Okpella Masks: In Search of the Parameters of the Beautiful and the Grotesque

Borgatti, Jean M.

doi:10.1111/j.2326-8492.1982.tb00067.x

Cited by 7 publications

(4 citation statements)

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“…Os critérios de avaliação são diferentes e os de interpre tação devem ser dialetizados (cf. a esse propósito o artigo de Borgatti 1982).…”

Section: O Mito Da Místicaunclassified

Discursive notes in front of African masks.

Salum¹

2024

Rev. Mus. Arqueol. Etnol.

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RESUMO: Procuramos aqui discutir algumas idéias e conceitos correntes na abordagem de máscaras africanas em catálogos e exposições. Fora de seu contexto de origem, e integradas no universo das coleções, o que significam "máscaras-antílope", "máscaras representando um ser mítico"? Como podería mos, em poucas palavras, explicar o que é "máscara ancestral"? Refletindo sobre isso numa perspectiva estético-antropológica, e na de quem as vê pela primeira vez, apresentamos vinte máscaras de madeira provenientes da África do acervo do Museu de Arqueologia e Etnologia da Universidade de São Paulo, inéditas em sua grande maioria.UNITERMOS: Arte africana: estilística -Arte africana: tipologia -Antro pologia -Escultura -Estética -Etnografia africana -História da arte -Másca ras: etnografia -Museus: coleções africanas.Fora de seu contexto de origem, e integradas no universo das coleções, o que nos transmitem as máscaras africanas? O que significam "máscaras-antílope", "máscaras representando um ser míti co"? Como poderíamos, em poucas palavras, ex plicar o que é "máscara ancestral"? Nossas consi derações são feitas sob duas óticas: a de quem observa e a de quem pesquisa; esta, se fragilizada pela falta da observação empírica, é fortalecida pela presença do imaginário, uma tentando amparar a outra, corrigindo distorções provocadas pela unilateralidade -seja ela mais à estética, ou mais à antropologia.No MAE estão inventoriadas cerca de cin qüenta máscaras africanas em madeira. Provêm de sociedades repartidas pelas divisas coloniais, que hoje se encontram em nove países da África oci dental (cf. mais sobre a Coleção e sua procedência em Salum & Cerávolo 1993). Selecionamos vinte delas para serem aqui apresentadas. Ainda que sem 233

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“…Os critérios de avaliação são diferentes e os de interpre tação devem ser dialetizados (cf. a esse propósito o artigo de Borgatti 1982).…”

Section: O Mito Da Místicaunclassified

Discursive notes in front of African masks.

Salum¹

2024

Rev. Mus. Arqueol. Etnol.

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“…These were done using simple survey methods until Borgatti (1982Borgatti ( , 1988 introduced more sophisticated means.…”

Section: Aestheticsmentioning

confidence: 99%

Monni Adam’s ‘African visual art from an art historical perspective’: A book review

Asamoah,

Kombui,

Adom

2024

JAHCA

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The purpose of this study was to conduct a comprehensive and critical review of the book ‘African Visual Art from an Art Historical Perspective’ authored by Monni Adams published in 1989. The book is focused on the study of artworks from Sub-Saharan indigenous societies based on the perspectives of Art Historians in the United States. The book has been an indispensable teaching and research resource for practitioners, teachers, researchers, and students of art history as well as all those who are interested in acquiring in-depth knowledge in the history of the visual arts of the African continent, especially sub-Sahara Africa. However, 35 years since it was written, there has not been any academic rigorous review of the book although it is still used as a theoretical bedrock in the African art history discipline. Hence, this critical and comprehensive review of the book scholarly discusses the context of the book within its scope of African visual art history while intelligently appraising and critiquing its contents and/or arguments while shedding light on its strengths and weaknesses.

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“…To date there have been a number of field studies of African aesthetics (Abiodiin, 1983;Bohannan, 1956;Boone, 1986;Borgatti, 1982;Brink, 1981;Chappel, 1972 andChild and Siroto, 1965;Cole, 1982;Cole and Aniakor, 1984;Cordwell, 1952;Crowley, 1958Crowley, , 1966Crowley, , 1973Dewey, 1986b;Drewal, 1980;Fernandez, 1966;Lawal, 1974;McNaughton, 1979b;Messenger, 1958;Ravenhill, 1980;Schneider, 1956 andSilver, 1983;Thompson, 1968, 1973a andVandenhoute, 1945;andVogel, 1979 and. In the main these studies have worked with two distinct notions of what aesthetics entails, each of which leads to different research methods and different (but sometimes overlapping) results.…”

Section: Aestheticsmentioning

confidence: 99%

African Visual Arts from a Social Perspective

Ben-Amos¹

1989

African Studies Review

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The study of African art began in the first decade of this century. In looking back over more than 70 years of research, it is possible to discern a distinctive set of social science concerns, priorities, and modes of analysis. This social perspective depends not so much on disciplinary affiliation as on the kinds of stands taken on the nature of art and on the relative importance of culture as an explanatory principle in understanding its meaning. This paper is concerned with articulating the main models that have been utilized in social research on African art and with tracing their impact on the development of art studies. This historical account will also point out some of the most serious limitations of these models and will suggest studies which may lead to promising new directions. The focus of this review, then, will be on tracing the development of conceptual models with a social perspective. Studies with a social perspective include those which deal with the relationships among art, society and culture. These relationships can be conceived in a number of different ways, including, as Baxandall (1985: 89) succinctly suggests, “causality or significance or analogy or participation.” Such relationships are always a two-way street: not only do social practices and beliefs illuminate and affect art, but art also illuminates and affects social practice. Two essays will clarify the specific nature of the social perspective. Both classics in the field, both dealing with aesthetics, they are: “Yoruba Artistic Criticism” by Robert Farris Thompson (1973b) and “Principles of Opposition and Vitality in Fang Aesthetics” by James W. Fernandez (1966).

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Okpella Masks: In Search of the Parameters of the Beautiful and the Grotesque

Cited by 7 publications

References 0 publications

Discursive notes in front of African masks.

Discursive notes in front of African masks.

Monni Adam’s ‘African visual art from an art historical perspective’: A book review

African Visual Arts from a Social Perspective

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