What Was The Function Of Textiles In Kongo Culture


what has hindered our knowledge of ancient african artistic traditions? – ArtRadarJournal.com

It is believed that the ancient people of Mesoamerica shared cultural traits such as deities, architecture, ballgames, the 260-day calendar, trade, food (particularly maize, beans and squash), clothing, and accoutrements (items that enhance one’s appearance). Mesoamerican people also shared religious beliefs.

What characteristic feature appears in Nok sculptures of human figures and animals Group of answer choices?

Among these relics are clay sculptures of human heads and animal creatures, the majority of which are human. A defining aspect of Nok sculptures is the presence of human eyes, which can be either triangular or oval in shape. Having complex hairstyles on human beings is not unusual in the art world.

Why did many ottonian cathedrals burn down in the eleventh century?

A large number of Ottonian cathedrals were destroyed by fire during the eleventh century. Because their roofs were built of timber, they were particularly vulnerable to fire.

Why has much of Africa’s artwork been lost to history?

Untold quantities of artifacts have been lost or destroyed over the course of history as a result of the disposable nature of the raw materials employed in their fabrication. Historically, colonial powers were not as interested in indigenous art as they should have been, and as a result, African art history was not documented or kept to the extent that it should have been.

What culture heavily influenced the art of ancient Africa?

The conquest of northern Africa by the Arabs had a tremendous impact on the art of the region. Similar to Ethiopia and the Horn of Africa, European and Christian influences were strong in both countries.

What do you know about African traditional art?

African religious traditions have a long history. Ancestors are revered in many African societies as a vital link between the living and the gods, as well as with the supreme creator, and art is often employed as a method of connecting with these spirits. The representation of a deity may also be found in art, which is appreciated for both its aesthetic and functional qualities.

How did colonization affect African art?

Because of the flow of European influences into African art throughout colonialism, African art became more cosmopolitan in terms of style and morals. Based on these artworks, it is apparent that their culture and people have a long and illustrious past. Additionally, there was a great deal of abstract art in those days, but with the entrance of the Europeans, conceptual art began to acquire popularity.

Which of the following is not a characteristic of the 8000 figures that the tomb of the Qin Dynasty Emperor Shihuangdi?

What was discovered in Emperor Shihuangdi’s tomb? Stone is utilized in the carving process.

What feature of southwestern pictographs is not shared by the prehistoric cave paintings found in Europe?

Pictographs from the Southwestern United States do not have the same traits as prehistoric cave paintings from Europe. In order to make them, a brown bacterium coating on the canyon wall was scraped away.

Which of the following was not a key function of art in Sub Saharan Africa?

What did Sub-Saharan Africa lack in terms of artistic expression? The burial chamber at Igbo-Ukwu exhibited the power and authority of the departed by giving their souls with a corporeal form in the hereafter.

What is one reason that the Nok head’s eyes and mouth are holes cut through the surface?

The punctured eyes, mouth, and ears that are distinctive of Nok sculpture are said to aid in the equalization of the head’s temperature when it is being burned during the firing process. Nigeria is home to some of the oldest African sculptures in the round, including some that date back thousands of years.

What was the original function of almost 900 brass relief plaques depicting a variety of subjects which were made in Benin during the 16th and 17th centuries?

A total of around 900 brass plaques representing various topics were produced in Benin throughout the 16 and seventeenth century.

They portray a wide range of themes and were created entirely by hand. The Benin royal palace was decorated with a variety of decorative artifacts. What is the aim of the memorial sculptures of the oba that portray ures of the oba that solely represent the ruler’s head, and why do they exist?

How many levels do Mayan temples have which set atop steep pyramids and probably reflected the culture’s concept of the underworld group of answer choices?

The Inscriptions Temple is a 75-foot-tall pyramid with nine floors that rises from the ground. Due to the Mayans’ belief that there were nine levels in the underworld, the construction is most likely divided into nine levels as well.

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what has hindered our knowledge of ancient african artistic traditions?

In what respects do we fall short in terms of aesthetic traditions? Wooden art items are becoming increasingly rare these days.

Why is the display of African masks in museums problematic?

There are several reasons why the presentation of African masks in museums is difficult. A ritual performance can help people have a better grasp of the whole significance of a ceremony. Instead of the conventional ritual item, a photocopy or a plastic doll is utilized in its place.

Why is the display of African art in museums problematic?

Is the exhibition of African art in museums problematic? Is the presentation of African art in museums problematic? A ritual performance can help people have a better grasp of the whole significance of a ceremony. While African art was often abstract and romanticized, Western art of the nineteenth century was more naturalistic and realistic in style.

What were two important purposes of African works of art?

Music and dance, in addition to being effective ways of expressing religious thoughts, may also aid in the fulfillment of arduous tasks. They made a substantial contribution to the community in addition to engaging in events.

Why is the art of Benin considered Royal Arts quizlet?

There is a reason why the art of Benin is referred to as “royal art.” It includes images of the oba and his family members, as well as the court of the monarch.

What architectural characteristic gives Great Zimbabwe its name?

It is a form of government in its own right. In South Africa, a large empire known as Great Zimbabwe rose to prominence for the first time. Great Zimbabwe was controlled by an elite Shona hereditary monarchy that grew to its height in the mid-15th century, when it reached the pinnacle of its power. It was known for its huge granite complex, which served as its political and administrative center.

Which of the following characterizes the viewer’s experience when looking at a Handscroll?

A handscroll provides the spectator with a one-of-a-kind viewing experience. From one vantage point to another, it is continually shifting and altering. It is a pleasurable sensation, similar to that of listening to music. There are several different perspectives on the photograph.

Which of the following is the prevailing interpretation of the MBLO masks of the Baule people in West Africa?

According to which of the following is the most prevalent explanation of the Mblo masks in West Africa? It was because of their presence that humans were able to sense the consequences of the invisible world.

What is a distinguishing factor in the study of Chinese history?

What is a distinguishing feature of or in the study of Chinese history? Over 8000 years of continuous history.

What are the five elements of African art?

  • In terms of brightness, the likeness to a human being is as follows: Self-compassion: Composure: When you are a young person, your work should be clear in its shape and detail, complicated in its composition, balanced in its execution, and symmetrical in its execution.

What is Sub-Saharan African art?

The most popular types of wooden sculpture in Sub-Saharan Africa are masks and miniature figures, which are the principal traditional art forms in the region. There are also a variety of shapes to be found, including containers, staves, and architectural ornaments (e.g. A carving on a door, e.g.).

What is the main inspiration for African Art What was the purpose of the mask?

In Africa, masks are believed to hold spirits, and the person who wears one is said to be possessed by the spirit of their ancestors, according to legend.

How did museums get African art?

Several instances occurred during this time period in which African items seized through violent conquest were shown in Western museums, such the statues captured by France after the destruction of Abomey and the wealth plundered by British soldiers from the Asante Empire.

France has only returned 27 pieces to Benin and Senegal so far, according to current figures.

Why does the text suggest the animals are the main subject of the rock paintings at Game Pass?

In Game Pass, the text hints that the rock paintings’ primary subject matter is animals, which is consistent with the narrative. We humans aren’t quite as large as other animals.

Is there such a thing as African art?

Africa’s art has always been seen as more emotive and spiritual than European art, owing to the fact that it has direct connections to the unconscious (unlike European art). It is critical to remember that they were creations, just as the concept of a primeval, uncivilized Africa was conceived. In the eighteenth century, Africa was portrayed as a “primitive” continent, according to popular culture.

Why do you think that so much detail went into the artwork of ancient Africa?

Among many African societies, the ancestors are frequently seen as intermediaries between the living and gods, as well as the supreme creator, and art is often regarded as a means of communicating with their spirits.

What influenced African art?

Because of the spread of colonialism and slavery, African art was able to reach every part of the world. A few years ago, masks and sculptures were exhibited as exotic curiosities from prehistoric cultures. They had an impact on European painters who were attempting to develop a new visual vocabulary that did not rely on realism.

What form of art was important in showing a person’s status and wealth ancient Africa?

Ancient Africa has a long and illustrious history of sculpting, which was considered to be one of the most important genres of art. Numerous Ancient African cultures created jewelry out of gold, jewels, shells, and a variety of other precious materials. Jewelry plays a significant role in society as a status indicator and a method of exhibiting financial prosperity.

What is the main inspiration for African art?

There is little question that traditional African faiths have had a significant effect on the development of contemporary African art. The majority of African art is based on themes of religious symbolism, functionalism, or utilitarianism, with few exceptions. Aside from that, many works of art are not made for merely artistic motives, but often for spiritual reasons as well.

What are the main characteristics of African art?

Traditional African art also includes elements like as performance and assemblage, which are key components. Individual works of art are frequently given their importance and dynamism by the incorporation of music, dance, dress, and body decoration, as well as sculptures and masks, into a single composition.

What are the four major forms found in African art?

African visual art forms, which include pottery and metalwork but also sculpture and architecture as well as textile and fiber art, are outstanding and should be explored more. Africa boasts an astonishing range of visual art forms that should be researched further.

Where is the Great Serpent Mound Fig 13 22 of the Mississippian culture?

The Great Serpent Mound (also known as Serpent Mound) is a prehistoric archaeological site near the town of Peebles in the state of Ohio in the United States. It is home to an effigy mound that was constructed between ca. A.D. 800 and 1070.

Why is the art of the Benin considered royal arts?

Benin’s ancient arts were primarily a form of royal court art, and thus was referred to as Benin Royal Court Art throughout history. Because the King of Benin possessed a monopoly on the artworks, they were referred to as Benin Royal Court Art.

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What was the function of textiles in Kongo culture quizlet?

We don’t know what textiles do in Kongo culture or how they’re used. Status and riches are represented via symbols.

Watch what has hindered our knowledge of ancient african artistic traditions video

Throw Pillow, from the collection of the Ethnographic Museum in Stockholm The woven arts were considered to be representative of monarchy and aristocracy in the Kongo Kingdom and its vassals (Loango, Kakongo, Ngoyo, Ndongo, and so on). In the Kongo weaving skills, the coarse filament derived from the fronds of the raffiapalm tree served as the base for the weaving process. This material presented limits that were overcome in order to develop a diverse and creative range of textile forms and shapes.

Chief of nobleman’s cap,MpuorNgunda

Mpu, a sculpture from the Brooklyn Museum’s collection. Collection of the Koninklijk Museum voor Midden-Afrika (Kingdom Museum for Midden-Africa). There was also a supple knotted hat of golden raffia or pineapple fiber, and thempu was an important component of the chief’s regalia, which comprised an akinzembemesh tunic, a woven breast bag (nkisi), a reliquary basket, a double bell, and a stool. The power bestowed in a person elected to a position of religious leadership in northernAngola was symbolized by thempus for the Kongo, Mbundu, and related peoples of northernAngola.

  • There are several different kinds ofmpuhats.
  • Thengunda is an unstructured domed style ornamented with high-relief designs that was conferred on them.
  • Almost all caps are made in a spiral shape, starting at the middle of the crown and working their way out to the edge of the hat border.
  • The Kongo people made use of the termnzitato to represent their opinion that hair developed in a circular manner in this particular location, which they believed was true.


The Kinzembais a raffia fiber tunic with an openwork pattern. When compared to other Central African ceremonial garments, theKinzembei is unusual in that it has a traceable chronology that spans several hundred years and that it can be related to a specific historical individual. Ne Vunde was a Kongo envoy to the Vatican who died in Rome in 1608, just a few months after his arrival. After Ne Vunde’s death, the Pope commissioned a memorial bust by the artist Kinzembein, which is shown on this bust.

The girth they wear around their waists is made of cotton, and one side of it swings down to the ground.”


The Brooklyn Museum’s collection includes a large round basket with a lid. Cincinnati Art Museum’s collection includes a large round basket with a cover that is covered. Kongo baskets were a symbol of riches and power in their day. In addition to being presented as presents to notables and foreign visitors, they were also utilized by the affluent and the privileged. These baskets were frequently filled with high-status items that were handed to the monarch as a gift. Kongo peoples’ ceremonial practices and beliefs included the use of special baskets, which were also significant in their religious practices.

The baskets’ dynamic configurations of zig zags, diamonds, and chevrons are created by utilizing a twill or plaiting method using dyed or natural raffia strands to create a natural twill or plaiting technique.

Reed fibers have also been used to make baskets in the past.

Parallels with Kuba textiles

Despite the fact that they are separated by time and distance, there are several parallels between the Kongo and Kuban textile traditions. Each civilization placed a great importance on the arts of ritual, personal adornment, and exhibition, and both Kongo and Kuba art flourished within the framework of a hierarchical, courtly organization. They also shared the usage of raffia palm fiber as the base of their weaving techniques, which was a common thread between them. A number of geometric patterns, religious signs, symbolic insignia, textile kinds and prestige regalia, as well as fabrication processes, are shared by the Kongo and the Kuba cultures as well.


  1. The following are some examples of works on African currency: P. Edoumba’s Aperçu sur les monnaies d’Afrique, p. 111, Revue Numismatique, 2001
  2. Phyllis M. Martin’s Power, Cloth, and Currency on the Loango Coast, University of Wisconsin Press, 1986
  3. Alain Anselin’s Résistances africaines sur la Côte d’Angola au XVIIIe siècle, Pré Les monnaies du Congo – L’histoire et la numismatique, Weyrich Edition, 2015
  4. Abcdefg Les monnaies du Congo – L’histoire et la numismatique, Weyrich Edition, 2015
  5. Moraga, Vanessa Drake is a writer who lives in California (2011). Kuba fabrics and the woven art of Central Africa are examples of abstraction in weaving. 9780874050363
  6. Volavka, Zdenka
  7. Washington, D.C.: Textile Museum
  8. Volavka, Zdenka (1988). Wendy A. Thomas is a freelance writer based in New York City (ed.). Ngoyo’s Royal Insignia and Ritual: The Royal Insignia of Ngoyo. Scholarly Publishing Division of the University of Toronto Press
  9. Edited by Mary Jo Arnoldi and Christine Mullen Kreamer
  10. Toronto: University of Toronto Press
  11. (2002). The African techniques of decorating the head are the pinnacle of excellence. Karl-Ferdinand Schaedler is the author of Seattle, Wash.-based University of Washington Press (ISBN0930741439)
  12. (1987). Weaving in Africa, particularly in the region south of the Sahara. cited in Gibson, Gordon
  13. Cecilia McGurk, Gibson, Gordon
  14. Gibson, Gordon (1977). High-status headgear worn by the Kongo and Mbundu peoples.” Thompson, Robert Farris
  15. Cornet, Joseph
  16. The Textile Museum Journal.IV(4)
  17. Thompson, Robert Farris
  18. Cornet, Joseph (1981). Kongo art in two realms, representing the four phases of the sun. The National Gallery of Art is located in Washington, D.C. It is published by The Gallery in Washington, DC, and has the ISBN 08946803X.

Adire African Textiles

Central Africa’s Kongo culture is credited with establishing one of the world’s most illustrious artistic traditions.” 134 of the most creative masterpieces of Kongo masters from from the fifteenth to the early twentieth centuries will be on display in this worldwide loan exhibition, which will highlight the region’s history and culture. Most of these creations were diplomatic missives sent by Kongo sovereigns to their European counterparts during the Age of Exploration; they took the form of delicately carved ivory and finely woven raffia cloths embellished with abstract geometric patterns, and they were sent to their European counterparts.

  • Kongo luxury arts from the sixteenth through the eighteenth century—many of which have never been displayed before—will present a unique historical backdrop to the extraordinary work produced by master sculptors laboring in the same region throughout the nineteenth century.
  • The presentation will climax with a gathering of fifteen massive Mangaaka power figures made in the Chiloango River region during the second half of the nineteenth century; these will include thecelebrated exampleacquired by the Met in 2008, the initial motivator for the show.
  • With paintings collected from sixty institutional and private lenders across Europe and the United States,Kongo: Power and Majesty will tie the artefacts on exhibit to specific historical processes and will challenge assumptions of Africa’s relationship with the West.
  • Luxury Cloth.
  • Raffia, H.
  • (192 cm), W.
  • (151 cm), L.
  • (14 cm) (14 cm).

48) Luxury Cloth: Cushion Cover. Kongo peoples; Kongo Kingdom, Democratic Republic of the Congo, Republic of the Congo, or Angola, 16th–17th century, inventoried 1670. Raffia, 191⁄4 × 197⁄8 in. (49 × 50.5 cm). Kungliga Samlingarna, Sweden (HGK, Tx I, 164) (HGK, Tx I, 164)

African art – Central Africa

The grasslands of Cameroon may be split into three distinct areas, which are as follows: There are several chiefdoms in the Bamilekearea, the most well-known of which are the Bangwa and Bacham. The Bamilekearea is divided into four regions. Sculpted human figures are formed of a very expressive combination of rounded and angular features in this installation. TheBamumkingdom pushed the roundness of form nearly to its logical conclusion, resulting in people with enormously inflated cheeks. The Tikar, the Bekom, and the Babanki have rounded but not exaggerated forms, as do the Bekom and the Babanki.

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In general, however, all of these cultures are hierarchical, with sculpture serving primarily as a means of expressing the authority and significance of the ruling monarch.

Height is 83.2 centimeters.

Frank Willett is a well-known actor.


There are three primary tribes that dwell in Gabon’s equatorial rainforests: the Fangand and associated peoples; the Ogowe (Ogooué) group, which includes the Ashira and the Mpongwe; and the Kota (also known as the Kota). The schematic simplicity of Fang masks and figurines distinguishes them from their counterparts. Arebieri, boxes housing the skulls and bones of departed ancestors, which are carved with figures intended to signify their protecting power, are typical of Fang craftsmanship. Feather masks, such as those worn by wandering troubadours and those used in the search and punishment of sorcerers, are painted white with the face features etched in black on the inside.

TheKotacreate reliquary figurines, known asmbulu-ngulu, that are one-of-a-kind in terms of their design and are coated with a sheet of brassor copper.

Congo (Kinshasa)andCongo (Brazzaville)

It is the contemporary countries of Congo (Kinshasa) and Congo (Brazzaville) that make up the territory historically known as the “Congo.” They are divided by the Congo River. In terms of geography, the region is divided into two primary divisions: the northern half is covered by tropical rainforest, which is home to people who hunt, cultivate, and fish; and the southern half is covered by savanna. It is in the villages of this southern area that the most highly developed political, social, and artistic culture has arisen, as well as the most highly developed political, social, and artistic culture.

  • The dimensions are 27.9 9.5 6.4 cm.
  • 74.66 at the Brooklyn Museum in New York, courtesy of Marcia and John Friede.
  • It is precisely this “nonnaturalistic reality” that separates the art of this region from the art of West Africa.
  • Comparable pieces are also carved in ivory, and in certain occasions, metals such as copper, brass, and iron are also employed.
  • Painting is not often used as a distinct art, but carved items are commonly painted to enhance their appearance.
  • Wooden figurines are hanging on the walls of the huts where ceremonies are performed, which are brilliantly decorated.
  • Wood carvers have copied basketry patterns and, in some cases, container shapes, while textile weavers have included ornamental motifs originating from basketry into their work.
  • Basketry and wood carving shapes, as well as vegetal forms such as the calabash, have had an impact on pottery forms, and classic geometric incised or painted patterns are used to decorate the pots.
  • Female-dominated arts such as pottery and needlework exist alongside male-dominated skills such as sculpting and weaving.

The savanna is divided into three cultural areas: the lower Congo, Kuba, and Luba; the rainforest is divided into three cultural areas: the northern, northeastern, and northwest.

Lower Congo (Kongo) cultural area

It is possible to distinguish three substyles in the lower Congo region: the coastline region, the Kwango River area, and the Teke region. The coastal region is divided into three sections: Throughout the lower Congo area, seated mother-and-child figures may be seen in various locations. The human figure is employed extensively in the embellishment of practically every item produced by the peoples of the lower Congo, ranging from ceremonial artifacts and domestic utensils to pieces of furniture and architectural decorations.

  • A large number of metal sculptures, such as statuettes of Christian saints, are among them, and they are definitely influenced by the Portuguese missionaries.
  • sculpture of a mother and kid Sculpture of a mother and kid made of wood, beads, glass mirror, and metal (possibly) In the Brooklyn Museum in New York, you may see a piece of Kongo culture from the Congo (now the Democratic Republic of the Congo) from the 19th century.
  • Katie Chao captured this image.
  • Woodward Memorial Fund, 22.1138.
  • Woodward Memorial Fund, 22.1138 A more realistic expression may be seen in the ancestor figures and fetishes carved by theKongoand allied peoples who dwell along the coast and in the Mayombé forest, as opposed to the figures carved by peoples from other locations.
  • In contrast to the realistic depiction of the fetishes, although the head is given considerable attention, the arms and legs are stylised, seeming to be of comparable size, and the sex of the figure is frequently not stated.
  • When it comes to thenkongi, which are a set of fetishes that are distinctive of the coast and the Mayombé forest, the majority are human figures.

It is common for nails and other highly pointed metal items to be hammered into the surface of the thenkongifetish to fully cover it; these things serve to commemorate each and every plea made to the spirit housed in it.

These components, known as bilongo, are inserted in a cavity, which is generally in the stomach of the figure, but can also be in the back or the head.

Those who practice magic think that the magical components endow the fetish figure with power and enable the devotee to communicate with the spirit (nkisi).

Katie Chao captured this image.

Daniel and Marian Malcolm, Laura G.

Ross, Jeffrey B.

Wall Family, Dr.

Sidney G.

(2008.30) A wooden pot lid carved with graphic tales portraying proverbs is another artefact that is typical to the lower Congo area and is manufactured mostly by coastal peoples, particularly the Woyo.

The pot lid, which was used to cover the meal served by a wife to her husband, represents a specific complaint about their marital relationship—for example, a wife’s dissatisfaction with her husband; when that lid was used, the husband was forced to discuss and resolve the problem publicly with the assistance of mealtime witnesses.

The Yaka, the Suku, the Mbala, and the Pende are indigenous peoples who live along the Kwango River and whose masks, figures, and other carved artefacts demonstrate a dynamic stylization.

Yaka figurines and masks are distinguished by their prominently turned-up noses.

Tudansimasks, which are worn by young men at their entrance into manhood and which are ornamented with polychrome and raffia collars, are topped with animal motifs and are worn by young men during their introduction into manhood.

rite has a thin face with accentuated cheekbones and a nose that sticks out.

The hembamask of the nearbySuku is eerily similar to the Yakatudansimask, with only a little difference in grotesqueness.

There are three main sorts of faces on Mbala figures: elongated faces, broad faces, and lozenge-shaped faces.

Compared to other figures in the Congo region, Mbala mother-and-child figures are considerably more forcefully stiff in their design.

Pende masks are compact and fit over the head in a helmet-like fashion, similar to the Yaka.

These masks are worn during the humorous entertainments that are performed during the festivities.

The masks are made of raffia and have facial forms that duplicate that pattern.

The Pende create their figures in a manner that is comparable to that of their masquerade masks.

TheTekepeople dwell on the banks of the Congo River in eastern Congo.

Each figure serves a distinct purpose that is not directly connected to its physical appearance.

The figure is meant to guard the youngster until he or she reaches adolescence.

Intricate geometric forms with linear decoration distinguish the teke figures from other types of figures.

Teke mask is a kind of mask.

Mask of the Teke (Bateke), painted wood, from the Teke tribal territory of the Lower Congo cultural area; on display in the Musee de l’Homme in Paris. The circumference is 34.9 cm. Photograph courtesy of the Musée du Quai Branly (formerly known as the Musée de l’Homme) in Paris, France.

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