Lightnews — Scholar-powered news

LightNews

AIC: African Art (Bot)

@aicafricanart.bsky.social

210 followers 3 following 2.1K posts

Sharing artworks from the Art Institute of African Art department. Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

Posts Media Videos Starter Packs

AIC: African Art (Bot) @aicafricanart.bsky.social · 36m

Cup https://www.artic.edu/artworks/134064/

Gift of Henry H. Getty, Charles L. Hutchinson, and Norman W. Harris

AIC: African Art (Bot) @aicafricanart.bsky.social · 3h

Cylinder with Geometric Designs and Hieroglyphs https://www.artic.edu/artworks/94858/

Gift of Henry H. Getty and Charles L. Hutchinson

AIC: African Art (Bot) @aicafricanart.bsky.social · 16h

Altar (Asen) https://www.artic.edu/artworks/241242/

Among the Fon people of the coastal city of Ouidah in Benin, master artists created a distinguished style of altars known as asen. Crafted from forged iron, they comprise a tall rod that supports a large cone-shaped platform that holds forged and cutout iron figurines commemorating the persons for whose spirit they were intended. Such memorial sculptures express the interdependence of the living and the dead. Compared to newspaper obituaries or tombstone inscriptions, the complex design and dense iconography of their scenic tableaus bear imagery that refers to the ancestor’s profession, his religious beliefs, or his family. Blending visual and verbal art forms, proverbs and puns in the image’s details often confuse interpretations for outsiders. Accompanied by members of his family, the central seated figure with his chiefly attire and attributes most likely represents a person of rank and authority. The animals represent sacrificial offerings or simply refer to proverbs.

Restricted gift of Jane Stroud Wright in honor of Douglas Dawson

AIC: African Art (Bot) @aicafricanart.bsky.social · 18h

Tapper (Iroke Ifa) https://www.artic.edu/artworks/155959/

A Yoruba diviner strikes a tapper against his tray to call the deity of fate, Orunmila, to the proceedings. This wooden tapper features an unusual upside-down design: a kneeling woman carrying a basket on top of her head and a baby strapped on her back.

Gift of Richard Faletti, the Faletti Family Collection

AIC: African Art (Bot) @aicafricanart.bsky.social · 21h

Altar Head for a Chief https://www.artic.edu/artworks/192410/

After death the obas (kings) of Benin are honored with altars that include stylized commemorative heads made of cast-copper alloy. This material has long been highly valued in Benin and until the early 20th century, it could only be used with permission of the oba. Important commoners have wood heads placed on their altars that are fashioned in a similar style to the royal commemorative heads. This wood head is embellished with decorative copper-alloy sheeting and would likely have been made for a high-ranking titleholder or chief loyal to the oba. There is a narrow cavity in the back designed to hold a wooden rod decorated with cowrie shells in imitation of the tall ivory tusks that rise from the commemorative heads of obas. The band of copper, pounded to appear as separate rows, likewise imitates the decorative bands encircling the oba commemorative heads, which reference the coral beads worn by actual obas as a symbol of divine leadership. The top of this head is crowned by a helmet patterned with alternating lines within a grid and a vertically projecting element on the left side. The figure’s face is relatively long and narrow, with full eyes and heavy lids, a wide nose and two parallel rows indicating a mouth.

Gift of Balint B. Denes from the Alexandra Collection

AIC: African Art (Bot) @aicafricanart.bsky.social · 23h

Container https://www.artic.edu/artworks/185660/

The complex form of this tall and narrow storage vessel was constructed in several phases, starting with the base, which was textured with a roulette (a toothed disk), and followed by the foot. The upper half, culminating in the ribbed neck, was then built using a coiling technique. The lid was likely formed separately. The imagery on its surface includes tall staffs that may represent old iron currency; a snake; and a bush-buffalo head signifying prosperity, protection, and fertility.

Gift of Keith Achepohl

AIC: African Art (Bot) @aicafricanart.bsky.social · 1d

Canopic Jar of the Overseer of the Builders of Amun, Amenhotep https://www.artic.edu/artworks/120264/

Gift of Henry H. Getty, Charles L. Hutchinson, and Norman W. Harris

AIC: African Art (Bot) @aicafricanart.bsky.social · 1d

Male Face Mask (Zamble) https://www.artic.edu/artworks/239464/

Representing a capricious and fearsome nature spirit, zamble is the name of a mask type that combines animal and human features, including antelope horns and the jaw of a dog or crocodile. In times past, zamble primarily appeared on the occasion of a man’s second funeral, which would be organized months or years after the actual burial to commemorate the accomplishments of the deceased. Performances took the form of competitions between mask dancersfrom two different families.

Through prior bequest of Florene May Schoenborn

AIC: African Art (Bot) @aicafricanart.bsky.social · 1d

Eye of Horus (Wedjat) Amulet https://www.artic.edu/artworks/140839/

Gift of Henry H. Getty and Charles L. Hutchinson

AIC: African Art (Bot) @aicafricanart.bsky.social · 1d

Ring Depicting a Rider on Horseback https://www.artic.edu/artworks/185863/

Small cast copper-alloy ornaments are made across West Africa within the arc of the great Niger River. Brass or bronze casting has powerful associations with the supernatural because, like ironworking, it is a highly specialized process that uses fire to transform a raw material into a form that is useful and meaningful to humans. Dogon political and spiritual leaders wear copper-alloy ornaments that express power, such as this remarkably detailed horse and rider.

Gift of Richard Faletti, the Faletti Family Collection

AIC: African Art (Bot) @aicafricanart.bsky.social · 2d

Amulet of an Unidentified Goddess https://www.artic.edu/artworks/141150/

The Art Institute of Chicago

AIC: African Art (Bot) @aicafricanart.bsky.social · 2d

Ring: Figure of Tawaret (Thoeris), with sa (protection) sign https://www.artic.edu/artworks/141233/

The Art Institute of Chicago

AIC: African Art (Bot) @aicafricanart.bsky.social · 2d

Qur'an Stand (Marufaa) https://www.artic.edu/artworks/186647/

Among the distinctive traits of Swahili culture the production of finely crafted props for reading and studying the Qur'an. These objects have been made for scribes, wealthy merchants, and their families. Swahili Qur'an stands, used to hold the holy book as it is read and studied, can range from simple to exceedingly ornate. Like many, this well-worn example is made of two pieces of wood that are hinged together, opening into an X-shaped cradle. Its relatively simple design is defined by a large hexagonal pattern of interlocking flower petals on either side.

Gift of John Reuter-Pacyna and Jay Zerbe

AIC: African Art (Bot) @aicafricanart.bsky.social · 2d

Lintel Fragment Depicting Iniuia and Iuy Worshipping Deities https://www.artic.edu/artworks/121774/

Gift of Henry H. Getty, Charles L. Hutchinson, and Robert H. Fleming

AIC: African Art (Bot) @aicafricanart.bsky.social · 2d

Wall Fragment from a Tomb Depicting Offering Bearers https://www.artic.edu/artworks/64323/

W. Moses Willner Fund

AIC: African Art (Bot) @aicafricanart.bsky.social · 2d

Vessel (Ukhamba) https://www.artic.edu/artworks/180973/

Clusters of raised welts known as warts (amasumpa</em)) are among the most typical forms of Zulu pottery embellishment. The decoration may echo the scarification patterns that once adorned the bodies of Zulu women or the herds of cattle owned by a wealthy family. The Magwaza family of potters uses a unique means of producing the welts or bumps seen here: pushing them out from the inside of the container rather than applying clay to the exterior.

Charles R. and Janice Feldstein Endowment

AIC: African Art (Bot) @aicafricanart.bsky.social · 3d

Goldweight Depicting a Seated Figure with Arm Raised https://www.artic.edu/artworks/96723/

Gift of Raymond Wielgus

AIC: African Art (Bot) @aicafricanart.bsky.social · 3d

Figural Staff https://www.artic.edu/artworks/103909/

Until the 1950s, along the eastern edge of the Baule region carved staffs like this example were made to honor important ancestors. That practice has given way to rituals focusing on stools and gold inherited from deceased family members. In the example displayed here an idealized male figure is seated on a stool, with three faces below him that may symbolize wealth in the form of wives. The drum carved farther down likely alludes to success in battle.

Restricted gift of Bernice Hirsch, William Hartmann, and Mr. and Mrs. Herbert R. Molner in memory of Milton Hirsch; African and Amerindian Art Purchase Fund

AIC: African Art (Bot) @aicafricanart.bsky.social · 3d

Amulet of the God Anubis https://www.artic.edu/artworks/140932/

Gift of Henry H. Getty, Charles L. Hutchinson, and Norman W. Harris

AIC: African Art (Bot) @aicafricanart.bsky.social · 3d

Bead https://www.artic.edu/artworks/134649/

Gift of Henry H. Getty and Charles L. Hutchinson

AIC: African Art (Bot) @aicafricanart.bsky.social · 4d

Headdress (Ago Egungun) https://www.artic.edu/artworks/31581/

Egungun, a widespread Yoruba masquerade, is staged to honor the ancestors and the newly deceased, who continue to influence the lives of their kin. Organized at funerals, on family occasions, and during annual or biennial festivals, the different types of egungun are each associated with a distinctive cloth costume, some of which include a wooden mask or headdress. The tufted hairstyle of this example mimics the flap of a hunter’s cap that hides protective medicines.

Edward E. Ayer Endowment in memory of Charles L. Hutchinson

AIC: African Art (Bot) @aicafricanart.bsky.social · 4d

Male Figure https://www.artic.edu/artworks/144353/

Made for a large altar honoring ancestors, this figure’s crusty surface resulted from repeated ritual applications of sacrificial materials including animal blood, millet porridge, plant juice, and oil, infusing it with a vital energy. Its braided hairstyle, thin beard, amulet-pendant, and ritual staff (on his left shoulder) suggest that this figure portrays a high-ranking man. The extremely dry environment of the cave where it was stored helped to preserve it.

Janie Brill Memorial Fund; Major Acquisitions Centennial Endowment

AIC: African Art (Bot) @aicafricanart.bsky.social · 4d

Elephant Mask (Vi) https://www.artic.edu/artworks/37773/

This mask features the round ears, straight tusks, and short trunk of the African forest elephant. It was created for the sacred Gye masquerade and was performed for funerals, festivities commemorating the recently deceased, and other serious occasions.

Gift of Mr. and Mrs. James W. Alsdorf

AIC: African Art (Bot) @aicafricanart.bsky.social · 4d

Mask (Ogbodo Enyi) https://www.artic.edu/artworks/123762/

Gift of Jamee J. and Marshall Field

AIC: African Art (Bot) @aicafricanart.bsky.social · 4d

Cosmetic Saucer Decorated with Swans https://www.artic.edu/artworks/128011/

Gift of Henry H. Getty, Charles L. Hutchinson, and Norman W. Harris