11
Portfolios%3D%22949%22%20and%20Century%3D%2220th%20Century%22
Sculpture
Yam Mask
Abelam artist, (active )
Abelam artist
Papua New Guinea
11 3/4 x 12 1/4 x 2 1/4 in. (29.8 x 31.1 x 5.7 cm)
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Grasses
Grasses
Abelam; Made in Maprik Region, Papua New Guinea
0
0
Oceanic, Oceanic art (Pacific Islands)
Sculpture
Abelam yam masks were never worn by humans. They are so small because they were made to adorn the long yams grown by the Abelam people of Papua New Guinea. These long yams, which were not eaten, grow up to 6-9 feet and were exchanged between men as a form of community building. An Abelam man’s prestige was measured in direct proportion to the size of his yams. Special long yams with anthropomorphic features were considered living supernatural beings and were lavishly decorated with paint, feathers, shells, leaves, and masks, and then publicly displayed. The interlacing between solid bands refers to the caterpillar found on yam vines.
[Gallery label text, 2009]
1974.78
item
Memorial Art Gallery
3/20/2001
74.78DI#2
digital image
6/18/2008
http://127.0.0.1:5000/Media/images/74.78_A1.jpg
74.78DI#2
digital image
Front
00/00/00
http://127.0.0.1:5000/Media/images/74.78_A2.jpg
Metalwork
Goldweight
Asante artist, (active )
Asante artist
Ghana
1 5/8 x 1 1/8 x 1/2 in. (4.1 x 2.9 x 1.3 cm)
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Brass
Brass
Asante; made in Ghana
0
0
1900-2000, African, African art, male figures, men, metalwork
Metalwork
Fueled by rich deposits of gold, the Asante engaged in extensive trade relations with European and African nations. Buyers and vendors used brass weights such as these to counterbalance gold dust on scales. Each Asante family had their own set of brass pieces. Unsurprisingly the vendors’ weights were often too heavy and the buyer’s weights too light. Many goldweights represented local proverbs with social or moral meanings that served as ethical reminders during the sometimes fraught ordeal of gold-weighing. If this weight was associated with a proverb, the cultural association has been lost to us.
[Gallery label text, 2009]
1953.76.1
item
Memorial Art Gallery
11/27/2000
53.76.1DI#1
digital image
Three-quarter
1/22/2008
http://127.0.0.1:5000/Media/images/53.76.1_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/53.76.1_A2.jpg
Sculpture
Crest Mask: Male Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
40 9/16 x 2 15/16 x 13 9/16 in. (103 x 7.5 x 34.5 cm)
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overall
overall
Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes the mask a fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. Chi wara masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
The small pieces of red cloth attached to the snout of this male Chi Wara may have originated in the woolen bandages imported by the French during the First World War. In Bamana culture, red is the color of danger and is often restricted to men of certain status.
[Gallery label text, 2009]
1969.107
item
Memorial Art Gallery
11/28/2000
69.107SL2
slide
worn w fiber costume
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.107SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.107DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/69.107_A2.jpg
69.107DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/69.107_A1.jpg
69.107DI#3
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A3.jpg
69.107DI#4
digital image
Side
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A4.jpg
69.107DI#5
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A5.jpg
69.107DI#6
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A6.jpg
69.107TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Crest Mask: Female Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
30 1/2 x 7 5/8 x 8 in. (77.5 x 19.4 x 20.3 cm)
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Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes them fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. The masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
[Gallery label text, 2009]
1993.14
item
Memorial Art Gallery
9/8/1999
93.14SL1
slide
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
93.14DI1
digital image
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/93.14_A1.jpg
93.14DI#2
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A2.jpg
93.14DI#3
digital image
side
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A3.jpg
93.14DI#4
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A4.jpg
93.14DI#5
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A5.jpg
93.14TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Gable Mask
Iatmul artist, (active )
Iatmul artist
Papua New Guinea
14 3/4 x 7 11/16 x 4 1/2 in. (37.5 x 19.5 x 11.5 cm)
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overall
overall
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with mount
overall
Wood
Wood
Iatmul; made in Middle Sepik River Region, Papua New Guinea
0
0
Oceanic, Oceanic art (Pacific Islands), sculpture
Sculpture
The spiritual lives of Melanesian communities are dominated by Men’s Societies. The ceremonial Men’s House is the sacred dwelling place of the clan spirits, treasures, and of initiated men. Gable masks like this adorned the façades of Men’s Houses. Similar to gargoyles in medieval churches, these figures were meant to ward off troublesome spirits that can cause illness and spread mischief. Gable masks embodied powerful female, ancestral spirits.
[Gallery label text, 2009]
1973.139
item
Memorial Art Gallery
3/20/2001
73.139SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.139DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/73.139_A1.jpg
73.139DI#2
digital image
6/17/2008
http://127.0.0.1:5000/Media/images/73.139_A2.jpg
73.139DI#3
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/73.139_A3.jpg
73.139TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Woodwork
Mask (lipiko) of Makonde Man with Incised Tattoos
Makonde Helmut Mask
Makonde artist
Makonde artist
Mozambique
9 3/4 x 7 1/2 x 11 in. (24.8 x 19.1 x 27.9 cm)
Wood
Wood
Makonde; made in Mozambique
ca. 1950-1960
1950
1960
763
Woodwork
Makonde people are producing more masks and types of masquerades now than ever before. This living, thriving tradition favors innovation, so styles of mask and dance change continually. Masked dancers perform before enthusiastic audiences for holidays or important occasions in the village.
This mask, from the 1950s or 60s is in the classic style favored by Makonde people today. The style and design of facial tattoos are unique to the Makonde and would have identified this face as belonging to a specific region or tribe. Most Makonde tattooing ended in the 1960s, so only the older generation wears the distinctive marks today. The specificity of the shaved hairline and the scar on the scalp near the left temple indicate that perhaps this mask was a portrait.
[Gallery label text, 2009]
underside, Base coat: Acryloid B-72 in acetone
Accession number: Golden Fluid Acrylics (black)
Both layers soluble in Acetone
2006.71
item
Memorial Art Gallery
10/20/2006
763DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2006.71_I1.jpg
2006.71DI#2
digital image
Three-quarter
7/2/2007
http://127.0.0.1:5000/Media/images/2006.71_A1.jpg
Basketry
Body Mask
Papua New Guinean artist
Papua New Guinean artist
Papua New Guinea
Primary
96 in. (243.8 cm)
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Cane
Cane
Papua New Guinean; made in Kararua District, Middle Sepik River Region
0
0
1900-2000, masks (sculpture), Oceanic, Oceanic art (Pacific Islands)
Basketry
In earlier times, masks like this one were used in traditional initiation ceremonies in which young boys became men. Skulls of ancestors sometimes adorned the masks to reinforce their role as benevolent ancestral spirits. The dancer would have looked out of the eyes of the lower face and treated as handles the holes hidden below the small patches of grass.
As it was created in the 20th century, we know this body mask was made by artists specifically for sale. Even as social changes affect a culture, the traditional arts of a people can become representations of ethnic identity and potent symbols of familiar values and vaunted ideals of an earlier time. This mask was made by people living on the Sepik River, the major trade and communications artery of Papua New Guinea. Today, it is on the Sepik that most westerners experience Papua New Guinea as cruise lines travel up and down the river, stopping at villages where local artists sell their work.
[Gallery label text, 2009]
1973.138
item
Memorial Art Gallery
3/20/2001
73.138SL1
slide
3/4 View
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.138SL2
slide
full frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.138DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/73.138_A1.jpg
73.138DI2
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/73.138_A2.jpg
73.138DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/73.138_A3.jpg
73.138DI#4
digital image
Three-quarter
3/10/2009
http://127.0.0.1:5000/Media/images/73.138_A4.jpg
Sculpture
Spirit Board (Gope)
Papua New Guinean artist
Papua New Guinean artist
Papua New Guinea
Primary
54 x 12 3/4 in. (137.2 x 32.4 cm)
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Wood
Wood
Papua New Guinea; made in Gulf Province, Era River Region
1950-1987
1950
1987
Oceanic, Oceanic art (Pacific Islands), religious & ritual objects, sculpture
Sculpture
Traditionally, spirit or gope boards were considered dwelling places for individual spirits. Each spirit was linked to specific parts of the land, river or sea associated with the clan. They were kept in each clan’s cubicle within the larger Men’s House along with other items such as human and animal skulls meant to honor various spirits within their clan.
The boards' highly stylized imagery is believed to represent the way the spirit looks. While the imagery reflects certain consistencies within clans, their varied style and appearance reflects individual artists’ representations of individual spirits. Despite differences, every board has a face and a navel. The navel was particularly important because it served as the access point through which the spirit entered the board.
[Gallery label text, 2009]
1987.84
item
Memorial Art Gallery
3/20/2001
87.84SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.84DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/87.84_A1.jpg
87.84DI#2
digital image
6/10/2009
http://127.0.0.1:5000/Media/images/87.84_A2.jpg
Woodwork
Champion-Cultivator Staff
Senufo artist, (active )
Senufo artist
Côte d'Ivoire
Primary
54 in. (137.2 cm)
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Wood
Wood
Senufo; made in Côte d'Ivoire
0
0
Woodwork
During the annual hoeing contests of the Senufo, the farmer with the most agricultural prowess wins the champion-cultivator staff for one year. The voluptuous and regal figure, the epitome of Senufo beauty, is posted in the ground during competition to watch over and spur on the contestants. These contests are more than simple agricultural competitions; they weave a rich tapestry of art forms—drumming, singing, dancing, and sculpture—to turn back-breaking labor into an inspiring community ritual. The shiny area visible near the figure’s eye is likely residue from the ritual application of oil, a sacrificial offering made to the powers embodied in the staff.
[Gallery label text, 2009]
1971.64
item
Memorial Art Gallery
3/10/2001
71.64SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.64DI#3
digital image
Side
3/10/2009
http://127.0.0.1:5000/Media/images/71.64_A3.jpg
71.64DI#1
digital image
3/10/2009
http://127.0.0.1:5000/Media/images/71.64_A1.jpg
71.64DI#4
digital image
Side
3/10/2009
http://127.0.0.1:5000/Media/images/71.64_A4.jpg
71.64DI#2
digital image
Three-quarter
3/10/2009
http://127.0.0.1:5000/Media/images/71.64_A2.jpg
Jewelry
Pendant Amulet (Ikhoko)
Western Pende artist, (active )
Western Pende artist
Democratic Republic of the Congo
2 1/4 x 1 1/4 x 1 in. (5.7 x 3.2 x 2.5 cm)
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Ivory
Ivory
Western Pende; made in Democratic Republic of the Congo
0
0
1900-2000, African, African art, amulets, heads, jewelry, masks, masks (sculpture)
Jewelry
This amulet was worn around the neck of a young Pende man beginning with his initiation into the men’s secret society and remaining as a part of his personal adornment for life. This face is a smaller version of the masks worn during initiation and would later act as a reminder to the wearer of the moral codes instilled in those formative ceremonies.
[Gallery label text, 2009]
Western Pende Jewelry; Made in Democratic Republic of the Congo
1951.114
item
Memorial Art Gallery
3/10/2001
51.114SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.114DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/51.114_A1.jpg
Sculpture
Crest Mask
Yaka artist, (active )
Yaka artist
Democratic Republic of the Congo
20 1/4 x 18 1/4 x 15 in. (51.4 x 46.4 x 38.1 cm)
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Wood
Wood
Yaka; made in Democratic Republic of the Congo
0
0
Sculpture
Masks like this one are danced by young Yaka men in celebration of completing a stage of their initiation into manhood. These masks provide protection to the young, vulnerable men as they enter into the challenges and responsibilities of adulthood. In particular, they are meant to insure the young men’s virility for the future of the community.
[Gallery label text, 2009]
1972.54
item
Memorial Art Gallery
3/10/2001
72.54SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.54DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/72.54_A1.jpg
72.54DI#2
digital image
6/18/2008
http://127.0.0.1:5000/Media/images/72.54_A2.jpg
72.54DI#3
digital image
7/28/2009
http://127.0.0.1:5000/Media/images/72.54_A3.jpg