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 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 : 'nero'

 
 
Pol Pierre Gossiaux
 
Titulaire de la Chaire
d’Anthropologie des systèmes symboliques
et d’Ethnosémiologie de l’Art africain
Université de Liège (Belgium)
 
PP.Gossiaux@ulg.ac.be
 
 
 
 
 
Le Bwame  du Léopard
des
Babembe  (Kivu-Congo)
 
Rituel initiatique et rituel funéraire
 
Avec 52 illustrations
 
 
 
 
 
 
 
          2
     
 
 
 
Table des matières (1ère partie)
 
 
 
 
 
Avant dire. Présentation du Bwamè                                    
 
 
3
Fondements de l’anthropologie
et de l’ethnosémiologie bembe
 
10
Exorciser l’animal
 
Fondements du savoir bembe
 
 
15
Les animaux et la titulature du Bwamè
       
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Image L'ART TRADITIONNEL LOBI
SCANZI Giovanni Franco 
 
L'ART TRADITIONNEL LOBI
 
 
Descrizione libro: 
Ed. Milanos, Bergamo 1993. Formato: 416 pagine, 33 cm, tela, sovr. Illustrazioni: 123 a colori e 248 in bianco e nero, 2 mappe, descrizioni di oggetti di cui 318 inediti, bibliografia. Testo in inglese e francese, edizione numerata. Monumentale opera dedicata all’arte
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Image NEL PAESE DEGLI AROMI
ROBECCHI-BRICCHETTI Luigi
 
NEL PAESE DEGLI AROMI:
diario di una esplorazione nell’Africa orientale: da Obbia ad Alula
 
 
Descrizione libro: 
Tipografia Editrice L.F. Coglìati, Corso Porta Romana, 17 - Milano,1903. 16°, pp. XVI-633-(+3bb). Dimensione: 19 x 13 cm - 165 ill. (85 fotografie, 15 disegni di profili, 2 facsimili e 63 disegni), 17 carte geografiche in nero n.t. e “Carta della Somalia cogli itinerari dell’Ing.re Luigi Robecchi Bricchetti” alla scala di 1: 8.000.000 a 4 colori f.t.. - Lingua:
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Image L'AFRICA - Lineamenti di Geografia Fisica ed Antropica, Politica ed Economica
LEVA Antonio Enrico, MOHAMED Nicolino, COMINARDI Giuliana e DUCCI Paolo 
L'AFRICA - Lineamenti di Geografia Fisica ed Antropica, Politica ed Economica
 
 
Dettagli sul prodotto:
 
EDITORE: ISTITUTO ITALO-AFRICANO, ROMA 1976 -
Brossura, pagg. 511 - Immagini in bianco & nero - Lingua: Italiana - 
Presentazione di Carlo Della Valle, Ordinario f.r. di geografia politica ed economica 
nell'Università di
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Image ETHNOLOGICA - L'Uomo e la Civiltà (3 Volumi)
GROTTANELLI  L. Vinigi
 
ETHNOLOGICA - L'Uomo e la Civiltà (3 Volumi)
 
 
Dettagli sul prodotto:
Opera in 3 volumi del Prof. Vinigi L. Grottanelli, direttore dell'Istituto per le civiltà primitive dell'Università di Roma. Edizioni Labor - Milano, Novembre 1966
 
Piano dell'Opera:
Vol. I: I fondamenti della civiltà - pagine 760; Vol. II: Le opere dell'Uomo - pagine 784; Vol. III: La società e il mondo soprannaturale - pagine 832 - Dimensioni cm 27 x 20 - Numerosissime tavole a colori e illustrazioni a colori e bianco e nero;
Con la collaborazione dei professori (in ordine alfabetico): Maria Ornella Acanfora - Alessandro Bausani - Padre Bernardo Bernardi - Ernesta Cerulli - Alberto M. Cirese - Paul Collaer - Elizabeth Della Santa - Vittorio Lanternari - Don Vittorio Maconi - Piero Matthey - Gilberto Mazzoleni - Mons. Raffaello
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Image Il Decamerone Nero: Racconti africani raccolti da Leo Frobenius
FROBENIUS  Leo
 
Il Decamerone Nero: Racconti africani raccolti da Leo Frobenius
 
Dettagli sul prodotto:
Rilegato: 400 pagine; Illustrazioni Colore e B&N - Editore : Rizzoli Editore, Milano (1971) Lingua : Italiana
 
Descrizione libro:
55 racconti da "Das Schwarze Dekameron (1910)" e dalla "Sammlung Atlantis (1921-28)" di Leo Frobenius, scelti a cura di Ulf Diederichs - Traduzione e cura dell'edizione italiana di Francesco Saba Sardi - Titolo originale dell'opera: "Das Schwarze Dekameron, Geschichten aus Afrika" (1969 - Eugen Diederichs Verlag Dusseldorf
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Image EROS NERO
DE RACHEWILTZ Boris
 
EROS NERO - Costumi sessuali in Africa dalla preistoria ad oggi ( tradotto in 
inglese nel 1964: Black Eros: Sexual Customs of Africa from Prehistory to the 
Present Day)
 
Editore: Longanesi & C. - Milano - Collana: Panorami scientifici 22 - Anno di edizione: 1963, prima edizione - Rilegatura: cartonato rigido in tela  - Dimensione: 8° - Pag: 334
 
Contenuto: Stupenda monografia dell'egittologo e archeologo italiano, corredato da una superba documentazione fotografica: 251 illustrazioni in nero e a colori e 4 cartine; lingua italiana; veste editoriale molto curata, a partire dalla carta; impaginazione di Mario
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Image LE RAZZE E I POPOLI DELLA TERRA (4 Volumi)
BIASUTTI Renato
LE RAZZE E I POPOLI DELLA TERRA (4 Volumi)
 
VOLUME TERZO: AFRICA
Con la collaborazione dei professori: Bernardo Bernardi - Ernesta Cerulli - Lidio Cipriani - Vinigi L. Grottanelli - Nello Puccioni - Alda Vigliardi Micheli
 
Descrizione libro:
UNIONE TIPOGRAFICO - EDITRICE TORINESE - 1967 
Quarta edizione riveduta e aggiornata - Pagg. del 3° Volume: 776, cm 25 x 18,5 - 9 tavole a colori fuori testo e 608 illustrazioni nel testo, comprese 21 carte geografiche in nero e a colori.
 
Biografia dell'autore
 
 
Renato Biasutti
(San Daniele del Friuli, Udine, 22.3.1878 – Firenze 3.3.1965)
 
 
 
Renato Biasutti, figlio di Luigi e di Teresa Savio, nacque il 22 marzo 1878 a San Daniele del Friuli. Studiò all’Università di Firenze, dove fu allievo di Giovanni Marinelli e di Carlo Puini. Si impegnò in varie attività, a Firenze, presso il Museo e l’Istituto di antropologia, fondato nel 1869 e ancora diretto da Paolo Mantegazza (1831-1910), e presso la Società di Studi Geografici, per lo sviluppo della quale fornì un contributo decisivo (ne fu consigliere dal 1902 al 1914 e in seguito più volte presidente, oltre che condirettore per vari anni, a partire dal 1933, della “Rivista Geografica Italiana”). A seguito di una rilevante mole di pubblicazioni, che spaziavano in vari ambiti (geologia, geografia fisica ed economica, cartografia, antropologia e etnografia, storia delle esplorazioni), ottenne già nel 1907 la libera docenza in geografia ed etnologia. I contatti con Paolo Mantegazza, con Aldobrandino Mochi (1875 -1831), suo successore alla direzione del
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Image AFRICA
BARGNA Ivan
AFRICA nera
 
Editore: Mondadori Electa S.p.A. - Milano - Collana: I Dizionari della Civiltà - Pubblicazione: 05/2007 - Brossura con alette, ill. colori. - Lingua: Italiano - Numero di pagine: 383 -
ISBN: 8837050712 - ISBN-13: 9788837050719
 
Descrizione: È certamente difficile riunire in un libro le tante realtà che costituiscono l'Africa subsahariana. All'autore va riconosciuto il merito di esserci riuscito, adattando la struttura abituale della collana alle esigenze dell'argomento. Una prima ampia sezione è infatti dedicata alle diverse popolazioni ed etnie e alla loro dislocazione sul territorio del continente nero, premessa indispensabile per affrontare poi i temi di questo libro. I lemmi del dizionario spaziano da Società acefale a Schiavitù, da Politeismo africano a Islam nero, da Maschere a Stregoneria, e raccontano attraverso un'iconografia di eccezionale interesse e talvolta mai vista, usi, costumi, culti e credenze, rituali di popolazioni le cui tradizioni vanno via via
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Full text, digitalised by Lies Strijker and presented by the .Centre Aequatoria
Notes on the digitalisation and presentation


[Cover]

[1: empty]

[2]
IMPRIMI POTEST
Kanzenze, 12-2-1952
P. Simeon, o.m.f.
Sup. Reg.

IMPRIMATUR
Luabo-Kamina, 30-5-1952
+VICTOR PETRUS KEUPPENS
Vic. Ap. de Lulua


[3]

BANTU PHILOSOPHY
by
The Revd. Father PLACIDE TEMPELS

(Translated into English from "La Philosophie Bantoue" the French Version by Dr. A. Rubbens of Fr. Tempels' original work. The Revd. Colin King, M.A. Translator.)

With a Foreword to the English Edition by Dr Margaret Read, C.B.E.Ph. D.,M.A., formerly Professor of Education and Head of the Department Of Education in Tropical Areas, The

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THE NEW CONGO COLLECTION

During the summer of 1912 the Museum acquired by purchase a collection of about two thousand 
specimens consisting of weapons, utensils, ornaments, clothing and images from a number of African 
tribes living in the Congo basin.  This collection was, for the most part, obtained from the natives by the 
well-known German traveler, Frobenius.    

in a way which served at least to show what a variety of artistic activities and  what a rich  culture  the in 
a way which served at least to show what a variety of artistic activities and  what a rich  culture  the 
native Congo peoples possess.     
native Congo peoples possess.     


Visitors  had  an  opportunity   of   admiring the wonderful carved wooden boxes and cups,
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‘African Vision: The Walt Disney-Tishman African Art Collection’
 
This female figure, made of ivory and standing 37 inches tall, was made in the early Nineteenth Century by Edo peoples in the Benin kingdom court style, and was probably intended for an altar to a queen mother. It is one of the first two objects purchased by Paul and Ruth Tishman in 1959. "Ivory can be almost universally interpreted as a symbol of importance and wealth,” says exhibition curator Bryna Freyer.
WASHINGTON D.C.:Most Americans know little about the vast and diverse continent of Africa, much less the arts created there. Dark and primitive, the arts of the African peoples reflect the rituals of life, stripped to the most basic interpretive forms both conceptually and artistically.
Celebrating the arts of Africa and the profound role that they have played in molding Twentieth Century Abstraction and Modernist art in the "West" is the Smithsonian's newest exhibition, "African Vision: The Walt Disney-Tishman African Art Collection." It is on view through September 7, 2008, at The Smithsonian Institution's National Museum of African Art (NMAA).
 
"African Vision" showcases 88 outstanding artworks, part of a larger collection donated to the NMAA, that represents the largest gift of sculpture in the museum's history.
 
In 1959, Paul and Ruth Tishman began their collection with the purchase of two pieces of art from the Benin kingdom — an early Nineteenth Century ivory female figure standing 37 inches tall, made in the court style by the Edo peoples, and a 28-inch-tall, Eighteenth Century copper alloy mask that was worn by a divine-healer in masquerade
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Walker Evans

Walker Evans
Il est né le 3 novembre 1903, à Saint-Louis, Missouri. Il étudie au Williams College en 1922-1923 et à la Sorbonne en 1926. Evans débute la photographie en 1930. Il obtient une bourse de la Fondation John-Simon-Guggenheim en 1940, 1941 et 1959. Il entre au magazine Time en 1945 et à Fortune en 1965. Cette même année, il devient professeur de photographie à l'école d'art de l'Université Yale. Il est mort le 10 avril 1975, à New Haven, Connecticut.
On connaît notamment son travail sur la Grande dépression, participant au programme de la Farm Security Administration. Les images de métayers dans l'Alabama, au même titre que celles de Dorothea Lange, comptent parmi les icônes du monde moderne.
On remarque dans son travail les regards des sujets fixant l'objectif de Walker Evans : ici pas de doute le sujet se sait photographié, pour autant il ne se compose pas un visage de circonstance orné d'un sourire obligatoire. Ici la photographie ne se contente pas de montrer, elle interroge le spectateur, l'américain des années 1930 : si le sujet se laisse photographier dans cette posture, c'est que son regard a quelque chose à nous dire. Ce n'est peut-être plus nous qui le regardons mais lui qui nous accuse.
Cette franchise du photographe préserve une dignité humaine mise à mal par la misère qui se laisse voir dans les vêtements en loques.
Cet aspect de ses photos est
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The Nok civilization

The Nok civilization was discovered recently, in 1943 a fragment of a terracotta statue was unearthed in a tin mine near Nok on the Jos Plateau in central Nigeria. Following the discovery of other pieces of statues of high artistic quality were found near the city of Sokoto and creates lots of reactions when they appeared on the market of Western art. Since that date the statues from the city of Katsina still in northern Nigeria have been discovered, but like most of these magnificent statues excavated from unregulated very little information has reached us about their functions.

Several styles of terracotta statues were identified all dated between 400 BC and 200 AD there is currently very difficult to know if these styles correspond to different traditions or they are just regional variations.
More statues of styles, differences were found in the same regions, such as a number of terracotta-called classical style have been discovered in the region of Katsina to three hundred kilometers from their cultural center: the town of Nok.
It is likely that future research will give us more information on what is currently one of the great mysteries of African art.

The classical style known as Nok terracotta, includes statues of real size, with large elongated heads , hair forms developed and we identified them especially thanks to the eyes of an eyebrow and upper linear lower curve of an eyebrow, Their body is usually decorated with many jewels in terracotta, reminiscent of beads stones otherwise similar to those that were found during excavations.

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Image Pavillon du Cameroun
L’essentiel

Le pavillon a pour élément central de conception un arbre géant; le vert, le jaune et le bleu donnent le ton aux espaces ouverts du pavillon pour montrer le naturel, l’optimisme et le dynamisme de la nation. Les espaces d’exposition créent une ambiance de l’union harmonieuse ciel-terrehomme et montrent l’aménagement de la cité et le nouvel aspect du développement de l’habitat civil afin de développer le thème «Le remodelage de la communauté urbaine».

A ne pas manquer 1

Un arbre luxuriant couvre tout le pavillon, suggérant que le Cameroun accorde plus d’éléments modernes et de romantisme à la communauté traditionnelle et reflétant la protection efficace des forêts du pays.

A ne pas manquer 2

Le terrain de football simulé du pavillon permet aux visiteurs de découvrir la vie agréable urbaine et la passion pour le football du peuple.

Pavillon de Cameroun

La République du Cameroun se trouve sur le carrefour de l’Afrique centrale et occidentale. Le pays est connu pour ses caracteristiques topographiques et ses cultures très variées.

Depuis Canadien World Exhibition - Expo'67, le Cameroun a également participé à l’Exposition Universelle de Gênes 1992, Universal Exhibition Hannover 2000 et International Exhibition 2005, Aichi, Japon.

Pavillon de Cameroun

Thème: Remoulage des Communautés Urbaines

(Remodeling of Communities in the City)

Le pavillon suscite une réflexion camerounaise face à la reconstruction et l’aménagement rationnel de la ville ainsi que son attention et sa décision mise en oeuvre à la construction urbaine au
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Relations publiques et presse

XXV Biennale des Antiquaires - Contact des expositions

- Didier Aaron & Cie

(Stand S5)

118, rue du Faubourg Saint-Honoré

75008 Paris – FRANCE

Tél. : +33 (0)1 47 42 47 34

contact@didieraaron-cie.com - www.didieraaron.com

32 East 67th Street

NY 10021 New York – USA

Tél. : +1 212 988 52 48 - info@didieraaron.com

Clifford House

15 Clifford Street

W1S4JY Londres – ROYAUME-UNI

Tél. : +44 20 7534 9100- contact@didieraaronltd.com

Contact : Hervé AARON

Spécialité Biennale : Mobilier et objets d’Art des 17e

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Study on the sacred


Introduction
The sacred: the real paradigm
The flaw in the anthropological research of the sacred
The position of the African researcher
The inconsistency of the true-false paradigm of the irrational
The crucial importance of the event
Ancestor worship: in search of a definition
The premier event: the phenomenon agrarian
Biological Bases
The neurobiological underpinnings
Astronomical Foundations
Conclusion
Bibliography


Introduction


Welcome to this site dedicated to refuting the paradigm of the irrational use explicit about the facts of sacred archaic or traditional societies, and especially African societies.

As a member of these societies, the systematic use of the irrational as ultimate explanation of these facts is offensive and we might seem a lack of rigor in research.

In the approach to ethnology-anthropology there is always explicitly or implicitly begging the question that traditional societies through their culture could not produce something intellectually coherent. This profession of faith explains the systematic irrationality as an explanation of the ultimate sacred facts.

By irrational, what is heard is indeed something wrong, incoherent, that defies logic, in

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Juan Gris

José Victoriano Carmelo Carlos González-Pérez, connu sous le nom de Juan Gris, né le 23 mars 1887 à Madrid et mort le 11 mai 1927 à Boulogne-Billancourt, était un peintre espagnol qui vécut et travailla en France presque toute sa vie. Ses œuvres sont connectées de près avec l'émergence d'un style artistique innovatif : le Cubisme.

Biographie

Juan Gris suivit des études de dessin industriel à la Escuela de Artes y Manufacturas à Madrid entre 1902 et 1904, période pendant laquelle il contribua par des dessins à des journaux locaux. En 1904 et 1905, il étudia la peinture avec l'artiste académique José Maria Carbonero.

En 1906 il s'installa à Paris où il deviendra l'ami d'Henri Matisse, Georges Braque, Fernand Léger, et en 1915 il fut peint par son ami Amedeo Modigliani. Il y retrouva et se lia d'amitié avec son compatriote Pablo Picasso. Son portrait de Picasso de 1912 est l'une des premières peintures cubistes réalisées par un autre peintre que Pablo Picasso ou Georges Braque.

Bien qu'il soumît des illustrations humoristiques à des journaux comme L'assiette au beurre , Le Charivari, et Le Cri de Paris, Gris commença à peindre sérieusement en 1910. Dès 1912, il avait
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Africa, Oceania and the Indigenous Americas


The Department oversees four separate collection segments: the arts of Africa, Egypt, the South Pacific and the Indigenous Americas. Reflecting current scholarship and geography, Egyptian art is now a sub-section of this department. African art thus consists of works from the rest of Africa other than Egypt.

African Art

The DIA’s African art collection ranks among the finest in the United States. It comprises some rare world-class works from nearly one hundred African cultures, predominantly from regions south of the Sahara desert. A diverse collection, ranging from sculpture to textiles to exquisite utilitarian wares, religious paraphernalia and bodily ornaments, it is heavily weighted toward the nineteenth and twentieth centuries.

African art collecting is inextricably tied to the founding of the Detroit Institute of Arts at the turn of 20th century and remains one of the institution’s important hallmarks. From the late 1800s through the 1930s, generous contributions from some of Detroit’s first collectors, such as Frederick Stearns and Robert Tannahill, helped to develop the core collection. This included priceless works, such as several Benin royal brass sculptures, an exquisite 16th century Kongo Afro-Portuguese ivory knife container, a 17th century Owo ivory bracelet, a Kongo steatite funerary figure (ntadi) and a finely crafted Asante royal gold soul-washer’s badge recovered from the chamber of the nineteenth century Asante King, Kofi Karikari. Support from the City of Detroit has since aided the purchase of additional works of

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Mali Empire

The Mali Empire or Manding Empire or Manden Kurufa was a West African civilization of the Mandinka from c. 1230 to c. 1600. The empire was founded by Sundiata Keita and became renowned for the wealth of its rulers, especially Mansa Musa I. The Mali Empire had many profound cultural influences on West Africa allowing the spread of its language, laws and customs along the Niger River. The Mali empire extended over an area larger than western Europe and consisted of numerous vassal kingdoms and provinces.

Manden

1235-1600's. The Mali Empire grew out of an area referred to by its contemporary inhabitants as Manden. Manden, named for its inhabitants the Mandinka (initially Manden’ka with “ka” meaning people of), comprised most of present-day northern Guinea and southern Mali. The empire was originally established as a federation of Mandinka tribes called the Manden Kurufa (literally Manden Federation), but it later became an empire ruling millions of people from nearly every ethnic group in West Africa.

Etymology

The naming origins of the Mali Empire are complex and still debated in scholarly circles around the world. While the meaning of “Mali” is still contested, the process of how it entered the regional lexicon is not. As mentioned earlier, the Mandinka of the Middle Ages referred to their ethnic homeland as “Manden”.
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