Reliquary Guardian Figure (Eyema-o-Byeri)
Arts of Africa
On View: Double Take Installation, East Gallery, 1st Floor
ART OF THE BODY
These five artworks from throughout the African continent display the range of approaches artists have taken to figural representation. They prove that the Western tradition of naturalism— depicting the body precisely as observed in life—is not even remotely the only possibility open to an artist.
The Mossi mask celebrates the female form. While it is not an exact replica of the body, the proportions are relatively balanced. The Yoruba tapper, used with a board to draw images during divinations, was carved with more exaggerated proportions, partly in order to contain it within the functional form of a tapper and the shape of the ivory from which it was carved.
The Fang figure, a masterpiece by a known artist or workshop, has primarily been reduced to a series of basic shapes—cylinders and circles. The legs and hips are conceived as the intersection of two perpendicular cylinders, echoing the cylindrical reliquary box on which the figure sat. The small Nsapo-Nsapo work and the Chamba figure take the abstraction of the human form even further by greatly exaggerating the proportions. The Nsapo-Nsapo example's stretched arms and the Chamba sculpture's outsized hands suggest different emotional states for these two protective figures—a tense anxiety, perhaps, in one and a lumbering aggression in the other.
mid-18th to mid-19th century
23 x 5 7/8 x 5 in. (58.4 x 14.9 x 12.7 cm)
Frank L. Babbott Fund
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Master of Ntem. Reliquary Guardian Figure (Eyema-o-Byeri), mid-18th to mid-19th century. Wood, iron, 23 x 5 7/8 x 5 in. (58.4 x 14.9 x 12.7 cm). Brooklyn Museum, Frank L. Babbott Fund, 51.3. Creative Commons-BY
overall, 51.3_PS1.jpg. Brooklyn Museum photograph, 2007
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The object is a male ancestor figure carved from a single piece of wood wearing a thick copper alloy necklace. The figure was probably attached to a skull basket that was used in connection with ancestor worship. The object is in fair condition. It has several deep splits. One particular split runs from the left side of the buttock, up the spine, over the head, and into the forehead. There is another deep split on the back side of the head. The front half of the proper right foot is missing. From an unknown cause, dry-rot settled on the bottom of the figure under the seat. The original surface is gone leaving a concave depression. The object was fumigated with carbon tetrachloride; the hole was filled with gesso, retouched, and waxed.
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