AP Art History period 6 Africa

N: Conical Tower and Circular Wall of Great Zimbabwe D: 1000-1400 C.E P/S: Kush A: People of Zimbabwe PA: Unknown OL: Southeastren Zimbabwe M: Carsed granite blocks, soapstone T: Architecture F: Trading place, mutlifunction C: Early human settlement DT: Stone wall M:Place for interaction of the early zimbabwe people

Name: Great Hall of the Bulls Date: 13000 B.C.E. Artist: Uknown Patron: Uknown Original Location: Lascaux, France Material: Chalk on Rock P/S: Cave Drawing Technique: Side Front view Descriptive Terms: side front view, overcrossing drawings Context: Most likely whenever they saw something in the wild they drew it in a cave Meaning: The meaning was probably to record what types of animals were in their hunting area

N: Wall Plaque from Oba's Palace D: 16th century C.E. P/S: African/ Kush A: Edo People Pa: High Class Edo People OL: Benin (Nigeria) M: Cast Brass, Ivory, Terracotta and Wood T: Metallurgy F: Serve as a Power and Social Status Symbol C: Only used my royals and wealthy DT: Plaque, Engraving M: Honor Oba King

N: Golden Stool D: c.1700 P/S: African Art A: Ashanti People PA: Osei Tutu OL: South central Ghana M: Gold, bells, wood T: Divine Funiture F: House the spirit of the Ashante nation C: Descended down from heaven to the King DT: Throne, Images on it M: Symbolic of a chieftain's leadership

Name: nDop Date: c1760 C.E. Artist: Skilled worker of tribe Patron: King Mishe miShyaang maMbul Original Location: Republic of congo Material: Wood Technique: 3d portrait Descriptive Terms: power figure smooth symbol showed as leader Meaning: The meaning is to serve as a power structure which they believe had power that they could use from the leader of the tribe

N: Power Figure D: 19th century AD P/S: Modern Art/Impressionism A: unknown P: Lila Acheson Wallace OL: Democratic Republic of Congo or Angolop M: Wood, metal, resin, enamel T: Wood sculpture F: The piece was sought to inspire awe, to intimidate, and to evoke power without bounds. C: African power figures are among the ubiquitous genres identified with African Art. Conceived to house specific mystical forces they were collaborative creations of Congo sculptors and ritual specialists. DT: Wood sculpture, Spiky, Rough. M: The power was represented as a presiding authority and enforcing lord or king.

N: Female (Pwo) Mask D: Late 19th to 20th century C.E P/S: African/ Kush A: Chowke People Pa: Unknown OL: Congo M:Wood, Fiber, Pigment, and Metal T: Wood Scupture F: symbol of reaching adulthood and motherhood C: Thought to believe fertility and prosperity DT: Mask M: Honors female ancestors

N: Bundu Mask D: 19th to 20th century C.E P/S: African/ Kush A: Mende People Pa: Unknown OL: Sierra Leone/ Liberia M: Wood, Cloth, and Fiber T: Wood Sculpture F: Worn for Initiation or Celebration C: Worn Only by Women For Celebration DT: Polished and Blackened Hardwood, Costume M: Spirit of Fecundity and Incarnation of Female Waters

N: Lukasa D: 19th to 20th century C.E P/S: African/ Kush A: Luba People PA: Luba Royalty OL: Congo M: Wood, Beads, and Metal T: Mnemonic Device F: Memory Board C: Source of Knowledge, History and Rule for the society DT: Sculpture and Memory Board M: Preserve Luba Culture

N: Aka Elephant Mask D: 350 B.C.E- 1000 C.E P/S:Aksum A: African society members Pa:Higher ranking members of society OL: Bamileke, Cameroon M: Wood, woven cloth, and beads T: Mask F: Worn only at funerals, celebrations, or important events C: Only high ranking members of society had wore and owned these DT: Geometric patterns M: Power symbol

Name: Reliquary Figure (Nlo Bieri) Date: 19th-20th Century P/S: Tribal Art Author: The Fang Original Location: South Cameroon Material: Wood, palm oil Technique: Sculpture Function: To serve as a protective guard Context: These figures were used to guard houses, special treasures, churches, etc. Descriptive Term: Balanced symmetry, application of straight lines and sinuous curves Meaning: Shows that youthful vigor and mature serenity coexist in harmony (as evidenced by a calm facial expression paired with the muscular body structure).

Name: Veranda Post: Equestrian Figure and Female Caryatid Date: 19th-20th Century P/S: Yoruba Art Artist: Olowe of Ise Original Location: Africa (most likely, Yorubaland) Material: Wood, pigment Technique: Sculpting Function: to show a ruler's dependence on others Context: In Africa, it was common for rulers to go to their wives for advice and consult Descriptive Terms: linear motifs, exaggerated proportions Meaning: To emphasize the importance of the wife-specifically the wives of rulers- and the roles they carry