GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

Full text, digitalised by Lies Strijker and presented by the .Centre Aequatoria
Notes on the digitalisation and presentation


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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]

(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

( auction african art, african art sell, art african sell, sell african mask, art primitif sell, art tribal sell, art tribal auction, sell primitive art mask, Auction )
From Wikipedia, the free encyclopedia
 
"Auctioneer" redirects here. For the DC Comics supervillain, see Auctioneer (comics).
 
An auctioneer and her assistants scan the crowd for bidders.An auction is a process of buying and selling goods or services by offering them up for bid, taking bids, and then selling the item to the highest bidder. In economic theory, an auction may refer to any mechanism or set of trading rules for exchange.

There are several variations on the basic auction form, including time limits, minimum or maximum limits on bid prices, and special rules for determining the winning bidder(s) and sale price(s). Participants in an auction may or may not know the identities or actions of other participants. Depending on the auction, bidders may participate in person or remotely through a variety of means, including telephone and the internet. The seller usually pays a commission to the auctioneer or auction company based on a percentage of the final sale price.

 History of the auction
 
Artemis, Ancient Greek marble sculpture. In 2007, a Roman-era bronze sculpture of "Artemis and the Stag" was sold at Sotheby's in New York for US$28.6 million, by far exceeding its estimates and setting the new record as the most expensive sculpture as well as work from antiquity ever sold at auction.
An 18th century Chinese meiping porcelain vase. Porcelain has long been a staple at art sales. In 2005, a 14th century Chinese porcelain piece was

The Yoruba


The term Yoruba describes both a language and a tribe living between Nigeria and the Republic of Benin, in an area covered by forests and savannah. Their history can be traced from the beginning of our millennium, with the civilization of Ife. Following the collapse of the kingdom of Ife kingdom of a number such as Oyo and Ijebu emerged, they in turn disintegrated during the 18th and 19th, but were revived by the colonial powers, to the end of the 19th. Today they are still the basis of the Yoruba political structure. The slave trade touched heavily Yoruba people of Nigeria and he contributed to their diaspora and the release of their rites and beliefs.


The Yoruba are prolific craftsmen, most Yoruba art objects dating from between the late 19 th and the middle of this century, and can sometimes be attributed to known artists by their names, which is an exception in African art.


During the XVI, the Ijebu kingdom, ruled areas near the coast of the Atlantic Ocean. copper imported by sailors, was traded by the Portuguese Ijebu and many bronze objects were created by their artists. These objects reflect the influence of their neighbors, the Kingdom of Benin. Nevertheless, their bells and bracelets scepters are usually decorated with figures, half human, half animal with eyes bulging and curved scars on his forehead.

The empire of Oyo between the XVII and XIX was located in the northern territories or peoples

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

The Senufo

scattered between the Ivory Coast and Burkina Faso, Mali, one million five hundred thousand Senufo, live off agriculture and occasional hunting. they live in villages ruled by councils of elders, who elect a leader. cohesion of the tribe is reinforced by the Poro society initiates, and educates the Senufo men from lâge 7 years. Senufo theology based on the presence of a powerful god, Koulotiolo, and a mother goddess Katielo, which through the rites of the Poro society ruled over the world.
The Senufo art is one of the first to have been admired by Westerners, their artistic production is abundant, and their statues and masks are characterized by a mixture of realistic detail, allied to pure geometric forms. playing on the empty and full.

Masks:

the Senufo, use different types of masks, according to the occasion. mask called Kpéliyée used by members of the Poro society has a heart shaped face surrounded by fins. mask helmet représentatnt janiforme a buffalo head is used for funerals and in times of crisis. its main function is to destroy the evil spirits, his power comes from a small cup placed on top of his skull containing magical substances. sometimes for dancing sparks out of his mouth that earned him the name "fire-eater." another type of helmet mask, a buffalo head, under a pair of antelope horns, are used primarily during initiation ceremonies poro.
Senufo artists have created three types of crest, the first

The group Ashanti are one of the ethnic groups of all Akan in Ghana.

They speak Twi is a dialect of Akan belonging to the Kwa group of languages.
Flag of the Ashanti


Geographical
Empire Asante in Ghana

Asante federation grows in the thirteenth century. Kumasi is the capital . In the nineteenth century, the civilization reached its peak and occupies nearly 70% of modern Ghana.

Cabinet of curiosities
 
"Musei Wormiani Historia", the frontispiece from the Museum Wormianum depicting Ole Worm's cabinet of curiosities.A Cabinet of curiosities was an encyclopedic collection in Renaissance Europe of types of objects whose categorical boundaries were yet to be defined. Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings) and antiquities. "The Kunstkammer was regarded as a microcosm or theater of the world, and a memory theater. The Kunstkammer conveyed symbolically the patron's control of the world through its indoor, microscopic reproduction." Of Charles I of England's collection, Peter Thomas has succinctly stated, "The Kunstkabinett itself was a form of propaganda"[2] Besides the most famous, best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in Europe, formed collections that were precursors to museums. They were also known by various names such as Cabinet of Wonder, and in German Kunstkammer or Wunderkammer (wonder-room).

 History
The term cabinet originally described a room rather than a piece of furniture. The classic style of cabinet of curiosities emerged in the sixteenth century, although more rudimentary collections had existed earlier. The Kunstkammer of Rudolf II, Holy Roman Emperor (ruled 1576-1612), housed in the Hradschin at Prague was unrivalled north of the Alps; it provided a solace and retreat for contemplation that also served to demonstrate his imperial magnificence and power in symbolic arrangement of their display, ceremoniously presented to visiting diplomats and magnates. Rudolf's uncle, Ferdinand II, Archduke of Austria also had a collection, with a special emphasis on paintings of people with interesting deformities, which remains

STRENGTH AND MEASUREMENT

The discovery of "primitive art": an art of strength
Shapes and shape functions
Deities and ancestors
The living wood

Force and Measurement

Develop an aesthetic of black Africa is seen as a risky business in many ways. Is it legitimate to isolate these objects, that today we call art, the general framework of their relations and their cultural constraints? Can we submit to a test that has never existed in the minds of their creators? And can we finally see in this art - if we 'take on this term - a uniform phenomenon, despite the wide variety of both regional and local styles we offer this huge continent, following lengthy Historical developments often poorly understood? Finally, remember that this approach excludes large regions, including Africa white, that is to say the Mediterranean area with its ancient history, the eastern and southern Africa whose pastoral peoples have given rise to cultures almost without images, and finally these hunting societies, which, even in our time have not passed the stage of evolution of prehistoric rock paintings which are the main evidence of an artistic production that appears at various points the continent. Similarly, we must exclude from our contribution to the aesthetics of black African art the old feudal societies, including Benin. Our discussion is therefore limited to large areas farmers, the true cradle of

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

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