A kifwebe or bwadi bwa kifwebe is a mask of the Songye or Luba of the Congo.
These masks almost always have streaks (incised or painted) on their surface and they are sometimes round shaped (especially among the Luba). [1] They were used in ceremonies of the Kifwebe secret societies where dances of the same name were performed, and the masks were then dressed with beards of long plant fibres attached to holes on the edges of the mask (Figure A). When these beards were absent (lack of fixing holes on the border of the mask) they were called Kabemba (that means "hawks"). [2]
African art describes modern and historical paintings, sculptures, installations, and other visual culture from native or indigenous Africans and the African continent. The definition may also include the art of the African diasporas, such as African-American, Caribbean or art in South American societies inspired by African traditions. Despite this diversity, there are unifying artistic themes present when considering the totality of the visual culture from the continent of Africa.
The Royal Museum for Central Africa (RMCA), communicating under the name AfricaMuseum since 2018, is an ethnography and natural history museum situated in Tervuren in Flemish Brabant, Belgium, just outside Brussels. It was originally built to showcase King Leopold II's Congo Free State in the International Exposition of 1897.
Nkisi or Nkishi are spirits or an object that a spirit inhabits. It is frequently applied to a variety of objects used throughout the Congo Basin in Central Africa, especially in the Territory of Cabinda that are believed to contain spiritual powers or spirits. The term and its concept have passed with the Atlantic slave trade to the Americas.
Traditional African masks are worn in ceremonies and rituals across West, Central, and Southern Africa. They are used in events such as harvest celebrations, funerals, rites of passage, weddings, and coronations. Some societies also use masks to resolve disputes and conflicts.
The Tellem were the people who inhabited the Bandiagara Escarpment in Mali between the 11th and 16th centuries CE. The Dogon people migrated to the escarpment region around the 14th century. In the rock cells of this red cliff, clay constructions shelter the bones of the Tellem as well as vestiges witnessing to their civilization, which existed well before that of the Dogons.
Most African sculpture was historically in wood and other organic materials that have not survived from earlier than at most a few centuries ago; older pottery figures are found from a number of areas. Masks are important elements in the art of many peoples, along with human figures, often highly stylized. There is a vast variety of styles, often varying within the same context of origin depending on the use of the object, but wide regional trends are apparent; sculpture is most common among "groups of settled cultivators in the areas drained by the Niger and Congo rivers" in West Africa. Direct images of African deities are relatively infrequent, but masks in particular are or were often made for traditional African religious ceremonies; today many are made for tourists as "airport art". African masks were an influence on European Modernist art, which was inspired by their lack of concern for naturalistic depiction.
The Intervention of the Sabine Women is a 1799 painting by the French painter Jacques-Louis David, showing a legendary episode following the abduction of the Sabine women by the founding generation of Rome.
The Songye people, sometimes written Songe, are a Bantu ethnic group from the central Democratic Republic of the Congo. They speak the Songe language. They inhabit a vast territory between the Sankuru/Lulibash river in the west and the Lualaba River in the east. Many Songye villages can be found in present-day East Kasai province, parts of Katanga and Kivu Province. The people of Songye are divided into thirty-four conglomerate societies; each society is led by a single chief with a Judiciary Council of elders and nobles (bilolo). Smaller kingdoms east of the Lomami River refer to themselves as Songye, other kingdoms in the west, refer to themselves as Kalebwe, Eki, Ilande, Bala, Chofwe, Sanga and Tempa. As a society, the people of Songye are mainly known as a farming community; they do, however, take part in hunting and trading with other neighboring communities.
Kwakwaka'wakw art describes the art of the Kwakwaka'wakw peoples of British Columbia. It encompasses a wide variety of woodcarving, sculpture, painting, weaving and dance. Kwakwaka'wakw arts are exemplified in totem poles, masks, wooden carvings, jewelry and woven blankets. Visual arts are defined by simplicity, realism, and artistic emphasis. Dances are observed in the many rituals and ceremonies in Kwakwaka'wakw culture. Much of what is known about Kwakwaka'wakw art comes from oral history, archeological finds in the 19th century, inherited objects, and devoted artists educated in Kwakwaka'wakw traditions.
Daniel P. Biebuyck was a Belgian scholar of Central African art.
The Luba Empire or Kingdom of Luba was a pre-colonial Central African state that arose in the marshy grasslands of the Upemba Depression in what is now southern Democratic Republic of Congo.
The Lulua people are a Bantu ethnic group settled along the Lulua River valley in south central Kasai-Occidental province, Democratic Republic of the Congo. The Lulua are in fact a collection of small groups whose home bordered by the larger Luba state and the related Songye people and Chokwe people, with whom they share a very similar culture, history, and language.
The Hemba people are a Bantu ethnic group in the Democratic Republic of the Congo (DRC).
Walter Percy Day O.B.E. (1878–1965) was a British painter best remembered for his work as a matte artist and special effects technician in the film industry. Professional names include W. Percy Day; Percy Day; "Pop" or "Poppa" Day, owing to his collaboration with sons Arthur George Day (1909–1952) draughtsman, Thomas Sydney Day (1912–1985), stills photographer and cameraman, and stepson, Peter Ellenshaw, who also worked in this field.
Luba art refers to the visual and material culture of the Luba people. Most objects were created by people living along the Lualaba River and around the lakes of the Upemba Depression, or among related peoples to the east in what is now the Democratic Republic of the Congo.
The Judgement of Paris Amphora is an Attic black-figure amphora named for the scene depicted on it. It is held by the Musée des beaux-arts de Lyon with the inventory number E 581-c and is attributed to the London B76 Painter, who was active at Athens in the second quarter of the sixth century BC.
The Suku people or Basuku (plural) are an ethnic group of Bantu origin who traditionally inhabit the south-western Democratic Republic of the Congo and north-western Angola. As of 2017, there are believed to be about 200,000 people who identify as Suku, many living in the Congo's Kwango Province.
The National Museum of Lubumbashi is a museum with core collections in archaeology and ethnography in Lubumbashi, Haut-Katanga Province in the Democratic Republic of the Congo. It was founded in 1946.
Hughes Dubois is a photographer specialized in the photography of artworks.
The Three-Bodied Daemon or the Three-Bodied Monster is an ancient Greek sculpture in typical early Archaic period style, once part of the west pediment of the Hekatompedon temple in the Acropolis of Athens. Today it is housed in the Acropolis Museum in Athens, Greece. It is made of limestone, and it is remarkable for the large amount of colour pigment on it that has survived.