Старый 14.12.2008, 19:41 Язык оригинала: Русский       #31
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I just also say the word (primitive) is not desirable to use
    with the word (art). Or rather naive.
    Arts of Africa, it is just art.
    A Nasedkin is responsible for everything, because talented. I think it is closer minimalism. And rather simple life in art.



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Старый 15.12.2008, 12:02 Язык оригинала: Русский       #32
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agree in one thing - more correct to call it "naive art". "primitive art" - is really something else. But all around, this is art. It is an expression of the creative potential of these peoples. More developed person expresses it in painting, music, and again in the same sculptures. Or do you call a 5-meter carved idols of the craft? Or, masks, shamans to Score conducted their ritual? What is it craft? It is possible that these statues were used as a monetary tool, but it is not in any way takes away their merits folk art. All of humanity passed through a stage of savage tribes, and for me personally, these statues and masks are much more spiritual character than, for example, much of modern art.
__________________
До меня мир рисовали таким, как его видят. Я рисую так, как его мыслю. (с) Пикассо.



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Старый 16.12.2008, 20:19 Язык оригинала: Русский       #33
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Birshtein MA (1914-2004) "Classical African Sculpture", 1965., X /m, 80x100, Gallery Sovkom. "
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Старый 17.12.2008, 08:44 Язык оригинала: Русский       #34
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По умолчанию African Art - Special issue for one more wizard)))



Here is the translation of several pages from the book Werner Shmalenbaha«The Art of Black Africa» (Die Kunst Afrikas, Basel, Holbein-Verlag)
I decided to still use the term "primitive art". Explain why: the expression of "naive art" refers to modern art, or at least the artists who live in the era of the professionalization of art, but have not received art education and the pressures of working outside aesthetic norms (Henri Rousseau, Celestine, Pirosmani ... will not touch upon issues style), in general, "naive art" - is not it.
"Primitive Art" - in France ceased to call him so, now use the term «Arts premiers», which can be translated as "primeval art. In general, I would be "primitive art" and who do not like it, can make your translation - is still probably no one except the Master, it will not read


The strength and the measure

Develop the aesthetics of art from black Africa seems to matter in many respects controversial. Do we have the right to isolate objects that today we consider works of art from their environment? Can be applied to them the criteria that did not exist in the minds of their creators? Finally, can we talk about the homogeneity of this art, despite orgomnoe variety of regional and local styles developed by the creators of this vast continent as a result of long and poorly researched historical evolution?
We should not forget that this approach leaves out a significant study of a zone of Africa and, in particular, white Mediterranean Africa, with its centuries-old culture. The subject of our study yavlyaetsf culture agricultural regions, the real cradle of wooden kulptury.

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reached us on the recent examples of this art dates from the late 19 - the first half of 20 centuries. As well as travelers who visited these regions before that time, showed no interest in traditional arts subjects. On the other hand, due to climatic conditions, many of them have not survived. We deliberately exclude other materials - metal, ivory, ceramics - as glavnyoy form of traditional African art is the wooden sculpture.

Even if the exclusion of works of art from determining their socio-cultural context can be challenged, it makes sense. The fact that the objects of African art for the most part have a ritual purpose and for the creators of these objects, as well as for their visitors, was the reason that ethnologists were collected and studied them as subjects having a specific function. But gradually the recognition of the specificity of this art has led to the fact that these things have taken a privileged position compared with other ethnographic material.

Strictly speaking, our approach to the art of other cultures was the same - who argue that works of Egyptian, Greek, Indian and medieval European sculpture can be isolated from the cultural context and are considered solely as a work of art? But each of these eras contributed to the development hudozhestvennyuy activity in specific conditions designed to meet specific functional requirements.

Subject recognized piece of art, separated from the purpose of its existence. We are used to separate the art of "primitive" peoples from the context and turn it into "art" that can be captured and displayed in museums and exhibitions, and we do not confuse that for a clear demarcation line between "art" and other ethnographic material is impossible. We are more willing to acknowledge the work of art anthropomorphic miles zoomorphic object, being aware that this differentiation, convenient in practice, has nothing to do with the African way of thinking.

The opening of "primitive" art: the art of power

The dissociation of art and its cultural environment in relation to the ancient civilizations of long ago came to our practice, but it took quite specific circumstances, to apply it to the so-called "primitive" art: above all, it had to be open. As we know, this discovery occurred in the early 20 century., And we owe them a young French and German artists. No one has ever emphasized the importance of the art form and expression so radically. And in the art of "primitive" peoples they found it an incredible power of the form together with the same incredible power of expression. In an era when European art created a new impetus, to transform the appearance of the surrounding world, such an interest in art, a key determinant of quality of which is the force was inevitable.

However, it would legkomysleenno think that this "force" is a common characteristic of "primitive" art. Inherent in the art of Black Africa, whether some of the characteristics that distinguish it from all cultures "developed" nations? Are there any criteria applicable in relation to the art of each region, every tribe, every society in Africa? Vavzhnost this issue can not be overemphasized. If we consider the one hand the historical fragmentation of African cultures, but on the other - neyeroyatnoe variety of forms of artistic expression that occur in space's extensive "Negro Sculpture", sstanovitsya clear that the answer to this question is practically impossible, and that we should try to identify common characteristics of the art, as was done in relation to the European Renaissance, in spite of its extreme individualization. Question of the common features of African art - to suggest and overall aesthetics - osnovopolagayusch.

African art is very diverse, and this stylistic "pluralism" is manifested not only when comparing the art of different regions or tribes, but within the same social group. Wide range of its expressive possibilities include almost geometric stylization and almost naturalistic style. In some regions, these two opposing stylistic tendencies can coexist (for example, in western Sudan and in relatively close to it in Ivory Coast and Nigeria), or even co-exist (as demonstrated by the mask of the Baule of the Ivory Coast, made in a diametrically opposite styles) . Unfortunately, establishing a link between the geographical context and a particular art form (for example, we may note the absence of the trend towards abstraction in the savanna or naturalism in the jungle) is impossible - too many phenomena contradict this simple - and seductive - the classification. Enough to take a closer look to the art of western Sudan and Zaire to detect the coexistence in savanna completely opposite art forms in the neighborhood with the dominance of geometric forms, we find a world of plasticity curves, etc.

Diversity of local art forms and does not reflect the order of social organization. However, smozhno notice that every time we are exploring the region, who had a feudal past, that past is reflected in the contemporary art activity, and it mozzhet occur either in the trend toward naturalism, or the tendency to abstract the geometrization of forms. For example, the Yoruba tribe in Nigeria, whose links with the ancient art of Benin is obvious, or tribe of Cuba in the center of Zaire, where the existence of the last moguschestveneogo kingdom fostered "court art", found both of these trends. Finally, we should not forget that Africa has experienced many external influences and, in particular, the influence of Islamic art which tends to abstraction. At the same time, social differences in tribes, not reflected in the stylistic otliyachiyah, but rather the difference in quality of sculpture - "best" items belonged to tribal chiefs, and ordinary members of the tribe were content with the less well-made sculpture. It happens that a certain type of statues or masks assigned to dazlichnymi ranks of social hierarchy. However, the stylistic differences, and there does not coincide with the different social positions.

forms and functions of the form

Aesthetics of art from black Africa must take into account all the stylistic opposite Chhetri - trends abstraktronomu geometrizmu and naturalism - clearly showing that it never becomes any naturalistiyacheskim nor geometriyacheskim. On the contrary, this aesthetic is located inside the two boundaries, and the inability to transcend these limits due to the function of art in Africa. What is this feature?

Nowadays, the idea that African art is a religion, is considered romantic. Of course, a large number of "secular" subjects are inherent features of African art. But it is very likely that among the large number of figurative sculptures are objects for which the religious dimension was the most important. For example, a doll - it is something much more meaningful than simple toys, they are often the key to fertility. Many items are designed for the expression of social prestige and, therefore, symbolize power.

But in this context, it is difficult to isolate the notion of the sacred, as cults dovleli over the whole social life. For example, it is possible to say that the statues of female figures, on which they rest seats at the Luba tribe in the south-eastern Zaire, and which obviously influence the ancient aristocratic traditions that symbolize the power? Extremely sakralizirovanny ceremony, which determines the behavior of the monarch and the court, makes it clear that these "caryatids" represent something immeasurably greater than a simple illustration of the power. Msozhno suggest that the idea of protection plays a significant role. But the religious function is not a systematic rule, especially when the formal expression of art is influenced by the great civilizations of the past, as the ancient kingdom of Benin. Nevertheless, the art of Africa is associated m religious, ritual and magical functions, and that they are reflected in his style.

Among these functions - the cult of ancestors, belief in spirits, sorcery and magic and many others. Each piece is designed for a specific use, but there is always a certain area of uncertainty, since a large number of items are "multifunctional". Sometimes the image of the parent plays the role of fetish, that is the subject, prednaznachennono for witchcraft.

Kolvodskie skultpury may also be protective or hostile, soothing or threatening, or even combine both properties. However, in each case, they respond to quite specific and clearly defined need. In the extensive system of social and religious order with which people are protected from the dangers that threaten their lives, African art has an important place. His role - any way to provide vital security. And as any threat, including illness and death, due to the interference of supernatural forces, the role of art in Africa - to subject these hostile forces. Soversheneo must always bear in mind that the main function of African art. In other words, the product of African art, regardless of what it represents, always serves the purpose of protection from the supernatural.


The communities within which art performs its function, obyachno crowded. Of course, there were once mighty empire, but it is conceivable that even at the time life of these communities was the same. Life courtiers in the capital generated a court art, but it did not affect the local customs in the field of culture and art, as well as the centralization of the kind that existed in the empire of the Middle East, black Africa is not known. The life and artistic production proceeded in a few social groups, relations between which the central government, not inclined to hegemony, left to their discretion. It is for this reason, and because Africa - a continent of wood, not stone, we do not find there, with rare exceptions, explainable by historical factors, monumental art. Parallel with the "official" art, exercising the representational role, in the villages, too, has been established artistic production, but to judge it, we can not, because his works have not reached our time. For example, a stationary monumentalism art of the Middle East and Egypt in Africa is opposed to a wooden sculpture easily portable small size - rarely more than a life-size - which reflects the division of society into social groups and the field activities of a religious nature.

deities and ancestors

This corresponds to the mobility of art and religious mobility of cells. In Africa, not to speak of "great" deistic religions - with the sole exception of the Yoruba tribe in Nigeria, in which the "primitive" religious concepts have not disappeared, maintaining tenm polytheistic system. There are many deities, but in vain, it would be looking for real gods, living in the distant kingdom of heaven. Supernatural forces, which are always close to human beings are always interested in these creatures and make their presence felt, then threatening, then beneficial. They are in close proximity to people - in the tree, the rock, water, and often - in wooden sculptures, which mold their people. Each member of the tribe, every resident of the village are within the limits of these forces, which can not withstand any warlocks or priests who do not have at their disposal effective charms to protect the individual against those forces. In art, designed to allow to enter in contact with them, it is obvious immediate and direct nature of the relationship between people and supernatural forces, their ordinariness and constant presence.

Hence, the meaning, the task of art in Africa, not the representation of the world of gods and not a reflection of magical powers of the priests or the chiefs of the tribe. The role of art - to ensure the protection of the daily life of members of the tribe. This requirement implies the effectiveness of art in its very essence, the belief that it contains some of the forces that fill the universe. Therefore, not enough to say that some kind of statue represents one or another supernatural being, in the sense that the medieval sculpture depicts a particular saint. Effectiveness can not depend on the distinctive features izobrazheneogo beings, actually, as well as from the general characteristics of power, authority or of noble birth, which we can observe in numerous imagery. Effectiveness requires constant presence, is perceived more or less specifically, the forces contained in the sculptures. The same is true with masks, and those who are wearing them, not the mere depiction of a particular substance, they "are" these creatures. In the process of ritual dance, they really personalize these creatures, which means that they sodezhrat of himself at least part of the essence of these beings, the life force of people engaged in fulfillment of the ritual is different from the life Sealy simple man, whose face is hidden under a mask. Znatl No matter what the specific function of masks and statues. Reason distinctive quality of the sculpture of black Africa, which fundamentally distinguishes it from the culture of "developed" nations, consists in the presence and the real effectiveness of supernatural beings and forces. Therefore, this art is always on the verge of the image and "translating", explains his characteristic voltage. Draw the same boundary between the image and the "incarnation" is as impossible as it peresecht, sacrificing for the sake of the image "voploschzeniya" or vice versa.

A living tree

Aesthetics of art from black Africa must take account of "material" not only as a factor that participates in pridanmii subjects form but also as the main characteristics of art that moves us, although we do not share the beliefs from which it derives. In its "pure art" there is little impact of that specific magical power, which encourages African artists carve ritual objects, their inherent energy charge is a component of our aesthetic perception. In addition to the high artistic values, African sculptures contain more and some primeval force, and this force could not help acting on the viewer. But all of us have been inoculated against the "forces", a reality which does not cause the Africans no doubt, therefore, should try to express this "energy charge", which is inherent in this art, and distinguishes it from all others in rational terms. We can assume that under the layer of civilization that protects us, preserved vospriimyachivost to these forces as may be due to a feeling of horror felt by many of us in the form of African statues and masks, as if we saw not just images of strange creatures, and some "demonic "structures, living life, to become visible to the outside world.

This special "energy charge" can be explained, at least in part, the quality of the life force inherent in the tree.

The tree should be considered as part of nature, and the intervention of the artist does not destroy this property, which plays an important role in the expression of African sculpture, irrespective of whether we believe that due to natural phenomenon, as we usually do, or we see it svyerhestestvennoe beginning. Podtyverdim this utverdzhdenie example: when we look at an ancient Egyptian wooden statue, depicting a man. In this image the nature of the tree is practically reduced to zero - it expresses itself oisht on the surface, moreover, are usually covered with paint. The same is true of the European medieval wooden sculpture of a religious purpose - the participation of the tree is minimized, the artist transforms it into something "other", sculptured drapery fabric and then colored it. African sculpture depicts the same man, she "poploschaet" creatures of another kind. This wooden objects that have similarities to the human body. In his capacity as a living organic matter to organic tree prevents the reproduction rights and establishes a certain distance with respect to any form of naturalism. African sculptor, too, are interested in working with the surface of his works, sometimes distorting the nature of wood - he polishes wood, he paints it in black, red, he covers it with oil or dyes. All this, together with the destruction of time, makes wood patina, so highly valued by collectors of African sculpture. Often, the famous tribe of Dan mask from Liberia or the Baule of the Ivory Coast is not only black, but polished up to the fact that their surface becomes a smooth and shiny metal surface. Traces of hudodzhnika stored only on the inner side of the object that oznayaaet that she was not given any aesthetic value. Whatever the treatment of the subject, the tree plays an important role in African thought, its vitality, as with any natural material, not only exists in a latent state, on the contrary, it is quite effective. And we feel this force, a concept which is in the serzhtse African art: it is manifested \ etsya is much more intense than in the art, where the artist's intervention prevented a tree its life force.

The fact that many of the sculptures are most often seen form of a tree or its branches, is not particularly important. Important force in tree growth, that is, its dynamism, which failed to crush any aesthetic permeates the sculpture in the vertical direction.

Hence, each statue may have iconographic significance, which obscures the concept of vital force inherent in the tree, but the totality of his living, viable force always opposes the intervention of the artist. Even for us, do not learn these forces, they are not lost - neoborot, they are the most important element of our aesthetic emotions.

Can we say that the defining characteristic of primitive art, and especially the art of black Africa, is that in the tree \ nnyh masks and statues of the "embodied" some undetectable force in the true sense of the word, and not the figurative, as when we talk about the idea , Ideally, etc., embodied in a work of art?

In this case, it is about power, manifesting itself in the tree "as it is inherent in his nature" - up to break it - the power of growth, whose presence, like an explosion, causing a point of tension, which is vainly sought in the stone sculpture . For Africans, all these phenomena - the supernatural character, so cutting down trees and working on wooden sculpture is always accompanied by various rituals. To this we can argue that ritual actions are made to breathe life into the statue and the forces that oznayaaet, that before she was neodushevlena - and Western man sees zdas a contradiction. But it is certainly that in African society, the existence of a pervasive force in nature, and specifically in the tree is generally accepted, despite the vagueness of concepts such as animism, animalism, vitalism and dynamism that we have to ask, to describe a phenomenon with clearly defined contours.

The tools of the cult, which we define as works of art that contain these effective forces, even when their purpose is not associated with these forces. Anyway soversheneo clear that the appearance of these items do not exhaust their content, even if their expressiveness is used for other purposes. In the African sculpture, we are dealing not only with the iconographic content or formal decision, but also quite specific life force that comes from a tree, from which they were created and, therefore, reflects the relations that connect people with nature.

The fact that, despite its closeness to nature, instead of just a rough piece of wood udovletaoritsya Africans attach to the tree shape depending on the anthropo-and zoomorphic images of various supernatural beings, means that they are on the way "image." However, they are making their sculptures of specific performance, which can be explained by the presence of a latent force, which is impossible to depict ... Thus, all African art includes the dialectic, which contrasted with the power and image, and the embodiment of the image. Specific performance of this art has no effect on anyone who sees it as just an image of something. But anyone who sees him as the embodiment of toleo, underestimates the importance of religious and mythological content of this art, which gives the meaning of each sculpture and each type of mask, but not a constitutive element of the aesthetics of African art. The principle of "image" is a component in the extent to which all boils down to the body of man or animal.


The boundaries of artistic imagination in the art need to put it to express "something else". This obyasnyaetchya and the inability to create an individual portrait.

There are several cases when some villagers were able to identify a specific person, for example, a deceased resident, according to some of its characteristics. Attempts were made to compare masks created by the artist, the people of his immediate environment. This type of research being deceived in the very essence of African art, because, according to artistic concepts of the era preceding the discovery of African art, he founded the temptation to "naturalistic" interpretation, based on the search for a physical resemblance. For a long time scientists who preklassicheskimi epochs, that is, the Greco-Roman antiquity and the Renaissance, have departed from this view of things. No one would argue that the famous image of the pharaoh Chephren is really a portrait of him, or that the Emperor Henry II was similar to the images that we see in the reliefs of medieval manuscripts and miniatures. Hour of individualism - and, accordingly, portrait - came much later. Also in the chronology of the evolution of African art "precedes" or the ancient art of the Renaissance. Even in Benin, more ancient, but more "progressive", it was impossible predstavpt a portrait art. These considerations relate to, and often debated question of the identity of African artists. Nowadays, the thesis of "anonymity" and the collective nature of African artistic production is usually considered to be "romantic". Researchers are trying to establish the individuality of the artist, the more so that we know of many "famous sculptors - some of them are divas, others stayed in the memory of their sootechestvvennikov. Of course, science should be possible to establish all the facts, including the names of artists. However, you need to determine the value of such information. Giving them too much importance, African art "Europeanizing", read on our western way. This is even more unacceptably, and it is not clear that the anonymity of artists of ancient civilizations has been accepted as a given. Naturally, in Africa, each a work of art is its author. Often remarkable quality of his work or his pedagogical talent bring the artist fame. But it is impossible to compare this situation with the cult hudozhenika in Western societies since antiquity, and especially with the Renaissance. It is no coincidence Jacob Burckhardt coined the term "individualism" in the name of the first chapter sovego labor devoted to the culture of the Renaissance. But individdum - creator of the items are not necessarily engenders creative individualism.
Compile lists of names, preserving its traditions, in relation to Africa has no more meaning than to seek sponsors anlyuminyur or medieval Russian icons.

The sudden appearance of names of individuals selected from the anonymous mass of artists, such as copyright signature found on ancient vases, is one of the most exciting chapters of art history. But giving too much importance to the names of African sculptors, come down to us by chance, we risk distorting it. Incidentally, it is not surprising that the search for the names of individual artists uchenchalis greatest success in Nigeria, that is, in a region where developed one of the highest civilizations of the past. It suffices to consider the dialectical relationship inherent in all African art, between the embodied force and a target image, to understand what prevents regional producers of masks and statues to create art with a single measurement. A few exceptions - Nigeria, Ghana and Ivory Coast - is due to their feudal past. The principle of incarnation is specified in the plastic object. Flat surface, in contrast, has an image with anecdotal content. Such content is inherent in art above all, the task of which charged with the glorification of power. An example of such art is the art of Egypt and Assyria, as well as the art of Benin, where relief has played an extremely important role as a tool of the image.

One might think that there is a contradiction between the static African sculpture and its dynamism, but in reality is a condition of another.

Image physical deyatelnostmi - man, or engaged in some individual actions, or participating in the activities of the group, is extremely rare. The masks also differ in their immobility, even if they are more fantastic and alive than the sculpture, but worn dancing people, they look stiff and ierativnymi. Front and symmetry are also constant components afrikanskots sculpture. When ethnologists started to be interested in "primitive" art, and noted all its essential characteristics, it was forgotten the essential role of these qualities in ancient art. Front and symmetry are almost always in the history of art represent the power and might; African art is no exception. The static majority of African statues depicting the seated or standing people, the task is to express the special quality of their work has nothing to do with the physical activity of man - the spiritual forces that they are committed. However, consider these statues pure receptacle of spiritual forces is not enough, because this approach does not take into account their dynamism. Hence, the main characteristic of this art is the ambivalence of these two opposing principles - the tranquility and excitement. The presence of suvschestva, alarming people, or some kind of active force requires a stillness of body, but this stillness, as if it may be great, should not lead to paralysis of the forces contained in the subject, they should remain in a state of potential reserves.

All this explains that the search for expressive forms a special type preclude the use of conventional gestures and facial expressions.

When the African art depicted gesture, frozen, he transforms into a character. This is perfectly illustrated by statues, fetishes of the Lower Congo region, threatening stunning spears, none were visible tension in the muscles, while muscles emphasized. The one who sees in this sculpture only, and a person may give the impression of weakness and humility. Of course, it is possible to use the human face as a field of expression in Religion. But in this case, the sculptor hide behind stereotypes, that is, he constantly resorts to the same type of expression. There are plenty of masks and statues, causing a feeling of horror, but the balance between statics and dynamism always preserved. Most facial expression interpreted in a manner that is coming from the statues to enhance the impression of calm. Thus, the closed eyes give the face strongly spiritualizirovannoe
  expression of intense meditation. Some statues are different almost Buddhist serenity.

But while the statues of the Buddha excitement surpassed, here they nazhodyatsya in a virtual state, as the indomitable principle. It is therefore important not obmanyvvatsya Asian or European features of some of the statues and masks, for example, a tribe in Gabon, Pune or For in eastern Nigeria, or the masks and statues, trunks, as in the artist's task is not included, he just wanted to show a certain aspect of human beauty or special spirituality. In the masks can find many different expressions, ranging from deep introversion to the expression of delight, nomozhet be such a perception is inherent in us, Europeans. In some regions of Africa, these two forms of expression co-exist - for example, the tribal art of Dan and Gero in Liberia and Ivory Coast.

Is there a difference between the aesthetics of African masks and statues? This view is shared by most researchers emphasize that in order to evaluate the mask, they can not be viewed separately from the costumes, dance and music, you is concerned with the totality of all of this as a total work of art. Is this true? It is indisputable that the masks are part of the whole, at least during the ceremony - and they can be seen only during the ceremony. But at the same time, they are independent objects that were created with its sobstvenneoy "aesthetics". Starting produce a mask or a statue, a sculptor gives it form, guided by the existing rules. No matter how much or sculptors worked on statues and masks, they will all follow the same rules. For us, the mask is the subject of art, its form, its beauty, the power that comes from it, give it an aesthetic value. These qualities are even more obvious to us, when the mask is separate from the suit and other accessories. Differences between the masks and statues, we do not see - both types of objects are works of art. By isolating these completely static mask, pulling them out of context, we deprive them of contrast, which occurs when their participation in the dynamic of the ceremony. However, we pay tribute to their plastic beauty and their ability to express statism in conjunction with its opposite - an internal movement. And in this sense, the differences between the masks and statues there.

For Africans is not enough that the wooden sculptures contain the life and strength. He is consciously trying to increase their effectiveness by all available means - using the human anatomy, some elements of which he hypertrophy, depending on their specific religious or mifologiyaeskih functions - the chest, navel, the head. Often in the sculpture included "foreign body" that are considered valid - teeth, hair, glass, pieces of metal, nails, etc The fact that the statue makes eertvoprinosheniya that its lubricating oil, ash, cover the paint, pouring krovbyu - not just a ritual rendering honors, should increase contained in its effect.

The most striking example of this accumulation of forces are statues, fetishes, which "load" magical powers, using different techniques. Some, believing that fetishes belong to the category of magic items, and not art, expressing doubts about the exclusion of these items from their context. But it is undeniable that the effect produced by these objects, is also an aesthetic nature.

Perhaps this reluctance to treat fetishes as works of art comes from the fact that often they are seen as ugly and disgusting, indicating a narrow sense of beauty. It is clear that the boundary between "cultural objects" and "arts" precarious. Items that do not have a formal element, can be easily classified as magical items. But even if some fetishes with nails and mirrors from the region of Lower Zaire There are many items made carelessly, can not deny their great power of expression that can not be isolated from their shape.


  If a sculpture of black Africa are not really looking for visual effect, and the real effectiveness, which rests on a certain "strength" - that, for example, which has a tree - this could not affect its external aspects. The correct image of the human anatomy is not sufficient. First of all, hudoezhnik alter the proportions of the human body, and these changes can be very radical. Example - sculpture Grasslenda in Cameroon, Mumu tribe in eastern Nigeria, but is particularly evident in the masks of many ethnic groups. On the other hand, some distinctive characteristics of the human body were to be met. In the African sculpture as a rare image of a man with real proportions, that when we see this statue, we do seem "unnatural" phenomenon. The proportions used by the artist, even in the manufacture of one type of the statue, can be very different, nikaakih canons do not exist. But many elements are repeated with great regularity. For example, often have become too big head, over-developed buttocks orgomnye feet and at the same time, very short legs. But the sculptor shows such an artistic sensitivity, a sense of rhythm, that we fall under the charm of these things.

Artistic choices, backed by the skill and technique, seen in this rhythm. First, the sculptor makes a deep slits in the tree to identify key sections of the human figure, in the proportions which it departs from reality. This basic structure plays a pivotal role in making the statue. This process occurs not only in the regions for which zarakterno appeal to geometric or, as it is called, "cubist" abstraction - in western Sudan, or in the tribe Songi in Zaire. It is used in the regions, which are typical for the style of rounded shapes, is much closer to the forms, vstreyaayuschimsya in nature. The art is important, not the degree of naturalism of the artistic work, but when an artist, feeling satisfied, exit. If the task of African sculpture was to correct the image of the human body, onby find technical means allowing him to achieve this.

African sculpture can represent every anatomical detail, but the human body should not be reduced to its organic functions. I wish they would put out bodily strength, a figure want to change. That is why each part of the body clearly separated from the others. Rule of African art - it is not continuous, but rather the separation. Each part of the body is treated as if it were a separate autonomous form. Details of individual isolates: an exaggerated nose, very complex hairstyle - all this makes ritmizirovannuyu and sophisticated formal structure. This art, which is not affected by the beating of life, never pozazyvaet no rest or relaxation, it accumulates power.

Can we say with regard to African art on the imagination of the artist? It is well known that the sculptor who works in the traditional technique, does not have freedom. Even in the works of famous sculptors there is not so much artistic independence, as compliance with established rules. One can cite as an example of the artist from the Luba tribe, made famous by the name "Master of Buli" (most likely, this is not an artist, but a few), which is mentioned when they want to prove the existence of African artistic individualism - which in reality does not exist in any case to talk about innovations in the African imkusstve not have to. Especially uviditelna ingenuity, which is evident when following the traditional formal concepts. Everyone knows that Picasso admired in the African art, its formal conception, and not the quality of individual works. Indeed, even in the case of mediocre works of art made this concept is admirable. Perhaps most amazingly incredible courage concept masks.






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LCR вне форума   Ответить с цитированием
Эти 14 пользователя(ей) сказали Спасибо LCR за это полезное сообщение:
AlexanderG (17.12.2008), Allena (17.12.2008), Art-lover (18.12.2008), dedulya37 (17.12.2008), fross (17.12.2008), Glasha (17.12.2008), ikoku (23.11.2009), Jasmin (15.05.2009), Meister (17.12.2008), ottenki_serogo (02.01.2009), Sandro (17.12.2008), yury painter (13.09.2009), Кирилл Сызранский (17.12.2008), Тютчев (13.09.2009)
Старый 17.12.2008, 11:25 Язык оригинала: Русский       #35
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I think that's a record number of new nicknames and from all to thank Liane)) thanks to a huge and very interesting))) and who then say that this is not art, it is a craft?

the way after reading this translation, I really thought that the tree gives the specific energy delivered by the object ... which I think is not in bronze, and any other metal ...
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Старый 17.12.2008, 12:01 Язык оригинала: Русский       #36
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tree gives a specific energy delivered by the object
Given that Russia is basically made of wood, imagine how it is now so much energy?



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Старый 18.12.2008, 11:07 Язык оригинала: Русский       #37
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dedulya37, leaving a bit of your question, personally I did not have all the fake wood, created by our masters, cause the same emotions as the most naive art.
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Старый 18.12.2008, 11:42 Язык оригинала: Русский       #38
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personally I not all fake wood, created by our masters, cause the same emotions as most naive art.
Not quite understand your sentence, sorry. Can be explained?



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Старый 18.12.2008, 11:51 Язык оригинала: Русский       #39
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fake wood,
Apparently, crafts made of wood?



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Старый 18.12.2008, 17:53 Язык оригинала: Русский       #40
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По умолчанию Lobi Sculpture



In general, African art - it's quick to say!
Can you imagine that evropeymkoe art from, say, from Greek antiquity and ending with Francis Bacon have been lumped together? Netushki, need a little understanding, and therefore suggest that for the curious series of collections of texts and images on the art of different African tribes - with no complaints, I myself in this case a beginner - but it's better than nothing.


Jean-Claude Feast
Magazine "The Art of tribes»



In the past, a tribe of hunters and fishermen, are now engaged in farming and Lobi bred cattle, intended mainly for the compensation of marriage and ritual sacrifices. They live on the plains and hills, savannas, most of which is located on the territory of Burkina Faso, as well as in border areas Kleper Ivory Coast and Ghana.
There is a theory that before the end of 18 century. Lobi lived on the east of the Upper Volta. Their migration was not the first nor the last - until they arrived at Xanadu prema Hahn and Teeze (or Tegesse), and after them - and Binfor Dyagara. All of these different tribes speaking related languages, have formed what has long been called the "branch of the Lobby", which actually Lobi and Bifor leading originated from related matriarchal clans, as well as Diagara up the bulk of the population (about 350000 people)..

Since the beginning of European colonization (Cohn, 19.) Lobi refused to surrender and cooperate with the colonial authorities. Europeans challenge was complicated by the fact that "the country lobby" belonged to "acephalous" (which had no central authority), the type of society.

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The lack of central authority entails the absence of a court yard, where they could be concentrated works of art. Art lobby and in particular their sculpture is a distinct type of religious art for your own use. Owners of religious objects /art produced in very large numbers, they hid them from outside opinions, and this situation explains the fact that of all forms of art lobby for a long time in Europe were known only jewelry - bracelets and pendativy of metal or ivory - or the little three-legged stool and a club - the attributes of ritual dances - carved wood.

On the other hand, the inhabitants of the country often lobby produced its own ritual of the statue, so that the statue of high quality drowned in a mass roughly manufactured goods of poor quality. Not surprisingly, the first European audience sculptures that people describe it as "brutal, ugly, contrary to all the proportions, made in haste and something like" ( "Tribes of the branch lobby" Henri Lafore, 1931). This view prevailed until the 1950's.

In his book "The Art of the peoples of black Africa, the plastic products" (1967) J. Delange otdlaet tribute Lobi sculpture. In 1960-70 gg. this art was discovered in the present, which indicates and that resistance Lobi Europeanization of society was very weak, and already a famous exhibition of African art, held in Zurich in 1971, had 11 sculptures Lobi.

Social structure

For a long time society lobby attributed to martilinearnomu type; indeed, immediately after the birth of every child - boy or girl - gets the name of connecting with the matrix-clan of his mother. The names are passed from mother to daughter, staying connected to the common ancestor of the female sex. The sons also bear this name, but do not transmit it to their descendants. In addition, the inheritance passes through the maternal line.
However, the paternal line is also very important, because it sayazana with a zone of the sacred, in particular, it defines the lobby of each belongs to a group dedicated to the cult of Györ. The child learns the name of their group only at the time of initiation, this name is kept secret.
In addition, the performance of ritual worship many lobby implemented father - head of the family, and all associated items are passed from father to son. Thus, society is bilinearnym lobby, and after marriage the wife prizodit to live with her husband.

In addition to everything, every lobby throughout his life subordinated body guardianship - matriklanu his father, binding him with all the other relatives of his father's maternal line. Thus, of all his life (initiation, marriage, building a house, home, altars, funeral expenses) in line with decisions of his father or next of kin of the father's maternal line. Sue modzhno conclude that the father is the organizer of the socio-religious life of the lobby.

Finally, each lobby is a member of the rural community under the auspices of a deity, revered by all its members regardless of their origin.

Religion

The only form of government, recognized by lobby - is the power of supernatural beings, and their social organization is closely linked with the sacred. The religious lobby system is built around tangba, the higher the creator, the creator of the world, which is fertilized by the rain, and all that lives. This Creator is unknowable, but it manifests itself in several forms, such as lightning. These expressions can in turn be obektorm worship and have their altars. Tangba is not involved directly in the earthly life, he makes it through the supernatural beings Teale, invisible to mere mortals. In the religious system, lobby, there are several categories of spirits, Conte. This invisible beings who inhabit the mountains, rivers, trees, forests. Their prisuststvie can be dangerous to humans and, therefore, have to defend ourselves from them and try to achieve their benevolence.

Finally, ucopshie, who after the death cross the Upper Volta and returned to live in the land of their ancestors, are also involved in zhiznm next generations and are the subject of worship.

Thus, in the course of his life lobby should correct a number of cults and comply with their injunctions. Otherwise, his life would be in danger - it can get sick and die, and in the most serious cases, the risk may podvergnutlsya his family. Performance requirements of worship and obedience to their taboos is a certain code of good conduct. Religious lobby system guarantees social equilibrium.

Altars lobby often look like clay structures of various sizes (from 10 cm to 1 m or more), generally conical shape, the design can be more or less clearly expressed anthropomorphic character. They determine both the nature and inside the home, often in the room the first wife.

Sculptural figures

Visionary lobby often require members of the variable is destroyed, requesting them to find solutions to their problems, carved wooden sculpture, most often antropomorfeuyu, which can then be placed on the altar or near it - ststui lobby is almost always tied to their numerous cults.
Visionary provides guidance on the characteristics skultpury - its size, posture, gender, etc. Sculpture lobby undoubtedly the greatest variety of different hard vsegr African art - not found in almost all positions of the human body: standing and sitting figures, whose hands may be raised, separated, folded under the chin or extend along tuloviza. Sometimes statuette depicts a couple of characters - a mother and child, man and woman ...
Add images of strange chuschestv with multiple arms, legs and heads, with a double trunk Siamese twins with the heads of animals.
Select posture reflects the intended character figurines. P. Meyer set the value of certain items and on this basis classified sculpture lobby.

"Koldlovskie figures" - predaznacheny for protection from the spell of evil sorcerers. The most "dangerous", that is the most effective are the figures who have raised one or both hands - a gesture of spells, as well as figurines of the above strannyzh characters.

"Sad figure" - a woman mourning the deceased. These figures should take the grief of their owner, to withdraw from his misfortune. For figurines such an appointment is also characterized by Shirov razyvedennye hands.

"Specialized figures" - that meet a specific need punctual, for example, to treat a woman or a man from infertility. These figures izobdrazhayut a mother with a child, or mating characters.

Thus, the sculpture has a lobby incantatory and redemptive nature, which may still be the enhancement of gestures, based on a complex symbolism, and in different clans have different circulation of its variants.

Scientists have tried to find out whether some of these statues represent ancestors. In connection with this matter arose are common on the existence of the cult of ancestors. If \ l cult, it is understood as the worship of all the relatives and clan ancestors, then it certainly exists in various forms. Were naydkny commemorative statues of individual ancestors, but the general trend, they do not reflect.

Statue of the father or a close ancestor, often determined on an altar dedicated to the cult of his father, but the worship usually lasts no more than one to two generations.

It is possible that some of the sculptures depict the "twins" because of beliefs lobby, each man has a double, a leading independent existence and brought him in a dream.

In some tribes, in particular, Dagaaba people, vstrechabtsya firugy representing the spirits living in the jungle, which is necessary to induce the benevolent feelings matetializuya them in the form of people or creatures with the torso and chklovecheskim golovots zhiyotnogo.

Yato regard to "spiritual" nature of this sculpture, according to P. Mayer, lobby consider them independent beings, combines sverhhestestvennoe beginning with a human. They are placed on the altar of Teal to strengthen epgo zazitnye properties.

All the tribes that make up the "lobby branch" believe that these statues are endowed with the gift of speech, but understand it can only augur (lobby called them "whispering drug, Dagaaba people -" people talking wood "or" talking tree ").

Consequently, there are two types of sculptures:

1. Altar figure, serving to correct various cults, they are the most numerous, they can reach a considerable size - up to 1 m. Between them need to distinguish between:
  • the statues for the altar, set on the nature
  • the statues for the altar, set in sanctuaries or shelters

2. Proritsatelskie shapes, sizes do not exceed 40 cm

3. Protective or redemptive figure for personal use, very small size (5 DLO 25 cm), which the owner is with them or keep in a secret place. They can also be seen attached to the bow hunter or for his quiver, to the xylophone music, their children are like jewels, around the neck.

This classification is valid for the entire sculpture lobby. It helps to explain the difference in appearance and in the "Patina" items.

Altar figures represent objects that are manipulated extremely rare. Exchange them only when you move the altar. At the official sacrifices they may be watered with the blood of victims, beer or any other liquid, prescribed worship. If these statues are installed outdoors and exposed to the action of various elements, traces dertvoprinosheny persist for long, wood sculpture changes its color from rain and sun. The figures set out in the domestic altars retain many traces of sacrifices, which lead to the appearance of a layer of patina, especially in the upper part of these statues. The statues are stored in homes, subject to the effect of smoke from the hearth, from which they darken.


Instead, finury second and third types constantly being manipulated, so they represent the characteristic smooth and shiny povernost.

In our view, this classification is only applicable to the subjects, the origin and context are unknown. Nevertheless, the zone remains unknown - because of their size, patina, altar pieces can be easily identified, but the figures of the second and third categories may be similar in size and patina. In addition, after its manufacture purpose of the statue can be changed - so proritsatelskie figures after the death of their owner may be charged by his heirs to the family altar, on which their patina over the years is changing.

Now we note that the style of this sculpture beyond Lobi tribe in the narrow sense, and combines the art of all the kindred tribes.

Features of the nature of sculpture lobby affect primarily morphological components and anatomichyeskie details. Thus, the person most often interpreted by concave, eyes like a grain of coffee or almonds, upper eyelid acts; brow ridges merge with the curve of the forehead, hanging over the orbit. Nose with often detailed nostrils dominates the narrow mouth with a more or less voluminous lips, which even in the treatment of male characters in the memory causing the deformation caused by the double piercing.

Women's heads are usually devoid of hair or some kind of helmet are covered, ostalyayuschey impression that the hair is cropped. On the contrary, in the minds of men interpreted by a rooster's comb your hair in one or more rows, sometimes in combination with many braids, which are connected in a small ponytail over his back. As for the ears, they have the shape of a horseshoe.

Powerful vertical interpreted by the neck goes into the body with broad shoulders, flat-chested, with the difference between male and female characters is insignificant. In contrast to the genitals, navel has always emphasized and detailed, as well as the buttocks.

Hands are usually long, can be poldnyaty to the shoulders or face, but otherwise they hang parallel to the torso and reach the end of the thigh. The hands are often not detailed, the fingers are not marked at all or are symbolized by shallow notches in the tree.

Legs rather long, ending stupas, having a form of hooves. In exceptional cases, both feet together into a "platform".

These ststui cut from very hard wood, to protect them from destruction by insects, hzarakterizuyutsya and hieratic immobility and stiffness.

The stylistic variation and sculptor lobby

However, within a single style lobby, poschzvolyayuschemu easy to determine the origin of the statue, affects a variety of personal style artists. Often these features are expressed already in the proportions of figures, more or less thick-set, or neoborot, high and fragile, the angular or vice versa, rounded volumes. One might think that this sculpture found its expression many features of ethnic, klanicheskogo or religious nature. Moreover, respect for each individual gives the sculptor more creative freedom.

Unfortunately, the full stylistic analysis sculpture lobby does not yet exist.

Sculptors vkulture lobby not sostvlyayut osobyuoy caste. Sculptor become accidentally or by necessity. Each member of the tribe, in need of a statue for their altars, may be necessary to make it personally. If the results of this work are welcome, it can provide such a service to members of his family, and then the other applicants.

However, often a member of the tribe learns from a soothsayer, that Teal veleet him to become a sculptor. Trying to escape his fate may lead to disaster.

Mastering the craft of the sculptor does not have any privileges. Like all members of the tribe, sculptor living a difficult life, constantly exposed to danger from the many evil spirits.

Thus, unlike the court painter, working on an order, the sculptor lobby is located in the heart of the struggle of people with occult forces.

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LCR вне форума   Ответить с цитированием
Эти 12 пользователя(ей) сказали Спасибо LCR за это полезное сообщение:
Allena (18.12.2008), Art-lover (18.12.2008), dedulya37 (18.12.2008), Glasha (18.12.2008), ikoku (23.11.2009), Jasmin (15.05.2009), Meister (18.12.2008), Sandro (19.12.2008), yury painter (13.09.2009), Жар-птица (22.12.2008), Кирилл Сызранский (18.12.2008), Тютчев (13.09.2009)
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