Sacrifice in Stone

 

Yaxchilan lintel 24

Yaxchilan lintel 24 detail

In the classic Maya city of Yaxchilan, present day Chiapas, Mexico, we are going to examine a limestone  carving featuring a bloodletting ritual. These carvings were done on lintels, or load bearing stones fitted above doorways where the viewer would have had to have been looking up in order to see them. Bloodletting was a common practice for the Maya people and was viewed as a sort of rebirth. It was especially important to the ruling class due the power of royal blood. According to Maya belief, when a member of the royal family shed blood it opened up a portal for ancestral spirits to pass.(1)

 In this scene we are observing Lady K'abal Xook, the wife of Shield Jaguar the Great, perform an auto sacrifice by pulling a barbed rope through her tongue while the blood dripped into a basket full of paper bark. Shield Jaguar the Great, the ruler, stands above his wife holding a torch, suggesting that the ritual was done in a dark place. The glyphs above the figures and to the left tell us not only who the figures are, but also the name of the city and the date in which the ritual took place. We can still see a little bit of pigment on the panel suggesting it was once brightly colored.(2)The attire of the two subjects in this panel is quite elaborate with the queen wearing an intricately woven huipil and the king donning a battle trophy in the form of a shrunken head. The females headdress is quite elaborate and large and it looks like her dress has some sort of frog pattern woven into it. There is so much intricate detail to the sculpture that you can even see some blood scrolls on her face.

Yaxchilan was an important Maya city near the banks of the Usumacinta River. It was a center of power that reached its peak in the Late Classical period of 800 to 1000 C.E. These ruins are significant to the archeological record due to the descriptive hieroglyphic text explaining the dynastic history of the city. (3)

 

    Notes

    1. "Art Through Time: A Global View," Annenberg Learner, accessed November 19, 2020, https://www.learner.org/series/art-through-time-a-global-view/dreams-and-visions/lintel-25-of-yaxchilan-structure-23/

    2. Maestri, Nicoletta, "Yaxchilan - Classic Maya City-State in Mexico, Thought Co, March 18, 2017, accessed November 19, 2020, https://www.thoughtco.com/yaxchilan-mexico-maya-center-173249.

    3. "Yaxchilan Ruins, Ancient Mayan Site in Mexico," Maya-Ruins, accessed Novermer 20, 2020, http://www.mayan-ruins.org/yaxchilan/.

Beautiful Heads

Over the course of the semester we have learned about many different cultures from ancient times up until around the 1500s. I have been hesitant to write comparison papers mostly because the prompts feature two different geographical places with sometimes vastly different religious/philosophical evolutions. In an effort to lend my own voice to this week's paper I am accepting the challenge of writing and exploring two cultures, and their artifacts, that are oceans apart. I hope that anyone commenting on this paper can lend some good advice for the future.

before 900 B.C.E Olmec

12-14th C. Yoruba (Ife)

When exploring the Yoruba and Olmec cultures the similarities in abstraction and stylization of an idealized ruling class are defined within their artifacts. Contextually, we lack information on both the Colossal Heads of the Olmec and the Yoruba Heads of the Ife in order to draw decisive conclusions about their purpose. For this reason, I am going to focus more on the materials and appearance and less on the reason the artifacts were made. However it is important to entertain at least one theory about who the heads represent in order to make sense of the comparison. 

The creation of the Colossal Heads, standing nearly ten feet in height, would have been a laborious undertaking. The giant blocks of stone were sometimes mined as far away as 50 miles. Without machinery it would have been somewhat of a logistical nightmare, and once the stone was successfully in place the artist would have done the carving with crude tools also made of stone. The sheer size and difficulty of these sculptures point to the theory that they depict important people. It is likely that they represented rulers or someone in power. (1) 

While the Colossal Heads were made from large basalt stone boulders the Ife heads were created from either terra-cotta or metal.  The size is quite small, measured in centimeters, compared to the Olmec heads, measured in feet. What has been uncovered so far in Nigeria, represents many different aspects of the Ife life from the ruling class to the civilian class. One could say that they are a stylized representation of beauty, but then we find sculptures that are oddly misshapen and deformed as well. Again, we find ourselves in a position of not having enough information to draw decisive conclusions . One thing scholars believe to be true is that the more naturalistic looking heads are probably idealized portraits of the ruling class. (2)

I think it is important to note that there are some visual similarities between these artifacts. In both examples we see an exaggeration of features. The faces are abstracted particularly in the eyes and mouths. In the Yoruba we have the upturned almond shaped eyes while the Olmec has the downturned almond shaped eyes. Both cultures have chosen to represent the person wearing some form of stylized headdress that is representative of the culture. The Yoruba head is bearing the marks of scarification while the Olmec head is mostly free of marks. Perhaps we are getting a glimpse of what each of these cultures found appealing in the people that ruled them. What is most striking to me is that both of these artifacts are unable to tell their full story, but still somehow manage to elicit the idea that they are important and beautiful.

    Notes    

    1. Minister, Christopher, "The Colossal Heads of the Olmec," ThoughtCo, January 25, 2019, accessed     November 12, 2020, https://www.thoughtco.com/the-colossal-heads-of-the-olmec-2136318.

    2. Kaufman, Jason Edward, "The sculpture of Ife changes ideas about African art," The Washington Post, March 9, 2011, accessed November 12, 2020, https://www.washingtonpost.com/lifestyle/style/the-art-of-ife-changes-ideas-about-african-art/2011/03/08/ABbz8fP_story.html.

    

Fang Nigil Mask

 

A Fang Ngil Mask, Gabon

This 60cm ceremonial Ngil mask is an example of those worn by the Fang people of Gabon. These wooden artworks were sought after by collectors in the late nineteenth and early twentieth centuries. These pieces were so unique that there are only about a dozen left in existence. The piece above is being auctioned for just under 2.5 million Euros which blew my mind. It also brings up the question as to how a private collector can own something that is so rare?(1)

The popularity of these masks in the early twentieth century meant that famous artists, such as Picasso and Derain, were able to view and draw inspiration from them while they visited Paris. The avant-garde movement also found inspiration in these masks and similarities can be found in depictions by Italian artist Modigliani. (1)

The ceremonial dance accompanying these mask wearers was meant to inspire fear in those with bad intentions by mimicking evil entities. (1) Imagine sitting on your porch late at night and these dancers come through illuminating themselves in flickering torchlight. The white mask would have stood out in stark contrast to the darkness while the dancers shook it around while probably making terrifying sounds. 

The Ngil played a judicial role of peacekeeper and witch-hunter within the Fang tribes. These masks were thought to have been used by a secret male society within the culture. There is little information on exactly what they were up to, but they were supposedly used in a supernatural dance to persecute evil-doers as well as during initiation ceremonies.. The features in the masks were meant to look abnormal and exaggerated in order to strike fear into the heart of the evil force. The same can be said for the color white that is used on  the masks.(2) The dance must have been the more frightening part of the ritual because the mask seems to have a peaceful countenance. I wonder if it's supposed to represent a dead ancestor or something of the like? 

The linear quality of the nose and heart shaped outline of the face creates a stunning sense of balance through symmetry. There even seems to be a sort of stylistic hair piece above the forehead. It's quite remarkable how the elongation of the jaw works rhythmically with the nose and small features of the mouth and eyes. The eyes are interesting in that they are just little dash marks which make it seem to be asleep. This is where I get my theory of dead ancestors because white represents the dead and the facial expression is so serene and peaceful it appears to be dead. It's just a guess, but I honestly don't find the mask to be scary on its own. Maybe if it was animated by a dancer and torchlight it would be more fearsome. 

    Notes

    1. Claessens, Bruno, "5 minutes with...A Fang Ngil mask from Gabon," Christies, accessed November 6, 2020, https://www.christies.com/features/5-Minutes-with-A-rare-Fang-Ngil-mask-9446-1.aspx.

    2."Fang Ngil Mask," Art Tribal, accessed November 6, 2020, https://arttribal.com/products/fang-ngil-mask-1.

Nok Terracottas

Map of Region

 

Nok Art: Early Sculptural Pottery

Nok Art: Early Sculptural Pottery

What we know about Nok civilization is that it was around from about 1500 BCE to 200 CE.  We don't fully know what kind of political structure they had, but we can conclude that the terracottas are a clue as to the lasting stability of the civilization. (1)As we have seen these last couple of weeks, there is very  little information on this culture, therefore we can conclude little about what the people were like. We will instead focus on what these terracottas mean in context to other artifacts that have been found in the area and what these things may tell us.

The absence of stone buildings and structures point to the idea that the people of Nok were building with wood or other natural materials. The findings of pottery and certain animal bones tell us that they were probably cultivating crops alongside the domestication of livestock. These sculptures put forth the question of whether they were participating in trade or not. It is most likely that they were since there were quite a few of these sculptures unearthed, but that does not mean they were not religious or just artistic objects.(1)We simply do not have sufficient evidence to explain their purpose.

These little sculptural pieces were made from rolled coils and sculpted subtractively. This technique is a clue to their society having developed alongside a wood carving tradition since clay is usually sculpted additively. What is most notable in these sculptures is that the head is proportionately larger than the body. Contextually, we gather from nearby cultures,  they may have believed the head was the center of the intellect. The Nok heads all have different features pointing to individual sculpting rather than molding. The hair and jewelry are formed stylistically and elaborately which would have represented the individuals status or stage in life most likely. (2)

I love the abstract quality of the Nok terracottas. I have noticed that many of the ancient civilizations we have studied have this commonality of cubism or expressive minimalism. The cave paintings are a wonderful example of this expressive yet minimalistic approach to representing an animal or person without going into a lot of detail. I think about some of Picasso's later paintings and it looks like his inspiration was ancient cave paintings. It is curious how styles trend throughout time as our definition of what makes great art fluctuates through the ages. 

    Notes

    1. Nok Civilization, Think Africa, accessed November 6, 2020, https://thinkafrica.net/nok-civilization/.

    2. "Nok Terracottas (500 B.C-200 A.D.)," Department of the Arts of Africa, Oceania, and the Americas, Metropolitan Museum of Art, October 2000, accessed November 6, 2020, https://www.metmuseum.org/toah/hd/nok/hd_nok.htm.

Sub-Saharan Africa vs the Art Historian

Mali; Inland Niger Delta Style

The reluctance of many art historians and anthropologists to recognize African Art has greatly stunted the scholastic studies of sub-Saharan artifacts. Early in the 20th century the people studying sub-Saharan Africa were neither trained nor recognized as historians. It wasn't until the 1950's, when some museums and collectors in the US revived interest in the study of African Art in the context of modern art, that the studies became more serious. Changes in the way the West perceived Africa had to come about before any real progress could be made towards identifying and interpreting African artifacts. (1) 

In 1955 Erwin Panofsky, a German art historian teaching in the US, proposed a new way to analyze Art through three stages. The first two stages focused on identifying the practical nature of the art and what the image represented for the people of the time. The third stage involved the symbolic significance of the image in relation to its cultural significance on the whole. Obviously without historical context, as we find with most African relics, this method poses major problems. We have very little evidence and knowledge of the culture or people that these objects originated from. Panofsky's methodology may have hindered the study of sub-Saharan Africa by trying to impose a western narrative onto nonwestern iconography. (2)

Progress began in the 60's, alongside the civil rights movement, that led academics to reexamine the way in which we perceive sub-Saharan African societies and their art. This change of attitude about African mind and culture opened up the field to an in depth study of the region.  Interpreting African Art can be tricky in that there is no context, but we have to remember that it doesn't have to fit into the western narrative to be a work of art. (2)

While researching for my last blog, I had a difficult time finding adequate information for my essay. I spent a lot of time looking at images that had little to no context. Finally, I found an interesting piece that was accompanied by articles, but the dates were listed as "unknown." Assuming this meant they were "ancient," I continued writing my piece. It wasn't until I was proofreading that I found a date which listed it as a nineteenth century piece. The reason I am sharing this story is because I recognize that there is a need for adequate study of this region. It's hard to believe that the "cradle of civilization" has held so little interest for scholars for so long. 

    Notes

    1. Dr. Peri Klemm, "The Reception of African Art in the West," Smarthistory, December 20, 2016, accessed November 2, 2018, https://smarthistory.org/the-reception-of-african-art-in-the-west/.

    2. Adams, Monni. "African Visual Arts from an Art Historical Perspective." African Studies Review 32, no. 2 (1989): 55-103. Accessed October 31, 2020. doi:10.2307/523970.

Yoruba Peoples (19th Century)

Yoruba Carved Wooden Maternity Figure

A Yoruba kneeling female figure

Located in Nigeria and Benin the Yoruba people are one of the largest ethnic groups to have survived in Africa. Many of their people were transported to the Americas during the transatlantic slave period, but because they were some of the last Africans to be captured, they were able to retain parts of their culture. The Yoruba had developed great city-states and urban centers and were a thriving nation around the eighth century before British colonization. (1)

The Yoruba have many deities, but their religion is based on the idea that they will go to the realm of ancestors when they die. From here, the deceased may still have some influence on what happens on earth.  There is an origin myth which describes the "ancestor of all people,  bringing forth from heaven a cock, some earth, and a palm kernel. The earth was thrown into the water where the cock scratched at it until it became land, and the palm kernel grew into a great tree that had as many limbs as the Yoruba had kingdoms. (2)

These Yoruba kneeling females are examples of wooden offering bowls that were popular among Yoruba households. These bowls were used to serve kola nuts to visitors as a gesture of friendship. The woman is kneeling in what is thought to be a position of respect while holding a chicken or cock. She is said to be a messenger of the spirits and is known as Olumeye or "one who knows honor". The women are intricately carved showcasing what would have been scarification on the face and upper torso. The face carvings are termed pele which is a term for 'gems' in Yorubaland. Hairstyles in the Yorba culture, as in many African cultures, are an important part of a person's identity. They may reflect the phase of life or status of the individual. The bottom carving is done up in the bridal head-dress with the crested coiffure and incised slanting sides. Both of these carvings represent the Yorba ideal of beauty, youth, and maternity. (3) 

    Notes

    1. Ighobor, Kingsley, "Bigger than Africa: Tales of the Yoruba people," Africa Renewal, accessed October 28, 2020, https://www.un.org/africarenewal/magazine/december-2019-march-2020/bigger-africa-tales-yoruba-people.  

    2. Yoruba, Art & Life in Africa, accessed October 28, 2020, https://africa.uima.uiowa.edu/peoples/show/Yoruba. 

    3. World Art-Rare Antique Asian, Islamic & Colonial Decorative Arts/London, Michael Backman Ltd, accessed October 28, 2020, https://www.michaelbackmanltd.com/object/yoruba-carved-wooden-maternity-figure-bowl-possibly-by-the-carver-agbonbiofe/.

Sesshu Toyo Winter Landscape

Sesshu Toyo Winter Landscape, c. 1470

Sesshu Toyu, Winter Lanscape detail, c 1470

Sesshu Toyo was a Japanese Zen monk who is generally regarded as Japan's greatest painter. Heavily influenced by the Song and Yuan dynastic art, Sesshu Toyo uses their same techniques of austerity and simplicity to create his landscapes. (1) Curiously, many of the zen artists were not only inspired by artists of the southern Song Dynasty, but they were also painting landscapes of China despite having never been there. Sesshu Toyo, on the other hand, traveled to China in 1467 where he visited many buddhist monasteries, but upon returning to a war torn Japan he traveled the countryside making his own sketches of the landscape. (2)

Sesshu Toyo mastered the art of sumi-e painting or Chinese ink painting. These paintings are done quickly and economically with expressive brushstrokes. In the images above, Sesshu Toyo uses high contrast in his grey tones to achieve his purpose. He not only utilizes the blank canvas to highlight the snow, but he also takes advantage of using heavy black lines to create a sense of drama. His sharp choppy lines are significant in that they are not what you would expect from a landscape. These lines create the expressive energy within the painting. You feel the iciness through his use of harsh jagged brushstrokes slashing through the canvas in opposition to each other. This is not a pleasant winter wonderland but a harsh and frozen composition of the elements. Finally, there is a vertical slash that runs asymmetrically through the painting guiding our eyes through the turmoil. (3) 

Sesshu Toyo used the ideology of his religion in the creation of his paintings. As we have seen from other Asian artists there is a strong connection with the natural world. The contemplation of nature and how we interpret or express it is something that these monks spent a lot of time pondering. They were encouraged to wander the countryside for this very reason. Sesshu Toyo was an expert at communicating the deeper experience of nature. (3) 

What makes an artwork masterful? This is a question that is very open ended and objective, but I do believe that one of the criteria would be that it makes you feel something. In my opinion, this piece meets that criteria tenfold. When I look at this painting I feel more than just the cold. Something about this piece makes me feel the crushing weight of infinity alongside my own insignificance. Sesshu Toyo's sumi-e paintings are a treasure.

    Notes

    1. Dr. Sonia Coman, "A brief history of the arts of Japan: the Kamakura to Azuchi-Momoyama periods, Smarthistory, December 2, 2019, accessed October 22, 2020, https://smarthistory.org/japan-kamakura-azuchi-momoyama/

    2. Zen Mesterek Zen Masters, Terebess, accessed October 22, 2020, https://terebess.hu/zen/mesterek/Sesshu.html.

    3. Dr. Asa Simon Mittman, "Nature:spotlight -- Sesshu Toyo's Winter Landscape," Smarthistory, August 3, 2019, accessed October 23, 2020, https://smarthistory.org/theme-nature/.