African sculpture is most often figurative, representing the human form. It is primarily fashioned from wood. The African sculpture can be described as monumental, meaning that the figure or form is not separated from the wood in which it is carved, which gives is a feel of heavy permanence. These aspects are visible in the African sculpture, Figure of Bena, Mboi, Yunger people in Nigeria 14th-16th century, Nigeria, Eastern Gongola Valley, and Figure of the Jukan people 19th-early 20th century, Nigeria, possibly Taraba River Valley, possibly Wurbon Daudu. Both sculptures are used as a form of communication, exaggerate bodily characteristics, and are in the round sculptures. However, their physical features vary in form and shape, which
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As Frank Willett states in his essay “African Art An Introduction”, “the greater the knowledge, the greater the enjoyment” (pg. 142). After studying the background of each sculpture, it was discovered that the Yungur people long made wood representations of deceased male chiefs, which were used to appeal to each year for good rainfall and bountiful harvests. Similar to Figure 1, many of them were displayed during the pre-planting festivals, as well as at the funerals of important elders as a way of collectively honoring past chiefs and ensuring their beneficence. Similarly, the Jukun people created Wurbos, which incarnate the spirit principles associated with a healing complex called Mam, and are called upon for individual healing and community protection; especially in the event of epidemics, droughts, and warfare. Although both sculptures were created for different purposes, they ultimately were made with specific uses in mind, which contribute to their overall physical complexities, and allow for a better understanding of these …show more content…
As Willett states, most African sculptures are commonly described as frontal, meaning that the figures are symmetrical, and are disposed “about a vertical axis and face forward” (pg. 144). This is true for the Yungur and the Jukun. Both face forward, and are rounded. Although, the Jukun figure does show angular characteristics, especially in the chest. Their patterns are apparent in the designs that the artists decided to create for them. The Jukun figure shows symmetrical patterns on the arms, stomach, and face. The Yungur figure shows symmetrical lines on its arms. All of which were carved into the figure. Their symmetry is used as an aesthetic element for the two figures. After looking at the figures, they look light. Despite the Yungur being five feet nine inches tall, the wooden figure looks as though it does not weigh much. The same is true for the small Jukan figure. The wood looks as though it is hollow, although in reality, it is not. This is known because of the fact that both figures have actually survived as fragments. The Yungur statue has a missing left forearm. The Jukan statue has a broken right leg, and a missing left foot. Where there is missing and broken parts, you can actually see that the wood is solid. These fragments alter my perception of the statues, but in a positive manner. Due to the fact that these pieces are missing, I am able to get a look inside of the figure, and as I stated above,
As Frank Willett states in his essay “African Art An Introduction”, “the greater the knowledge, the greater the enjoyment” (pg. 142). After studying the background of each sculpture, it was discovered that the Yungur people long made wood representations of deceased male chiefs, which were used to appeal to each year for good rainfall and bountiful harvests. Similar to Figure 1, many of them were displayed during the pre-planting festivals, as well as at the funerals of important elders as a way of collectively honoring past chiefs and ensuring their beneficence. Similarly, the Jukun people created Wurbos, which incarnate the spirit principles associated with a healing complex called Mam, and are called upon for individual healing and community protection; especially in the event of epidemics, droughts, and warfare. Although both sculptures were created for different purposes, they ultimately were made with specific uses in mind, which contribute to their overall physical complexities, and allow for a better understanding of these …show more content…
As Willett states, most African sculptures are commonly described as frontal, meaning that the figures are symmetrical, and are disposed “about a vertical axis and face forward” (pg. 144). This is true for the Yungur and the Jukun. Both face forward, and are rounded. Although, the Jukun figure does show angular characteristics, especially in the chest. Their patterns are apparent in the designs that the artists decided to create for them. The Jukun figure shows symmetrical patterns on the arms, stomach, and face. The Yungur figure shows symmetrical lines on its arms. All of which were carved into the figure. Their symmetry is used as an aesthetic element for the two figures. After looking at the figures, they look light. Despite the Yungur being five feet nine inches tall, the wooden figure looks as though it does not weigh much. The same is true for the small Jukan figure. The wood looks as though it is hollow, although in reality, it is not. This is known because of the fact that both figures have actually survived as fragments. The Yungur statue has a missing left forearm. The Jukan statue has a broken right leg, and a missing left foot. Where there is missing and broken parts, you can actually see that the wood is solid. These fragments alter my perception of the statues, but in a positive manner. Due to the fact that these pieces are missing, I am able to get a look inside of the figure, and as I stated above,