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Yoruba shrine painting traditions: Color, cosmos, process and aesthetics (Nigeria).

机译:约鲁巴神社的绘画传统:色彩,宇宙,工艺和美学(尼日利亚)。

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摘要

This work focuses on indigenous painting traditions found on ancestral shrines of Yoruba divinities collectively known as orisa in southwestern Nigeria. The devotional activity of orisa painting often enacted in honor and veneration of departed ancestors for healing, empowerment, and transformation continues to find expression today in the creative works of contemporary artists who have been influenced by this enduring traditional art far beyond the shores of Yorubaland.; Beginning with the exploration of orisa imagery using Yoruba oral traditions as the basis of its critical vocabulary, I examine sixteen sacred paintings found in rural and urban centers in Yorubaland. I explore the symbolism of color focusing on the temperament and characters of the orisa. I discuss the materials, processes and aesthetics of the sacred artistry, concluding with an exploration of the contemporary manifestation of orisa imagery in the hands of academically-trained artists, who have adopted the traditional iconography, first as a means of asserting their identity and second as a demonstration of their aversion to economic exploitation and cultural imperialism. The sacred paintings are like "clothing" of the orisa representing "unfinished generative art" in constant need of renewal. I analyze the images, designs, and colors using Yoruba orature, particularly the sacred texts of Ifa, popular songs, folklore, proverbs, and maxims.; The affective qualities of color found on the shrine walls represent a means of veneration and worshiping of departed ancestors. Color employed on orisa murals as well as on wooden sculptures might provide a new touchstone for evaluating African art and suggest a model for the interpretation of other African art objects. Among the Yoruba color makes things happen. This work demonstrates the dynamic ways in which color is consciously applied thereby offering a unique lens for interpretation, grounded in the specific traditions of artistic cultures that might be applicable cross-culturally.
机译:这项工作着重于在约鲁巴神的祖先神or中发现的土著绘画传统,这些神south在尼日利亚西南部被统称为orisa。 Orisa绘画的奉献活动通常是为了纪念和纪念已故祖先以恢复,赋权和改造而进行的,如今在当代艺术家的创作作品中继续体现出来,这些艺术家受到这种远距离约鲁巴兰海岸以外的传统艺术的影响。 ;首先,以约鲁巴语的口头传统作为基础,探索奥里萨形象,然后考察约鲁巴兰农村和城市中心发现的十六幅神圣画作。我着眼于orisa的气质和性格,探索色彩的象征意义。我讨论了神圣艺术的材料,过程和美学,最后探讨了受过传统训练的受过训练的艺术家手中的orisa图像的当代表现,首先是作为一种方法来证明自己的身份,其次以示他们厌恶经济剥削和文化帝国主义。神圣的绘画就像是Orisa的“衣服”,代表着“未完成的生成艺术”,需要不断的更新。我使用约鲁巴语(Yoruba orature)分析图像,设计和颜色,特别是Ifa的神圣文本,流行歌曲,民俗,谚语和格言。在神社墙壁上发现的情感色彩代表了对已故祖先的崇拜和崇拜。 Orisa壁画和木制雕塑上使用的色彩可能为评估非洲艺术提供新的试金石,并为解释其他非洲艺术品提供了模型。在约鲁巴人的色彩之中,事情发生了。这项作品展示了有意识地运用色彩的动态方式,从而为诠释提供了独特的视角,其基础是可能跨文化适用的艺术文化传统。

著录项

  • 作者

    Campbell, Bolaji Victor.;

  • 作者单位

    The University of Wisconsin - Madison.;

  • 授予单位 The University of Wisconsin - Madison.;
  • 学科 Art History.; Anthropology Cultural.; Religion General.
  • 学位 Ph.D.
  • 年度 2001
  • 页码 320 p.
  • 总页数 320
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 艺术史、艺术思想史;人类学;宗教;
  • 关键词

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