarke's Ph.D. dissertation (School of Oriental and African Studies) is on Yoruba men's weaving. See also the Adire African Textiles blog. Based in London. http://www.adireafricantextiles.com/
Afewerk Tekle
"Ethiopia’s leading artist." Biography, his paintings, sculptures, mosaics, murals, art in the artist's home. Afewerk created the stained-glass windows at the entrance of Africa Hall, headquarters of the United Nations Economic Commission for Africa. "In 1964, he became the first winner of the Haile Selassie I prize for Fine Arts." "In 2000, he was one of the few chosen World Laureates by the council of the ABI on the occasion of the 27th
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WASTIAU Boris
CHOKWE
Détails sur le produit: Turtleback: 144 pages, cm 16,5x24 - ill b/n, 64 color - Editeur: Five Continents Editions; Édition : 1 (22 juin 2006) - Collection: Visions of Africa Series - Langue: Anglais
ISBN-10: 8874392931 - ISBN-13: 978-8874392933
Descrizione libro: I Chokwe sono una delle più note etnie dell'Angola e della Repubblica Democratica del Congo. Questa monografia ne esamina la scultura a tutto tondo, analizzando le figurette usate nel rito della divinazione, la statuaria collegata ai culti della possessione humba, la statuaria classica antica (del Settecento e dell'Ottocento), definita "della terra natia", i paramenti di corte, privilegio dell'aristocrazia guerriera e le maschere lignee connesse al comando e ai riti iniziatici della circoncisione. Particolare attenzione è dedicata alle preziose effigi di Chibinda Ilunga, l'eroe civilizzatore che compare nei miti delle origini, quasi tutte portate in Europa nell'Ottocento, e alle sedie, il cui simbolismo e funzione sono rivelatori sia della religione sia della struttura gerarchica culminante nella figura del capo. Oltre alle tavole a colori, il testo è illustrato da una quindicina di fotografie, per lo più inedite, provenienti dagli archivi dal Dipartimento di Etnografia del Royal Museum of Central Africa a
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ROBBINS M. Warren - Robert H. Simmons et Richard Walters
African Sculpture
Détails sur le produit:
Relié: 240 pages - Editeur: Schiffer Publishing (juillet 2007) - Langue: Anglais
ISBN-10: 0764323326 - ISBN-13: 978-0764323324
Descrizione libro:
A comprehensive introduction to the vast range of tribal sculpture from Africa is presented in this photographic survey. Ashanti fertility dolls, Bambara dance headpieces, Bachokwe staff heads, and Bakuba boxes are included in 347 works from Senegal to the Congo regions, Mali to Sierra Leone. This book provides a tremendous opportunity for Africans and non-Africans alike to view the diversity, expressive quality, and sheer evocative power of African art, and to gain a better understanding of one of the great heritages of mankind. Warren Robbins presents the pieces from the perspective of two civilizations -- Africa and the West. Believing that the works are classical rather than primitive art, his sensitive analysis of the stylistic refinements of the various tribes past and present emphasizes the importance of preserving this art for posterity. The text and captions are presented in both English and
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PETRIDIS Constantine
Art and Power in the Central African Savanna: Luba - Songye - Chokwe - Luluwa
Détails sur le produit: Relié: 160 pages - Editeur: MercatorFonds (29 septembre 2008)
Langue: Anglais - ISBN-10: 9061538300 - ISBN-13: 978-9061538301
Note Libraio
Hardback with jacket, 120 illustrations, 100 in colour. Revealing the powers immanent in works that the West long regarded only as exotic or abstract, Constantine Petridis looks beneath the surface of the arts of the Luba, Songye, Chokwe and Luluwa peoples to find, literally embedded in sculpture, the forces that enable the spirit world to intervene in daily life. Ritual use of these objects is expected to ensure a healthy birth, successful hunt, or triumph over an enemy. Analysis of the scholarly record illuminates the changing visions of leadership and prestige that fostered the development of the majestic, elaborate figure styles long prized in the
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NEYT François
FLEUVE CONGO: Arts d'Afrique centrale, correspondances et mutations des formes
Détails sur le produit:
Couverture reliée sous jaquette en couleur: 405 pages - Format: 29,7 x 24,5 cm - 400 illustrations - Musée du quai Branly
Editeur : Fonds Mercator Bruxelles (12 juin 2010) - Collection : FONDS MERCATOR
Langue : Français - ISBN -10: 9061539145 - ISBN -13: 978-9061539148
NEYT François - FLEUVE CONGO - Arts d'Afrique centrale, correspondances et mutations des formes
Descrizione libro - Présentation de l'éditeur - Biographie de l'auteur
Descriptions du produit:
Descrizione libro
Cet ouvrage met en lumière les interrelations qui unissent la production artistique des groupes humains de l'Afrique centrale. Les correspondances et les mutations des formes présentées mettent en évidence les sources d'inspiration de ces populations s'exprimant dans une langue bantoue. Ces sculptures traduisent à leur manière la présence d'une civilisation unique de la côte atlantique aux abords du lac Tanganyika à l'est. Celle-ci couvre le bassin du fleuve Congo et celui d'Ogooué au Gabon. De nombreuses cartes géographiques ponctuent le passé culturel de ces peuples, leurs migrations et la localisation des sculptures choisies. Les trois thèmes retenus se présentent comme un chemin initiatique soulignant
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JORDAN Manuel
Makishi: Mask Characters of Zambia
Détails sur le produit:
Broché: 84 pages - Editeur: Fowler Museum of Cultural History,U.S. (15 mars 2007) - Collection: Fowler in Focus - Langue: Anglais - ISBN-10: 0974872970 - ISBN-13: 978-0974872971
Descrizione libro:
The Fowler Museum at UCLA, 2007. Paperback. 190mm x 8mm x 267mm. Makishi: Mask Characters of Zambia. Manuel Jordn reveals the beauty and complexity of the remarkable masquerade traditions of the Chokwe, Mbunda, Lunda, Lwena/Luvale, and Luchazi, peoples who live in the Three Corners region of northwestern Zambia, northeastern Angola, and southwestern Democratic Republic of the
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JORDAN Manuel
Chokwe: Art and Initiation Among Chokwe and Related Peoples
Détails sur le produit: Broché: 191 pages Editeur: Prestel; Édition: illustrated edition (1 November 1998) Langue: Anglais - ISBN-10: 3791319973 - ISBN-13: 978-3791319971
Descrizione libro: Magnificently loaded with elegant plates of ceremonial and tribal objects from the Chokwe tribe and others in Angola, this exhibition catalog accompanies a show originating at the Birmingham Museum of Art in Alabama; editor Jordàn, who spent more than two years with the Chokwe and related tribes, is the museum's curator. The objects are mostly carved wood, but their polished, stylized vision of people and nature and the variety and especially the depth of feeling in masks raise them far above craft. The pieces are shown alone, as in a museum exhibit, with art stressed more than anthropology. To remedy this, seven scholarly articles by authorities on the Chokwe appear throughout, along with photos of native life. While this puts into context objects like whistles, thrones, and the intriguing divination baskets full of tiny magical charms, it has a somewhat choppy effect. One of a series of books on African art by Prestel (e.g., African Art from the Han Corey Collection, LJ 6/15/98), this covers a seldom-visited area rich in heritage. For larger art-oriented and college libraries.AGay W. Neale, Southside Virginia Community Coll. Lib.,
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FALGAYRETTES-LEVEAU Christiane, GUTIERREZ Manuel, WASTIAU Boris, JORDAN Manuel, COLLECTIF (Auteur)
ANGOLA FIGURES DE POUVOIR
Détails sur le produit:
Relié: 309 pages - Editeur: Editions Dapper (20 octobre 2010) - Collection: H.C.
Langue: Français - ISBN-10: 2915258295 - ISBN-13: 978-2915258295
FALGAYRETTES-LEVEAU Christiane, GUTIERREZ Manuel, WASTIAU Boris, JORDAN Manuel, COLLECTIF:
ANGOLA FIGURES DE POUVOIR
Descriptions du produit: Présentation de l'éditeur - Biographie de l'auteur
Descriptions du produit:
Présentation de l'éditeur
Cet ouvrage d'envergure permet d'accéder au patrimoine artistique de l'Angola. Les oeuvres reproduites, d'une qualité plastique souvent exceptionnelle, témoignent de pratiques cultuelles et esthétiques, mais aussi de contacts, de rencontres et de liens entre divers peuples. Après une introduction générale de Christiane Falgayrettes-Leveau, les meilleurs spécialistes résument ici l'essentiel de leurs connaissances. Manuel Gutierrez fournit une synthèse des perspectives actuelles sur la préhistoire et l'archéologie, tandis que l'histoire ancienne, avec les structures étatiques, la traite négrière et la colonisation portugaise, est évoquée par Maria Alexandra Miranda Aparicio, qui aborde également l'indépendance, la guerre civile et la reconstruction du pays.
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The Pende
The Pende pushed north by the Lunda, during the 17th, settled in an area located between Loango and Kasai regions. Two hundred years later Tchokwe invaded the territories for when they migrated north from Angola, but were forced to return the territories annexed by the Belgian colonizers. The 500000 Pende mainly farmers are not governed by a central authority but by the heads of households, known as the Djogo, sometimes aided by the noble nobles. Young men are organized by age group, and must pass through various initiatives including that of circumcision during adolescence.
Art Pende can be divided into two traditions, arts, the first comes from Western Pende who live along the river Lodango, the second focuses on the eastern Pende along the Kasai River.
Masks:
The Western Pende have used a dozen different types of masks during their ceremony, they have eyes looking down a triangular nose, and sometimes leaving a protruding mouth see the teeth.
Often found three types of masks in Western collections. The first long-beard is called Kiwoyo Muyombo. The second known Mangu, show the features distorted, probably evoking the effects of an epileptic seizure. The third mask Phumbu chief called, has a hair divided into three parts.
Masks and helmets masks, associated with Pende, Oriental Minyangi are called respectively, and Giphogo. Worn by dancers during initiation ceremonies, they have
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Linguistically, the Songye form part of the Luba, world, itself part of the Bantu group. Indeed there is a century old inter relation between the Songye and Luba, and they therefore share many cultural traits. Some art forms are part of this, shared heritage, according to the oral tradition the founding chieftains of the first luba kingdom, were of songye origins, and it is the Songye who introduced the idea of social stratification to the Luba and consequently the first luba chieftains are said to be of Songye Ancestry.
ENVIRONMENT
The Songye used to live in a forest environment till the end of the first half of the second millennium. Slowly their habitat became more savannah-like. We can still find traces of this former forest habitat in some of the art they produce. For example the costume worn with the Kifwebe mask must be entirely made from products originating in the forest from such as bark, pelts fibers etc. Today the Songye mainly live in the savannah but pockets of forest remain in their territory.
The Songye occupy a very large area in the north of the southeastern quadrant of the republic democratic of Congo.
Due to the vastness of the songye territory, it is obvious that regional stylistic, iconic and typological, exist in the ritual art produced. Some of these are the result of cross influences with their immediate neighbors.
NEIGHBORS
To the North of the Songye territory, live the Sungu, Tetela, the western Kusu. In the northwest we will find a few luba chiefdoms. To the west the Luntu, Luba – kassaï Kete and Binji peoples resides; one can even find pockets of Chokwe people in the southwest of Songye territory. To the south of the Songye we find a variety of luba speacking, polities, the same is true, for eastern frontier where in addition to the eastern kusu, we find Luba, Hemba, Kunda, Lumbu and Buyu people. Judging from their
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AFRICAN SCULPTURE
Introduction
Context of African sculpture
Places of traditional African sculpture
Canons of African sculpture
Techniques and creative
Aesthetic
Role of African sculpture in the middle
Universal impact of African sculpture
Bibliographic
Introduction
Never has been written about as much ink as traditional African sculpture. Ever, despite all attempts, the man has managed to evacuate his mental field, much less its history, that is to say of his encounter with the other. It has been a cornerstone to measure the "civilization" of the black man and his ability to create capacity variously appreciated throughout history until early this century, cubism helping, the unanimously begins to make the exceptional nature of African sculpture that was always confused with African art which it is a party, probably the most important, if one were to judge solely by the number Parts created that we have reached.
Context of African sculpture
We can talk about African sculpture in isolation from the rest of the arts of Africa south of Sahara. Every word in this area is responsible not only meaningless but history, and if we chose the term "African art" is to fully assume all we have inherited from the past in
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African art
African art constitutes one of the most diverse legacies on earth. Though many casual observers tend to generalize "traditional" African art, the continent is full of peoples, societies, and civilizations, each with a unique visual special culture. The definition also includes the art of the African Diasporas, such as the art of African Americans. Despite this diversity, there are some unifying artistic themes when considering the totality of the visual culture from the continent of Africa.
* Emphasis on the human figure: The human figure has always been a the primary subject matter for most African art, and this emphasis even influenced certain European traditions. For example in the fifteenth century Portugal traded with the Sapi culture near the Ivory Coast in West Africa, who created elaborate ivory saltcellars that were hybrids of African and European designs, most notably in the addition of the human figure (the human figure typically did not appear in Portuguese saltcellars). The human figure may symbolize the living or the dead, may reference chiefs, dancers, or various trades such as drummers or hunters, or even may be an anthropomorphic representation of a god or have other votive function. Another common theme is the inter-morphosis of human and animal.
Yoruba bronze head sculpture, Ife, Nigeria c. 12th century A.D.
* Visual abstraction: African artworks tend to favor visual abstraction over naturalistic representation. This is because many African artworks generalize stylistic norms. Ancient Egyptian art, also usually thought of as naturalistically depictive, makes use of highly abstracted and regimented visual canons, especially in painting, as well as the use of different colors to represent the qualities and characteristics of an individual being depicted.
* Emphasis on sculpture: African artists
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Visual, performing, and literary arts of sub-Saharan Africa. What gives art in Africa its special character is the generally small scale of most of its traditional societies, in which one finds a bewildering variety of styles. The earliest evidence of visual art is provided by figures scratched and painted on rocks c. 3000 BC. Pastoral cultures in the east emphasize personal adornment; sculpture predominates in the agricultural societies in the west and south. Clay figurines found in Nigeria date to 500 BC. Metalworking was practiced from the 9th century AD. Sculptures in stone, ivory, and wood date from the 16th – 17th centuries; some of the finest wood sculptures date from the 20th century. Architecture dominates the arts of the north and of the eastern coast, where Islam and Christianity exerted their influence; important work includes magnificent mosques built of mud and rock-hewn churches. Perhaps the most distinctive features of African music are the complexity of rhythmic patterning achieved by a great variety of drums and the relationship between melodic form and language tone structure. Without this the text of a song is rendered meaningless; but, even in purely instrumental music, melodic pattern is likely to follow speech tone. Dances are realized in radically different styles throughout Africa. Movement patterns often depend upon the way in which environmental, historical, and social circumstances have been articulated in working, social, and recreational movements. Often there is no distinction between ritual celebration and social recreation. The masquerade is a complex art form employing many media; masquerades may entertain, be used to fight disease, be consulted as oracles, initiate boys to manhood, impersonate ancestors, judge disputes, or execute criminals. The mask is essentially a dramatic device enabling performers to stand apart from their everyday role in the community.
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The Metropolitan Museum of Art is an art museum located on the eastern edge of Central Park, along what is known as Museum Mile in New York City, USA. It has a permanent collection containing more than two million works of art, divided into nineteen curatorial departments. The main building, often referred to simply as "the Met," is one of the world's largest art galleries, and has a much smaller second location in Upper Manhattan, at "The Cloisters," which features medieval art.
Represented in the permanent collection are works of art from classical antiquity and Ancient Egypt, paintings and sculptures from nearly all the European masters, and an extensive collection of American and modern art. The Met also maintains extensive holdings of African, Asian, Oceanic, Byzantine and Islamic art. The museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of notable interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Met's galleries.
The Metropolitan Museum of Art was founded in 1870 by a group of American citizens. The founders included businessmen and financiers, as well as leading artists and thinkers of the day, who wanted to open a museum to bring art and art education to the American people. It opened on February 20, 1872, and was originally located at 681 Fifth Avenue.
As of 2007, the Met measures almost a quarter mile long and occupies more than two million square feet.
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Even presented beyond their ethnographic context, the female representations produced by African artists remain strong, both aesthetic choices remain compelling. The Eye Gallery and the Main has a selection of works whose wife is the central subject: maternity, reliquaries, dolls, locks, seats, fetishes, puppets, masks ... all traditional works produced for different purposes, often very utilitarian and share the lack of realism. Yet, the authority that comes from a Dogon figure, is the opposite of the impression that emanates submission in general models of feminine beauty, like the masks of pwo Tchokwe, which are worn by men, but also for the elaborate hairstyles of Mende, who are nevertheless confined exclusively female company. It can be found most touching a small doll of a woman Mossi biga fertility has focused on her and treated as his own child. It is just a simple piece of wood without arms or legs whose femininity is limited to a few signs - hair, eyes, breasts, ports - but just how easy and how success in abstraction.
"FEMINAFRICA" of Wednesday, May 17 to Friday, June 30, 2006.
African Art / African Art / primitive art / primitive art / primitive arts / art gallery / art Tribal / Tribal Art / Africa / Africa / eye and hand / first art gallery / buy / sell / expertise / expert / exposure / exhibition / collection / collectors / Paris / work / Verneuil / antiques / antique / museum / museum / mask / mask / statue / sculpture / Agalom / Armand Auxiètre / www.african-paris.com /
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In 1950s, it was possible to find many objects at the price of 10 francs on the flea markets of Europe. The
first objects to take value were those of the Benin because they were
bronze, then came the fashion of objects to black patina of Ivory
Coast, and those of Bakota of the Gabon plated by copper and by brass. The
big statues were worth more expensive than the babies, while most often
in Africa, if they are small it is to be able to hide them more easily
because they have a particular importance. In 1983, a Parisian trader, Jean-Michel Huguenin, makes discover seats Sénoufo. In
1985, another Parisian trader, Réginald Groux, discovers the ladders of
lofts Dogon — coming from the cliff of Bandiagara — and Lobi in the
region of Mopti (Mali).He acquires a first lot of fifty, makes them socler and sells them in his gallery by making a pretty benefit.
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