Bronze ewers, like this one appeared late in the Shang dynasty and continued to be made throughout the Zhou dynasty. Also called guangs (gongs), these bronze ewers are distinguishable due to some characteristic features: a zoomorphic lid and handle, usually a one-footed base, the use of the squared spiral (lei-wen) to fill in empty space and they are decorated in mid to low-relief. Naturalistic representations of live animals were mainly produced in the southern Chinese provinces, while mythical animals were seen on guangs from the northern Chinese provinces. For this particular ewer I was not able to distinguish whether is depicts a mythical animal or a real one. However, rams were commonly depicted on these, and this creature sports head gear that could be interpreted as rams horns.
Ewers like these would have poured rice (or grain) wine at ancestor worship rituals and were commonly left behind as a grave good in a high-status burial.
Although probably a fragment of a nearly life-size male seated figure, this head is remarkably well preserved. The Nok terracottas may have been part of a shrine or temple or were placed on a tomb. The identities of the portrayed figures remain unknown, but the adornments and elaborate hairstyles and headdresses seem to indicate that they represent notables or leaders.
Sculptures like this one have come to be called Nok Terracottas. Triangular eyes, abstracted features and the use of subtractive sculpting techniques are characteristic of these Nok heads. Most of these heads are found by themselves; however, in some instances full body sculptures have been found in this style. The full terra-cotta sculptures are life-sized but tend to have a disproportionately large head compared to the body.
Unfortunately not much is known about the Nok culture and their reasonings behind their artistic decisions, but it should be noted that in later African art a large head can reflect respect for intelligence. The lack of information regarding how many of these heads were buried and found is due to the lack of documentation when finding pieces from this culture. However the Nok culture was one of the earliest centers of ironworking and terracotta figure production in Africa, that is one thing we do know for sure.
Although probably a fragment of a nearly life-size male seated figure, this head is remarkably well preserved. The Nok terracottas may have been part of a shrine or temple or were placed on a tomb. The identities of the portrayed figures remain unknown, but the adornments and elaborate hairstyles and headdresses seem to indicate that they represent notables or leaders.
Sculptures like this one have come to be called Nok Terracottas. Triangular eyes, abstracted features and the use of subtractive sculpting techniques are characteristic of these Nok heads. Most of these heads are found by themselves; however, in some instances full body sculptures have been found in this style. The full terra-cotta sculptures are life-sized but tend to have a disproportionately large head compared to the body.
Unfortunately not much is known about the Nok culture and their reasonings behind their artistic decisions, but it should be noted that in later African art a large head can reflect respect for intelligence. The lack of information regarding how many of these heads were buried and found is due to the lack of documentation when finding pieces from this culture. However the Nok culture was one of the earliest centers of ironworking and terracotta figure production in Africa, that is one thing we do know for sure.
This decorated end page can be found in Plans, elevations, sections, and details of the Alhambrav.2, an influential work created from drawing by Jules Goury and Owen Jones. Owen Jones published the work in 1842, about a decade after he began his Grand Tour, where he met Jules Goury. Goury would become his traveling companion for the latter part of Jones’s Grand Tour, though Goury died of cholera six months into their stay in Granada*, Spain. Their visit to the former palace of 13th and 14th century Moorish leaders, the Alhambra, must have left a lasting impression—Jones was an instrumental figure in the move away from Neo-classicism and his body of work betrays a strong Islamic design influence. Learn more from The Victoria and Albert Museum, where Jones’s history and ambition are more fully explained.
We’ve got a couple more works from Owen Jones in our Digital Library: Jones’s Grammar of Ornament is still an important design sourcebook, while his Examples of Chinese Ornamenthas some pretty exquisite designs, too.
Mayan polychrome figural urn, decorated with jaguars and skulls. Artist unknown; Late Classic period (600-900 CE). Now in the Walters Art Museum, Baltimore. Photo credit: Walters Art Museum.
An amulet of the demon Lamashtu, standing on an ass and suckling a jackal with a pig, with an incomplete cuneiform incantation to the demon, c. 800-500 B.C.E., excavated from northwest Mesopotamia
The Toltec, a Nahuatl-speaking tribe, held sway over what is now central Mexico from the 900s through the 1300s CE. The name has many meanings: an “urbanite,” a “cultured” person, and, literally, the “reed person,” derived from their urban centre, Tollan (“Place of the Reeds”). Beginning in the 1300s, the invasion of the nomadic Chichimec destroyed the Toltec hegemony in central Mexico. Among the invaders were the Aztecs, or Mexica, who destroyed Tollan about the mid-1300s. (Click through the images to read the captions, about the artifacts and monuments the Toltec left behind.)
~Amulet of a Ba. Place: Egypt Period: Ptolemaic Period Date: 332-30 B.C.
Amulet of a Ba - Egyptian/Ptolemaic
ca. 332 - 30 BCE
Amulets in ancient Egypt were thought to be magical. They would be worn, carried or offered to a deity in hopes of magically gaining a specific power or form of protection. This amulet depicts a Ba, or a human headed falcon. Egyptians believed the Ba symbolized the immortal soul that came back after death and attached itself to the corpse. This specific one does not have the human head. The amulet is gold and inlaid with lapis lazuli, turquoise and steatite.
~Amulet of a Ba. Place: Egypt Period: Ptolemaic Period Date: 332-30 B.C.
Amulet of a Ba - Egyptian/Ptolemaic
ca. 332 - 30 BCE
Amulets in ancient Egypt were thought to be magical. They would be worn, carried or offered to a deity in hopes of magically gaining a specific power or form of protection. This amulet depicts a Ba, or a human headed falcon. Egyptians believed the Ba symbolized the immortal soul that came back after death and attached itself to the corpse. This specific one does not have the human head. The amulet is gold and inlaid with lapis lazuli, turquoise and steatite.
~Vaisravana - Pisha Meng, Guardian of the North. Place: China, Tangut State of Xi -Xia, Khara-Khoto Date: 13th - 14th century
Vaisravana - Pisha Meng, Guardian of the North - Chinese/Tangut
ca. 1200 - 1300 CE
Vaisravana is the name of the chief of the four heavenly kings of Buddhism. He is usually portrayed with a yellow face, an umbrella and occasionally a mongoose or with jewels coming from his own mouth. This piece – I have not been able to find any information regarding this specific piece, or much information regarding the deity depicted here.
~Vaisravana - Pisha Meng, Guardian of the North. Place: China, Tangut State of Xi -Xia, Khara-Khoto Date: 13th - 14th century
Vaisravana - Pisha Meng, Guardian of the North - Chinese/Tangut
ca. 1200 - 1300 CE
Vaisravana is the name of the chief of the four heavenly kings of Buddhism. He is usually portrayed with a yellow face, an umbrella and occasionally a mongoose or with jewels coming from his own mouth. This piece – I have not been able to find any information regarding this specific piece, or much information regarding the deity depicted here.
Known as “The Gem of Orissan Architecture”, this Hindu temple is dedicated primarily to Lord Shiva. It serves as a site of Indian heritage and sees many devotees and visitors throughout the year. Made of sandstone, the temple boasts extremely detailed depictions of meditation poses and various gods such as Ganesha and Saraswati. Points of interest regarding architecture include countless sculptural works, a jagamohana (porch) with diamond shaped lattice windows and a beautifully sculpted torana (arched doorway). Another interesting point regarding the architecture is that this temple represents the initial and later phases of the Kalinga School of Temple Architecture. Many elements of the old style were combined with the new style, in turn this blended architecture makes the temple a “harbinger of the new culture”.
Known as “The Gem of Orissan Architecture”, this Hindu temple is dedicated primarily to Lord Shiva. It serves as a site of Indian heritage and sees many devotees and visitors throughout the year. Made of sandstone, the temple boasts extremely detailed depictions of meditation poses and various gods such as Ganesha and Saraswati. Points of interest regarding architecture include countless sculptural works, a jagamohana (porch) with diamond shaped lattice windows and a beautifully sculpted torana (arched doorway). Another interesting point regarding the architecture is that this temple represents the initial and later phases of the Kalinga School of Temple Architecture. Many elements of the old style were combined with the new style, in turn this blended architecture makes the temple a “harbinger of the new culture”.
~Head of Macuilxochitl (God of Pleasure, Games and Music). Date: A.D. 1440–1500 Medium: Ceramic Culture: Mexico,Gulf Coast, Aztec Period: Late Postclassic
Head of Macuilxochitl (God of Pleasure, Games and Music) - Mesoamerican (Aztec Post Classic)
ca. 1440 - 1500 CE
This highly naturalistic ceramic head, with almond-shaped eyes and a slightly open mouth, once belonged to a full-figure sculpture; the figure would have been represented either in a seated or standing position. The center of the headdress, originally consisting of five vertical stalks (only three remain), is thought to symbolize the crest of a feathered eagle, marking this as the head of Xochipilli-Macuilxochitl, deity of music, flowers, song, and games
~Head of Macuilxochitl (God of Pleasure, Games and Music). Date: A.D. 1440–1500 Medium: Ceramic Culture: Mexico,Gulf Coast, Aztec Period: Late Postclassic
Head of Macuilxochitl (God of Pleasure, Games and Music) - Mesoamerican (Aztec Post Classic)
ca. 1440 - 1500 CE
This highly naturalistic ceramic head, with almond-shaped eyes and a slightly open mouth, once belonged to a full-figure sculpture; the figure would have been represented either in a seated or standing position. The center of the headdress, originally consisting of five vertical stalks (only three remain), is thought to symbolize the crest of a feathered eagle, marking this as the head of Xochipilli-Macuilxochitl, deity of music, flowers, song, and games
Sculptural Element from a Reliquary Ensemble: Head
Gabon
Credit: Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950
Showing at the MET as part of the “African Art, New York, and the Avant-Garde
Sculptural Element from a Reliquary Ensemble: Head - African (Gabonese/Fang Culture)
ca. early 1900′s
The carved head pictured above has been separated from it’s body. This head and the complete figures are characteristic of the Fang clan. Named after the Byeri, a familial cult of the Fang, byeri heads and figures served as a kind of guardian for the living and dead. These reliquary figures protected ancestral remains from intruders and supernatural forces while also protecting vulnerable humans from dangerous ancestors. The Fang, residing in Africa, used to migrate quite often and had to adapt to their new surroundings quickly. Because of this nomadic lifestyle, wood was a common choice when it came to sculpting material. Although this piece in particular does not show much ornamentation, the Fang tended to reflect important symbols as well as jewelry and dress in their sculptures.
Sculptural Element from a Reliquary Ensemble: Head
Gabon
Credit: Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950
Showing at the MET as part of the “African Art, New York, and the Avant-Garde
Sculptural Element from a Reliquary Ensemble: Head - African (Gabonese/Fang Culture)
ca. early 1900′s
The carved head pictured above has been separated from it’s body. This head and the complete figures are characteristic of the Fang clan. Named after the Byeri, a familial cult of the Fang, byeri heads and figures served as a kind of guardian for the living and dead. These reliquary figures protected ancestral remains from intruders and supernatural forces while also protecting vulnerable humans from dangerous ancestors. The Fang, residing in Africa, used to migrate quite often and had to adapt to their new surroundings quickly. Because of this nomadic lifestyle, wood was a common choice when it came to sculpting material. Although this piece in particular does not show much ornamentation, the Fang tended to reflect important symbols as well as jewelry and dress in their sculptures.
Currently at the MET as part of the “African Art, New York and the Avant-Garde”
Maiden Mask - Southeastern Nigeria (Igbo)
ca. 1800′s - early 1900′s
This mask, carved of wood and colored with pigment, represents an adolescent female with Igbo ideals of beauty. Elaborate hairstyles and elongated slender facial features are only two of these ideals. Maiden masks would have traditionally been worn by men dressed in vibrantly colored outfits during festivals honoring patron deities.
Currently at the MET as part of the “African Art, New York and the Avant-Garde”
Maiden Mask - Southeastern Nigeria (Igbo)
ca. 1800′s - early 1900′s
This mask, carved of wood and colored with pigment, represents an adolescent female with Igbo ideals of beauty. Elaborate hairstyles and elongated slender facial features are only two of these ideals. Maiden masks would have traditionally been worn by men dressed in vibrantly colored outfits during festivals honoring patron deities.
Dabous Giraffe Petroglyph - Prehistoric African (Kiffian or Tenerian)
Dabous, Ténéré Desert, Africa
ca. 8,000 - 6,000 BCE
Given the title of “World’s Largest Rock Art Petroglyph”, this giraffe is one of two life-sized rock art carvings located in Dabous in the Ténéré Desert. Scholars have determined the petroglyphs to be around 10,000 to 8,000 years old. During this time in Africa, only two groups of people could have created these carvings; the Kiffian or Tenerian people. The artists were not yet in the Bronze age and therefore probably used flint to carve images into the softer sandstone.
Dabous Giraffe Petroglyph - Prehistoric African (Kiffian or Tenerian)
Dabous, Ténéré Desert, Africa
ca. 8,000 - 6,000 BCE
Given the title of “World’s Largest Rock Art Petroglyph”, this giraffe is one of two life-sized rock art carvings located in Dabous in the Ténéré Desert. Scholars have determined the petroglyphs to be around 10,000 to 8,000 years old. During this time in Africa, only two groups of people could have created these carvings; the Kiffian or Tenerian people. The artists were not yet in the Bronze age and therefore probably used flint to carve images into the softer sandstone.
The choice of dark skin for the statue of Artemis may also reflect a broader, positive response to blackness in the ancient world. In Greek, the concept of black or darkness is signified by melas, as opposed to leukos, meaning light or whiteness. Unlike the dire moral encumbrances later placed on these distinctions by Christian theology, to the Greeks they connoted the extremes of primary experiences such as good or ill fortune, life or death, and triumph or defeat. Blackness could symbolize courage, characterized by the martial prowess of dark-skinned Nubians. In a similar vein, the term “blackness of heart” served as a metaphor for compassion and warm feelings. Read More at TheRoot.com
The choice of dark skin for the statue of Artemis may also reflect a broader, positive response to blackness in the ancient world. In Greek, the concept of black or darkness is signified by melas, as opposed to leukos, meaning light or whiteness. Unlike the dire moral encumbrances later placed on these distinctions by Christian theology, to the Greeks they connoted the extremes of primary experiences such as good or ill fortune, life or death, and triumph or defeat. Blackness could symbolize courage, characterized by the martial prowess of dark-skinned Nubians. In a similar vein, the term “blackness of heart” served as a metaphor for compassion and warm feelings. Read More at TheRoot.com
![mumbz:Maiden Mask Nigeria [Igbo] Early 20th Century Currently at the MET as part of the “African A](https://64.media.tumblr.com/56fd38ac189432fe2e9c0d7c273e96d2/tumblr_mf8pk6V0Gr1qmlkk6o1_540.jpg "mumbz:Maiden Mask Nigeria [Igbo] Early 20th Century Currently at the MET as part of the “African A")
