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以博会友,以友辅仁

My experience in CHINA and in U.S.A.

 
 
 

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Artists in Africa 非洲艺术家  

2015-09-09 10:40:44|  分类: 2015美国 |  标签: |举报 |字号 订阅

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每个月第一个星期二,位于旧金山金门公园的笛洋美术馆不要钱,霜晨就去看热闹。笛洋美术馆展出美国本土还有美洲、大洋洲、非洲的一些美术作品,不知道为什么没有欧洲和亚洲。美国、美洲、大洋洲的作品,看不出区别。非洲作品在霜晨看来,跟咱的出土文物差不多。除了草,就是木头,最多有贝壳,很多做成骷髅。材料原始,成品也原始——骷髅算什么好看呢?我们看看美术馆是怎么介绍的。

Artists in Africa 非洲艺术家

Most artworks in this gallery were made during the 19th or 20th centuries by well-trained professional artists, most of whom worked only part time, on commission, and were paid for their efforts. Some artists belonged to special descent groups with occupational specialties such as blacksmithing, carving, or pot making; these groups made tools and artworks for the more numerous groups of farmers.

这间展室展出的是十九、二十世纪间受过良好训练的艺术家的作品,几乎所有艺术家工作为谋生,而且只完成些半成品。有些艺术家属于特殊的世传群体,在象锻造、雕刻或制陶工艺方面有特别的技能,这些群体为数目更多的农民们制作工具和艺术品。

Wood and metal objects were made invariably by men, while women made pottery and most terracotta sculpture. Both men and women made jewely, baskets, and woven textiles, but beaded objects were customarily made by women.

男人做木制品和金属制品,女人擅长陶器。男人女人都做首饰、篮子和编织纺织品,但是习惯上女人做串珠。

Many arts in Africa were created for the elite, as status objedts or a leader's regalia. Worn or held, these objects were made to look beautiful and to legitimize and visually enhance the power of priests, chiefs, or kings. These symbols of leadership tend to be rich elaborate, durable, detailed, and monumental.

非洲很多艺术品产生于权力,是地位标记或者王权的象征。穿戴或高举这些制作精美法权允许的标记,视觉上强调祭司、酋长、国王大权在握。权力标记总是精心设计、坚固耐用、精美繁杂、意义深远的。

 

有一部纪录片在讲述编织

Artists in Africa 非洲艺术家 - 霜晨 - 以博会友,以友辅仁

 Harp (korikaariye) 竖琴

Cote d'lvoire, west Africa, Senufo people  科特迪瓦,西非,塞努福人

Early 20th century 20世纪早期

Gourd, metal, paint, glass beads, wood, leather, enamel, cotton  葫芦,金属,油漆,玻璃珠,木材,皮革,珐琅质,棉

Museum purchase, Virginia Patterson Fund 博物馆购买,弗吉尼亚帕特森基金

2009.8

Music plays a large role in Senufo ceremonial and secular performance. Instruments such as this are frequently used in funeral and divination practices. The sounding chamber of this object is constructed from a hollowed-out gourd covered with tanned cowhide and painted with adecorative design. A carved female figurine sits atop this gourd base and originaly served as the bridge to connect the four strings to the neck of the instrument.

音乐在塞努福典礼和世俗活动中有显著作用。乐器常常用于葬礼和占卜。这件乐器的音箱是个镂空的葫芦,蒙上彩绘的处理过的牛皮制成的。一个小女雕像坐在葫芦上,牵着连在乐器颈部的四根弦。

When used in divining practices, the korikaariye would have been played to entice and invite the presence of spirits. The visually compelling object and the sonorous tones of the harp praised and flattered the spirit, facilitating a successful intercession. The figure arising from the gourd base may be a physical representation of the very spirit to whom the music is directed, and its central position may be a metaphorical reference to the role of the instrument and to the diviner as mediator between spirit and patron.

占卜时,弹奏竖琴以召唤邀请魂灵。外观诱人、音调圆润的竖琴是对魂灵的赞赏,有助于促成祈祷。葫芦底座产生的信号是音乐引来的魂灵的应对。魂灵和顾客的中介占卜者用竖琴转达诉求和隐喻。

Artists in Africa 非洲艺术家 - 霜晨 - 以博会友,以友辅仁

 Skull reliquary 头骨舍利

Gulf of Papua 巴布亚湾

19th century  19世纪

Human skull, string, shell, trade cloth, rattan 人类头骨,绳子,贝壳,贸易布,藤

L05.1.386 (cat. no. 439)

Artists in Africa 非洲艺术家 - 霜晨 - 以博会友,以友辅仁
实在不好看,是么?美国人什么也抢,这种东西也跨洋越海运回来。
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