Boxed inside thick glass in the African exhibit at the Cantor Museum stands an object that is about 20 inches long and approximately 15 inches high. The overly round head is connected to protruding shoulders that dip down into a deep curve of the back. The legs, short and stub-like. The plump bulbous figure, resembles that of a cow. The relic is visually stimulating and perplexing. The title reads: “Artist Unknown. Bamana peoples, Mali. Shrine Figure (Boli) 19th century”, yet the viewer may wonder; What is it? What purpose does it serve? Did it belong to one person or as a community as a whole? Why is it the shape that it is? What is it made of? How exactly was it made? The historic mystic powers of the polilithic artifact has been …show more content…
After the rituals are over the boliw would be stowed away in a secured private area. If the boliw was to be abused or land in the hands of someone outside of the Komo association it was believed that great destruction and devastation would rain upon the village. The boli is made of an accumulation of organic and inorganic substances. The process of creation is very meticulous. The bones, vegetation, honey and metal are packed around a wooden bamboo core that has been wrapped in white cloth. The layers are separated by a thick coating of mud and clay. The outer surface is coated with sacrificial materials such as chicken or goat blood, chewed kola nuts, alcohol, and millet porridge. It is believed that the amount of layers the boli receives the more spiritual power is gained. The Bamana believe that each layer of the boli is made of various parts of the inverse that is crucial for survival. The boli is a metaphor of a human or animal turned inside out. The sacrificial coating is the undigested contents of a stomach. In nineteenth century Bamana, it was believed that the cow was most significant forms of wealth and knowledge
This sacred space is enclosed with a corridor of stones leading away which represents a Bora. The Bora was a traditional meeting ground of Aboriginals which in this ritual is another connection to their ancestry and spirituality. Connecting with the land has been a vital part of Aboriginal spirituality despite the catholic prominence. Source 1 also ties in with Christian beliefs as well as Aboriginal spirituality with it’s references to “God the creator” and the recollection of Jesus being the light of the world. A candle is placed to acknowledge the light Jesus brought into the world which shows the deep connection to Jesus and Christmas which celebrates Jesus birth. At the centre of the Murri people’s worship place a coolamon which is an area a baby could be placed is created to symbolism Jesus’s Manger. Through source 1 it is shown that religion and spirituality can go side by side in contemporary society by
Another thing that our society brandishes as being absurd and somewhat "evil" in nature, would be that this tribe did practice human sacrifices and cannibalism. However, this was not for some dark ritual that can not be explained. It was a belief that the only way another tribe or that tribe's leader could be released into the heavens was through the consumption of what was impure on earth.
Renee Stout’s “Tales of the Conjure Woman,” currently on exhibition at Spelman College’s Cosby Hall, puts on display the culturally mysterious nature of African folklore. In the exhibition, Stout presents with utter brilliance the depth of the culture through her artistic manifestation of ceremonial traditions, magical hoodoo, and spell-related practices. In her works, Stout uses a unique personification, an alter ego of sorts, named Fatima Mayfield, to explore the African folkloric world of which her exhibition represents. Ranging from simple recipes to intricate descriptions of the aforementioned magical practices, Stout takes on her work with her alter ego in an attempt to demonstrate both the past and contemporaneous dimensions of her work. Additionally, it would seem as if Fatima exists as a sort of special source of understanding and clarity for Stout given her vast knowledge and countless abilities. The exhibition is home to various pieces that allow one to “jump inside the pages” and interact with Stout’s rendition of the African folkloric community.
The display of Benin art in museum and galleries reflect the attitudes and perceptions of Europeans towards non-western artefacts, especially African. Thus as European attitudes change towards non-western art since the discovery of Benin art in 1897, Benin art has been revaluated and re-categorised.
This statue is the result of the sculptor, Richard Rahl, being kidnapped and forced into bondage in a land ruled by a despotic religious order. This order’s teachings insisted humanity was in a state of sin from birth, unworthy of the light and love of their Creator. This sin was greed. To labor for one’s own survival was to show hatred of your neighbor through greed thus leading to slavery in all but name. Art in this land was deemed vile if it showed humanity in any other light than decrepit and twisted, cringing from their Creator and its light.
With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.
This is an extremely high relief sculpture made of limestone. It is to be viewed from a frontal standpoint. It however does have a potential for movement. There seems to be a great deal going on in such a close space. It is very crowded, but dramatic. The figures are intertwining with each other all at once even though there are different things happening. It reminds me of a play with scenes. You can actually step in to it and feel as though you are a part of what is happening because of all the different directions each individual is facing.
The Warka Vase is a uniquely large piece that was laboriously built, and carefully decorated. The images on the Warka Vase are significant and have iconographic meanings unique to the Uruk people and the cult of Inana. The images reference common practices in cuneiform and iconography of the time and place the Warka Vase was made and can be cross compared with other pieces from the time to understand the symbolism of this brilliant piece of art. To understand who is in the images, what they are doing and how they relate to one another may bring unique insight to the practices of the cult of Inana.
Nothing is promised in life except for one thing and that is death! Everyone has to eventually die but in African cultures they believe that there is life after death and this where ancestors reside. Art works are there to help serve as a point of contact between the living and the dead. In the country of Gabon in central Africa the Kota people have a guardian figure made to hold, honor and protect the bones on their ancestors. “The traditional religion of Kota centered around ancestors who are believed to wield power in the afterlife as they had as living leaders of the community.” Ancestors are respected elders who have passed away and who continues to serve as an extension of a family and community. In the image below I will explain some of the parts found on the figure. If you have noticed there is no mouth on the figure and that is because the ancestors no longer communicate with words. Below the neck there is a diamond shaped part of the figure which happens to be the arms, these are used to tightly hold onto the remains of the ancestor’s bones. “Wooden sculptures covered with sheets of copper and brass, known as reliquary or guardian figures, were attached to the baskets containing bones. Some believe that the figures were an abstract portrait of the deceased individual, while others argue that they were merely to protect the spirt of the deceased from evil.”
Zahan, Dominique. The Religion, Spirituality, and Thought of Traditional Africa. Trans. Kate Ezra Martin and Lawrence M. Martin. Chicago: U of Chicago Press, 1979.
As these materials have magical means, often seen in Egyptian religious beliefs, a magical mean of the ushabti followed after-life of its deceased. The figurine appears to be inscribed with a special spell that contains summons; the intent of figure is placed in the tomb to act as substitute for its deceased body. This magical figurine was detailed to respond in the
A common aspect of African culture is our mediating of deities, ancestors, and spirits, by performing rituals and contacting ancestors or historical ideals. This spiritual combination creates a non-Western idea of movement in art. I enjoy this part of our culture, where we create a less static environment. We become other beings, through our usage of art, dance, and costume with mask and headwear. Our artistic creators are forgotten. Our original artwork are eventually forgotten. The work goes back to the Earth, for the only true matter is how the spirits are manifested in the objects at the current time; eventually even this wears out. At the time of the spiritual manifestation in the objects, they are some of the most powerful aspects in our society.
The plaque under consideration, is of a forward facing man, with an aquiline nose, thin lips, neatly trimmed beard, wearing a sun hat with flaps and looking intently at the viewer. He is dressed in a typical 16th century Portuguese style, wearing a decorated tunic with padded shoulders and tight breeches with short boots. He has a business like manner, carrying in his right hand a brass manilla, the main item of exchange with Benin, and a walking cane in the other. It is significant that he is not armed, clearly indicating he is safe in foreign surroundings. The background is pleasingly stylised with clusters of petals set against a stippled ground imbuing a secure feeling.
Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.
Silvester, Hans W. Natural Fashion: Tribal Decoration from Africa. London: Thames & Hudson, 2009. Print.