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There is a vast variety of styles, often varying within the same context of origin depending on the use of the object, but wide regional trends are apparent; sculpture is most common among "groups of settled cultivators in the areas drained by the Niger and Congo rivers" in West Africa. [1] Direct images of African deities are relatively ...
The palette of the paintings consists of white (from the lime plaster), red (derived from ferrous earths and haematite), yellow (from yellow ochre), blue (either Egyptian blue, purple, or possibly azurite), and mineral black. The ancient Theran artists made full use of their colors: yellow was used for the golden fur of lions or the skin of ...
Hugh Honour and John Fleming, A World History of Art, 1st ed. 1982 (many later editions), Macmillan, London, page refs to 1984 Macmillan 1st en. paperback. ISBN 0333371852. Blackmun Visonà, Monica et al. A History of Art in Africa (2001) Prentice Hall, New York ISBN 0-13-442187-6. Ross, Emma George. "African Christianity in Ethiopia". In ...
The art of Burkina Faso is the product of a rich cultural history. In part, this is because so few people from Burkina have become Muslim or Christian. [ 1 ] Many of the ancient artistic traditions for which Africa is so well known have been preserved in Burkina Faso because so many people continue to honor the ancestral spirits, and the ...
From the Kerma culture (2500–1500 BCE), the seat of one of the earliest civilizations of ancient Africa, weapons, items of pottery and other household objects are presented in museums such as the National Museum of Sudan, Kerma Museum, British Museum, Museum of Fine Arts, Boston [7] and the Metropolitan Museum of Art.
Gary van Wyk: Through the Cosmic Flower: Secret resistance in the mural art of Sotho-Tswana women. In: Mary H. Nooter: Secrecy: African art that conceals and reveals. Museum for African Art, New York 1993, ISBN 3791312308. Gary van Wyk: Patterns of Possession : An Art of African Habitation. UMI Dissertation Services, Ann Arbor, MI, 1996.
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