CMA: African Art

Sharing public domain works from the Japanese Art department of the Cleveland Museum of Art

[cma-african-art]

Male Figure of a Pair, late 1800s-early 1900s, Cleveland Museum of Art: African Art

Although this pair has been attributed to the Ngbandi, many of the style characteristics identified as typical of that culture are in fact shared with its neighbors the Ngbaka-Minagende, among others. Carving of paired figures is quite well documented among the Ngbaka-Minagende, where such sculptures are said to represent the mythical ancestor Seto and his sister-wife, Nabo. But field-based research cannot confirm the existence of figurative couples among the Ngbandi. Were all such Ngbandi-style couples created by Ngbandi artists for a neighboring Ngbaka-Minagende community or another Ubangi group? Or do they instead refer to a more localized tradition that was never documented by foreign observers? Size: Overall: 45 x 15.5 x 9.2 cm (17 11/16 x 6 1/8 x 3 5/8 in.) Medium: wood, copper, glass beads, iron, fabric

https://clevelandart.org/art/2010.459.1

[met-africa-oceania]

Necklace Ornament, 13th–16th century, Metropolitan Museum of Art: Arts of Africa, Oceania, and the Americas

Gift of the Estate of Samuel L. M. Barlow, 1889 Size: L. ¾ in. (1.9 cm) Medium: Gold

https://www.metmuseum.org/art/collection/search/307495

[cma-african-art]

Whistle, late 1800s, Cleveland Museum of Art: African Art

Carved out of ivory or wood in a variety of shapes, Chokwe whistles often bear miniature, stylized renderings of masks. Cikunza, the "patron saint" of the boys' initiation into manhood, is depicted with a pointed extension imitating the horn of a road antelope, symbolizing the fertility spirit. Typically such whistles were used by men during the hunt to communicate with their co-hunters and to call their dogs. They were either worn attached to a string as a necklace or tied to a spear. Size: Overall: 5.7 x 3.2 cm (2 1/4 x 1 1/4 in.) Medium: carved ivory

https://clevelandart.org/art/1915.442

[met-africa-oceania]

Knife Case, ca. 1843, Metropolitan Museum of Art: Arts of Africa, Oceania, and the Americas

Ralph T. Coe Collection, Gift of Ralph T. Coe Foundation for the Arts, 2011 Size: H. 12 ½ x W. 2 ¾ in. (31.8 x 7 cm) Medium: Native-tanned skin, glass, silk, wool

https://www.metmuseum.org/art/collection/search/319107

[cma-african-art]

Male Figure (Ofika), late 1800s or early 1900s, Cleveland Museum of Art: African Art

Figures such as this, known as ofika, were central to the initiation practices and the enforcement of laws among the all-male Lilwa association, a hierarchical organization that served educational, judicial, political, economic, and ritual functions among the Mbole. Meant to instill a moral code and to act as a cautionary symbol during initiation for Lilwa novices, ofika figures are believed to represent criminals who were ritually hanged for transgressions against Lilwa laws. The figure’s encrusted surface imitates how members covered their bodies with a substance made of ashes and palm oil during burial rites. Medium: Wood

https://clevelandart.org/art/2016.33

[cma-african-art]

Fertility Figure, 1800s-1900s, Cleveland Museum of Art: African Art

Fertility figures like these were used during the initiation ceremonies of pubescent girls. Integrating talismanic materials in their fabrication, the figures were meant to guarantee fertility and prevent or cure barrenness--a gourd’s womblike shape and the seeds within symbolize fecundity. They are sometimes also called "child figures" because a young bride would care for them as she would for her future children, carrying them on her back and sleeping with them until her first child was born. [Constantine Petridis Cleveland Museum of Art, (4/16/11-2/26/12); "The Art of Daily Life: Portable Objects from Southeast Africa"] Size: Overall: 25.4 cm (10 in.) Medium: wood, glass beads, fiber

https://clevelandart.org/art/2010.208

[cma-japanese-art]

The Fourth Month, A Lady of the Enkyō Era (1744-48), from the series Thirty-six Elegant Selections, Mizuno Toshikata, 1894, Cleveland Museum of Art: Japanese Art

Medium: Woodblock print, ink and color on paper

https://clevelandart.org/art/2017.72

[aic-african]

Statuette of the Goddess Neith, Ancient Egyptian, -945, Art Institute of Chicago: Arts of Africa

Gift of Henry H. Getty, Charles L. Hutchinson, and Robert H. Fleming Size: 23 × 9 × 4.5 cm (9 × 3 ½ × 1 ¼) Medium: Bronze

https://www.artic.edu/artworks/136312/

[cma-african-art]

Gold Weight: Fish, 1800s, Cleveland Museum of Art: African Art

The wealth and power of the Asante kingdom was derived primarily from its massive gold resources. Since at least 1600, small weights in brass and bronze were used to weight gold dust and nuggets. The royal court had the most elaborate store of weights, while commoners often had about a dozen. Their imagery falls into two broad cateogries: geometric and representational. The latter often refers to proverbs, which used judiciously, marked a wise person. Size: Overall: 2.8 x 6.6 x 0.4 cm (1 1/8 x 2 5/8 x 3/16 in.) Medium: brass, bronze

https://clevelandart.org/art/1961.399

[cma-african-art]

Head, 600 BC-AD 250, Cleveland Museum of Art: African Art

Although probably a fragment of a nearly life-size male seated figure, this head is remarkably well preserved. The Nok terracottas may have been part of a shrine or temple or were placed on a tomb. The identities of the portrayed figures remain unknown, but the adornments and elaborate hairstyles and headdresses seem to indicate that they represent notables or leaders. Size: Overall: 38.2 x 20 cm (15 1/16 x 7 7/8 in.) Medium: terracotta

https://clevelandart.org/art/1995.21

[cma-african-art]

Leopard Caryatid Stool, possibly 1800s, Cleveland Museum of Art: African Art

Bead-covered wooden stools and thrones are one of the most prevalent art forms among the various kingdoms and chiefdoms in the Cameroon grasslands. This example, once part of the royal treasury, belongs in the category of "travel stools," usually used in conjunction with more private, minor ceremonies and rituals at the palace. The leopard imagery confirms the object’s royal status. It alludes to the belief that the king was able to temporarily transform himself into this feared predator. Size: Overall: 51 x 38 x 43 cm (20 1/16 x 14 15/16 x 16 15/16 in.) Medium: wood, cotton, fabric and glass beads

https://clevelandart.org/art/2006.138

[cma-african-art]

Knife, 1800s, Cleveland Museum of Art: African Art

Size: Overall: 49.8 cm (19 5/8 in.); Blade: 33 cm (13 in.) Medium: forged iron, wood, copper and brass

https://clevelandart.org/art/1916.1018

[cma-african-art]

Whistle, late 1800s, Cleveland Museum of Art: African Art

Carved out of ivory or wood in a variety of shapes, Chokwe whistles often bear miniature, stylized renderings of masks. Cikunza, the "patron saint" of the boys' initiation into manhood, is depicted with a pointed extension imitating the horn of a road antelope, symbolizing the fertility spirit. Typically such whistles were used by men during the hunt to communicate with their co-hunters and to call their dogs. They were either worn attached to a string as a necklace or tied to a spear. Size: Overall: 7.3 x 3.2 cm (2 7/8 x 1 1/4 in.) Medium: carved ivory

https://clevelandart.org/art/1915.443

[cma-african-art]

Gold Weight: Geometric, 1800s, Cleveland Museum of Art: African Art

The wealth and power of the Asante kingdom was derived primarily from its massive gold resources. Since at least 1600, small weights in brass and bronze were used to weight gold dust and nuggets. The royal court had the most elaborate store of weights, while commoners often had about a dozen. Their imagery falls into two broad cateogries: geometric and representational. The latter often refers to proverbs, which used judiciously, marked a wise person. Size: Overall: 2.4 x 1.4 x 1.2 cm (15/16 x 9/16 x 1/2 in.) Medium: brass, bronze

https://clevelandart.org/art/1962.244

[cma-african-art]

Whistle, late 1800s, Cleveland Museum of Art: African Art

Carved out of ivory or wood in a variety of shapes, Chokwe whistles often bear miniature, stylized renderings of masks. Cikunza, the "patron saint" of the boys' initiation into manhood, is depicted with a pointed extension imitating the horn of a road antelope, symbolizing the fertility spirit. Typically such whistles were used by men during the hunt to communicate with their co-hunters and to call their dogs. They were either worn attached to a string as a necklace or tied to a spear. Size: Overall: 8.9 x 3.8 cm (3 1/2 x 1 1/2 in.) Medium: carved wood

https://clevelandart.org/art/1915.454

[mia-africa-americas]

Quadruped, before 1500, Minneapolis Institute of Art: Art of Africa and the Americas

small four-legged animal with fang-like tusks; small bulbous tail; hole through head; mottled light and dark brown Size: ½ x 1 3/16 x 5/16 in. (1.27 x 3.02 x 0.79 cm) Medium: Ivory

https://collections.artsmia.org/art/64029/

[cma-african-art]

Female Figure, late 1800s-early 1900s, Cleveland Museum of Art: African Art

Songye figures were used as devices for protection, healing, or therapy. The value of such objects resided in magical substances most commonly concealed in the abdominal cavity or in a horn set into the skull. The mixture of ingredients was meant to solicit the powers of the spirit world. Both the sculpture's height and its gender suggest that it was owned and used by an individual, possibly even a woman. Although some have attributed its particular style—characterized by geometric volumes and an almost Cubist appearance—to a subgroup living along the Sankuru River, the regional attribution of any figure on stylistic grounds is always tentative given the itinerant nature of artists. Size: Overall: 34.8 x 6.2 x 14.5 cm (13 11/16 x 2 7/16 x 5 11/16 in.) Medium: wood, brass, animal hair, antelope tusk

https://clevelandart.org/art/2010.452