|
Hint
|
Artwork
|
|
Uses ashlar masonry and trapezoidal inward-sloping structures, similar to Inca construction
|
Great Zimbabwe
|
|
Worn on top of the head (like a helmet); has fringe on the bottom
|
Bundu Mask
|
|
The work's material and the worn coral beads are both obtained through trade with the Portuguese
|
Wall plaque, from Oba's palace
|
|
Artisans are the Mende peoples
|
Bundu Mask
|
|
Likely apotropaic (to keep evil spirits away), given its gesture (hands clasped) and location (above remains). Also likely didactic (meant for teaching) like the Lukasa.
|
Byeri (Reliquary figure)
|
|
Had admired characteristics of its culture's people— tranquility, introspection, and vitality— as well as portability (given the culture's nomadic nature)
|
Byeri (Reliquary figure)
|
|
Tightly bounded internal and external passageways forcing occupants to walk single-file, mimicking experiences in the African bush
|
Great Zimbabwe
|
|
Has three brass triangular additions which, along with the lustrous patina (coating), emphasizes sunlight and suggests health
|
Mblo (Portrait mask)
|
|
Has high forehead indicates wisdom; small slit eyes indicates demureness; tight-lipped mouth symbolizing not revealing secrets and not gossiping; small ears symbolizes avoiding gossip and hearing no evil
|
Bundu Mask
|
|
Air is circulated via several hoels with terra cotta lids
|
Great Mosque of Djenné
|
|
Emphasizes balance, given symmetry, and duality, given features of an infant (big forehead, big belly button which symbolizes umbilical cord) and adult (muscles and adult, tubular body); note infants were connected with the dead in its culture
|
Byeri (Reliquary figure)
|
|
Controlled by the Mbudye (interpreters and philosophers) could read the memory board via gently touching the beads which he will discuss with his right index finger
|
Lukasa (memory board)
|
|
Carved by Olowe of Ise for rulers of one of the kingdoms of Nigeria; contained in a palace at Ikere, Nigeria
|
Veranda Post of enthroned king and senior wife (Opa Ogoga)
|
|
Artisans are the Kuba peoples
|
Ndop (portrait figure)
|
|
Maintained in a man's home and is often destroyed after his death (sometimes reused)
|
Ikenga (shrine figure)
|
|
Symbolizes and costumed as Sowei, a female water spirit and for female ancestor spirits
|
Bundu Mask
|
|
Zoomorphic elements (long truck, large ears) symbolize strength and power
|
Aka elephant mask
|
|
Artisans are the Chokwe peoples
|
Female (Pwo) mask
|
|
In an alert pose with rigid frontality, arms akimbo (at hips) in an aggressive stances with open eyes and mouth
|
Power figure (Nksisi n'kondi)
|
|
Has a prominent belly button and genitals which emphasize life contrasting with its prayerful gesture and somber look which emphasize death
|
Byeri (Reliquary figure)
|
|
Displays Islamic influence in content and function
|
Great Mosque of Djenné
|
|
Has many torons (projecting wooden beams) acting as in-place ladders for maintenance
|
Great Mosque of Djenné
|
|
Artisans are the Ashanti peoples
|
Sika dwa kofi (Golden Stool)
|
|
Centerpiece of the Crepissago de la [artwork name], in which it is repaired by the people: typically men mix adobe solution, women gather water, and elders advise
|
Great Mosque of Djenné
|
|
Lavish colored beadwork and cowrie shells symbolize wealth and power of Kuosi society (elite group of men)
|
Aka elephant mask
|
|
Artisans are the Kongo peoples
|
Power figure (Nksisi n'kondi)
|
|
In 1897, the British raided the palace and violently ripped off the work, as is evident by the broken edges of the work
|
Wall plaque, from Oba's palace
|
|
Embraces traditional masculine associations of strength and potency, its elaborateness telling of its owners achievements
|
Ikenga (shrine figure)
|
|
In 1900, a war was fought over the sacred object after one tried to use it in an unsacred manner causing an outrage and rebellion; ending with British annexation yet de facto independence
|
Sika dwa kofi (Golden Stool)
|
|
Has a compact interior on account of lack of later European architectural developments (e.g. arches, vaults) and limitations of adobe as a structural material
|
Great Mosque of Djenné
|
|
|
Hint
|
Artwork
|
|
Depicts actions only permitted to be done to the Oba (king)
|
Wall plaque, from Oba's palace
|
|
Made in sequence, likely meant to show lineage as the Oba was believed to be a direct descendant of Oranmiyan (dynasty's legendary founder)
|
Wall plaque, from Oba's palace
|
|
Its broad forehead, downcast eye sockets, and column-shaped nose associate the figure with intellect and respect
|
Mblo (Portrait mask)
|
|
Artisans are the Baule peoples
|
Mblo (Portrait mask)
|
|
Rubbed with oil to protect from insects, like termites; especially importance as it is the oldest existing of its kind
|
Ndop (portrait figure)
|
|
Placed on a wooden pillar that was part of a sprawling palace complex in Benin
|
Wall plaque, from Oba's palace
|
|
Adorned beads, with a variety of sizes, colors, quantity, and locations, are representative of things, such as a person, ruler, or path
|
Lukasa (memory board)
|
|
Has a role as a witness, enforcer of community affairs, and cautions people who stray from the community's norms
|
Power figure (Nksisi n'kondi)
|
|
A vessel for the soul of the nation, acting as a symbol of the mystical bond
|
Sika dwa kofi (Golden Stool)
|
|
Carved from wood to an hourglass shape, then adorned with beads, shells, or metal
|
Lukasa (memory board)
|
|
Carved out of a hardwood, showcasing one's strength and masculinity
|
Ikenga (shrine figure)
|
|
Dons royal regalia (bracelets, arm bands, belts, headdress), similar to the rulers in ceremonies, as well as his symbol (like a coat of arms), since the sculpture was not represenative
|
Ndop (portrait figure)
|
|
Medical properties or symbolic items are inserted into its cavity, thought to be one's life or soul
|
Power figure (Nksisi n'kondi)
|
|
Utilizes hierarchical proportions: the king is taller than the servants who are taller than his rival / a fallen leader
|
Wall plaque, from Oba's palace
|
|
Feet dangle over the rim of the cylindrical bark containers its placed on, a gesture of protecting its contents
|
Byeri (Reliquary figure)
|
|
Dons a crown with six projecting tubular pieces
|
Mblo (Portrait mask)
|
|
Made of adobe to help maintain cool temperatures
|
Great Mosque of Djenné
|
|
Mnemonic device which assists one in remembering key elements, e.g. ceremonies, heroes, list of kings, genealogy, etc.
|
Lukasa (memory board)
|
|
Roughly translates to "venerated stone houses" in the native language
|
Great Zimbabwe
|
|
Abandoned in the 1400s, likely due to lack of food supply and deforestation
|
Great Zimbabwe
|
|
Has three tall towers, one of which being a mihrab
|
Great Mosque of Djenné
|
|
Uses high-relief sculpture and the lost-wax casting
|
Wall plaque, from Oba's palace
|
|
Artisans are the Edo peoples
|
Wall plaque, from Oba's palace
|
|
These are commissioned by a group of admirers as a gift of honor
|
Mblo (Portrait mask)
|
|
Black color (shined via palm oil) and black costume donned with it emphasizes coolness and symbolizes water
|
Bundu Mask
|
|
Kept in a king's shrine with other works called "royal charms"
|
Ndop (portrait figure)
|
|
Its culture's people had no organized class system or positions, so objects such as this show individual achievement and merit
|
Ikenga (shrine figure)
|
|
Translates to "strong right arm" indicating physical prowess (honoring the right hand which holds weapons, makes sacrifices, conducts rituals, alerts speech at forums, etc.)
|
Ikenga (shrine figure)
|
|
First word of its name translates to spirit, as it is a vessel of spirits; while these may come in many shapes (e.g. animal, a bag of stuff), this is anthropomorphic
|
Power figure (Nksisi n'kondi)
|
|
Located in a market center and key point in trans-Saharan gold trade
|
Great Mosque of Djenné
|
|
