Naturalistic cow’s head of carved from wood with eyes cut from the bottoms of glass bottles. Natural cow horns are attached. Head is predominantly black with white triangle on forehead, red pigment surrounding eyes, red in interior of ears, white chin, and white dots on cheeks and in red ground around eyes. Horns are white, tipped in black; a fiber cord runs through its nostrils and around back of head.
This is one of several types of bovine masks ( called vaca-bruto or “wild cattle” in Creole, the lingua franca of Guinea Bissau) performed at boys and men’s initiation ceremonies, festivals and national holidays. This particular mask is called dugn’be, which represents a domesticated ox and is danced by adolescent boys newly initiated into their age grade.
A light sketch of a large procession of men and animals walking from the right to the left of the scene. The first few men walking are holding instruments and playing while walking. As the scene continutes, men and beast walk together; some of the animals seen are a boar, a ram, dogs and an elephant outfitted with a decorative covering and carrying a large vessel. In the background a building with columns sits on a tree-crovered hilly landscape.
This is a tall, cylindrical vase, slightly bulged at the middle. There are multiple incised lines around the neck and the bottom. The middle part has several vertical incision marks. The bottom is flat. It has a brown body, unglazed, with grayish ash glaze marks.
Bizen wares are often used for tea ceremony. This flower vase would have been placed on the alcove of a tea room.
This print shows a procession of men walking from right to left across the foregound of the picture.They are dressed in short tunics and have laurel wreaths on their heads and some have swords.Some carry poles on which there are breast plates and helmets and some are holding litters piled with furniture, vessels and cups. There is an elephant that is partially shown at the far left.The background area is blank.
There are traces of additional diagonal hatching marks that had been added at a later date; those lines have been removed.
Giulio Campagnola’s engraving shows a scene from a pageant in which corselets (armor that covered the torso) and helmets, as well as furniture, covered cups, and other valuables are displayed. It is based on a scene from a series of nine paintings by the northern Italian artist Andrea Mantegna (1430/31–1506) entitled the "Triumph of Caesar" that depicts a Roman procession of the spoils of war. The admiration of fifteenth-century Italians for their ancient Roman heritage was manifested in many forms, one of which was the reenacting of such triumphal processions, complete with replica objects. Mantegna’s paintings are an imaginative synthesis of his knowledge of Roman antiquities and these processions.
The majority of this print depicts a deep architectural setting. In front of the buildings a wedding procession takes place. Rats, in daimyo fashion, are celebrating.
The Rat’s Wedding is a fable known across much of Asia, including Japan, in which a young rat female comes of age. Her parents decide to wed her to the most powerful being in the world, and ask the sun to marry her. Although honored by their request, the sun tells them that clouds are stronger than he, blocking his rays. They make their proposal to a cloud, who directs them to the wind, and the wind bows to the strength of the wall. The wall explains that the strongest force in the world is a rat, able to make holes in his frame. The rat maiden is finally wed to a rat, and the jubilant procession is depicted here.
This painting, done in thick brushstrokes, shows a group of women gathered on the grass in a wooded area. There are six figures, four seated and two standing, and they fill the foreground of the composition. They are grouped in a semi-circle, however, there is no communication or eye contact between the figures. The women are wearing traditional Breton costumes with brightly colored aprons, caps and sashes. They have bright white collars and caps with purple, burgundy and green ribbons.
Charles Cottet was known for painting scenes representing life in the Brittany area of France. This painting shows a group of women, dressed in traditional Breton costume, who are to participate in a "pardon", an annual religious procession. The Brittany pardon was a popular subject matter for artists during the last half of the nineteenth century because it allowed a portrayal of the folklore and customs of that region of France, an area of interest for Realist and Symbolist painters. Here, Cottel does not show the procession itself, but a small group of women gathered in a lush green field. They wear the traditional costumes of the town of Plougastel with purple and burgundy skirts, green blouses and multi-colored aprons. The women have bright white collars and caps with purple, burgundy and green ribbons. The two girls wear colorful caps over their unbound hair and have decorated vests.
Elaborately carved staff with angular forms along the shaft and topped with a figurine with a rounded head, heart-shaped face and two stylized arms resting on the stomach. A large Z-shaped handle is carved in the middle of the shaft, with a series of cubes and conical forms above and beneath it.
The attribution of artworks to a single ethnic group is difficult in a region as diverse as that surrounding the Ubangi River, bordering the Democratic Republic of the Congo and the Central African Republic. Like many similar regions in Africa, the Ubangi River area has for centuries been characterized by "open borders" that allow for the easy movement of people and objects. The carved figure topping this stick represents the general characteristics of a regional Ubangi style. Among the Ngbaka, as well as neighboring peoples, tall sticks were used to strike the ground during initiation rituals: the noise would warn people that the male initiates were approaching. Female dancers would also brandish carved, notched sticks called "kangala" on the occasion of the initiation of girls.
Concave, ovoid maskette with kaolin covering surface of surface of face. Minimal rendering of facial features: raised, tapered wood strip for nose; narrow, oviod, horizontal eyes; open, ovoid mouth with some striation around interior edge.
This maskette was used in initiation ceremonies associated with bwami, a ranked initiation society open to all Lega men and women. Bwami was the core of Lega identity. Its moral and philosophical precepts permeated all aspects of social and political life. Maskettes were emblems of an individual's rank in the bwami society. They were also used to aid in the instruction of bwami ideas and values. The meaning of individual maskettes were context specific and could change over time.
Wood stick with dark smooth patina; shows six registers or symbols carved into it, from top to bottom: closed fist; rifle; wisdom knot; powder keg; femake figure with hands covering breasts and genitals; paddle.
A ceremonial rendering of an ordinary chewing stick used to clean teeth and gums; they were beautifully carved and important objects of display in Fante girls’ puberty rites. During the public phase of the ceremony, pubescent girls marched in front of onlookers, holding one end of the chewing stick their mouths. Ceremnial chewing sticks are icongraphically rich. Each one bears a different combination of symbols that refers broadly to the initiate’s transition to womanhood.
The apple-green fabric is pure silk brocade, woven in an overall pattern of maple leaves scattered on a flowing stream—an allusion to a famous classical poem. Lying on top of the brocade is a thick layer of embroidery, with plum blossoms in red silk, and pine branches and doves in dazzling metallic threads of gold, silver, and copper.
Traditional attire has virtually disappeared from city and countryside in Japan, whether for work or play, yet it retains a significant place in Japanese life in ceremonial contexts. Wedding costumes are the most extravagant of all kimono, as seen in this spectacular uchikake or cloak.