By continuing your visit to this site , you accept the use of cookies to provide content and services best suited to your interests.
 GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

Art Gallery the Eye and the Hand
Situation : Welcome » Result of the research
Result of the research Result of the research : 'confidentialité'


Confidentialité
Les SVV sont tenues au secret professionnel en ce qui concerne l’identité des vendeurs et des acheteurs, ainsi que plus généralement toutes les informations qui ne sont pas directement liées aux objets mis en vente.

See the continuation... ]

Enchères et émotions
AuteurRolande Bonnain-Dulon du même auteur

École des hautes études en sciences sociales
EHESS
Centre de recherches historiques
54, bd Raspail
75006 Paris

Au-delà de leur public bien sûr, les ventes aux enchères passionnent les sociologues et les ethnologues et ce, à juste titre [Matras-Guin, 1987 ; Quémin, 1993 ; Rémy 1990]. Grâce à eux, on a compris pourquoi cette pratique sociale qui mêle l’économique au symbolique, le rationnel aux émotions, l’individuel à une certaine forme de collectif attire tant de gens qui vont là comme au spectacle, par curiosité, sans avoir toujours l’intention de participer aux enchères. Ces chercheurs nous ont également montré le rôle que ces lieux ont joué sur la constitution des communautés diffuses et temporaires, la mise en place de rituels profanes, le vécu de la concurrence, le rapport aux objets, le métier de commissaire-priseur.
2 Avec cet article, nous visons à montrer la forte incidence du lieu et les effets de sa représentation sur l’existence, les pratiques et les particularités d’un certain monde[1] [1] On utilise ici le terme « monde » dans le sens que lui...
suite, celui des collectionneurs d’arts premiers[2] [2] L’expression « arts premiers » désigne ici, sans...
suite dont les objets acquièrent lentement le statut d’art classé, en particulier en ces temps où le Louvre les accueille.
3 Aujourd’hui, les anciennes puissances coloniales ne se livrant plus à des guerres de conquête, une pièce classée dans les arts premiers n’a guère

See the continuation... ]


Image Songye people

Linguistically, the Songye form part of the Luba, world, itself part of the Bantu group. Indeed there is a century old inter relation between the Songye and Luba, and they therefore share many cultural traits. Some art forms are part of this, shared heritage, according to the oral tradition the founding chieftains of the first luba kingdom, were of songye origins, and it is the Songye who introduced the idea of social stratification to the Luba and consequently the first luba chieftains are said to be of Songye Ancestry.

 

ENVIRONMENT

The Songye used to live in a forest environment till the end of the first half of the second millennium. Slowly their habitat became more savannah-like. We can still find traces of this former forest habitat in some of the art they produce. For example the costume worn with the Kifwebe mask must be entirely made from products originating in the forest from such as bark, pelts fibers etc. Today the Songye mainly live in the savannah but pockets of forest remain in their territory.

The Songye occupy a very large area in the north of the southeastern quadrant of the republic democratic of Congo.

Due to the vastness of the songye territory, it is obvious that regional stylistic, iconic and typological, exist in the ritual art produced. Some of these are the result of cross influences with their immediate neighbors.

 

NEIGHBORS

To the North of the Songye territory, live the Sungu, Tetela, the western Kusu. In the northwest we will find a few luba chiefdoms. To the west the Luntu, Luba – kassaï Kete and Binji peoples resides; one can even find pockets of Chokwe people in the southwest of Songye territory. To the south of the Songye we find a variety of luba speacking, polities, the same is true, for eastern frontier where in addition to the eastern kusu, we find Luba, Hemba, Kunda, Lumbu and Buyu people. Judging from their

See the continuation... ]


Image mossi
The Mossi


The first Mossi empire was founded during the fifteenth, by invaders from northern Ghana, today the Mossi are the largest tribe in Burkina Faso. The number of two million, they are the only people in the region to have a centralized government, headed by former Zaksoba.

Mossi sculptors are known for their polychrome masks that are worn during festivals, and to keep the crops. These masks that fulfill a function as totem, are carefully guarded when not worn, and their libations are offered in exchange for their protection and assistance.

Three different types of masks can be identified: they seem to correspond to different indigenous peoples living in this region prior to the invasion Mossi XV. The first type is found mostly in the western part of the Mossi, and includes masks decorated with small statues, animal or stylized face. The second type is included in the semicircular masks painted in white and representing positive spirits associated with the savanna. The third type of Mossi mask, called Karanga, is found mostly in the northern part of the country. It has a stylish rounded face topped by a large plate, a totemic animal or a human statue symbolizing an important ancestor. The statues are
See the continuation... ]

AFRICAN SCULPTURE

Introduction
Context of African sculpture
Places of traditional African sculpture
Canons of African sculpture
Techniques and creative
Aesthetic
Role of African sculpture in the middle
Universal impact of African sculpture
Bibliographic


Introduction

Never has been written about as much ink as traditional African sculpture. Ever, despite all attempts, the man has managed to evacuate his mental field, much less its history, that is to say of his encounter with the other. It has been a cornerstone to measure the "civilization" of the black man and his ability to create capacity variously appreciated throughout history until early this century, cubism helping, the unanimously begins to make the exceptional nature of African sculpture that was always confused with African art which it is a party, probably the most important, if one were to judge solely by the number Parts created that we have reached.

Context of African sculpture

We can talk about African sculpture in isolation from the rest of the arts of Africa south of Sahara. Every word in this area is responsible not only meaningless but history, and if we chose the term "African art" is to fully assume all we have inherited from the past in

See the continuation... ]

Search
Translations
Menu
Newsletter
Links
Publicités