African And Pacific Art

• Material: Coursed granite blocks, no mortar (ashlar masonry)

• Walls taper toward top, 36 ft tall, solid turrets (male/female symbolism)

• Large circular enclosure with smaller inner walls, incorporates natural cave

• Structure looks like a fort but was residential/temple

• Smooth, uniform stones inside, natural elements integrated

Conical Tower and Circular Wall of Great Zimbabwe

• Material: Adobe (mudbrick) with rice husks, 2-ft thick walls

• Large, rectangular mosque on raised platform (~10 ft)

• Vertically engaged pilasters, spike-like minarets, wooden torons (scaffolding)

• Ostrich eggs on roof, courtyard and madrasa, ventilation via roof

• Annual community plastering, keeps interior cool, east-facing

Great Mosque of Djenne

• Material: Cast brass, shiny gold color

• Oba in center, hierarchical scale, four attendants, 3 smaller figures

• Figures wear beaded coral necklaces, headdresses

• Symmetrical composition, large heads, Portuguese traders depicted

• Horses included (non-native), floral/Christian cross motifs

Wall Plaque from Oba’s Palace

• Material: Wood covered in gold, cast-gold attachments

• No one sits on it, raised for king ceremonies

• Small, low stool shape with ornate gold covering

• Symbol of Ashanti unity and divine blessing

Golden Stool

• Material: Wood, ~2 ft tall

• Cross-legged figure on platform, serene expression

• Head ⅓ of body (canon), symbolic “ibol” drum in hands

• Stylized, not individualized, smooth surface, dignified posture

Ndop (Portrait Figure) of King Mishe miShyaang maMbul

• Material: Wood with embedded nails, blades, or glass shards

• Anthropomorphic figure, upright posture

• Eyes often inlaid with shells, medicine/ritual “gland” in torso

• Used to activate spiritual power, nails driven into it

Power Figure

• Material: Wood, fiber, pigment, metal

• Symmetrical, idealized female face, tapered chin

• Fiber hair in traditional style, eyes closed/barley open

• White powder (Kaolin) around eyes, spiritual/subtle scarification

Female (Pwo) Mask

• Material: Tapered wood, beads, shells, metal

• Small handheld board, raised bead patterns

• Beads represent history/events, mnemonic device

• Intricate, colorful, tactile surface

Lukasa (Memory Board)

• Material: Wood, pigment

• Elongated face, high forehead, downcast eyes, slightly open mouth

• Subtly asymmetrical, smooth surface, crown decoration

• Represents specific person, meant for dance/performance

Portrait Mask (Mblo) for Moya Yanso

• Material: Wood, cloth, fiber

• Smooth, rounded wooden mask for top of head

• Coiffure detailed, high forehead, neck rolls

• Fibers cover face and shoulders, closed/tight-lipped mouth

Bundu Mask (Sowei)

• Material: Wood

• Cylindrical body, prominent horns on head

• Abstract or detailed, sometimes with blade in left hand, severed head in right

• Male power representation, ritual object

Ikenga (Shrine Figure)

• Material: Wood, raffia, cloth, beads

• Elephant face with large circular ears

• Bead patterns geometric/abstract, long raffia “trunk” hanging over torso

• Worn in masquerade, paired with elaborate costume

Aka Elephant Mask

• Material: Wood

• Abstract human figure, cylindrical form, largest head proportion

• Clasped hands, closed eyes and mouth, genitalia indicated

Reliquary Figure (Nlo Bieri)

• Material: Wood, pigment

• King seated, wife behind, other figures arranged around

• Exaggerated proportions, open space between figures

• Scarification on queen’s face, dynamic composition, bird crown for queen

Veranda Post: Equestrian Figure and Female Caryatid

• Turtle shell base, wood, fibers, feathers, shells

• Three levels: human face (fiber hair), frigate bird with extended wings, feathers at top

• Simplified face, decorative beard, teeth visible

• Worn as helmet for rituals, transforms wearer into ancestor/hero

Buk Mask

• Wood carved mask, plant fibers, shells, animal hair, natural pigments

• One side shows shaved portion of head

• Represents deceased person; mask worn in ritual dance

• Malagan carvings displayed outside ceremonial house, destroyed afterward

Malagan Display and Tatanua Mask

• Artificial islands of basalt boulders and prismatic columns

• Log-cabin-like construction, walls ~25 ft high

• Canals between islands (“Venice of the Pacific”)

• No carvings/artwork, focus on political/cultural capital

Nan Madol

• Wood (breadfruit), stylized, elongated body, truncated legs

• ~16 in tall, carved breasts and pubic triangle

• Simplified, minimal features, ceremonial function tied to star clusters

Female Deity

• Wood and fiber, curved/diagonal lines = wave swells, straight = currents

• Shells mark islands/landmarks

• Tactile, mnemonic map for navigators, not taken on voyages

• Rebbelib = large-area chart

Navigation Chart

• Volcanic tuff statues on basalt platforms

• 6–65 ft tall, long brow ridge, elongated ears, thin arms, subtle hands

• Pukao (red stone “hats/crowns”) on some heads

• Spiritual “mana,” backs to ocean, carved eyes painted when activated

Moai on Platform (Ahu)

• Feathers (red, yellow, black) woven into fiber netting

• Crescent-shaped motifs (hoaka), symbolic of protection

• Worn by male nobility, ceremonial/battle use

• Dense, colorful featherwork, unique patterns per wearer

Ahu ‘ula (Feather cape)

• Wood core wrapped in tapa (bark cloth), feathers, shells

• Stylized head at top, figures beneath represent descendants

• 12–19 ft tall, phallus at lower end (sometimes broken)

• Paraded horizontally, godly and human ancestral symbolism

Staff God (atu rakay)

• Bark cloth (mulberry), hand-painted freehand motifs

• Geometric/botanical designs in circular patterns

• Soft, flexible material; made by women

• Used for clothing, bedding, and ceremonial display

Hiapo (Tapa)

• Oil on canvas portrait, full figure

• Wears kahu kiwi cloak (feathers), holds Tewhatewha weapon

• Face covered in moko tattoos, long greenstone earring

• Shows power/status, tattoos record personal history

Tamati Waka Nene

• Multimedia: fiber/hibiscus bark cloth mats, costumes, cosmetics

• Ngatu Launima = long geometric patterned cloth

• Women wear masi skirts, carry woven mats, designs of crowns/flowers

• Ceremonial gift presentation, geometric and symbolic designs

Processional welcoming of Queen Elizabeth II to Tonga with Ngatu Launima (tapa)