William, on said: Ashe is intrinsically related to the essential nature of creativity called iwa, perceptible to those who have “walked with the ancestors” and thus acquired critical and discerning eyes. Important to iwa are oju-inu, an “inner eye” or the artist’s insight, and oju-ona, the external harmony of artworks. For the Yoruba, the beauty of objects, performances, or texts lies not only in what catches the eye but also in the ashe derived from the work’s completeness. From these elements one can then discern the artwork’s iwa, or essential nature, and finally its ewa, or beauty.
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Another critical concept of Yoruba aesthetics is ara, the “evocative power” of visual, verbal, musical, and performance arts associated with the ability to amaze (Roberts and Roberts, p. Ara bespeaks creativity through departure from norms. Yoruba artists are explorers, and their works reflect new understandings. As the Yoruba philosopher Olabiyi Yai states, art is always “unfinished and generative” (p. Yoruba visual and verbal arts are also linked through ori, individuality, and iyato, difference and originality, and Yai argues for a definition of art that is “an invitation to infinite difference and departure, and not a summation for sameness and imitation” (p. The tradition-creativity binary posed for so many cultures is thereby dissolved, and “innovation is implied in the Yoruba idea of tradition” (p.
Cross-Cultural Thematics Through ashe, Yoruba arts are highly efficacious—that is, objects work and transform peoples’ lives. For many African cultures, how an object looks is related to the way it works, according to strict aesthetic specifications, for protection, healing, communication, mediation, or empowerment. Like aesthetics more generally, each culture has its own concepts of efficacy. For Bantu-speaking peoples of central, eastern, and southern Africa, a power called nkisi is manifest in sculpture and other expression, while for Mande-speaking peoples of western Africa, secret and instrumental knowledge is called nyama. For African Muslim mystics, baraka is a blessing energy emanating from saintly tombs, written and spoken verses, and visual forms. All these terms imply a power-knowledge relationship inhering in works of art, enabling their effectiveness and capacity. As is true for many other African philosophies, Yoruba aesthetics also privilege knowledge that is allusive, indirect, and enigmatic.
Patterns in textiles and scarification; designs on ceramics, houses, and sculpture; graphic inscriptions on walls, masks, and the body; and verbal arts such as proverbs, epics, and songs communicate messages of cultural significance. These can be highly esoteric and understood only by the initiated. For example, geometric patterns on Bamana bogolanfini textiles from Mali encode women’s herbal medicinal recipes. In other cases, patterns connote resistance, as did the surreptitious painting of African National Congress colors on homes by southern African women during apartheid. Another characteristic of many African aesthetic systems is that objects, narratives, songs, and performances are interpreted by audiences in many different ways through intentional semantic variability. African artworks are semantically loaded texts abounding in exegetic richness. For example, among Luba peoples of the southeastern Democratic Republic of the Congo, thrones and staffs embody beauty and royal authority but are also mnemonic devices stimulating the making of history.
Polysemy is also the product of a processual and accumulative aesthetic. The process of making art is often more valuable than the final products, and such dynamism is the essence of aesthetic experience. Once created, objects may have ephemeral usage before being destroyed or progressing to the next phases in layered histories. Aesthetics on the Move Recent study of African aesthetics includes two critically important thrusts: popular urban arts and diasporic art forms of the black Atlantic, and an Indian Ocean world linking eastern Africa with South Asia. Again, aesthetic principles of urban arts are contingent upon local use and intent.
For instance, urban paintings by the late Congolese artist Tshibumba Kanda Matulu reflect an aesthetic inspired by European comic books while addressing issues of critical historical and political importance. Ghanaian urban arts reflect a vibrant immediacy stemming from subjects of daily life—from soccer to hairstyles to music and film—whereas arts of urban Senegal conform to the aesthetics of a very particular mystical Islam realized through mass-produced images and inspired by photography. As Karin Barber notes, African popular arts fall between the cracks of “traditional” and “elite” or “modern” art. The hybridized forms of Africa’s dynamic popular urban arts reflect not only constant absorption of ideas from the outside but also long-standing adaptive processes through which Africans have always been innovative players in world forums. Similar dynamism can be witnessed in Africa’s diasporic traditions. Much research, in particular that of Robert Farris Thompson, has shown that some of the most powerful aesthetic carryovers from west Africa to the black Atlantic are based on deeply embedded linguistic concepts such as an “aesthetic of the cool.” Thompson illuminates the origins of slang, gestures, and attitudes by demonstrating how certain aesthetic categories in the African Americas merge moral philosophy, right living, and artistic quality. One cannot discuss African aesthetics without addressing the effects of colonialism and postcolonialism and modernist and postmodernist expressive trends of the last century.
Encounters and entanglements fostered by the colonial experience in Africa have produced complex issues of appropriation and commodification: compelling research reveals close association between aesthetic norms and capitalist incentives (Phillips and Steiner). This has been noticeable since the colonial conquests of the nineteenth century but earlier as well in Portuguese influence upon the late-fifteenth-century kingdoms of Benin in Nigeria and Kongo in Angola and the impact of Christianity in Ethiopia from the fourth century c.e.
Collection of Ikea catalogs of 2010, 2009, 2008, 2007 and 2005 (Downloadable and Online Viewable). 2005 Ikea Catalog - Free download as PDF File (.pdf), Text File (.txt) or read online for free. Jan 25, 2018 - Cover of the 2015 edition catalogue The IKEA Catalogue (US spelling: IKEA Catalog; Swedish: Ikea-katalogen) is a catalogue published. Ikea 2005 catalog online. Full-Text Paper (PDF): The Cultural Archive of the IKEA Store. At Harvard Libraries on August 27, 2010sac.sagepub.comDownloaded from. The Cultural Archive of the. Catalog 2006, 2005, pp. The names of the.
African styles were adapted to meet changing economic and political circumstances, with a most compelling case among the Mangbetu people of the northeastern Democratic Republic of the Congo and Zaire, whose aesthetics shifted to a European “naturalism” to meet foreign expectations. Similar dynamics are found on a global scale in the early twenty-first century.
Those who study contemporary African arts define modernisms both discrepant from and overlapping with European models. In the early twentieth century, expatriate teachers opened fine arts schools in a number of African cities, introducing new techniques and aesthetics. Often these synthesized existing frameworks produced hybrid forms, as in the workshop of Ulli Beier in Nigeria. It is safe to say, though, that the most exciting time to study African aesthetics may be the present, for artistic landscapes are extending in many new ways. Scholar-curators such as Okwui Enwezor, artistic director of Documenta 11 in 2002 and the Second Johannesburg Biennale in 1997, and Salah Hassan, editor of Nka: Journal of Contemporary African Art, are transcending the boundaries of aesthetic discourse by introducing riveting work of emerging artists. Africa is a continent of richness, resilience, and diasporic energies because of how its traditions adapt to new circumstances. Whether in the domains of the most traditional rural art forms, such as masquerade or shrines, or in tourist arts, colonial encounters, early workshops, and art movements, African arts defy easy categorization; they simply do not sit still, nor have they ever.
Across their huge diversities, African aesthetics can only be appreciated for their very multiplicity and systems of representation that they uphold, accommodate, and transform. See also Arts: Africa; Literature: African Literature.
From United Kingdom to U.S.A. About this Item: Editorial Sirio, United States, 2009. Condition: New. Language: English,Spanish. Brand New Book.
Of the five fundamental books that comprise the Spiritist Codification, The Spirits Book was the first one that compiled all the teachings of high order spirits (the Spirits) through mediums the world over. It is the landmark of a doctrine that has had a great impact on the thought and life view of a considerable portion of humankind since 1857, when the first French edition was released. It is divided into four parts and has 1,019 questions asked by Allan Kardec, the Codifier of Spiritism. It rationally and logically presents the teachings of Spiritism in their scientific, philosophical and religious aspects.
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