African Tifwebe masks
When I again entered the Nelson-Atkins Art Museum, I immediately asked the security guards where the African collection was located. I passed through the Chinese and Japanese galleries but nothing drew my attention more than the African mystique. As I entered the room a distinct smell came across my noise, one that suggested undiscovered grounds. This is an art criticism paper, in which I will describe, interpret, and evaluate the Female Mask, c. Late 19th Century. The Female Mask is a combination of wood, fiber, hide, pigment, and shell. The Female Mask rests in a case and its height is about 55-inches, width about 32-inches, and depth about 24-inches. The mask has four distinct components that embody the headdress. The first component is the similar style of the hooded sweatshirt shaped, woven under-dress. This material seems to be ruggedly sewn from a fibrous material that is a light maroon color, with distinct hints of light and darker concentrations of a brown tone throughout the under-dressing. Each sleeve of the dressing has three-finger gloves perfectly sewn into the dres
I thought this was an excellent art piece not only to evaluate, but to learn about as well. We Americans take so much for granite with our current status of living, that I don't believe we spend time enough getting back to our "roots". The smell of the room where this exhibit is displayed, for some reason takes me to a place I have felt before. As strange as it may sound, I felt as if a part of who I am was on display only in an alternative supernatural sense. Standing in front of that case, I could almost picture in my mind the sights and sounds of the ceremonial dance. The way the light flickered from the fire as many tribesmen, and women displayed their beautiful works to the Gods they believed in. But isn't that the feeling one should get when we view pieces of this nature? Historically, pieces like the Female Mask should be greatly appreciated for their aesthetical qualities, as well as for their ability to transport your mind to lands and cultures in retrospect. sings' sleeves. The texture of the under-dressing is that of a chain-mail stitch pattern with all seams cleverly hidden, expressing the attention to detail. The dressing covers the entire upper body of the female who wears this mask. I also noticed the waistline of the dressing is about 12-inches short of the tips of the three-fingered gloves. The importance of ceremonial rituals, and social hierarchy were extremely evident in these native civilizations. These masks bestowed a sense of being, and a more stable sense of connection with a dynamic environment. The Songye people demonstrated this connection through ceremonial celebration, and paying tribute to their life-sustaining resources. These elements and design principles further enhance the connection of the spiritual sustenance shared between man and nature. The artistic designs of the Female Mask, gives a sense of creating order out of chaos, to communicate with the spirits and pay homage necessary for survival of a nation; the ultimate goal. The next component of the Kifwebe mask is the thick, beard-like fibrous dressing located about the chest region. The fibrous dressing connects directly to the chin, and is sewn directly below the region of the chin area. T
Some common words found in the essay are:
Female Mask, Oceania Americas, INTERPRETATION Kifwebe, Chinese Japanese, Art Museum, female mask, kifwebe mask, component kifwebe mask, Mask Late, half mask, component kifwebe, songye people, Arts I9, Masquerade INTRODUCTION, connection ceremonial celebration, ceremonial celebration, cheek chin, fibrous dressing, paying tribute life-sustaining, geometric grooves, upper half, celebration paying tribute, tribute life-sustaining resources,
Approximate Word count = 1494
Approximate Pages = 6 (250 words per page double spaced)
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