---------- Forwarded message ----------
From: Lee Rubinstein leerubinstein@gmail.com [African_Arts] <African_Arts@yahoogroups.com>
Date: Wednesday, 6 January 2016
Subject: Re: [African_Arts] Re: Dogon Spirit House Sculpture [3 Attachments]
To: African_Arts@yahoogroups.com
[Attachment(s) from Lee Rubinstein included below]
http://collection.imamuseum.org/artwork/29445/
"For the art historian, the analysis of style is a critical methodological tool. The definition of style is essential to understanding the history of traditions - their origins, development, and diffusion. In the literature on African art, discussions of style are deeply rooted in ethnic identity. However, I suggest that our reliance on classification systems that place primary emphasis on ethnic labels has hindered our ability to establish a viable historical framework. Questions about methodology, and especially the definition of style, are especially critical when the issue is borderlands, where interaction takes place between peoples of different ethnic origins or cultural backgrounds. The idea of open borders, however, presumes that these borders do exist, that there are core ethnic styles, and that one first needs to define the core ethnic style in order to examine what does or does not cross the periphery. Implicit in this approach are notions that artists and patrons are of the same ethnic group at least in the core area, that interaction between ethnic groups takes place only on the periphery, and that ethnicity is the primary means by which individuals or groups distinguish themselves from others… [S]everal factors that, because of the impact they have on style, challenge the viability of this model, specifically of defining styles primarily according to ethnicity... include the mobility of both artists and patrons, which brings them into contact with peoples of different ethnic origins; ethnic diversity within a particular region; and other notions of identity, such as class, age, gender, and religious belief, that often cut across or transcend ethnic identity... Style may be defined as a particular combination of form elements and design motifs, form relationships and the overall character of a work of art. Materials and techniques employed are sometimes identified as elements of style, or at least as elements that have an impact on style. Ideally styles are distinctive enough that one can identify the origin or context of a particular object by comparing it with known examples." — Barbara E. Frank, "Open Borders: Style and Ethnic Identity," African Arts, Vol. 20, No. 4 (Aug., 1987), pp. 48-55+90
Rick:
I came across the above-cited article from which the preceding quote is taken and found it sufficiently pithy and relevant to share since the truths it contains are broadly relevant to the activities in which we all so frequently find ourselves as we seek to identify and explicate objects in our purview. Its inclusion also serves as a reminder that so much of what we learn through our individual quests for understanding tends to follow paths previously traveled — paths which can be facilitated by drawing upon the insights of travelers who have walked these paths before us. Indeed, we cannot really approach the questions of origin, meaning and authenticity without framing the history and context from which an object and/or an element (or elements ) therein has/have emerged and tracing the conditions under which such elements may re-appear singularly or integrated with other possibly related elements.
For me the most compelling detail which I think you have rightly isolated is the abstract conical protrusion that extends from the elevated platform of your figure. What is less clear from this point on is its inclusion in the overall configuration of elements in the figure as a whole. R. E. Bradbury's "Ezomo's Ikegobo and the Benin Cult of the Hand," [Man, Vol. 61 (Aug., 1961), pp. 129-138] provides an interesting treatment of the ikegobo,.or "altar of the hand." Bradbury illuminates both the historical and contextual significance of the protrusion — perhaps representative of — or meant to support a tusk — which seems to have been rendered as a portrayed element of wooden ikegobo. In other renderings -- also found in bronze and terra cotta — the shrine of the hand may provide a place for the insertion of a tusk which — I believe — is the representation to which the carved protrusion is referring in other observed instances wherein the element is carved as part of the shrine. Bradbury states, "The Edo think of the end of the elephant's trunk as having the form and function of a hand…" (p. 136)
I think you are likely correct in comparing your object with the "Yoruba altar" to which you refer in your most recent query as Bradbury in his article does refer to other regional traditions which have further utilized both the underlying concepts and observable means of expression to signify and ritualize the importance of the hand or arm in warfare as well as other activities linked to wealth, rank and political power. Such instances to which he refers in this particular article suggest the proliferation south- and eastward among the Igbo, but the influence of Benin artistic traditions westward are indisputable. For more on the interrelationship among historical kingdoms in the region, begin with "Origins and Empire: The Benin, Owo, and Ijebu Kingdoms" (by Alex Bortolot in the Heilbrunn Timeline of Art History on the Met Museum site.)
Additionally, it would be difficult to overlook the presence of the ring of human forms that constitute the base of the "altar" you presented; however, this aspect presents a perhaps less traceable co-occurrence (although it would be fascinating while daunting to try…) among works from an even broader region extending eastward further into the Cameroon Grassfields. (One step forward, two steps back through very dense growth…) This aspect is perhaps more difficult to link with any specificity to any of the traditions wherein such altars, stools, thrones, etc., display inter-connected figures at their bases. The problem becomes greater when looking at the lack of similarity among the figural elements — the figures along the base, the seated figures atop the platform and the "cone-headed" figure that stands there. For me, this is where the question of style becomes increasingly perplexing, as it is difficult to reconcile the seeming incongruities of style among the various figures within the piece. The base's figures could draw influence from Edo altars, Grassfields stools or Dogon granary doors; the seated figures strike me as possibly Guinean — even perhaps Ghanaian (?) while the "cone-headed" figure might bear a vague resemblance to details of some Oyo Yoruba carvings. Thus, it is difficult to posit a cohesive theory regarding the social and symbolic integration of these observable stylistic elements as organically linked components beyond that of a broadly regional pastiche conceived in a wholly non-ritual setting.
Finally -- and admittedly concluding at a point that raises more questions than offers answers, the observation of "age" and weathering is always specious. From time to time I have deposited in outdoor locations around the house some less treasured wood carvings that I have acquired and have observed over a period of not so many years that untreated woods quickly age in a manner that defies one's ability to speculate on the age of the carving. Other pieces stored in a basement lacking controls for temperature and humidity have displayed "signs" of rapid aging beyond what one might expect. In both of these circumstances one might reasonably conclude much greater age than is in fact the case. So, these observations — especially when coupled with documented techniques for "treating" objects to simulate "antiquity" — goad me to discount assumptions regarding age based on visual data.
So, that leaves us with the opportunity for continued exploration of various observable elements as well as of historical and social contexts with which to hypothesize how these elements might have come together in one sculpture. For me that is the greatest pleasure of this endeavor — the discovery of so many intriguing avenues (or paths) for further study and the contemplation of diverse artistic and ideological traditions wherein I am ever challenged to attribute meaning and value as the elements within my view at any given moment allow while knowing that any new piece of information or insight reveals the possibility of yet another perspective… and another… and another.
Lee
P.S. Below are images of — and links to — more "altars of the hand" (in wood) for those who wish to explore this particular field of study further:
Lee
On Jan 4, 2016, at 11:07 AM, rickmadge@hotmail.com [African_Arts] <African_Arts@yahoogroups.com> wrote:
Hi all,
Quite a while ago I wrote about a sculpture that I had been unable to identify. The message below explains it. Unfortunately, although some people had ideas, nobody here could shed much light on it other than it looks old.
Native Auctions has a piece for their auction up that strongly resembles the style and shape of my piece, although it is infinitely more aesthetically appealing. They have called it a Yoruba Altar. Would anybody be able to comment on how this piece relates to my piece?
Thanks
A Yoruba Altar
---In African_Arts@yahoogroups.com, <rickmadge@...> wrote :I'm hoping some knowledgeable person can help me out with this piece. (Thanks for the help with the Bete Spider Mask!)
I've had this sculpture for many years now, and have tried researching it off and on for most of those years. It was sold to me as a Dogon Spirit House Sculpture. It definitely has age. The wood is dry and quite weathered, with some cracks. The odd picture below is looking up from the bottom.
It's 60 cm H (24") x 25 cm D (10")
What confuses me with this is that I haven't seen any similar Dogon pieces. The figures are unadorned, and are slightly reminiscent of Yoruba pieces. About the only thing that really strikes me as Dogon are the repetitive figures around the base, and you can see those in many cultures.
The big thing that intrigues me are the cones. The male has a conehead, and opposite him is a cone without the figure. It certainly seems appropriate for a fertility object. Other than that, you can find conehead representations in some Akan pieces.
Can anyone help me with this? If it's a fantasy piece, it's a very old fantasy piece.
Thanks
Rick
2015-05-02 22.14.39.jpg2015-05-02 22.14.52.jpg2015-05-02 22.15.32.jpg
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