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14 Cards in this Set

  • Front
  • Back
167.

167.

N: Conical tower and circular wall of Great Zimbabwe


D: 1000-1400 CE


P/S: African


A: Shona peoples


OL: Southeastern Zimbabwe


P: king


M/T: coursed granite blocks


F: royal residence, thought to have been symbolic show of authority


DT: grandeur, rough, serpentine


C: Shona peoples spoke Bantu, it's a vestige of a kingdom that once flourished in Southern Africa between 19th and 15th century, designed to preserve privacy of royal families and set them apart from and above commoners

168.

168.

N: Great Mosque of Djenné


D: founded 1200 CE, rebuilt 1906-1907


P/S: African


A: townspeople, architects of Djenné


OL: Djenné, Mali on the flood plain of the Bani River


P: N/A


M/T: adobe


F: epicenter of religious and cultural life of Mali, and community of Djenné


DT: geometric, symmetical, austere


C: Djenné was founded between 800 and 1250 CE, and it flourished as great center of commerce, learning, and Islam, which had been practiced from beginning of 13th century, largest mud-built structure in the world, bricks that make it up are all made by hand

169.

169.

N: Wall plaque, from Oba's palace


D: 16th century CE


P/S: African


A: Edo's peoples


OL: Benin (Nigeria)


P: Oba, not specific


M/T: cast brass


F: decorate oba's palace


DT: hierarchical, stylized


C: figures around oba range in size because of their level pf importance within court , Benin kingdom traded with Portuguese, transformed European brass to make the plaques

170.

170.

N: Sika dwa kofi (Golden Stool)


D: 1700 CE


P/S: African


A: Ashanti peoples


OL: south central Ghana


P: N/A


M/T: gold over wood and cast-gold attachments


F: is said to be the soul of the Asante nation


DT: gaudy


C: first king of Asante confederacy was Osei tutu, stool is said to have fallen from sky into Osei tutu's lap and that it had been made in heaven, kings were considered divine and the intermediary between his people and the supernatural realm

171.

171.

N: Ndop (portrait figure) of King Mishe miShyaang maMbul


D: 1760-1780 CE


P/S: African


A: Kuba peoples


OL: Democratic Republic of the Congo


P: King Mishe miShyaang maMbul


M/T: wood


F: honor Kuba king (record his reign for posterity and solidified his accomplishments amongst the pantheon of his predecessors)


DT: stylized


C: during first half of eighteenth century, Kuba king was celebrated for his generosity and for great number of his loyal subjects, Brooklyn museum bought ndop in 1961

172.

172.

N: Power figure (Nkisi n'kondi)


D: Late 19th century CE


P/S: African


A: Kongo peoples


OL: Democratic Republic of the Congo


P: N/A


M/T: wood and metal


F: embody spirits to heal and give life or sometimes inflict harm, disease, or even death


DT: stylized, aggressive, assertive


C: a trained priest (nganga) consecrated it using precise ritual formulas, each is activated differently y its owner, to seal function or purpose the opposing parties of clients often use their saliva

173.

173.

N: Female (Pwo) mask


D: Late 19th to early 20th century CE


P/S: African


A: Chowke peoples


OL: Democratic Republic of the Congo


P: N/A


M/T: wood, fiber, pigment, and metal


F: ritual, performance, honor mothers, honor founding female ancestor of Chokwe lineage


DT: idealized


C: honor given to young women that were fertile especially those who'd given birth, would have been used by male dancer

174.

174.

N: Portrait mask (Mblo)


D: Early 20th century CE


P/S: African


A: Baule peoples


OL: Côte d'Ivoire


P: N/A


M/T: wood and pigment


F: appeared as the final sequence of an operatic public entertainment known as Mblo, performance


DT: quiet tranquil visage, individuality, refined, broad, rigidly symmetrical


C: Mblo performances consist of a succession of dances that escalate in complexity and importance, culminating ultimately in tributes to the community's most distinguished member, portrait masks embody the core Baule sculptural style that is echoed in figural sculpture and decorative arts, is usually a portrait of a particular known individual

175.

175.

N: Bundu mask


D: 19th and 20th century CE


P/S: African


A: Sande Society, Mende peoples


OL: West African forests of Sierra Leone and Liberia


P: not specified, male carver


M/T: wood, cloth, and fiber


F: help young girls go through initiation


DT: idealized, high and broad forehead, ridges, intricate


C: worn on top of head, were carved by men but worn by women, entire ritual was performed by and for women, mask and its parts refer to ideals of female beauty, morality, and behavior

176.

176.

N: Ikenga (shrine figure)


D: 19th to 20th century CE


P/S: African


A: Igbo peoples


OL: Nigeria


P: N/A


M/T: wood


F: ritual object that symbolizes masculine strength and ability to achieve one's goals through one's own effort


DT: humanoid, idealized


C: horns symbolize aggressive, assertive, and powerful nature of male animal, likely made for warrior, sword in right symbolizes power, human head in left symbolizes warrior status

177.

177.

N: Lukasa (memory board)


D: 19th to 20th century CE


P/S: African


A: Mbudye Society, Luba peoples


OL: Democratic Republic of the Congo


P: Luba people, the elite


M/T: wood, beads, and metal


F: mnemonic device, master with skill and knowledge to read lukasa will touch and feel beads, shells, and pegs to recount history and solve current problems


DT: small, tactile, geometric, clustered


C: 16th to early 20th century, Luba Kingdom of the Democratic Republic of Congo was a very powerful and influential presence, Luba people are one of Bantu peoples of Central Africa, history was traditionally performed instead of read and isn't chronological or static like it is in the West, history is a dynamic oral narrative, kingship is sacred for Luba people, history is told in context of spiritual rituals

178.

178.

N: Aka elephant mask


D: 19th to 20th century CE


P/S: African


A: Bamileke


OL: Cameroon, western grassfields region


P: not specified, possibly Bamileke king


M/T: wood, woven raffia, cloth, and beads


F: used to honor king and bring about social harmony


DT: abstract


C: materials used to make mask display wealth of king to his subjects and to recently conquered enemies, abstract patterns represent royal power

179.

179.

N: Reliquary figure (byeri)


D: 19th to 20th century CE


P/S: African


A: Fang peoples


OL: southern Cameroon


P: N/A


M/T: wood


F: used as a sort of talisman


DT: abstract, exaggerated proportions


C: usually guarded bones of important members of society or ancestors alone with potent substances, were probably maintained by elder men in community who would be in charge of putting them together and consulting them when a big decision was to be made

180.

180.

N: Veranda post of enthroned king and senior wife (Opo Ogoga)


D: 1910-1914 CE


P/S: African


A: Olowe of Ise


OL: Nigeria


P: not speficied, Yoruba people


M/T: wood and pigment


F: originally intended to be among structural part of a palace porch


DT: idealized, exaggerated proportions


C: it's the central post of the outer courtyard of the palace of Ise, female figure behind the king represents his senior wife, her large scale and pose, with hands on the king's throne, underscore her importance, his wife placed the crown on the king's head during his coronation and used political acumen and spiritual knowledge to protect the king's interests during his reign, small figures at the king's feet represent a junior wife, the flute-playing trickster-god Esu, and a fan bearer, now missing