12
keywordPath%20%3D%20%22GXST%22%20and%20Disp_Obj_Type%20%3D%20%22Sculpture%22
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)
.
.
.
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
Veranda Post
Olowe of Ise, (ca. 1875 - ca. 1938)
Ise, Olowe of
Nigeria
ca. 1875 - ca. 1938
Male
56 x 132 x 10 in. (142.2 x 335.3 x 25.4 cm)
.
.
.
maximum
Wood
Wood
Yoruba; made in Nigeria
1910-1914
1910
1914
1900-2000, African art, female figures, sculpture, Yoruba
Sculpture
A royal wife stands with her hands resting on the heads of her twin daughters who hold their breasts in a Yoruba gesture of greeting, devotion and humility. This post was carved to decorate a courtyard veranda in the palace of the Ogoga of Ikere, one of the kings of Yorubaland. The courtyard served as an official area where the king received important visitors and conducted affairs of state. It was important that he show off his wealth, power and sophistication in this space.
This veranda post was carved by one of the most renowned sculptors in Africa, Olowe of Ise. His sculptures were so beautiful that some people believed Olowe harnessed the power of spirits who carved for him. Elaborate hairstyles and scarification patterns (look at the royal wife’s back) demonstrate Olowe’s technical mastery and reflect Yoruba standards of beauty. Traces of layered pigments indicate that these were once brightly painted and regularly refurbished.
[Gallery label text, 2009]
1971.13
item
Memorial Art Gallery
11/1/2000
71.13TR2
transparency
back pink
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13TR4
transparency
3/4 view pink
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13TR3
transparency
side
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13TR1
transparency
front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13SL1
slide
full frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13SL3
slide
full 3/4 left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13SL2
slide
full profile-right side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full/F&B
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
71.13DI1
digital image
front
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/71.13_A1.jpg
71.13SL5
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13Di2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/71.13_A2.jpg
71.13DI3
digital image
Detail small figures at base
6/25/2009
http://127.0.0.1:5000/Media/images/71.13_A3.jpg
71.13DI#6
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/71.13_A6.jpg
Sculpture
Fertility Doll (Akuaba)
Asante artist, (active )
Asante artist
Ghana
Primary
12 3/8 x 4 7/8 in. (31.4 x 12.4 cm)
.
.
.
Wood
Wood
Asante; made in Ghana
0
0
African art, religious & ritual objects
Sculpture
Fertility is a universal human concern that has long been a central issue in Africa where the infant mortality rate remains high to this day. An akuaba is a fertility talisman meant to aid an Asante woman yearning to become a mother. The horned hairdo of this akuaba is that of a priestess and indicates the child, if allowed to live, will become a priestess dedicated to a goddess. Normally it is not necessary to dedicate a child; this is more common among older women who had already lost several children.
Akuaba are affectionately bathed, dressed, fed and carried by women as they would a living child. Their slight, flat shape is designed to be carried on a woman’s back in her cloth wrapper. When the woman’s child survives childhood, the akuaba is sometimes placed in a shrine as an offering of thanks to the god responsible. Almost all of these fertility dolls are female as the Asante are a matrilineal society and most women wish for daughters to carry on their family line.
[Gallery label text, 2009]
1967.31
item
Memorial Art Gallery
11/28/2000
67.31SL1
slide
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
67.31DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/67.31_A1.jpg
67.31DI#2
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/67.31_A2.jpg
67.31DI#3
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/67.31_A3.jpg
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Female Figure (Akuaba)
Asante artist, (active )
Asante artist
Ghana
Primary
10 1/2 x 4 1/4 in. (26.7 x 10.8 cm)
.
.
.
Wood
Wood
Asante; made in Ghana
0
0
1900-2000, African art, Asante, fertility figures, sculpture
Sculpture
Asante women often carry dolls called akuaba to encourage fertility and ensure the health and beauty of the child. The figure is placed at an altar or held in the wrappers of a woman's clothing, treated as a real child until pregnancy occurs. If the resulting child dies, the akuaba might be kept as a memorial to the infant. Akuabas are representative of ideal beauty, demonstrating round or oval heads with high foreheads, and long necks with excess fat, indicating a good state of health.
[Gallery label text]
1984.19
item
Memorial Art Gallery
11/28/2000
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.19SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.19DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/84.19_A1.jpg
84.19DI#2
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/84.19_A2.jpg
84.19DI#3
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/84.19_A3.jpg
Sculpture
Fertility Doll (Akuaba)
Asante artist, (active )
Asante artist
Ghana
Primary
10 x 3 5/8 in. (25.4 x 9.2 cm)
.
.
.
Wood
Wood
Asante; made in Ghana
0
0
1900-2000, African art, Asante, fertility figures, sculpture
Sculpture
Fertility is a universal human concern that has long been a central issue in Africa where the infant mortality rate remains high to this day. An akuaba is a fertility talisman meant to aid an Asante woman yearning to become a mother.
Akuaba are affectionately bathed, dressed, fed and carried by women as they would a living child. Their slight, flat shape is designed to be carried on a woman’s back in her cloth wrapper. When the woman’s child survives childhood, the akuaba is sometimes placed in a shrine as an offering of thanks to the god responsible. Almost all of these fertility dolls are female as the Asante are a matrilineal society and most women wish for daughters to carry on their family line.
[Gallery label text, 2009]
1984.20
item
Memorial Art Gallery
11/28/2000
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.20SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.20DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/84.20_A1.jpg
84.20DI#2
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/84.20_A2.jpg
84.20DI#3
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/84.20_A3.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)
.
.
.
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
Bird Mask
Gurunsi artist, (active )
Gurunsi artist
11 x 33 in. (27.9 x 83.8 cm)
.
.
.
Wood
Wood
Gurunsi; made in Ghana
0
0
African art, birds, Gurunsi, masks (sculpture), woodwork
Sculpture
1971.63
item
Memorial Art Gallery
3/10/2001
71.63SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.63DI1
digital image
From left side
6/30/2009
http://127.0.0.1:5000/Media/images/71.63_A1.jpg
71.63DI2
digital image
From right side
6/30/2009
http://127.0.0.1:5000/Media/images/71.63_A2.jpg
Sculpture
Face Mask with Hinged Jaw (Elu)
Ogoni artist, (active )
Ogoni artist
Nigeria
7 1/2 x 4 3/4 x 4 5/8 in. (19.1 x 12.1 x 11.7 cm)
.
.
.
Wood
Wood
Ogoni; made in Nigeria
0
0
African art, religious & ritual objects
Sculpture
The white face of this Ogoni mask is associated with the youthfulness of benevolent spirits. As positive forces, elu are entertainers and are performed by young men on multiple occasions throughout the year. These unusually small masks perch on the front of the dancer’s face attached to a woven head piece. The mask is further animated when the dancer, clenching in his teeth a stick attached to its back, opens and closes the hinged jaw.
The bowler hat is typical of this type of mask, as elu often depict hairstyles and fashions current at the time. In the early 20th century when this mask was carved, the Ogoni were involved in trading palm oil (for cooking) and gained exposure to this European style. These bowler hats became desirable prestige items for the Ogoni.
[Gallery label text, 2009]
1972.53
item
Memorial Art Gallery
3/10/2001
72.53SL1
slide
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
72.53DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/72.53_A1.jpg
72.53DI#3
digital image
Front - mouth open
1/22/2008
http://127.0.0.1:5000/Media/images/72.53_A3.jpg
72.53DI#2
digital image
Front - mouth closed
1/22/2008
http://127.0.0.1:5000/Media/images/72.53_A2.jpg
Sculpture
Rhythm Pounder (Deble)
Senufo artist, (active )
Senufo artist
Côte d'Ivoire
42 1/2 in. (108 cm)
.
.
.
Wood
Wood
Senufo; made in Côte d'Ivoire
0
0
1900-2000, African art, religious & ritual objects, Senufo
Sculpture
In many African societies, life on earth is seen as part of a continuum that permits movement between the spirit and earthly worlds. As ancestors are in a position to assist the living, they must be respected and attended to. The rhythm pounders of the Senufo originally functioned as communication devices in calling the spirits of ancestors to participate in funerals. Held by the upper arms, the rhythm pounder’s thick base is thumped into the earth in rhythm with the sounds of chants, drums and rattles.
[Gallery label text, 2009]
1969.72
item
Memorial Art Gallery
3/10/2001
69.72SL1
slide
3/4 full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3/4 full L
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3/4 full R
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3/4 full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.72SL2
slide
detail-torso/head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.72DI1
digital image
3/4 full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/69.72_A1.jpg
69.72DI#3
digital image
Front
3/10/2009
http://127.0.0.1:5000/Media/images/69.72_A3.jpg
69.72DI#2
digital image
Three-quarter
3/10/2009
http://127.0.0.1:5000/Media/images/69.72_A2.jpg
Sculpture
Twin Figure (Ere Ibeji)
Yoruba artist, (active )
Yoruba artist
Nigeria
9 3/8 x 2 5/8 x 2 3/4 in. (23.8 x 6.7 x 7 cm)
.
.
.
Wood
Wood
Yoruba; made in Nigeria
0
0
1900-2000, African art, religious & ritual objects, sculpture, Yoruba
Sculpture
The Yoruba have one of the highest rates of twinning in the world. Twins are endowed with powerful attributes, both auspicious and dangerous. Due to the high mortality rate of twins, when one or both dies, Yoruba mothers procure small wooden statues (ere ibeji) to house the spirits of the deceased. If there is a single ibeji, it is likely that one twin died and one survived. If there are two ibeji figures, then it is likely that both twins died. Wealthy women clothe their ere ibeji in beaded or shelled vests.
Surface accumulation and signs of wear are common as ibeji figures are cared for in the same manner as a living child and are handled, clothed, washed, fed and honored with dances and songs. Lyrics from a Yoruba song explain how the care of ere ibeji can control the potentially negative influence of twins’ spirits, “Abuse me and I shall follow you home. Praise me and I shall leave you alone.” Subsequent generations inherit the care of ere ibeji from their ancestors.
[Gallery label text, 2009]
1965.9.1
item
Memorial Art Gallery
3/10/2001
65.9.1_.2DI1
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.1-.2_A1.jpg
65.9.1-.2SL1
slide
full with 65.9.2
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.1DI2
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.1_A1.jpg
65.9.1DI#3
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1_A5.jpg
negative
frontal with 65.9.2
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
frontal with 65.9.2
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
frontal with 65.9.2 side
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
frontal with 65.9.2 side
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.1DI#4
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1_A6.jpg
65.9.1_.2DI#5
.1&.2
digital image
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1-.2_A4.jpg
Sculpture
Twin Figure (Ere Ibeji)
Yoruba artist, (active )
Yoruba artist
Nigeria
Primary
9 1/4 x 2 5/8 x 2 5/8 in. (23.5 x 6.7 x 6.7 cm)
.
.
.
Wood
Wood
Yoruba; made in Nigeria
0
0
1900-2000, African art, religious & ritual objects, sculpture, Yoruba
Sculpture
The Yoruba have one of the highest rates of twinning in the world. Twins are endowed with powerful attributes, both auspicious and dangerous. Due to the high mortality rate of twins, when one or both dies, Yoruba mothers procure small wooden statues (ere ibeji) to house the spirits of the deceased. If there is a single ibeji, it is likely that one twin died and one survived. If there are two ibeji figures, then it is likely that both twins died. Wealthy women clothe their ere ibeji in beaded or shelled vests.
Surface accumulation and signs of wear are common as ibeji figures are cared for in the same manner as a living child and are handled, clothed, washed, fed and honored with dances and songs. Lyrics from a Yoruba song explain how the care of ere ibeji can control the potentially negative influence of twins’ spirits, “Abuse me and I shall follow you home. Praise me and I shall leave you alone.” Subsequent generations inherit the care of ere ibeji from their ancestors.
[Gallery label text, 2009]
1965.9.2
item
Memorial Art Gallery
3/10/2001
65.9.1-.2DI1
slide
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Graphics/blank.gif
65.9.2SL1
slide
full w 65.9.1
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.1-.2DI1
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.1-.2_A1.jpg
65.9.2DI2
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.2_A1.jpg
negative
frontal with 65.9.1
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
frontal with 65.9.1
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
side with 65.9.1 frontal
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
side with 65.9.1 frontal
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.2DI#3
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.2_A7.jpg
65.9.2DI#4
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.2_A8.jpg
65.9.1&.2DI#5
.1&.2
digital image
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1-.2_A4.jpg
Sculpture
Fire Spitter Mask
Senufo artist, (active )
Senufo artist
Côte d'Ivoire
Primary
33 1/2 x 11 x 9 1/2 in. (85.1 x 27.9 x 24.1 cm)
.
.
.
overall
Wood
Wood
Senufo; made in Côte d'Ivoire
0
0
African art, masks (sculpture), Senufo
Sculpture
underside, Base coat: Acryloid B-72 in Acetone
Accession number: Golden Fluid Acrylics (white)
2003.101
item
Memorial Art Gallery
9/9/2003
2003.101DI#1
digital image
Front
8/8/2007
http://127.0.0.1:5000/Media/images/Inventory pictures/2003.101_I1.jpg
2003.101DI#1
digital image
10/7/2008
http://127.0.0.1:5000/Media/images/2003.101_A1.jpg