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African art
- 1. African Art
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- Title: Mask: Kanaga Mali (Sangha Region)\r\nDate: 20th C\r\nSubject: masks\r\nSubject: Costume\r\nSubject: Dogon\r\nSubject: Kanaga masks\r\nSubject: Special Societal Groups--Tribal Africa: Dogon\r\nCollection: ARTstor Slide Gallery\r\nSource: Data from: University of California, San Diego
- Creator: Olowe of Ise, Nigeria\r\nTitle: YORUBA. Offering bowl\r\nDate: c. 1925\r\nMaterial: wood and pigment\r\nMeasurements: height: 25 1/16 inches\r\nRepository: CCA Libraries - Oakland slides\r\nSubject: YORUBA. Offering bowl Africa Nigeria wood and pigment c. 1925\r\nID Number: 2005.08.0014\r\nSource: Stokstad, Art History, 2nd revised edition, 2005, pg. xxxvii, fig. 13\r\nRights: see publication
- Creator: Olowe of Ise, Nigeria\r\nTitle: YORUBA. Offering bowl\r\nDate: c. 1925\r\nMaterial: wood and pigment\r\nMeasurements: height: 25 1/16 inches\r\nRepository: CCA Libraries - Oakland slides\r\nSubject: YORUBA. Offering bowl Africa Nigeria wood and pigment c. 1925\r\nID Number: 2005.08.0014\r\nSource: Stokstad, Art History, 2nd revised edition, 2005, pg. xxxvii, fig. 13\r\nRights: see publication
- Creator: Olowe of Ise, Nigeria\r\nTitle: YORUBA. Offering bowl\r\nDate: c. 1925\r\nMaterial: wood and pigment\r\nMeasurements: height: 25 1/16 inches\r\nRepository: CCA Libraries - Oakland slides\r\nSubject: YORUBA. Offering bowl Africa Nigeria wood and pigment c. 1925\r\nID Number: 2005.08.0014\r\nSource: Stokstad, Art History, 2nd revised edition, 2005, pg. xxxvii, fig. 13\r\nRights: see publication
- Creator: Olowe of Ise, Nigeria\r\nTitle: YORUBA. Offering bowl\r\nDate: c. 1925\r\nMaterial: wood and pigment\r\nMeasurements: height: 25 1/16 inches\r\nRepository: CCA Libraries - Oakland slides\r\nSubject: YORUBA. Offering bowl Africa Nigeria wood and pigment c. 1925\r\nID Number: 2005.08.0014\r\nSource: Stokstad, Art History, 2nd revised edition, 2005, pg. xxxvii, fig. 13\r\nRights: see publication
- Culture: Africa\r\nTitle: Africa in the modern period\r\nWork Type: MAPS \r\nSubject: Africa in the modern period MAPS Africa\r\nID Number: 2009.02.2052\r\nSource: Stokstad, Art History\r\nRights: see publication
- Culture: Africa\r\nTitle: Africa in the modern period\r\nWork Type: MAPS \r\nSubject: Africa in the modern period MAPS Africa\r\nID Number: 2009.02.2052\r\nSource: Stokstad, Art History\r\nRights: see publication
- Culture: Africa\r\nTitle: Africa in the modern period\r\nWork Type: MAPS \r\nSubject: Africa in the modern period MAPS Africa\r\nID Number: 2009.02.2052\r\nSource: Stokstad, Art History\r\nRights: see publication
- Culture: Nigerian\r\nTitle: Head\r\nWork Type: sculpture\r\nDate: c. 500 BCE - 200 CE\r\nMaterial: terracotta\r\nMeasurements: height: 36 cm\r\nStyle Period: Nok\r\nDescription: from Rafin Kura\r\nRepository: Nigeria. National Museum (Lagos)\r\nCollection: Italian and other European Art (Scala Archives)\r\nSource: Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y.\r\nSource: http://www.artres.com/c/htm/Home.aspx\r\nSource: http://www.scalarchives.com\r\nRights: (c) 2006, SCALA, Florence / ART RESOURCE, N.Y.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: Head Nigeria\r\nDate: late 4th C. B.C\r\nMaterial: terracotta\r\nMeasurements: h.26cm\r\nSubject: Nok\r\nSubject: Special Societal Groups--Tribal Africa: Nok\r\nCollection: ARTstor Slide Gallery\r\nSource: Data from: University of California, San Diego
- Creator: Africa, Nigeria, Nok culture\r\nCulture: African; West African; Nigerian; Nok\r\nTitle: Head\r\nWork Type: Sculpture\r\nDate: c. 600 BC-250\r\nMaterial: terracotta\r\nMeasurements: Overall: 38.2cm x 20cm\r\nStyle Period: Nok Culture\r\nDescription: The Nok culture of central Nigeria initiated sub-Saharan Africa's earliest known sculptural tradition by around 600 BC. Artists modeled coarse-grained clay by hand to produce human and animal effigies of unknown function. This exceptionally well-preserved head probably belonged to a life-size seated figure, posed with knees drawn up and chin resting on a forearm. The artist combined boldly exaggerated proportions with carefully rendered details. These include indentations on the eyelids and brows, scarification on the cheeks, and teeth inside the parted lips.\r\nDescription: Full View\r\nRepository: The Cleveland Museum of Art\r\nRepository: Cleveland, Ohio, USA\r\nRepository: Andrew R. and Martha Holden Jennings Fund\r\nRepository: 1995.21\r\nRepository: http://www.clemusart.com/\r\nCollection: The Cleveland Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: CMA_.1995.21\r\nSource: Data from: The Cleveland Museum of Art\r\nRights: This image was provided by The Cleveland Museum of Art. Contact information: Kathleen Kornell, Rights and Reproductions Coordinator, The Cleveland Museum of Art, 11150 East Blvd., Cleveland OH 44106, (216) 707-2498 (ph), (216) 421-8815 (fax), Kkornell@clevelandart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Africa, Nigeria, Nok culture\r\nCulture: African; West African; Nigerian; Nok\r\nTitle: Head\r\nWork Type: Sculpture\r\nDate: c. 600 BC-250\r\nMaterial: terracotta\r\nMeasurements: Overall: 38.2cm x 20cm\r\nStyle Period: Nok Culture\r\nDescription: The Nok culture of central Nigeria initiated sub-Saharan Africa's earliest known sculptural tradition by around 600 BC. Artists modeled coarse-grained clay by hand to produce human and animal effigies of unknown function. This exceptionally well-preserved head probably belonged to a life-size seated figure, posed with knees drawn up and chin resting on a forearm. The artist combined boldly exaggerated proportions with carefully rendered details. These include indentations on the eyelids and brows, scarification on the cheeks, and teeth inside the parted lips.\r\nDescription: Detail\r\nRepository: The Cleveland Museum of Art\r\nRepository: Cleveland, Ohio, USA\r\nRepository: Andrew R. and Martha Holden Jennings Fund\r\nRepository: 1995.21\r\nRepository: http://www.clemusart.com/\r\nCollection: The Cleveland Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: CMA_.1995.21\r\nSource: Data from: The Cleveland Museum of Art\r\nRights: This image was provided by The Cleveland Museum of Art. Contact information: Kathleen Kornell, Rights and Reproductions Coordinator, The Cleveland Museum of Art, 11150 East Blvd., Cleveland OH 44106, (216) 707-2498 (ph), (216) 421-8815 (fax), Kkornell@clevelandart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Africa, Nigeria, Nok culture\r\nCulture: African; West African; Nigerian; Nok\r\nTitle: Head\r\nWork Type: Sculpture\r\nDate: c. 600 BC-250\r\nMaterial: terracotta\r\nMeasurements: Overall: 38.2cm x 20cm\r\nStyle Period: Nok Culture\r\nDescription: The Nok culture of central Nigeria initiated sub-Saharan Africa's earliest known sculptural tradition by around 600 BC. Artists modeled coarse-grained clay by hand to produce human and animal effigies of unknown function. This exceptionally well-preserved head probably belonged to a life-size seated figure, posed with knees drawn up and chin resting on a forearm. The artist combined boldly exaggerated proportions with carefully rendered details. These include indentations on the eyelids and brows, scarification on the cheeks, and teeth inside the parted lips.\r\nDescription: Detail\r\nRepository: The Cleveland Museum of Art\r\nRepository: Cleveland, Ohio, USA\r\nRepository: Andrew R. and Martha Holden Jennings Fund\r\nRepository: 1995.21\r\nRepository: http://www.clemusart.com/\r\nCollection: The Cleveland Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: CMA_.1995.21\r\nSource: Data from: The Cleveland Museum of Art\r\nRights: This image was provided by The Cleveland Museum of Art. Contact information: Kathleen Kornell, Rights and Reproductions Coordinator, The Cleveland Museum of Art, 11150 East Blvd., Cleveland OH 44106, (216) 707-2498 (ph), (216) 421-8815 (fax), Kkornell@clevelandart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Africa, Nigeria, Nok culture\r\nCulture: African; West African; Nigerian; Nok\r\nTitle: Head\r\nWork Type: Sculpture\r\nDate: c. 600 BC-250\r\nMaterial: terracotta\r\nMeasurements: Overall: 38.2cm x 20cm\r\nStyle Period: Nok Culture\r\nDescription: The Nok culture of central Nigeria initiated sub-Saharan Africa's earliest known sculptural tradition by around 600 BC. Artists modeled coarse-grained clay by hand to produce human and animal effigies of unknown function. This exceptionally well-preserved head probably belonged to a life-size seated figure, posed with knees drawn up and chin resting on a forearm. The artist combined boldly exaggerated proportions with carefully rendered details. These include indentations on the eyelids and brows, scarification on the cheeks, and teeth inside the parted lips.\r\nDescription: Detail\r\nRepository: The Cleveland Museum of Art\r\nRepository: Cleveland, Ohio, USA\r\nRepository: Andrew R. and Martha Holden Jennings Fund\r\nRepository: 1995.21\r\nRepository: http://www.clemusart.com/\r\nCollection: The Cleveland Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: CMA_.1995.21\r\nSource: Data from: The Cleveland Museum of Art\r\nRights: This image was provided by The Cleveland Museum of Art. Contact information: Kathleen Kornell, Rights and Reproductions Coordinator, The Cleveland Museum of Art, 11150 East Blvd., Cleveland OH 44106, (216) 707-2498 (ph), (216) 421-8815 (fax), Kkornell@clevelandart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Africa, Nigeria, Nok culture\r\nCulture: African; West African; Nigerian; Nok\r\nTitle: Head\r\nWork Type: Sculpture\r\nDate: c. 600 BC-250\r\nMaterial: terracotta\r\nMeasurements: Overall: 38.2cm x 20cm\r\nStyle Period: Nok Culture\r\nDescription: The Nok culture of central Nigeria initiated sub-Saharan Africa's earliest known sculptural tradition by around 600 BC. Artists modeled coarse-grained clay by hand to produce human and animal effigies of unknown function. This exceptionally well-preserved head probably belonged to a life-size seated figure, posed with knees drawn up and chin resting on a forearm. The artist combined boldly exaggerated proportions with carefully rendered details. These include indentations on the eyelids and brows, scarification on the cheeks, and teeth inside the parted lips.\r\nDescription: Detail\r\nRepository: The Cleveland Museum of Art\r\nRepository: Cleveland, Ohio, USA\r\nRepository: Andrew R. and Martha Holden Jennings Fund\r\nRepository: 1995.21\r\nRepository: http://www.clemusart.com/\r\nCollection: The Cleveland Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: CMA_.1995.21\r\nSource: Data from: The Cleveland Museum of Art\r\nRights: This image was provided by The Cleveland Museum of Art. Contact information: Kathleen Kornell, Rights and Reproductions Coordinator, The Cleveland Museum of Art, 11150 East Blvd., Cleveland OH 44106, (216) 707-2498 (ph), (216) 421-8815 (fax), Kkornell@clevelandart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Africa, Nigeria, Nok culture\r\nCulture: African; West African; Nigerian; Nok\r\nTitle: Head\r\nWork Type: Sculpture\r\nDate: c. 600 BC-250\r\nMaterial: terracotta\r\nMeasurements: Overall: 38.2cm x 20cm\r\nStyle Period: Nok Culture\r\nDescription: The Nok culture of central Nigeria initiated sub-Saharan Africa's earliest known sculptural tradition by around 600 BC. Artists modeled coarse-grained clay by hand to produce human and animal effigies of unknown function. This exceptionally well-preserved head probably belonged to a life-size seated figure, posed with knees drawn up and chin resting on a forearm. The artist combined boldly exaggerated proportions with carefully rendered details. These include indentations on the eyelids and brows, scarification on the cheeks, and teeth inside the parted lips.\r\nDescription: Detail\r\nRepository: The Cleveland Museum of Art\r\nRepository: Cleveland, Ohio, USA\r\nRepository: Andrew R. and Martha Holden Jennings Fund\r\nRepository: 1995.21\r\nRepository: http://www.clemusart.com/\r\nCollection: The Cleveland Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: CMA_.1995.21\r\nSource: Data from: The Cleveland Museum of Art\r\nRights: This image was provided by The Cleveland Museum of Art. Contact information: Kathleen Kornell, Rights and Reproductions Coordinator, The Cleveland Museum of Art, 11150 East Blvd., Cleveland OH 44106, (216) 707-2498 (ph), (216) 421-8815 (fax), Kkornell@clevelandart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Africa, Nigeria, Nok culture\r\nCulture: African; West African; Nigerian; Nok\r\nTitle: Head\r\nWork Type: Sculpture\r\nDate: c. 600 BC-250\r\nMaterial: terracotta\r\nMeasurements: Overall: 38.2cm x 20cm\r\nStyle Period: Nok Culture\r\nDescription: The Nok culture of central Nigeria initiated sub-Saharan Africa's earliest known sculptural tradition by around 600 BC. Artists modeled coarse-grained clay by hand to produce human and animal effigies of unknown function. This exceptionally well-preserved head probably belonged to a life-size seated figure, posed with knees drawn up and chin resting on a forearm. The artist combined boldly exaggerated proportions with carefully rendered details. These include indentations on the eyelids and brows, scarification on the cheeks, and teeth inside the parted lips.\r\nDescription: Detail\r\nRepository: The Cleveland Museum of Art\r\nRepository: Cleveland, Ohio, USA\r\nRepository: Andrew R. and Martha Holden Jennings Fund\r\nRepository: 1995.21\r\nRepository: http://www.clemusart.com/\r\nCollection: The Cleveland Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: CMA_.1995.21\r\nSource: Data from: The Cleveland Museum of Art\r\nRights: This image was provided by The Cleveland Museum of Art. Contact information: Kathleen Kornell, Rights and Reproductions Coordinator, The Cleveland Museum of Art, 11150 East Blvd., Cleveland OH 44106, (216) 707-2498 (ph), (216) 421-8815 (fax), Kkornell@clevelandart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Africa, Nigeria, Nok culture\r\nCulture: African; West African; Nigerian; Nok\r\nTitle: Head\r\nWork Type: Sculpture\r\nDate: c. 600 BC-250\r\nMaterial: terracotta\r\nMeasurements: Overall: 38.2cm x 20cm\r\nStyle Period: Nok Culture\r\nDescription: The Nok culture of central Nigeria initiated sub-Saharan Africa's earliest known sculptural tradition by around 600 BC. Artists modeled coarse-grained clay by hand to produce human and animal effigies of unknown function. This exceptionally well-preserved head probably belonged to a life-size seated figure, posed with knees drawn up and chin resting on a forearm. The artist combined boldly exaggerated proportions with carefully rendered details. These include indentations on the eyelids and brows, scarification on the cheeks, and teeth inside the parted lips.\r\nDescription: Detail\r\nRepository: The Cleveland Museum of Art\r\nRepository: Cleveland, Ohio, USA\r\nRepository: Andrew R. and Martha Holden Jennings Fund\r\nRepository: 1995.21\r\nRepository: http://www.clemusart.com/\r\nCollection: The Cleveland Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: CMA_.1995.21\r\nSource: Data from: The Cleveland Museum of Art\r\nRights: This image was provided by The Cleveland Museum of Art. Contact information: Kathleen Kornell, Rights and Reproductions Coordinator, The Cleveland Museum of Art, 11150 East Blvd., Cleveland OH 44106, (216) 707-2498 (ph), (216) 421-8815 (fax), Kkornell@clevelandart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Africa, Nigeria, Nok culture\r\nCulture: African; West African; Nigerian; Nok\r\nTitle: Head\r\nWork Type: Sculpture\r\nDate: c. 600 BC-250\r\nMaterial: terracotta\r\nMeasurements: Overall: 38.2cm x 20cm\r\nStyle Period: Nok Culture\r\nDescription: The Nok culture of central Nigeria initiated sub-Saharan Africa's earliest known sculptural tradition by around 600 BC. Artists modeled coarse-grained clay by hand to produce human and animal effigies of unknown function. This exceptionally well-preserved head probably belonged to a life-size seated figure, posed with knees drawn up and chin resting on a forearm. The artist combined boldly exaggerated proportions with carefully rendered details. These include indentations on the eyelids and brows, scarification on the cheeks, and teeth inside the parted lips.\r\nDescription: Detail\r\nRepository: The Cleveland Museum of Art\r\nRepository: Cleveland, Ohio, USA\r\nRepository: Andrew R. and Martha Holden Jennings Fund\r\nRepository: 1995.21\r\nRepository: http://www.clemusart.com/\r\nCollection: The Cleveland Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: CMA_.1995.21\r\nSource: Data from: The Cleveland Museum of Art\r\nRights: This image was provided by The Cleveland Museum of Art. Contact information: Kathleen Kornell, Rights and Reproductions Coordinator, The Cleveland Museum of Art, 11150 East Blvd., Cleveland OH 44106, (216) 707-2498 (ph), (216) 421-8815 (fax), Kkornell@clevelandart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Africa, Nigeria, Nok culture\r\nCulture: African; West African; Nigerian; Nok\r\nTitle: Head\r\nWork Type: Sculpture\r\nDate: c. 600 BC-250\r\nMaterial: terracotta\r\nMeasurements: Overall: 38.2cm x 20cm\r\nStyle Period: Nok Culture\r\nDescription: The Nok culture of central Nigeria initiated sub-Saharan Africa's earliest known sculptural tradition by around 600 BC. Artists modeled coarse-grained clay by hand to produce human and animal effigies of unknown function. This exceptionally well-preserved head probably belonged to a life-size seated figure, posed with knees drawn up and chin resting on a forearm. The artist combined boldly exaggerated proportions with carefully rendered details. These include indentations on the eyelids and brows, scarification on the cheeks, and teeth inside the parted lips.\r\nDescription: Detail\r\nRepository: The Cleveland Museum of Art\r\nRepository: Cleveland, Ohio, USA\r\nRepository: Andrew R. and Martha Holden Jennings Fund\r\nRepository: 1995.21\r\nRepository: http://www.clemusart.com/\r\nCollection: The Cleveland Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: CMA_.1995.21\r\nSource: Data from: The Cleveland Museum of Art\r\nRights: This image was provided by The Cleveland Museum of Art. Contact information: Kathleen Kornell, Rights and Reproductions Coordinator, The Cleveland Museum of Art, 11150 East Blvd., Cleveland OH 44106, (216) 707-2498 (ph), (216) 421-8815 (fax), Kkornell@clevelandart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Culture: Nigeria; Edo, Court of Benin\r\nTitle: Pendant Mask: Iyoba\r\nWork Type: PENDANT, MASK, IYOBA\r\nDate: 16th century\r\nLocation: Object Place: Nigeria\r\nMaterial: Ivory, iron, copper (?)\r\nMeasurements: H. 9 3/8 in. (23.8 cm)\r\nStyle: Edo, Court of Benin\r\nRepository: The Metropolitan Museum of Art\r\nRepository: http://www.metmuseum.org\r\nCollection: Metropolitan Museum of Art - Images for Academic Publishing\r\nID Number: 11418\r\nSource: Data From: The Metropolitan Museum of Art\r\nCredit Line: The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, Gift of Nelson A. Rockefeller, 1972 (1978.412.323)\r\nImage Copyright Notice: Image © The Metropolitan Museum of Art\r\nRights: This image was provided by The Metropolitan Museum of Art. Contact information: Image Library, The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028, (212) 396-5050 (fax), Scholars.License@MetMuseum.org\r\nRights: Image © The Metropolitan Museum of Art\r\nRights: This image is available for uses permitted under the ARTstor Terms and Conditions of Use, such as teaching and study, as well as for scholarly publications, through the Images for Academic Publishing (IAP) initiative. If you are seeking to use this image for scholarly publication, you should click on the IAP icon below the thumbnail image.
- Culture: Nigeria; Edo, Court of Benin\r\nTitle: Pendant Mask: Iyoba\r\nWork Type: PENDANT, MASK, IYOBA\r\nDate: 16th century\r\nLocation: Object Place: Nigeria\r\nMaterial: Ivory, iron, copper (?)\r\nMeasurements: H. 9 3/8 in. (23.8 cm)\r\nStyle: Edo, Court of Benin\r\nRepository: The Metropolitan Museum of Art\r\nRepository: http://www.metmuseum.org\r\nCollection: Metropolitan Museum of Art - Images for Academic Publishing\r\nID Number: 11418\r\nSource: Data From: The Metropolitan Museum of Art\r\nCredit Line: The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, Gift of Nelson A. Rockefeller, 1972 (1978.412.323)\r\nImage Copyright Notice: Image © The Metropolitan Museum of Art\r\nRights: This image was provided by The Metropolitan Museum of Art. Contact information: Image Library, The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028, (212) 396-5050 (fax), Scholars.License@MetMuseum.org\r\nRights: Image © The Metropolitan Museum of Art\r\nRights: This image is available for uses permitted under the ARTstor Terms and Conditions of Use, such as teaching and study, as well as for scholarly publications, through the Images for Academic Publishing (IAP) initiative. If you are seeking to use this image for scholarly publication, you should click on the IAP icon below the thumbnail image.
- Culture: Nigeria; Edo, Court of Benin\r\nTitle: Pendant Mask: Iyoba\r\nWork Type: PENDANT, MASK, IYOBA\r\nDate: 16th century\r\nLocation: Object Place: Nigeria\r\nMaterial: Ivory, iron, copper (?)\r\nMeasurements: H. 9 3/8 in. (23.8 cm)\r\nStyle: Edo, Court of Benin\r\nRepository: The Metropolitan Museum of Art\r\nRepository: http://www.metmuseum.org\r\nCollection: Metropolitan Museum of Art - Images for Academic Publishing\r\nID Number: 11418\r\nSource: Data From: The Metropolitan Museum of Art\r\nCredit Line: The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, Gift of Nelson A. Rockefeller, 1972 (1978.412.323)\r\nImage Copyright Notice: Image © The Metropolitan Museum of Art\r\nRights: This image was provided by The Metropolitan Museum of Art. Contact information: Image Library, The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028, (212) 396-5050 (fax), Scholars.License@MetMuseum.org\r\nRights: Image © The Metropolitan Museum of Art\r\nRights: This image is available for uses permitted under the ARTstor Terms and Conditions of Use, such as teaching and study, as well as for scholarly publications, through the Images for Academic Publishing (IAP) initiative. If you are seeking to use this image for scholarly publication, you should click on the IAP icon below the thumbnail image.
- Creator: Zaire, Chiloango River Valley, Yombe people\r\nCreator: African; Central African; Congolese; Yombe\r\nCreator: African; Central African; Congolese\r\nTitle: Standing male figure with nails (Nkisi Nkonde)\r\nWork Type: Sculpture\r\nDate: 19th Century\r\nMaterial: Wood, iron, raffia, pigment, kaolin, red camwood (tukula)\r\nMeasurements: 44 x 15 5/8 x 1 3/8 in. (111.8 x 39.7 x 3.5 cm.)\r\nDescription: <p>This large, very rare, and monumental Kongo figure is from a Yombe group residing in the Chiloango River valley. It is a generic type called <i>nkisi,</i> containers for medicines prepared and inserted by a ritual specialist, a <i>nganga.</i> A <i>nkisi</i> is a cloth bundle or carved figure, or even the consecrated body of a chief. This figure wears a chief's hat and anklets, and a type of raffia skirt worn by mediators.</p><p>Medicines of graveyard earth and animal and vegetal matter help the ritual specialist activate the figure with spirit force that protects, heals, or destroys. Specifically, this figure is a <i>nkisi nkondi,</i> which is embedded with nails that represent sealed oaths taken in a law court, or <i>mambu,</i> historically linked to chieftancies. It is a type of <i>nkisi nkondi</i> with specific attributes: a large cowrie shell fixed at the center of a rounded resin pack on the abdomen; a resin pack around the chin; the <i>pakalala</i> stance (hands on hips, arms akimbo); head thrust forward; mouth open; and inlaid porcelain eyes. On the head is a chief's hat of authority incised with specific geometric motifs, and the face is painted with white kaolin and red camwood pigment in specific patterns. This style of <i>nkisi nkondi,</i> represented by an important corpus of eight known works, is considered the product of one artist or workshop and one ritual specialist.</p><p><i>Dallas Museum of Art: A Guide to the Collection,</i> page 154</p>\r\nDescription: Full View\r\nRepository: Dallas Museum of Art\r\nRepository: Dallas, Texas, USA\r\nRepository: Dallas Museum of Art, Foundation for the Arts Collection, gift of the McDermott Foundation\r\nRepository: 1996.184.FA\r\nRepository: http://www.dallasmuseumofart.org/\r\nCollection: Dallas Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: DMA_.1996.184.FA\r\nSource: Data From: Dallas Museum of Art\r\nRights: This image was provided by Dallas Museum of Art. Contact information: Jacqueline Allen, Director of Libraries and Imaging Services, Dallas Museum of Art, 1717 N. Harwood, Dallas, TX 75201, (214) 922-1276 (ph), (214) 954-0174 (fax), jallen@dallasmuseumofart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Zaire, Chiloango River Valley, Yombe people\r\nCreator: African; Central African; Congolese; Yombe\r\nCreator: African; Central African; Congolese\r\nTitle: Standing male figure with nails (Nkisi Nkonde)\r\nWork Type: Sculpture\r\nDate: 19th Century\r\nMaterial: Wood, iron, raffia, pigment, kaolin, red camwood (tukula)\r\nMeasurements: 44 x 15 5/8 x 1 3/8 in. (111.8 x 39.7 x 3.5 cm.)\r\nDescription: <p>This large, very rare, and monumental Kongo figure is from a Yombe group residing in the Chiloango River valley. It is a generic type called <i>nkisi,</i> containers for medicines prepared and inserted by a ritual specialist, a <i>nganga.</i> A <i>nkisi</i> is a cloth bundle or carved figure, or even the consecrated body of a chief. This figure wears a chief's hat and anklets, and a type of raffia skirt worn by mediators.</p><p>Medicines of graveyard earth and animal and vegetal matter help the ritual specialist activate the figure with spirit force that protects, heals, or destroys. Specifically, this figure is a <i>nkisi nkondi,</i> which is embedded with nails that represent sealed oaths taken in a law court, or <i>mambu,</i> historically linked to chieftancies. It is a type of <i>nkisi nkondi</i> with specific attributes: a large cowrie shell fixed at the center of a rounded resin pack on the abdomen; a resin pack around the chin; the <i>pakalala</i> stance (hands on hips, arms akimbo); head thrust forward; mouth open; and inlaid porcelain eyes. On the head is a chief's hat of authority incised with specific geometric motifs, and the face is painted with white kaolin and red camwood pigment in specific patterns. This style of <i>nkisi nkondi,</i> represented by an important corpus of eight known works, is considered the product of one artist or workshop and one ritual specialist.</p><p><i>Dallas Museum of Art: A Guide to the Collection,</i> page 154</p>\r\nDescription: Full View\r\nRepository: Dallas Museum of Art\r\nRepository: Dallas, Texas, USA\r\nRepository: Dallas Museum of Art, Foundation for the Arts Collection, gift of the McDermott Foundation\r\nRepository: 1996.184.FA\r\nRepository: http://www.dallasmuseumofart.org/\r\nCollection: Dallas Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: DMA_.1996.184.FA\r\nSource: Data From: Dallas Museum of Art\r\nRights: This image was provided by Dallas Museum of Art. Contact information: Jacqueline Allen, Director of Libraries and Imaging Services, Dallas Museum of Art, 1717 N. Harwood, Dallas, TX 75201, (214) 922-1276 (ph), (214) 954-0174 (fax), jallen@dallasmuseumofart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Zaire, Chiloango River Valley, Yombe people\r\nCreator: African; Central African; Congolese; Yombe\r\nCreator: African; Central African; Congolese\r\nTitle: Standing male figure with nails (Nkisi Nkonde)\r\nWork Type: Sculpture\r\nDate: 19th Century\r\nMaterial: Wood, iron, raffia, pigment, kaolin, red camwood (tukula)\r\nMeasurements: 44 x 15 5/8 x 1 3/8 in. (111.8 x 39.7 x 3.5 cm.)\r\nDescription: <p>This large, very rare, and monumental Kongo figure is from a Yombe group residing in the Chiloango River valley. It is a generic type called <i>nkisi,</i> containers for medicines prepared and inserted by a ritual specialist, a <i>nganga.</i> A <i>nkisi</i> is a cloth bundle or carved figure, or even the consecrated body of a chief. This figure wears a chief's hat and anklets, and a type of raffia skirt worn by mediators.</p><p>Medicines of graveyard earth and animal and vegetal matter help the ritual specialist activate the figure with spirit force that protects, heals, or destroys. Specifically, this figure is a <i>nkisi nkondi,</i> which is embedded with nails that represent sealed oaths taken in a law court, or <i>mambu,</i> historically linked to chieftancies. It is a type of <i>nkisi nkondi</i> with specific attributes: a large cowrie shell fixed at the center of a rounded resin pack on the abdomen; a resin pack around the chin; the <i>pakalala</i> stance (hands on hips, arms akimbo); head thrust forward; mouth open; and inlaid porcelain eyes. On the head is a chief's hat of authority incised with specific geometric motifs, and the face is painted with white kaolin and red camwood pigment in specific patterns. This style of <i>nkisi nkondi,</i> represented by an important corpus of eight known works, is considered the product of one artist or workshop and one ritual specialist.</p><p><i>Dallas Museum of Art: A Guide to the Collection,</i> page 154</p>\r\nDescription: Full View\r\nRepository: Dallas Museum of Art\r\nRepository: Dallas, Texas, USA\r\nRepository: Dallas Museum of Art, Foundation for the Arts Collection, gift of the McDermott Foundation\r\nRepository: 1996.184.FA\r\nRepository: http://www.dallasmuseumofart.org/\r\nCollection: Dallas Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: DMA_.1996.184.FA\r\nSource: Data From: Dallas Museum of Art\r\nRights: This image was provided by Dallas Museum of Art. Contact information: Jacqueline Allen, Director of Libraries and Imaging Services, Dallas Museum of Art, 1717 N. Harwood, Dallas, TX 75201, (214) 922-1276 (ph), (214) 954-0174 (fax), jallen@dallasmuseumofart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Zaire, Chiloango River Valley, Yombe people\r\nCreator: African; Central African; Congolese; Yombe\r\nCreator: African; Central African; Congolese\r\nTitle: Standing male figure with nails (Nkisi Nkonde)\r\nWork Type: Sculpture\r\nDate: 19th Century\r\nMaterial: Wood, iron, raffia, pigment, kaolin, red camwood (tukula)\r\nMeasurements: 44 x 15 5/8 x 1 3/8 in. (111.8 x 39.7 x 3.5 cm.)\r\nDescription: <p>This large, very rare, and monumental Kongo figure is from a Yombe group residing in the Chiloango River valley. It is a generic type called <i>nkisi,</i> containers for medicines prepared and inserted by a ritual specialist, a <i>nganga.</i> A <i>nkisi</i> is a cloth bundle or carved figure, or even the consecrated body of a chief. This figure wears a chief's hat and anklets, and a type of raffia skirt worn by mediators.</p><p>Medicines of graveyard earth and animal and vegetal matter help the ritual specialist activate the figure with spirit force that protects, heals, or destroys. Specifically, this figure is a <i>nkisi nkondi,</i> which is embedded with nails that represent sealed oaths taken in a law court, or <i>mambu,</i> historically linked to chieftancies. It is a type of <i>nkisi nkondi</i> with specific attributes: a large cowrie shell fixed at the center of a rounded resin pack on the abdomen; a resin pack around the chin; the <i>pakalala</i> stance (hands on hips, arms akimbo); head thrust forward; mouth open; and inlaid porcelain eyes. On the head is a chief's hat of authority incised with specific geometric motifs, and the face is painted with white kaolin and red camwood pigment in specific patterns. This style of <i>nkisi nkondi,</i> represented by an important corpus of eight known works, is considered the product of one artist or workshop and one ritual specialist.</p><p><i>Dallas Museum of Art: A Guide to the Collection,</i> page 154</p>\r\nDescription: Full View\r\nRepository: Dallas Museum of Art\r\nRepository: Dallas, Texas, USA\r\nRepository: Dallas Museum of Art, Foundation for the Arts Collection, gift of the McDermott Foundation\r\nRepository: 1996.184.FA\r\nRepository: http://www.dallasmuseumofart.org/\r\nCollection: Dallas Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: DMA_.1996.184.FA\r\nSource: Data From: Dallas Museum of Art\r\nRights: This image was provided by Dallas Museum of Art. Contact information: Jacqueline Allen, Director of Libraries and Imaging Services, Dallas Museum of Art, 1717 N. Harwood, Dallas, TX 75201, (214) 922-1276 (ph), (214) 954-0174 (fax), jallen@dallasmuseumofart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Zaire, Chiloango River Valley, Yombe people\r\nCreator: African; Central African; Congolese; Yombe\r\nCreator: African; Central African; Congolese\r\nTitle: Standing male figure with nails (Nkisi Nkonde)\r\nWork Type: Sculpture\r\nDate: 19th Century\r\nMaterial: Wood, iron, raffia, pigment, kaolin, red camwood (tukula)\r\nMeasurements: 44 x 15 5/8 x 1 3/8 in. (111.8 x 39.7 x 3.5 cm.)\r\nDescription: <p>This large, very rare, and monumental Kongo figure is from a Yombe group residing in the Chiloango River valley. It is a generic type called <i>nkisi,</i> containers for medicines prepared and inserted by a ritual specialist, a <i>nganga.</i> A <i>nkisi</i> is a cloth bundle or carved figure, or even the consecrated body of a chief. This figure wears a chief's hat and anklets, and a type of raffia skirt worn by mediators.</p><p>Medicines of graveyard earth and animal and vegetal matter help the ritual specialist activate the figure with spirit force that protects, heals, or destroys. Specifically, this figure is a <i>nkisi nkondi,</i> which is embedded with nails that represent sealed oaths taken in a law court, or <i>mambu,</i> historically linked to chieftancies. It is a type of <i>nkisi nkondi</i> with specific attributes: a large cowrie shell fixed at the center of a rounded resin pack on the abdomen; a resin pack around the chin; the <i>pakalala</i> stance (hands on hips, arms akimbo); head thrust forward; mouth open; and inlaid porcelain eyes. On the head is a chief's hat of authority incised with specific geometric motifs, and the face is painted with white kaolin and red camwood pigment in specific patterns. This style of <i>nkisi nkondi,</i> represented by an important corpus of eight known works, is considered the product of one artist or workshop and one ritual specialist.</p><p><i>Dallas Museum of Art: A Guide to the Collection,</i> page 154</p>\r\nDescription: Full View\r\nRepository: Dallas Museum of Art\r\nRepository: Dallas, Texas, USA\r\nRepository: Dallas Museum of Art, Foundation for the Arts Collection, gift of the McDermott Foundation\r\nRepository: 1996.184.FA\r\nRepository: http://www.dallasmuseumofart.org/\r\nCollection: Dallas Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: DMA_.1996.184.FA\r\nSource: Data From: Dallas Museum of Art\r\nRights: This image was provided by Dallas Museum of Art. Contact information: Jacqueline Allen, Director of Libraries and Imaging Services, Dallas Museum of Art, 1717 N. Harwood, Dallas, TX 75201, (214) 922-1276 (ph), (214) 954-0174 (fax), jallen@dallasmuseumofart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Zaire, Chiloango River Valley, Yombe people\r\nCreator: African; Central African; Congolese; Yombe\r\nCreator: African; Central African; Congolese\r\nTitle: Standing male figure with nails (Nkisi Nkonde)\r\nWork Type: Sculpture\r\nDate: 19th Century\r\nMaterial: Wood, iron, raffia, pigment, kaolin, red camwood (tukula)\r\nMeasurements: 44 x 15 5/8 x 1 3/8 in. (111.8 x 39.7 x 3.5 cm.)\r\nDescription: <p>This large, very rare, and monumental Kongo figure is from a Yombe group residing in the Chiloango River valley. It is a generic type called <i>nkisi,</i> containers for medicines prepared and inserted by a ritual specialist, a <i>nganga.</i> A <i>nkisi</i> is a cloth bundle or carved figure, or even the consecrated body of a chief. This figure wears a chief's hat and anklets, and a type of raffia skirt worn by mediators.</p><p>Medicines of graveyard earth and animal and vegetal matter help the ritual specialist activate the figure with spirit force that protects, heals, or destroys. Specifically, this figure is a <i>nkisi nkondi,</i> which is embedded with nails that represent sealed oaths taken in a law court, or <i>mambu,</i> historically linked to chieftancies. It is a type of <i>nkisi nkondi</i> with specific attributes: a large cowrie shell fixed at the center of a rounded resin pack on the abdomen; a resin pack around the chin; the <i>pakalala</i> stance (hands on hips, arms akimbo); head thrust forward; mouth open; and inlaid porcelain eyes. On the head is a chief's hat of authority incised with specific geometric motifs, and the face is painted with white kaolin and red camwood pigment in specific patterns. This style of <i>nkisi nkondi,</i> represented by an important corpus of eight known works, is considered the product of one artist or workshop and one ritual specialist.</p><p><i>Dallas Museum of Art: A Guide to the Collection,</i> page 154</p>\r\nDescription: Full View\r\nRepository: Dallas Museum of Art\r\nRepository: Dallas, Texas, USA\r\nRepository: Dallas Museum of Art, Foundation for the Arts Collection, gift of the McDermott Foundation\r\nRepository: 1996.184.FA\r\nRepository: http://www.dallasmuseumofart.org/\r\nCollection: Dallas Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: DMA_.1996.184.FA\r\nSource: Data From: Dallas Museum of Art\r\nRights: This image was provided by Dallas Museum of Art. Contact information: Jacqueline Allen, Director of Libraries and Imaging Services, Dallas Museum of Art, 1717 N. Harwood, Dallas, TX 75201, (214) 922-1276 (ph), (214) 954-0174 (fax), jallen@dallasmuseumofart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Zaire, Chiloango River Valley, Yombe people\r\nCreator: African; Central African; Congolese; Yombe\r\nCreator: African; Central African; Congolese\r\nTitle: Standing male figure with nails (Nkisi Nkonde)\r\nWork Type: Sculpture\r\nDate: 19th Century\r\nMaterial: Wood, iron, raffia, pigment, kaolin, red camwood (tukula)\r\nMeasurements: 44 x 15 5/8 x 1 3/8 in. (111.8 x 39.7 x 3.5 cm.)\r\nDescription: <p>This large, very rare, and monumental Kongo figure is from a Yombe group residing in the Chiloango River valley. It is a generic type called <i>nkisi,</i> containers for medicines prepared and inserted by a ritual specialist, a <i>nganga.</i> A <i>nkisi</i> is a cloth bundle or carved figure, or even the consecrated body of a chief. This figure wears a chief's hat and anklets, and a type of raffia skirt worn by mediators.</p><p>Medicines of graveyard earth and animal and vegetal matter help the ritual specialist activate the figure with spirit force that protects, heals, or destroys. Specifically, this figure is a <i>nkisi nkondi,</i> which is embedded with nails that represent sealed oaths taken in a law court, or <i>mambu,</i> historically linked to chieftancies. It is a type of <i>nkisi nkondi</i> with specific attributes: a large cowrie shell fixed at the center of a rounded resin pack on the abdomen; a resin pack around the chin; the <i>pakalala</i> stance (hands on hips, arms akimbo); head thrust forward; mouth open; and inlaid porcelain eyes. On the head is a chief's hat of authority incised with specific geometric motifs, and the face is painted with white kaolin and red camwood pigment in specific patterns. This style of <i>nkisi nkondi,</i> represented by an important corpus of eight known works, is considered the product of one artist or workshop and one ritual specialist.</p><p><i>Dallas Museum of Art: A Guide to the Collection,</i> page 154</p>\r\nDescription: Full View\r\nRepository: Dallas Museum of Art\r\nRepository: Dallas, Texas, USA\r\nRepository: Dallas Museum of Art, Foundation for the Arts Collection, gift of the McDermott Foundation\r\nRepository: 1996.184.FA\r\nRepository: http://www.dallasmuseumofart.org/\r\nCollection: Dallas Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: DMA_.1996.184.FA\r\nSource: Data From: Dallas Museum of Art\r\nRights: This image was provided by Dallas Museum of Art. Contact information: Jacqueline Allen, Director of Libraries and Imaging Services, Dallas Museum of Art, 1717 N. Harwood, Dallas, TX 75201, (214) 922-1276 (ph), (214) 954-0174 (fax), jallen@dallasmuseumofart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: The Great Mosque of Mopti\r\nTitle: Exterior\r\nDate: 1935\r\nDate: Image: 2/7/2008\r\nLocation: Mopti, Mali\r\nMaterial: Mud-brick; wood\r\nDescription: Pinnacle of the minaret; ostrich eggs decorating the pinnacle as well as the lizard, which is considered to be a sign of good luck to the mud masons of Djenne other towns in Mali.\r\nDescription: Photographer: James Conlon\r\nCollection: James Conlon: Mali and Yemen Sites and Architecture\r\nRights: For commercial use or publication, please contact: Caleb Smith, Director, Media Center for Art History, Columbia University. Email: cs2044@columbia.edu Tel: 212-854-3044\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: The Great Mosque of Djenne\r\nTitle: Exterior\r\nTitle: Detail\r\nDate: Current structure, 1906\r\nDate: Image: 2/7/2008\r\nLocation: Djenne, Mali\r\nDescription: North façade\r\nDescription: Photographer: James Conlon\r\nCollection: James Conlon: Mali and Yemen Sites and Architecture\r\nRights: For commercial use or publication, please contact: Caleb Smith, Director, Media Center for Art History, Columbia University. Email: cs2044@columbia.edu Tel: 212-854-3044\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: The Great Mosque of Djenne\r\nTitle: Exterior\r\nTitle: Detail\r\nDate: Current structure, 1906\r\nDate: Image: 2/7/2008\r\nLocation: Djenne, Mali\r\nDescription: Palm wood scaffolding (toron) built into the exterior façade \r\nDescription: Photographer: James Conlon\r\nCollection: James Conlon: Mali and Yemen Sites and Architecture\r\nRights: For commercial use or publication, please contact: Caleb Smith, Director, Media Center for Art History, Columbia University. Email: cs2044@columbia.edu Tel: 212-854-3044\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: The Great Mosque of Djenne\r\nTitle: Exterior\r\nTitle: Detail\r\nDate: Current structure, 1906\r\nDate: Image: 2/7/2008\r\nLocation: Djenne, Mali\r\nDescription: Palm wood scaffolding (toron) built into the exterior façade \r\nDescription: Photographer: James Conlon\r\nCollection: James Conlon: Mali and Yemen Sites and Architecture\r\nRights: For commercial use or publication, please contact: Caleb Smith, Director, Media Center for Art History, Columbia University. Email: cs2044@columbia.edu Tel: 212-854-3044\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: The Great Mosque of Djenne\r\nTitle: Exterior\r\nTitle: Detail\r\nDate: Current structure, 1906\r\nDate: Image: 2/7/2008\r\nLocation: Djenne, Mali\r\nDescription: Palm wood scaffolding (toron) built into the exterior façade \r\nDescription: Photographer: James Conlon\r\nCollection: James Conlon: Mali and Yemen Sites and Architecture\r\nRights: For commercial use or publication, please contact: Caleb Smith, Director, Media Center for Art History, Columbia University. Email: cs2044@columbia.edu Tel: 212-854-3044\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Culture: Bwa\r\nTitle: masks perform, monkey mask\r\nWork Type: masks\r\nDate: Photograph: 1984\r\nLocation: Dossi\r\nLocation: Burkina Faso\r\nMaterial: wood, hemp fiber\r\nDescription: Photograph: Christopher D. Roy\r\nSubject: mask performance\r\nCollection: Christopher Roy: African Art and Field Photography\r\nSource: Image and original data provided by Christopher D. Roy\r\nRights: Christopher D. Roy, Professor, University of Iowa, 615 Templin Road, Iowa City, Iowa 52246, Email: Christopher-roy@uiowa.edu, Tel.: 319-354-9033\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: The Great Mosque of Djenne\r\nTitle: Exterior\r\nTitle: Detail\r\nDate: Current structure, 1906\r\nDate: Image: 2/7/2008\r\nLocation: Djenne, Mali\r\nDescription: Palm wood scaffolding (toron) built into the exterior façade \r\nDescription: Photographer: James Conlon\r\nCollection: James Conlon: Mali and Yemen Sites and Architecture\r\nRights: For commercial use or publication, please contact: Caleb Smith, Director, Media Center for Art History, Columbia University. Email: cs2044@columbia.edu Tel: 212-854-3044\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: The Great Mosque of Djenne\r\nTitle: Exterior\r\nTitle: Detail\r\nDate: Current structure, 1906\r\nDate: Image: 2/7/2008\r\nLocation: Djenne, Mali\r\nDescription: Palm wood scaffolding (toron) built into the exterior façade \r\nDescription: Photographer: James Conlon\r\nCollection: James Conlon: Mali and Yemen Sites and Architecture\r\nRights: For commercial use or publication, please contact: Caleb Smith, Director, Media Center for Art History, Columbia University. Email: cs2044@columbia.edu Tel: 212-854-3044\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: The Great Mosque of Djenne\r\nTitle: Exterior\r\nTitle: Detail\r\nDate: Current structure, 1906\r\nDate: Image: 2/7/2008\r\nLocation: Djenne, Mali\r\nDescription: Palm wood scaffolding (toron) built into the exterior façade \r\nDescription: Photographer: James Conlon\r\nCollection: James Conlon: Mali and Yemen Sites and Architecture\r\nRights: For commercial use or publication, please contact: Caleb Smith, Director, Media Center for Art History, Columbia University. Email: cs2044@columbia.edu Tel: 212-854-3044\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: The Great Mosque of Djenne\r\nTitle: Exterior\r\nTitle: Detail\r\nDate: Current structure, 1906\r\nDate: Image: 2/7/2008\r\nLocation: Djenne, Mali\r\nDescription: Palm wood scaffolding (toron) built into the exterior façade \r\nDescription: Photographer: James Conlon\r\nCollection: James Conlon: Mali and Yemen Sites and Architecture\r\nRights: For commercial use or publication, please contact: Caleb Smith, Director, Media Center for Art History, Columbia University. Email: cs2044@columbia.edu Tel: 212-854-3044\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: The Great Mosque of Djenne\r\nTitle: Exterior\r\nTitle: Detail\r\nDate: Current structure, 1906\r\nDate: Image: 2/7/2008\r\nLocation: Djenne, Mali\r\nDescription: Palm wood scaffolding (toron) built into the exterior façade \r\nDescription: Photographer: James Conlon\r\nCollection: James Conlon: Mali and Yemen Sites and Architecture\r\nRights: For commercial use or publication, please contact: Caleb Smith, Director, Media Center for Art History, Columbia University. Email: cs2044@columbia.edu Tel: 212-854-3044\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Zaire, Chiloango River Valley, Yombe people\r\nCreator: African; Central African; Congolese; Yombe\r\nCreator: African; Central African; Congolese\r\nTitle: Standing male figure with nails (Nkisi Nkonde)\r\nWork Type: Sculpture\r\nDate: 19th Century\r\nMaterial: Wood, iron, raffia, pigment, kaolin, red camwood (tukula)\r\nMeasurements: 44 x 15 5/8 x 1 3/8 in. (111.8 x 39.7 x 3.5 cm.)\r\nDescription: <p>This large, very rare, and monumental Kongo figure is from a Yombe group residing in the Chiloango River valley. It is a generic type called <i>nkisi,</i> containers for medicines prepared and inserted by a ritual specialist, a <i>nganga.</i> A <i>nkisi</i> is a cloth bundle or carved figure, or even the consecrated body of a chief. This figure wears a chief's hat and anklets, and a type of raffia skirt worn by mediators.</p><p>Medicines of graveyard earth and animal and vegetal matter help the ritual specialist activate the figure with spirit force that protects, heals, or destroys. Specifically, this figure is a <i>nkisi nkondi,</i> which is embedded with nails that represent sealed oaths taken in a law court, or <i>mambu,</i> historically linked to chieftancies. It is a type of <i>nkisi nkondi</i> with specific attributes: a large cowrie shell fixed at the center of a rounded resin pack on the abdomen; a resin pack around the chin; the <i>pakalala</i> stance (hands on hips, arms akimbo); head thrust forward; mouth open; and inlaid porcelain eyes. On the head is a chief's hat of authority incised with specific geometric motifs, and the face is painted with white kaolin and red camwood pigment in specific patterns. This style of <i>nkisi nkondi,</i> represented by an important corpus of eight known works, is considered the product of one artist or workshop and one ritual specialist.</p><p><i>Dallas Museum of Art: A Guide to the Collection,</i> page 154</p>\r\nDescription: Full View\r\nRepository: Dallas Museum of Art\r\nRepository: Dallas, Texas, USA\r\nRepository: Dallas Museum of Art, Foundation for the Arts Collection, gift of the McDermott Foundation\r\nRepository: 1996.184.FA\r\nRepository: http://www.dallasmuseumofart.org/\r\nCollection: Dallas Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: DMA_.1996.184.FA\r\nSource: Data From: Dallas Museum of Art\r\nRights: This image was provided by Dallas Museum of Art. Contact information: Jacqueline Allen, Director of Libraries and Imaging Services, Dallas Museum of Art, 1717 N. Harwood, Dallas, TX 75201, (214) 922-1276 (ph), (214) 954-0174 (fax), jallen@dallasmuseumofart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Zaire, Chiloango River Valley, Yombe people\r\nCreator: African; Central African; Congolese; Yombe\r\nCreator: African; Central African; Congolese\r\nTitle: Standing male figure with nails (Nkisi Nkonde)\r\nWork Type: Sculpture\r\nDate: 19th Century\r\nMaterial: Wood, iron, raffia, pigment, kaolin, red camwood (tukula)\r\nMeasurements: 44 x 15 5/8 x 1 3/8 in. (111.8 x 39.7 x 3.5 cm.)\r\nDescription: <p>This large, very rare, and monumental Kongo figure is from a Yombe group residing in the Chiloango River valley. It is a generic type called <i>nkisi,</i> containers for medicines prepared and inserted by a ritual specialist, a <i>nganga.</i> A <i>nkisi</i> is a cloth bundle or carved figure, or even the consecrated body of a chief. This figure wears a chief's hat and anklets, and a type of raffia skirt worn by mediators.</p><p>Medicines of graveyard earth and animal and vegetal matter help the ritual specialist activate the figure with spirit force that protects, heals, or destroys. Specifically, this figure is a <i>nkisi nkondi,</i> which is embedded with nails that represent sealed oaths taken in a law court, or <i>mambu,</i> historically linked to chieftancies. It is a type of <i>nkisi nkondi</i> with specific attributes: a large cowrie shell fixed at the center of a rounded resin pack on the abdomen; a resin pack around the chin; the <i>pakalala</i> stance (hands on hips, arms akimbo); head thrust forward; mouth open; and inlaid porcelain eyes. On the head is a chief's hat of authority incised with specific geometric motifs, and the face is painted with white kaolin and red camwood pigment in specific patterns. This style of <i>nkisi nkondi,</i> represented by an important corpus of eight known works, is considered the product of one artist or workshop and one ritual specialist.</p><p><i>Dallas Museum of Art: A Guide to the Collection,</i> page 154</p>\r\nDescription: Full View\r\nRepository: Dallas Museum of Art\r\nRepository: Dallas, Texas, USA\r\nRepository: Dallas Museum of Art, Foundation for the Arts Collection, gift of the McDermott Foundation\r\nRepository: 1996.184.FA\r\nRepository: http://www.dallasmuseumofart.org/\r\nCollection: Dallas Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: DMA_.1996.184.FA\r\nSource: Data From: Dallas Museum of Art\r\nRights: This image was provided by Dallas Museum of Art. Contact information: Jacqueline Allen, Director of Libraries and Imaging Services, Dallas Museum of Art, 1717 N. Harwood, Dallas, TX 75201, (214) 922-1276 (ph), (214) 954-0174 (fax), jallen@dallasmuseumofart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Zaire, Chiloango River Valley, Yombe people\r\nCreator: African; Central African; Congolese; Yombe\r\nCreator: African; Central African; Congolese\r\nTitle: Standing male figure with nails (Nkisi Nkonde)\r\nWork Type: Sculpture\r\nDate: 19th Century\r\nMaterial: Wood, iron, raffia, pigment, kaolin, red camwood (tukula)\r\nMeasurements: 44 x 15 5/8 x 1 3/8 in. (111.8 x 39.7 x 3.5 cm.)\r\nDescription: <p>This large, very rare, and monumental Kongo figure is from a Yombe group residing in the Chiloango River valley. It is a generic type called <i>nkisi,</i> containers for medicines prepared and inserted by a ritual specialist, a <i>nganga.</i> A <i>nkisi</i> is a cloth bundle or carved figure, or even the consecrated body of a chief. This figure wears a chief's hat and anklets, and a type of raffia skirt worn by mediators.</p><p>Medicines of graveyard earth and animal and vegetal matter help the ritual specialist activate the figure with spirit force that protects, heals, or destroys. Specifically, this figure is a <i>nkisi nkondi,</i> which is embedded with nails that represent sealed oaths taken in a law court, or <i>mambu,</i> historically linked to chieftancies. It is a type of <i>nkisi nkondi</i> with specific attributes: a large cowrie shell fixed at the center of a rounded resin pack on the abdomen; a resin pack around the chin; the <i>pakalala</i> stance (hands on hips, arms akimbo); head thrust forward; mouth open; and inlaid porcelain eyes. On the head is a chief's hat of authority incised with specific geometric motifs, and the face is painted with white kaolin and red camwood pigment in specific patterns. This style of <i>nkisi nkondi,</i> represented by an important corpus of eight known works, is considered the product of one artist or workshop and one ritual specialist.</p><p><i>Dallas Museum of Art: A Guide to the Collection,</i> page 154</p>\r\nDescription: Full View\r\nRepository: Dallas Museum of Art\r\nRepository: Dallas, Texas, USA\r\nRepository: Dallas Museum of Art, Foundation for the Arts Collection, gift of the McDermott Foundation\r\nRepository: 1996.184.FA\r\nRepository: http://www.dallasmuseumofart.org/\r\nCollection: Dallas Museum of Art Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: DMA_.1996.184.FA\r\nSource: Data From: Dallas Museum of Art\r\nRights: This image was provided by Dallas Museum of Art. Contact information: Jacqueline Allen, Director of Libraries and Imaging Services, Dallas Museum of Art, 1717 N. Harwood, Dallas, TX 75201, (214) 922-1276 (ph), (214) 954-0174 (fax), jallen@dallasmuseumofart.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: Magical Figure, nkisi nkonde (Zaire)\r\nMaterial: wood, iron nails, glass, resin\r\nMeasurements: h.20"\r\nSubject: Kongo\r\nSubject: Special Societal Groups--Tribal Africa: Kongo\r\nSubject: magic\r\nCollection: ARTstor Slide Gallery\r\nSource: Data from: University of California, San Diego
- Creator: Unknown\r\nCulture: African; Central African; Congolese\r\nTitle: Nail and blade Oath Taking Image, nkisi nkonde standing male with bent knees, with nails and blades\r\nWork Type: Sculpture\r\nWork Type: Fetish\r\nDate: 19th century\r\nMaterial: wood, metal, nail, horn branches and glass\r\nMeasurements: 32 1/2 x 12 (82.6 x 30.5 cm)\r\nRepository: Fine Arts Museums of San Francisco\r\nRepository: San Francisco, California, USA\r\nRepository: Museum purchase, gift of Mrs. Paul L. Wattis and the Fine Arts Museums Acquisition Fund\r\nRepository: 1986.16.1\r\nRepository: http://www.thinker.org/\r\nCollection: Fine Arts Museums of San Francisco Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: FASF.119371\r\nSource: Data From: Fine Arts Museums of San Francisco\r\nRights: This image was provided by Fine Arts Museums of San Francisco. Contact information: Sue Grinols, Director of Photo Services & Imaging, Fine Arts Museums of San Francisco, 50 Hagiwara Tea Garden Drive, Golden Gate Park, San Francisco, CA 94118-4501, (415) 750-3602 (ph), (415) 750-7686 (fax), sgrinols@famsf.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Unknown\r\nCulture: African; Central African; Congolese\r\nTitle: Nail and blade Oath Taking Image, nkisi nkonde standing male with bent knees, with nails and blades\r\nWork Type: Sculpture\r\nWork Type: Fetish\r\nDate: 19th century\r\nMaterial: wood, metal, nail, horn branches and glass\r\nMeasurements: 32 1/2 x 12 (82.6 x 30.5 cm)\r\nRepository: Fine Arts Museums of San Francisco\r\nRepository: San Francisco, California, USA\r\nRepository: Museum purchase, gift of Mrs. Paul L. Wattis and the Fine Arts Museums Acquisition Fund\r\nRepository: 1986.16.1\r\nRepository: http://www.thinker.org/\r\nCollection: Fine Arts Museums of San Francisco Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: FASF.119371\r\nSource: Data From: Fine Arts Museums of San Francisco\r\nRights: This image was provided by Fine Arts Museums of San Francisco. Contact information: Sue Grinols, Director of Photo Services & Imaging, Fine Arts Museums of San Francisco, 50 Hagiwara Tea Garden Drive, Golden Gate Park, San Francisco, CA 94118-4501, (415) 750-3602 (ph), (415) 750-7686 (fax), sgrinols@famsf.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: Spirit spouse (blolo bla) from Cote d'Ivoire\r\nDate: early 20th C A.D\r\nMaterial: wood\r\nMeasurements: h.43.5cm\r\nSubject: Figurines\r\nSubject: Sculpture--Baule\r\nSubject: Special Societal Groups--Tribal Africa: Baule\r\nSubject: female figures\r\nSubject: figurines\r\nSubject: magic\r\nCollection: ARTstor Slide Gallery\r\nSource: Data from: University of California, San Diego
- Title: Spirit spouse (blolo bla) from Cote d'Ivoire\r\nDate: early 20th C A.D\r\nMaterial: wood\r\nMeasurements: h.43.5cm\r\nSubject: Figurines\r\nSubject: Sculpture--Baule\r\nSubject: Special Societal Groups--Tribal Africa: Baule\r\nSubject: female figures\r\nSubject: figurines\r\nSubject: magic\r\nCollection: ARTstor Slide Gallery\r\nSource: Data from: University of California, San Diego
- Title: Spirit spouse (blolo bla) from Cote d'Ivoire\r\nDate: early 20th C A.D\r\nMaterial: wood\r\nMeasurements: h.43.5cm\r\nSubject: Figurines\r\nSubject: Sculpture--Baule\r\nSubject: Special Societal Groups--Tribal Africa: Baule\r\nSubject: female figures\r\nSubject: figurines\r\nSubject: magic\r\nCollection: ARTstor Slide Gallery\r\nSource: Data from: University of California, San Diego
- Title: Kente cloth from Ghana\r\nDate: 20th C A.D\r\nMaterial: silk\r\nMeasurements: 2.09x1.30m\r\nSubject: Kente cloth\r\nSubject: Special Societal Groups--Tribal Africa: Ashanti\r\nSubject: Textiles--Ashanti\r\nCollection: ARTstor Slide Gallery\r\nSource: Data from: University of California, San Diego
- Title: Spirit spouse (blolo bla) from Cote d'Ivoire\r\nDate: early 20th C A.D\r\nMaterial: wood\r\nMeasurements: h.43.5cm\r\nSubject: Figurines\r\nSubject: Sculpture--Baule\r\nSubject: Special Societal Groups--Tribal Africa: Baule\r\nSubject: female figures\r\nSubject: figurines\r\nSubject: magic\r\nCollection: ARTstor Slide Gallery\r\nSource: Data from: University of California, San Diego
- Creator: Ashanti\r\nCulture: African; West African; Ashanti\r\nTitle: Kente Cloth\r\nWork Type: Textiles\r\nWork Type: woven\r\nDate: 20th century\r\nMaterial: cotton, silk\r\nMeasurements: L.116-7/8 x W.83-11/16 in.\r\nDescription: Front\r\nDescription: <P>Once the prerogative of kings, today kente cloth is worn by many Ghanaians on formal occasions. The quality of threads as well as the number and width of the individual strips which make up the wrapper contribute to its high cost, but the complexity of the patterning establishes the prestigious quality of the cloth. The diversity of the weft patterns are often special designs developed by the individual weaver within the confines of strict traditions. Elaborately patterned cloths are usually special commissions executed by highly trained master weavers.</P>\r\nRepository: The Minneapolis Institute of Arts\r\nRepository: Minneapolis, Minnesota, USA\r\nRepository: Gift of Myron Kunin\r\nRepository: 99.91\r\nRepository: http://www.artsmia.org/\r\nCollection: The Minneapolis Institute of Arts Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: MIA_.99.91\r\nSource: Data From: The Minneapolis Institute of Arts\r\nRights: This image was provided by The Minneapolis Institute of Arts. Contact information: DeAnn Dankowski, Permissions Assistant, The Minneapolis Institute of Arts, 2400 Third Avenue South, Minneapolis, MN 55404, (612) 870-3029 (ph), (612) 870-3004 (fax), permissions@artsmia.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Title: Spirit spouse (blolo bla) from Cote d'Ivoire\r\nDate: early 20th C A.D\r\nMaterial: wood\r\nMeasurements: h.43.5cm\r\nSubject: Figurines\r\nSubject: Sculpture--Baule\r\nSubject: Special Societal Groups--Tribal Africa: Baule\r\nSubject: female figures\r\nSubject: figurines\r\nSubject: magic\r\nCollection: ARTstor Slide Gallery\r\nSource: Data from: University of California, San Diego
- Title: Spirit spouse (blolo bla) from Cote d'Ivoire\r\nDate: early 20th C A.D\r\nMaterial: wood\r\nMeasurements: h.43.5cm\r\nSubject: Figurines\r\nSubject: Sculpture--Baule\r\nSubject: Special Societal Groups--Tribal Africa: Baule\r\nSubject: female figures\r\nSubject: figurines\r\nSubject: magic\r\nCollection: ARTstor Slide Gallery\r\nSource: Data from: University of California, San Diego
- Creator: Ashanti\r\nCulture: African; West African; Ashanti\r\nTitle: Kente Cloth\r\nWork Type: Textiles\r\nWork Type: woven\r\nDate: 20th century\r\nMaterial: cotton, silk\r\nMeasurements: L.116-7/8 x W.83-11/16 in.\r\nDescription: Front\r\nDescription: <P>Once the prerogative of kings, today kente cloth is worn by many Ghanaians on formal occasions. The quality of threads as well as the number and width of the individual strips which make up the wrapper contribute to its high cost, but the complexity of the patterning establishes the prestigious quality of the cloth. The diversity of the weft patterns are often special designs developed by the individual weaver within the confines of strict traditions. Elaborately patterned cloths are usually special commissions executed by highly trained master weavers.</P>\r\nRepository: The Minneapolis Institute of Arts\r\nRepository: Minneapolis, Minnesota, USA\r\nRepository: Gift of Myron Kunin\r\nRepository: 99.91\r\nRepository: http://www.artsmia.org/\r\nCollection: The Minneapolis Institute of Arts Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: MIA_.99.91\r\nSource: Data From: The Minneapolis Institute of Arts\r\nRights: This image was provided by The Minneapolis Institute of Arts. Contact information: DeAnn Dankowski, Permissions Assistant, The Minneapolis Institute of Arts, 2400 Third Avenue South, Minneapolis, MN 55404, (612) 870-3029 (ph), (612) 870-3004 (fax), permissions@artsmia.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Creator: Ashanti\r\nCulture: African; West African; Ashanti\r\nTitle: Kente Cloth\r\nWork Type: Textiles\r\nWork Type: woven\r\nDate: 20th century\r\nMaterial: cotton, silk\r\nMeasurements: L.116-7/8 x W.83-11/16 in.\r\nDescription: Front\r\nDescription: <P>Once the prerogative of kings, today kente cloth is worn by many Ghanaians on formal occasions. The quality of threads as well as the number and width of the individual strips which make up the wrapper contribute to its high cost, but the complexity of the patterning establishes the prestigious quality of the cloth. The diversity of the weft patterns are often special designs developed by the individual weaver within the confines of strict traditions. Elaborately patterned cloths are usually special commissions executed by highly trained master weavers.</P>\r\nRepository: The Minneapolis Institute of Arts\r\nRepository: Minneapolis, Minnesota, USA\r\nRepository: Gift of Myron Kunin\r\nRepository: 99.91\r\nRepository: http://www.artsmia.org/\r\nCollection: The Minneapolis Institute of Arts Collection\r\nCollection: Formerly in The AMICO Library\r\nID Number: MIA_.99.91\r\nSource: Data From: The Minneapolis Institute of Arts\r\nRights: This image was provided by The Minneapolis Institute of Arts. Contact information: DeAnn Dankowski, Permissions Assistant, The Minneapolis Institute of Arts, 2400 Third Avenue South, Minneapolis, MN 55404, (612) 870-3029 (ph), (612) 870-3004 (fax), permissions@artsmia.org.\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Culture: Bwa\r\nTitle: the male and female crocodiles helped the family escape their enemies when fleeing across a river\r\nTitle: Nkambi family\r\nWork Type: masks\r\nDate: Photograph: 1985\r\nLocation: Dossi\r\nLocation: Burkina Faso\r\nMaterial: wood, hemp\r\nDescription: Photograph: Christopher D. Roy\r\nSubject: mask performance\r\nCollection: Christopher Roy: African Art and Field Photography\r\nSource: Image and original data provided by Christopher D. Roy\r\nRights: Christopher D. Roy, Professor, University of Iowa, 615 Templin Road, Iowa City, Iowa 52246, Email: Christopher-roy@uiowa.edu, Tel.: 319-354-9033\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Culture: Bwa\r\nTitle: masks perform for an initiation in Dossi\r\nTitle: Lamien family\r\nWork Type: masks\r\nDate: Photograph: 1983\r\nLocation: Dossi\r\nLocation: Burkina Faso\r\nMaterial: wood, hemp\r\nDescription: Photograph: Christopher D. Roy\r\nSubject: mask performance\r\nCollection: Christopher Roy: African Art and Field Photography\r\nSource: Image and original data provided by Christopher D. Roy\r\nRights: Christopher D. Roy, Professor, University of Iowa, 615 Templin Road, Iowa City, Iowa 52246, Email: Christopher-roy@uiowa.edu, Tel.: 319-354-9033\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Culture: Bwa\r\nTitle: the tall serpent masks in Pa, Boni and Dossi\r\nWork Type: masks\r\nDate: Photograph: 1984\r\nLocation: Pa\r\nLocation: Burkina Faso\r\nMaterial: wood, hemp\r\nDescription: Photograph: Christopher D. Roy\r\nSubject: mask performance\r\nCollection: Christopher Roy: African Art and Field Photography\r\nSource: Image and original data provided by Christopher D. Roy\r\nRights: Christopher D. Roy, Professor, University of Iowa, 615 Templin Road, Iowa City, Iowa 52246, Email: Christopher-roy@uiowa.edu, Tel.: 319-354-9033\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Culture: Bwa\r\nTitle: two plank masks in Dossi\r\nWork Type: masks\r\nDate: Photograph: 1983\r\nLocation: Dossi\r\nLocation: Burkina Faso\r\nMaterial: wood, hemp\r\nDescription: Photograph: Christopher D. Roy\r\nSubject: mask performance\r\nCollection: Christopher Roy: African Art and Field Photography\r\nSource: Image and original data provided by Christopher D. Roy\r\nRights: Christopher D. Roy, Professor, University of Iowa, 615 Templin Road, Iowa City, Iowa 52246, Email: Christopher-roy@uiowa.edu, Tel.: 319-354-9033\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Culture: Bwa\r\nTitle: masks perform at a family initiation, monkey masks\r\nTitle: Nkambi family\r\nWork Type: masks\r\nDate: Photograph: 1985\r\nLocation: Dossi\r\nLocation: Burkina Faso\r\nMaterial: wood, hemp\r\nDescription: Photograph: Christopher D. Roy\r\nSubject: mask performance\r\nCollection: Christopher Roy: African Art and Field Photography\r\nSource: Image and original data provided by Christopher D. Roy\r\nRights: Christopher D. Roy, Professor, University of Iowa, 615 Templin Road, Iowa City, Iowa 52246, Email: Christopher-roy@uiowa.edu, Tel.: 319-354-9033\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Culture: Bwa\r\nTitle: a monkey mask and an antelope\r\nWork Type: masks\r\nDate: Photograph: 1984\r\nLocation: Dossi\r\nLocation: Burkina Faso\r\nMaterial: wood, hemp\r\nDescription: Photograph: Christopher D. Roy\r\nSubject: mask performance\r\nCollection: Christopher Roy: African Art and Field Photography\r\nSource: Image and original data provided by Christopher D. Roy\r\nRights: Christopher D. Roy, Professor, University of Iowa, 615 Templin Road, Iowa City, Iowa 52246, Email: Christopher-roy@uiowa.edu, Tel.: 319-354-9033\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Culture: Bwa\r\nTitle: masks perform, monkey mask\r\nWork Type: masks\r\nDate: Photograph: 1984\r\nLocation: Dossi\r\nLocation: Burkina Faso\r\nMaterial: wood, hemp fiber\r\nDescription: Photograph: Christopher D. Roy\r\nSubject: mask performance\r\nCollection: Christopher Roy: African Art and Field Photography\r\nSource: Image and original data provided by Christopher D. Roy\r\nRights: Christopher D. Roy, Professor, University of Iowa, 615 Templin Road, Iowa City, Iowa 52246, Email: Christopher-roy@uiowa.edu, Tel.: 319-354-9033\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Culture: Bwa\r\nTitle: masks perform, monkey mask\r\nWork Type: masks\r\nDate: Photograph: 1984\r\nLocation: Dossi\r\nLocation: Burkina Faso\r\nMaterial: wood, hemp fiber\r\nDescription: Photograph: Christopher D. Roy\r\nSubject: mask performance\r\nCollection: Christopher Roy: African Art and Field Photography\r\nSource: Image and original data provided by Christopher D. Roy\r\nRights: Christopher D. Roy, Professor, University of Iowa, 615 Templin Road, Iowa City, Iowa 52246, Email: Christopher-roy@uiowa.edu, Tel.: 319-354-9033\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
- Culture: Bwa\r\nTitle: masks perform, monkey mask\r\nWork Type: masks\r\nDate: Photograph: 1984\r\nLocation: Dossi\r\nLocation: Burkina Faso\r\nMaterial: wood, hemp fiber\r\nDescription: Photograph: Christopher D. Roy\r\nSubject: mask performance\r\nCollection: Christopher Roy: African Art and Field Photography\r\nSource: Image and original data provided by Christopher D. Roy\r\nRights: Christopher D. Roy, Professor, University of Iowa, 615 Templin Road, Iowa City, Iowa 52246, Email: Christopher-roy@uiowa.edu, Tel.: 319-354-9033\r\nRights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.