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The study of African art until recently focused on the traditional art of certain well-known groups on the continent, with a particular emphasis on traditional sculpture, masks and other visual culture from non-Islamic West Africa, Central Africa, [15] and Southern Africa with a particular emphasis on the 19th and 20th centuries. Recently ...
African folk art consists of a variety of items: household objects, metal objects, toys, textiles, masks, and wood sculpture. Most traditional African art meets many definitions of folk art generally, or at least did so until relatively recent dates. SUDAN basket -tray, tabar of weaved natural plant fibre, coloured in different colours.
Yorùbá people. Much of the art of the Yoruba, including staffs, court dress, and beadwork for crowns, is associated with the royal courts. The courts also commissioned numerous architectural objects such as veranda posts, gates, and doors that are embellished with carvings. Other Yoruba art is related shrines and masking traditions.
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Traditional African masks. Traditional African masks are worn in ceremonies and rituals across West, Central, and Southern Africa. They are used in events such as harvest celebrations, funerals, rites of passage, weddings, and coronations. Some societies also use masks to resolve disputes and conflicts.
Zimbabwean art includes decorative esthetics applied to many aspects of life, including art objects as such, utilitarian objects, objects used in religion, warfare, in propaganda, and in many other spheres. Within this broad arena, Zimbabwe has several identifiable categories of art. It is a hallmark of African cultures in general that art ...
Ndebele women standing in front of a painted rondavel. An Ndebele artist (Esther Mahlangu) signs her work on a finished wall. Ndebele house painting is a style of African art practiced by the Southern Ndebele people of South Africa and the Northern Ndebele people in Zimbabwe in Matobo. [1] It is predominantly practiced by the Ndebele women.
Research conducted by Van Wyk and Mathews in the late-1980s and mid-1990s, culminating in two photographically illustrated books titled African Painted Houses: Basotho Dwellings of Southern Africa (Van Wyk, 1998) and The African Mural (Chanquion & Matthews, 1989), suggests that the art of litema cannot be understood in purely aesthetic terms.