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Traditional african art works
Traditional african art works
African art for essay
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Both artworks `Fly whisk with leopard holding an antelope in jaws and the Helmet Mask (sowei)’ were created in direct responds to the African heritage. They both signifies respect which are used differently to both genders. The `fly whisk with leopard holding an antelope in jaws’ commands respect to the male gender, while the `Helmet Mask’ is an African masquerade wore by only women. The artist of the `Fly whisk with leopard holding an antelope in jaws’ is an Akan artist, which is a tribe in Ghana or cote d’lvoire in the late 20th century. The piece was later collected by DR. Martha Ehrlich. In the piece I saw a shiny bold metal curved into a handle. The whisk is made of horse tail and it is dark in color. A leopard made of gold is sitting
on its top and the length is about a meter tall. Although it looked simple, it has a lot of sophistication attached to it. The `Hamlet Mask’ artist is called Sewa Mende of the Sande society from Sierra Leone. The piece is from the Mid-20th century and was given as a gift to James G. Hanes Memorial fund in 1973. I saw a mask made out if metal, the physical appearances of the mask looked feminine, which gave me the impression that it was a female masquerade. I also saw tiny pieces of wood attached together that looked like the form of a lower dress/skirt. The dark colors make it look scary, yet cute in a certain way.
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.
Grey Owl made a clay image of the natives by the Europeans. Covering different aspects of the
The right side is almost purely white, with blue and gray shadows; the rest of the body is black, dark brown, and navy. The profile of a white woman obscures the left half of the black face, facing to the right of the piece; her hair is in a large braid and she wears a simple pearl earring. The black woman has long, flowing, bright blue hair, as well as full red lips. The black woman’s body has a rose over it, and the white woman is wearing what looks like a straw bikini; the figure is wrapped in a thick rope from the waist down. The stark contrast between the white and black meet with a definitive line; there is no blending between the two colors, which amplifies the feelings of separation and difference between the two halves of the woman’s
In Art Spiegelman’s comic series, MAUS, each race in the storyline is analogously depicted as a different animal. This essay will explore the various benefits, drawbacks and their counteractions, that are confounded with author’s choice of this illustration. It can be argued that choosing animals to represent humans, in an event as complex as the Shoah, dehumanizes victims even more. Humans conventionally see species of animals as collective entities rather than individual beings. Thus, by representing all the Jewish people as one type of animal, the reader might unconsciously generalize all the victims’ sufferings and discourses into one coherent image, in order to make sense of things. On the other hand, depicting each race as a certain animal
It is one of the only times in the year in which the whole of America
The Boli, or altar, figure from the Bamana peoples of Mali is a unique piece of art not based on what an individual knows about the figure, but rather what it doesn’t. The Boli has a secretive quality that harness energy from the community and peoples reactions to the Boli can fluctuate based on their interpretations on the object. The Boli is made of materials ranging from human bodily fluid to sticks and string. The figure is generally made to resemble an animal, typically a hippopotamus or cow, but over time with sacrificial material covering the figure it can become somewhat unclear. The Bamana peoples have an obscure relationship with the Boli for many reasons that could sprout from the materials it is made from, its uses in the society, and its extremely secretive nature.
-- The quote from one the of characters Master Liang pinpoints a key theme in Wu Tianming 's movie The King of Masks, that is, the power of the true feelings in times of oppression and inequality. Wu Tianming is a representative of Chinese fourth generation filmmakers, who are known for a simple, natural and realistic way of storytelling as well as their thematic exploration of human nature and meaning of life . Masks is Wu's academic-winning work through which we can see his philosophy from the depiction of ordinary people and the trivial elements of daily life. The story takes place among 1930s in a small town of Sichuan, revolving around King, a street artist's change of perception from keeping to the feudal idea that his skills cannot be passed on through girls to finally allow his beloved adopted granddaughter Doggie be the heir. 1930s is a time of social hierarchy and gender inequality where the rights of minority are exploited; it is also a time of moral confinement, since most people do not receive education and unquestioningly follow the societal rules and customs simply because they are told to. However, Masks shows us that the power of true feelings and humanity can eventually allow people to overcome all the barriers and defeat injustice, as in the ending King is finally able to let go all of the societal restrictions to teach Doggie face-changing because he realizes that nothing is more important than their familial love and bonding. The film's emphasis on emotional depiction, accompanying by artistic cinematography, tranquil scenery and the charm of Chinese traditional art, all have contributed to the timelessness and immutability of the p...
The Central African tribe of the Punu have created hundreds of masks over time, but there is one type of mask that is more celebrated. According to the University of Virginia's Faces of the Spirits, these masks are called the Okuyi or Mukudj masks. A generally wooden mask, colored either white, black, or red, these masks are a work of art. They even appeal to many museum collectors. These wooden masks are significant to that culture because they are used in rituals, music and celebrate this culture’s pride in their women.
Stylized marks are engraved along the statue which are used to both decorate and give meaning to the piece. The creator of this piece used many rounded geometric patterns commonly found in Islamic art which complements the rounded body of the griffin. The more simple engravings include wave-like feathers on the wings, semi-circular scales on the chest, and circles between geometric patterns on the back. More complex engraved teardrop images are displayed on the top of each leg which feature the
Gender is a socially constructed term used to identify masculinity and femininity based on the biological sex of male and female. Romans and Greeks have many similar artistic styles, since the Romans copied many of their art techniques from the Greeks, especially the creation of the human body that the Greeks were very interested in beccause of the competitive streak in creating the most naturalistically porprotional humand body . The Terracotta Plaque, by an unknown artist, dated 27 B.C - 68 A.D during the Roman culture is a terracotta, which is a type of ceramic clay used by the Greeks to make many of their potery, whose image on the plaque also has many of the artistic styles used by the Greeks to illustarte the human body. The media compaign that is being created will discuss being against discrimination based on gender through this art piece that I choose in order to demonstrate the form in which women’s feminity and men’s masculinity is portrayed, as feminity being evil yet submissive and masculinity as being strength and dominance. Through the symbolic items held by the man, the animals used by both the man and woman, and the displayment of their bodies one can demonstrate the discrimination of gender.
The face is a central organ to personal identity. With it we can communicate human expression, feelings and characters with as little as the blink of an eye. On a deeper level, the face can be an art form that speaks to a universal understanding of the mind. Olivier De Sagazan uses the face to challenge conventions. He exposes human rawness and looks at cultural taboos. Sagazan’s artwork cannot be pinned down by language but by raw emotion. His unsettling performances represent visions of primitivism, agony, occult and other ancient cultural art forms that cover or deform the face in ways that can be both beautiful and confronting. Leading us to question, “What are we? Humans? Or animals? Or savages?
Artists use their artistic talent to provide social commentary that they believe that needs to be acknowledged by the public viewers. In confronting manner, Ai Weiwei destroys an expensive ancient Pot and metamorphoses it by applying the logo of Coca Cola as shown in Neolithic Culture Pot with Coca-Cola Logo [figure 3]. Through his work Weiwei highlights issues pertinent to contemporary China, suggesting the unpleasant collision of ancient culture with global capital. This indicates his concerns on the disappearance of “historic material culture due to rapid modernization and the effects of global economy on traditional modes of production” (Artlyst, 2011) . It emphasises the prospering industry in China of mass producing cheap imitations of Western goods. His mocking the reality of excessive consumption enacted by Chinese market industry and the brand globalisation, such as Coca cola by utilizing their logo. Weiwei views it as an art that is democratic, gathering connoisseurs as well as the eyes of general public. Similarly, Kissing Coopers [figure 4] by Banksy touches on the sensitive issue of homosexuality and gay rights by depicting two male English Policemen engaging in a passionate kiss. The rights of homosexuality has always been a popular issue around the world, especially in UK and America. Being subversive of social norms, this work criticises social rejection on gay couple
Animals have always been the human race’s first choice when it comes to food, clothing, and unfortunately, decoration. Black bears fur is cut into family room rugs, and deer heads are mounted on the walls of Hunters houses everywhere. Although deer mounting and rug making are practices mainly found in the U.S, humans have extended their decorative tastes across international waters. Humans have been slaying hundreds of exotic African animals, such as rhinos and elephants, in exchange for the animals’ horns and tusks. Since these items are imminently rare, humans are paying graciously to get some of their own to display in their homes, show off to their peers, and create items that could have easily been created with
Kasfir, S. L. (2007) African Art and the Colonial Encounter: Inventing a Global Commodity, Bloomington: Indiana University Press.
In Ryunosuke Akutagawa’s short story “Rashomon”, Akutagawa uses many symbols in order to add deeper meaning into his work. One of the prominent symbols in “Rashomon” is the crow, which a dark obnoxious bird, and it is used in order to provide a commentary on the period of rapid Westernization occurring in Japan during the time that the piece was written. It adds another gruesome and ugly element to the story.