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Southeastern Zimbabwe. Shona peoples. c. 1000–1400 C.E. Coursed granite blocks.

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167. Conical tower and circular wall of Great Zimbabwe. 

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167. Conical tower and circular wall of Great Zimbabwe. 

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Content

● “Zimbabwe” - houses of stone, capital of the empire

● Three areas: the Hill Ruin, the Great Enclosure, and the Valley Ruin

● Conical tower (granary): symbolic of royal authority and generosity, as grain was given to the rulers

Context

● Great Zimbabwe had an empire and extensive trading routes that stretched from the Near East to China

● Largest stone complex in Africa before modern era

● Inhabited by the Shona people

Form

● Residential structures reveal hearths and other interior furnishings

● The Hill Run enclosed a structure surrounded by cylindrical towers and monoliths with geometric designs

● The top of the wall features lace-like designs called dentelle and is composed of stone blocks that separate the royal residency area

Function

● Great Zimbabwe functioned as a political center during the 12th century

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167. Conical tower and circular wall of Great Zimbabwe.

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Equestrian Oba and Attendants, 1550–1680, Nigeria, Court of Benin, Edo peoples, brass, 49.5 x 41.9 x 11.4 cm

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Content

● Central figure is an Oba (king), who is being flanked by his attendants

○ Attendants holding shields

○ Oba wears distinctive coral-shaped regalia on his head

Context

● Benin was a major power in West Africa during the 19th century, partially due to trading slaves with Europeans

● Social stratification evident in Benin

○ The Oba was of the highest rank, who was believed to be a divine intermediary between the physical and supernatural realm, as well as the head of government

● Brass acquired through trade with Portugal. Metal workers in Benin melted them down and used them to make plaques commissioned by the Oba

Form

● Hierarchy of scale--Oba is depicted as the largest and main subject of the work

● Lost wax casting technique used to mold and produce plaques

Function

● Hung on the walls of the Oba’s palace--expression of power and authority

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Ashanti peoples (south central Ghana). c. 1700 C.E. Gold over wood and cast-gold attachments. 

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Content

● Golden stool with bells attached to its sides

○ According to the legend, the stool fell from the sky onto the lap of the first ruler of the Ashanti Confederacy (Osei Tutu)

Context

● Ghana was a valuable source of gold in West Africa during the Trans-Saharan trade. Interactions with other nations helped the nation accumulate even more wealth

● Oral tradition was central to the nation

Form

● Gilt and inlaid with gold over wood

● Crescent-shaped stool

Function

● Functioned as the “seat of the soul”

● Present during rituals and is of symbolic significance

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Kuba peoples (Democratic Republic of the Congo). c. 1760–1780 C.E. Wood. 

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171. Ndop (portrait gure) of King Mishe miShyaang maMbul. 

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171. Ndop (portrait gure) of King Mishe miShyaang maMbul. 

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Content

● Ndop (idealized portrait figure) of King Mishe miShyaang maMbul

○ The king is holding a drum with a hand on it, which is an ibol, or object that serves as a symbol of his reign

○ Holding a ceremonial knife

● Large head symbolizes wisdom and intelligence

Context

● The Kuba people lived in the Democratic Republic of the Congo and solidified into a kingdom in the 17th century

○ Historically known as wood carvers and sculptors who worked for a leader (nyim)

○ Apprentices learned and worked under masters

Form

● 1:3 proportion; the head was ⅓ of the statue’s total size ● Some naturalistic features--rounded shoulders

● Ibols carved in relief

Function

● Portrait commissioned by the King to celebrate his reign and accomplishments

● Historical marker

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Kongo peoples (Democratic Republic of the Congo). c. late 19th century C.E. Wood and metal. 

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Content

● Human nkisi figure (container of supernatural and sacred forces that can manifest in the physical world)

● Sharp objects pierced into the central area of the figure, which is frequently covered by a reflective surface

● Cavities in other areas are often filled with medicine or herbs

Context

● Sacred medicines and divine protection are essential to the beliefs of the Kongo people

● These figures were confiscated by Europeans during conquest and exploration, and then later destroyed for being heathen/pagan objects

Form

● Carved from wood

● Glass/reflective components

Function

● Oath-taking image

● Used to guard an individual or inflict negative energy upon an individual if an oath is broken

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Chokwe peoples (Democratic Republic of the Congo). Late 19th to early 20th century C.E. Wood, ber, pigment, and metal.

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Content

● Ideal representation of a female ancestor

○ Symbolic of fertility and prosperity in community

● Embodiment of female virtues and ideals

○ Closed eyes--wisdom; white powder--spiritual connectedness

○ Closed mouth--modesty

○ Calm expression

○ Adorned with jewelry

Context

● Chokwe culture is matrilineal and actively honors young, fertile women

● Mukanda: the initiation activity associated with the Pwo mask

Form

● Carved from wood

○ Boys are initiated into adults by performing a dance with the mask on

● Naturalistic face; stylized eyes

● Colored with dark pigment

● Rounded dots and tattoo patterns on cheek

Function

● Part of a performance; worn by boys along with a costume with wooden breasts during an initiation ceremony

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Baule peoples (Côte d’Ivoire). Early 20th century C.E. Wood and pigment.

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Sande Society, Mende peoples (West African forests of Sierra Leone and Liberia). 19th to 20th century C.E. Wood, cloth, and fiber.

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Bamileke (Cameroon, western grass elds region). c. 19th to 20th century C.E. Wood, woven rafIa, cloth, and beads.

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Igbo peoples (Nigeria). c. 19th to 20th century C.E. Wood.

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Mbudye Society, Luba peoples (Democratic Republic of the Congo). c. 19th to 20th century C.E. Wood, beads, and metal.

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Fang peoples (southern Cameroon). c. 19th to 20th century C.E. Wood.

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Mali. Founded c. 1200 C.E.; rebuilt 1906–1907. Adobe.

Content

● Mosque: follows some conventions of traditional mosques--three minarets, courtyard, mihrab, courtyard, hypostyle hall

● Ostrich eggs on top of pillars--represent fertility and purity

Context

● Djenne was founded in c. 800-1250 B.C.E and functioned as a commercial and educational center

● Mosque built around 13th century and was constructed during the succession of King Konboro

○ Rebuilt from 1834-1836 for second time

○ Rebuilt again in 1907 w/ help from adjacent regions

● Architectural style has roots among the Songhai and Mande peoples of western Sudan

● The mosque is replastered annually during the Crepissage de la Grand Mosquée--a community festival Form

● Rectilinear structure, enclosed by wall on exterior

● Constructed using adobe and coated with mud on exterior

● Wooden scaffolding on exterior prevents shrinking of walls under sunlight, aids in repairs

Function

● Expression of power

● Also serves as social center for community

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180. Veranda post of enthroned king and senior wife (Opo Ogoga). 

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180. Veranda post of enthroned king and senior wife (Opo Ogoga). 

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Olowe of Ise (Yoruba peoples). c. 1910–1914 C.E. Wood and pigment.

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Veranda post of enthroned king and senior wife (Opo Ogoga).

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The trans-Saharan trade routes facilitated the exchange of ideas, materials, and artistic influences between Africa, the Middle East, and Europe

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The Atlantic slave trade (16th-19th centuries) had a profound impact on African societies and artistic production

Displacement of skilled artisans and disruption of traditional art forms

Emergence of new art forms reflecting the experiences of enslaved Africans in the Americas

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Akan people (Ghana and Ivory Coast) known for their intricate gold weights and jewelry

Yoruba people (Nigeria) renowned for their elaborate masks, sculptures, and textiles

Benin Kingdom (Nigeria) famous for its bronze and brass plaques and sculptures

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Kongo people (Democratic Republic of Congo and Angola) recognized for their power figures (nkisi) and carved ivory objects

Kuba people (Democratic Republic of Congo) celebrated for their intricately woven raffia textiles and carved wooden cups

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Swahili culture (coastal regions of Kenya, Tanzania, and Mozambique) known for their intricate wooden doors and furniture adorned with Islamic-influenced motifs

Ethiopian Orthodox Christian art characterized by illuminated manuscripts, processional crosses, and church murals

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San people (Botswana, Namibia, and South Africa) recognized for their rock art depicting hunting scenes and spiritual beliefs

Zulu people (South Africa) known for their beadwork, basketry, and ceremonial staffs (izimboko)

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Sculpture

Carved from wood, stone, or ivory

Cast in metal (bronze, brass, gold)

Terracotta and ceramic figures

Masks

Carved from wood or crafted from fabric and fibers

Used in religious ceremonies, initiation rites, and performances

Textiles

Woven from cotton, raffia, or other plant fibers

Dyed using natural pigments and adorned with intricate patterns and symbols

Jewelry and Metalwork

Gold, silver, and copper used to create intricate jewelry and ceremonial objects

Beads made from glass, stone, or shells used in adornment and trade

Architecture

Earthen and mud-brick structures (mosques, palaces, and houses)

Stone-built monuments and ruins (Great Zimbabwe)

Body Art

Scarification, tattooing, and body painting used for aesthetic and symbolic purposes

Hairstyles and headdresses conveying social status and cultural identity

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Animals

Snakes, crocodiles, and birds often represented spiritual forces and ancestral spirits

Leopards and lions symbolized power, leadership, and royalty

Geometric Patterns

Zigzags, spirals, and concentric circles conveyed spiritual and cosmological concepts

Adinkra symbols (Ghana) represented proverbs, aphorisms, and philosophical ideas

Human Figures

Ancestors and deities depicted in sculptures and masks

Royalty and leaders portrayed in commemorative and ceremonial art

Colors

Red is associated with life, blood, and spiritual power

White linked to purity, peace, and the spirit world

Black is connected to wisdom, maturity, and the ancestors

Scarification and Body Modification

Patterns and designs conveyed social status, cultural identity, and rites of passage

Symbolized spiritual protection and aesthetic beauty