Primitive art of the peoples of Africa, Oceania, Asia

[Meister]

Thanks Cyril, an extra letter stamped ...

ooo ... Liana, a new batch of interesting information laid out ))))) * sat comfortably in a chair * start))))

[Glasha]

Here, that means a professional approach, originally not my theme (energy not stand the mask), begins to be interesting, to draw)). Thanks, Liana.

[LCR]

Moosa (or Moss, Moore): social structure and role of art

Daniela Bonolo
  "Art of Africa", ed. Gallimard, 2000

At the beginning of 15 century. The tribes of warriors, who came from the north of Ghana, won the territory in the south of Burkina Faso and formed her kingdom Moosa, who was born under the influence of modern society MOORE.

Art Moore, contains many borrowings from the cultural assimilation of indigenous people and tribes were forced to leave the territory after the capture of Moss and settled abroad. Plastic language of art serves to establish contact this mixed-ethnic and multicultural nation with the world invisible. In order to understand this art, should be familiar with the social structure of society with the MoE and its religious system and related subjects. New Year for Moosa begins on the first new moon after the winter solstice. At this time the whole country celebrated the holiday "Thanksgiving" land and ancestors for protection that they provide to the people. The climax of the holiday becomes a greeting the King on the occasion of which the monarch is shown surrounded by statues. These statues represent the image of female figures, closely compacted, and at the same time extremely light, called ninande.

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In the statuettes Mohs person occupies a very small part of the head, which obogaschaetya complicated hairdo with fume comb, which comes from his forehead to the neck. Engraved bands suggest that hair plaited into braids. These figurines are typical oval face, was treated very sparingly, framed with typical Mohs ritual three scars that are fully framed face, broad shoulders, the chest is convex, thin and delicate limbs, and especially proud of one's head and long neck.

All these details are intended to meet the requirements of ancient traditions: the celebration Yenengi - a common root of all dynasties Moosa, who is considered the "mother monarzii. Yenenga, great rider and a fearless warrior, famed for its beauty and courage, - a princess who lived in the 15 century. The eldest daughter of King Mamprusi tribe, she ruled the kingdom on behalf of his father. Her son Naaba Ouedraogo became the founder of the kingdom Moore. All permanent exhibition on the feast of female statues embody the mythical virtues Yenengi behalf of all three are marked by ritual scars, which owes its origin to the customs mampruga, which had the right only to older daughters of kings MEP. But above all these things say close contact between the older daughters, and NAAM, Power, of the supreme deity Vende. According to custom, the eldest daughter is the repository of sacred objects, by virtue of which it is a "woman leader" and the possession of which is necessary for the coronation.

Statues Mohs depicting Ancestral elder daughters of kings, the kings of the sisters, that is, women in positions of authority, express the ideal of the people. They rarely exhibit on display, they belong to the category of items dealing with the cult of private character, which is sent within the family.

Other items show a close connection with Mohs ancestors. For example, biiga (children) - female figurines, which are often referred to as "puppets". These figurines are also devoted to femininity, they represent quite a young girl, hiding his eyes behind braided hair falling on her face.

These sculptures are used as for the sacred, and for secular purposes, are made with great skill. Limit simplifying form, the artist emphasizes the principal structural elements, it does so with grace and a sense of balance. I always figure a long neck. Lack of hands and feet emphasizes the important role of other parts of the body, ie chest, a synonym for a new conception of substance, and the head, a symbol of social status, which shows the shape of hair.
Person statuettes barely noticeable, but the full and extended chest is well developed. Oblong shape breast refers to the traditional practice of Mohs massaging breasts mothers to induce milk flow. This idealized image of a future pregnancy, which is considered the moment the full expression of femininity and absolute perfection. Ritual scars are concentrated in the abdomen reinforce this impression, they command international attention to this part of the body, receptacle of a future life, and siiga, the immortal ancestor of substance contained in each newborn, and determining its fate.
Thus biiga - not only the image of female beauty. They are intended to be a vessel of this immortal substance, which becomes possible due to the conception and birth. These items are transmitted from mother to daughter, charged with the complex symbolism. Bride keeps them as a treasure, but then they become a toy for girls, which is under the constant supervision of women of the family: casually refer to the "doll" means a careless attitude towards herself and the child, whom she in turn gives life, whose birth is closely dependent on the properties of the "dolls" to contain a siiga. Thus the "doll" symbolizes the reality that substitute for the child, which it precedes: it is at one and the same time, the material vehicle of the immortal ancestor of substance, efficient and impersonal beginning of this substance, which is contained in a child, and substance, allowing future ROZHEN. Can say that biiga personifies the dream of every woman Moosa - the transfer of the particle substance of the ancient "mythical mother, Yenengi.

The appearance of the second moon in a year marked the rituals associated with the land. The function of the priest of the land was borrowed by the people, the invader from the indigenous population, which, in his capacity as the Pioneer could control the elements. The priests of the land must have been to celebrate the rituals of fertility, to maintain communication between the living and the dead, to ensure the goodwill of their ancestors and get a good harvest. At the ceremonies on the occasion of this holiday for the first time in the new year, there are masks.

These masks associated with the "sons of the earth" (birth of the leaders of indigenous tribes) are the most striking example of how Moosa made the world an image of the invisible, on which the whole of their culture. These masks are known as karinze, tepminom, apply to all the masks, the use of which is reserved exclusively for the descendants of the ancient masters of the earth.

Their shape and symbolism of the vertical boards to which they resemble - a thin, long and laced with a variety of motives - is likely to go back to the country's indigenous population, which included in particular tribe of Kurumba, with the representatives of which was assigned the function of the priests zkmli. Among the objects of worship were kurumba stone steles with rich vygravirovannymornamentom and served tombstones. All of these stelae were equally high, narrow and thin, and differed from each other by Doug upper end, a form which indicated the social status of the deceased: a triangle meant smiths perevkernuty triangle - the leaders of the land, or a trapezoid prism - the leaders of the village. Symbols of these stelae rested on the ancient cosmogonic myths.
Other myths that say about the origin of the royal dynasties Kurumba, bring to the stage characters Sawadogo, described as "a man, which has no equal on earth" and Sandigsa, being descended to earth from heaven. " After a long fight between the magical essence of these characters, in which each tried to prove his power over others, they formed an alliance, which developed the royal dynasty.

Mask karinga uses a form of ancient sepulchral stele, преводя mythical language in the plastic. High vertical and openwork plaque covered with black, white and red geometric motifs and ends trapezoid, triangle or superimposed on each other geomerticheskimi forms. In the center are two thin cone, straight or twisted, resembling various types of antelope horn. External side, oval, convex, and painted white, fitted with two symmetrical holes. Vertical fume ridge divides the face in half. A considerable length of this ridge corresponds to the torso carrier mask. The appearance of these masks is the idea of a meeting between the two worlds, as referred to in the myth - flesh and the divine - that they embody. Thus, the mask karinga is an example of equivalent power.

After the celebration of rituals of fertility, local leaders can organize their own prazdenstva, accompanied by a display of masks of the ancestors - the leaders of the war, designed to ensure the inviolability of borders of different kingdoms. But it is believed that only the leaders of the eastern and western kingdoms territorits Yatengi successfully warned the central government on the invasion of enemies. Therefore, their masks were called "bird's mask" style of identical style karinga, with some differences. A person is always divided in half vertically fume crest, which may have zubtseobraznuyu form. The composition is enriched with new elements - a small female figure or the head of poultry. The surface of the mask is decorated with polychrome geometric motifs. As in all things, having the needed interpretation, prsutstvie female figure refers to the character Pabre, princess, who according to legend founded the kingdom Yyatenga.

Annual cycle preadnikov ends with the last month of the lunar calendar, Mohs, during which celebrates the ancient princes, who were not kings, whose descendants were mixed with "ordinary people". This prezdnike appear related to the initiation rituals, black mask sukobse. This section makes extensive use of masks, small and more or less sstilizovannye images of animals - antelope, birds - and human figurines. Usually, their surface is covered with bright geometric ornament.

Different models were borrowed from the tribe Nunn, Co, Lela and Self, living along the western border of the country Moosa, most of which use in their religious practice masks depicting animals.

These masks are always associated with ancestral cults of ancestors, recalling a chance encounter with a parent "animal spirit" who devoted his secret, which gave his family strength. The image of the animal on the mask is designed to preserve the connection between the spirit of the animal and race.

Unlike all drougih air masks, which are used only in one particular context, the black mask may ispolzovatsyapo prezdenstva any occasion.

Each category corresponds to a certain group of masks, which has a certain power, and these groups should not be mixed or break away from the others and thus contributes podderzhdaniyu ideology that unites this nation.

[nikola]

Сообщение от LCR

So, 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.

Сообщение от LCR

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

From what position do the analysis? From the position of European art? And whether
understand the deep roots of aesthetics alien culture? Imbued with complex aromas and visual images. Art is a product of spiritual activity
rights, a reflection of past and future in one moment. To understand
see above, even little born in Africa, need to be born with African blood. In a sense, art is sacred blood of the people.

[Art-lover]

LCR, thanks for the translation - the unusual materials, and at the same time pressing.
Once traditional art again returns to the focus of attention of artists and the audience - so it is something important for our era.

Curiously, a former anarchist Osmolovskii, which in certain circles is valued for proactive course of artistic events intuition turned recently to the abstract wooden sculpture, seeking to unite in the spirit of her people's traditions and the aestheticism of pure form. ( "Bread" - Kandinsky Prize, 2007.). His latest project "Adoration" is devoted to the study of the sacred nature of origin of forms in art.

Вложение 84945Вложение 84955

Picasso in primitive ikusstve saw the lesson of the magic of the unconscious form of subordination - which is largely determined by its artistic program.
Osmolovskii, realizing the danger of boundless anarchy, searches estetizirovannyh traditions of Russian pagan archetypes, which can be used to "spell" social chaos.

And in fact, and in another case, we guessed not just a feeling of sacredness forms, but also hope for a magical efficacy of art. The gap between the consciousness of modern European and African artist and magician are not so insurmountable.

[AlexanderG]

From what position do the analysis? From the position of European art? And whether
understand the deep roots of aesthetics alien culture? Imbued with complex aromas and visual images. Art is a product of spiritual activity
rights, a reflection of past and future in one moment. To understand
see above, even little born in Africa, need to be born with African blood. In a sense, art is sacred blood of the people.

A zachem ego ponimat ', tem bolee, chto vy pishete, chto eto nevozmozno? V negrov my prevratit'sia ne mozem. Dostatochno ne otritsat 'ego suschestvovaniia, i ne obiazatel'no nazyvat' eto iskusstvom.

Picasso in primitive ikusstve saw the lesson of the magic of the unconscious form of subordination - which is largely determined by its artistic program.

ia tak ne dumaiu. Prosto formal'nyi podhod. Modno bylo eto v to vremia i ekzotichno.


The gap between the consciousness of modern European and African artist and magician are not so insurmountable.

Mozno seriozno posporit 'po etomu povodu. Is moego opyta - sovershenno ne preodolima.
A zachem preodolevat '? My sovsem rasnye. Glavnoe ne nachat 'za eto ubivat' drug druga.

Prinimat ', uvazat' i sledovat 'ne obiazatel'no.

[fross]

One can argue, can not argue, but I'm going to eat. Do not panic - all chocolate! Who was there about the style of window dressing?

[LCR]

Сообщение от fross

One can argue, can not argue, but I'm going to eat. Do not panic - all chocolate! Who was there about the style of window dressing?

I see, you always had something up his sleeve either, Frog-Princess: o

[Art-lover]

Сообщение от fross

Do not panic - all chocolate !

Caution with chocolate! Cocoa - a terrible force, easily crushing the spirits and even the gods. : eek:
Do not believe me? Here's proof:

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"In some developed societies of tropical Africa ... religious leader allocates land as a representative of chthonic forces, the occult influence of which does not manifest itself outwardly, but there is still considerable in depth. As a rule, his authority extends only to the traditional food crops, because crops and industrial crops such as coffee plantations or cacao from the beginning out of the area of customary law and develop their own way.
    In forest areas the cultivation of new species of shrubs ... caused a variety of shocks, and this "revolution" was not limited to the economic area, and resulted in frustration most of the existing institutions. Many of the management structure of the tribes have not recovered from the blow. This skvzalos on calendar order of the rituals, the scheme of important ceremonies during initiation. At the same time several traditional worship ceased to exist "

(From the book by French anthropologist and art historian Bohumil Olya "Gods of Tropical Africa", Moscow, 1976)

Сообщение от nikola

In what position do the analysis? From the position of European art? And is it possible to understand the deep roots of aesthetics alien culture? Imbued with complex aromas and visual images. Art is a product of spiritual activity of man, a reflection of past and future in one moment. To understand, to see even a little above born in Africa, to be born with African blood. In a sense, art is a spiritual blood of the people.

Сообщение от AlexanderG

A zachem ego ponimat ', tem bolee, chto vy pishete, chto eto nevozmozno? V negrov my prevratit'sia ne mozem. Dostatochno ne otritsat 'ego suschestvovaniia, i ne obiazatel'no nazyvat' eto iskusstvom.

nikola, now hardly dare to tell the position of European art. I suspect that there are none. We'll have to determine its position.

The main charm of traditional crops for the half-civilization of the European (European-American, evroavstraliyskogo) observer - in syncretism, the indivisibility of different types of spiritual activities. Study of these cultures can touch the very origins of science, religion, art.
Why? And then, that in "non-classical" periods of history - and we're going through this - is breaking all ossified, outdated and soul of the living concepts.

And the artist, and philosopher involve "complex smells and visual images of African cultures, even if their blood no negrogena, because through these images for the intuitive and imaginative Europeans shine not only the specific ethno-cultural archetypes, but archetypes are universal.

Thus these strange masks and statues give rise to the revision of our concepts, including the aesthetic. The true concept alive until they are reviewed. When they cease to question and begin to "understand" (and "live by the concepts") - then by the time it's not the tools of mind, but maloosmyslennye "common place" (and asks you to write - a pair of crutches for the disabled on the head) .

For the life of art the most important - a review of "art". Every true artist consciously or unconsciously doing just that.
The attractiveness of African artifacts lies in the fact that it was "not art" can say more about the mystery of art than the "mature" and "ripe" forms evroiskusstva. It's like a quark (resorting to physical analogy) of art, not yet separated from the rational, politically correct magic and everything.

Сообщение от AlexanderG

Picasso in primitive ikusstve saw the lesson of the magic of the unconscious form of subordination - which is largely determined by its artistic program.
ia tak ne dumaiu. Prosto formal'nyi podhod. Modno bylo eto v to vremia i ekzotichno.

The gap between the consciousness of modern European and African artist and magician are not so insurmountable.
Mozno seriozno posporit 'po etomu povodu. Is moego opyta - sovershenno ne preodolima.
A zachem preodolevat '? My sovsem rasnye. Glavnoe ne nachat 'za eto ubivat' drug druga.
Prinimat ', uvazat' i sledovat 'ne obiazatel'no.

Alexander is not only a formal approach. I recall that I found on this subject Meister:

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Сообщение от Meister

In 1907, Pablo Picasso goes on show in the Trocadero Museum of Ethnography, which, as he later acknowledged, he will open the true meaning of painting. "These masks were more than just a sculpture. Negros - patrons, casters. Against all, against the unknown, hostile spirits. ... All the idols perform the same function. They were weapons. To help people become independent, so that people contumacious spirits. If we attach to the form of spirits, we become independent. Perfume, subconscious, emotions - all the same. I understood why I am an artist. "Les Demoiselles d'Avignon" there must be on the same day. This was my first experience of exorcism ... »[Foster: 37].
In the primitive art of Picasso opens the meaning of modern art: to realize the irrationality of the universe, using the "magic" of primitive ritual. Each piece of primitive art of telling a myth, restored the connection between man and the universe, "reminded" the mystery of a world related to the power of words. Avant-garde artists were not limited to borrowing primitive traditions, but sought to reincarnate into the primitive creator, putting in svoiproizvedeniya not aesthetic, but also a sacred meaning. "This is not a drop of aesthetics, it's magic, which mediates between the hostile forces and us, an opportunity to feel the power, to subordinate the form of our fears and passions. The day when they realized this, I found my way. Designer creates a primitive mask (Picasso, E. Nolde, Expressionism), gives expression to their fears and passions, "spontaneous" in themselves and in the world.

And about the fruitfulness of the art of overcoming insurmountable, I suggested above.

[LCR]

Culture Baoulé

Alain-Michel Boyer
"Primitive art Ivory Coast».

At first, 20 in. Baule tribe numbered about 1 million people. This tribe is part of the Akan tribes living east of the Ivory Coast. In the past, Akan created a series of kingdoms and city-states, which have gradually occupied the whole region of forests up to the Gulf of Guinea. In the 18 th century. This nation under the leadership of Queen Ably Poku was forced to retreat westward to the shores of the river Comoé. To members of the tribe were able to cross the river, the Queen prinasla to sacrifice his son, and that the victim gave the tribe its modern name - trunk means "child died". They live by the laws of the tribal matrilinearnogo type. At the new place the tribe undertook to develop the gold veins. New civilization, formed after the relocation, is a synthesis of Akan culture and customs of assimilating indigenous peoples of the region.

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In the early 20 century. Gold Rush and the subsequent colonization led to the destruction of the state Akan. Administrators area of POSAY Baule, that "the territory in a state of complete anarchy, the constraints which are the traditions, customs and common sense. In the view of the public administrator was inherent extreme individualism, tolerance, deep otvryaschenie to rigid political structures, the absence of the phenomenon of initiation and circumcision, the lack of priests. Each village was independent from the others and decide for itself its own problems under the leadership council of elders. Everyone participated in the discussion of issues, including the slaves. Society was egaliteristskoe.

Social organization was based on the family in the broadest sense, which amounted to of tin . If you lived in the village of several families, was chosen the richest, most eloquent and the most cunning resident, who was instructed to solve everyday problems with compre council of elders. Political unit was the village, but the leader had no right to insist on the decision, if it was not approved by a majority of residents, he had no means of coercion. Often, the leader of the functions performed by women.

Were collected numerous legends about the creation of the world, the deluge, caused by flooding of the river Bandama, on the transition of the river and the conquest of the country Gomoe Baule. Animal-hero of the people - a spider, miserly, cunning and evil, but at the end of history, he always defeated and punished.

Baule revered god-creator of the world Niamey, which has no material form. God is the protector of the earth Azi people and animals. There are many spirits, endowed with supernatural powers. The world really is opposed to the spiritual world blolo, from which come the souls of newborn babies, and where these souls return after death. Religion is based on the idea of death and immortality of the soul. Ancestors are honored, but never portrayed. In the past, the concept of natural death was absent, so it was necessary to identify the culprit: during ritual two men at the head of which lies the body of the deceased, led by the spirits, moving in a circle. Man, in which rested the feet of the deceased, was declared responsible for his death. He was subjected to the test venom. In order to double the deceased could continue to live, he brought in zhurtvu women and slaves. Inherit the deceased were his udinoutrobnye brother or sister, as "never be sure that you - indeed a child of your father."

Rituals constantly changing: mnogda any member of the public could see a prophetic dream or cover an attack of madness, during which he spoke through the mouth of the spirit, which explained the new rules of ritual and supplies needed for its execution, and these instructions were very specific - described the vestments , hairstyle, posture - until the ritual scars on the statues, which were to be made (C, Vogel, 1981).

Wooden sculpture and masks allow closer communication with the supernatural world. Statues Baoulé designed for two types of worship: one depicted the spiritual "husband", to appease in a personal home each set altar. Every man has a wife tribe blolo Bihan , and every woman - husband bolo Bihan , accompanying them in all travel. The remaining pieces are cut to serve as a receptacle of the spirits of nature ( Asi Ouzou )

For Baule characterized by population mobility and, accordingly, works of art. Moreover, these trips give rise to zakza new sculptures in other villages, from the masters that came from other studios, whose style is different from local masters. Often the artists themselves go to the villages and sell their products.

Masks Baoulé have multiple functions: one symbolizing beauty ( Gba Gba ), others defend the village from outside opastnostey ( Bon amuen ), double mask celebrates the marriage of the sun and the moon ...

Craft of the sculptor is not inherited, it is an individual choice or sovvet spirit, resulting in sleep or in a fit of insanity. In carefully dressed and always personalized items also produced a large number of standard - gongs, clubs.

Sculpture Baoulé characterized by a certain realism, it reflected the ideal of beauty that people - rounded ankle in women with long arms togkimi fingers. Harmoniously arranged hair plaited into many small braids. Beard also sometimes braided and always very neat and tidy. There are also figures of monkeys, more or less realistically done. Often, these monkeys are kept in the clutches of the bowl or pestle. On the destination of these figures there are different versions: some argue that they are necessary in the performance proritsatelskogo ritual, while others - that they protect from evil magicians, and others - that they represent a deity who protected agricultural labor or the spirits of the jungle.

Sculpture Baoulé exist in considerable numbers, but the masterpieces are rare.