African Sculpture by Ladislas Segy

By Ladislas Segy

163 full-page plates Illustrating mask, fertility figures, ceremonial items, etc., of fifty West and imperative African tribes—95% by no means sooner than illustrated. 34-page advent to African sculpture.
«Mr. Segy is certainly one of its best authorities,» New Yorker.
164 full-page photographic plates.

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20" high. 7. Statue with colored beads. Bambara, French Sudan. 12" high. 8. Hood mask. Bambara (Mopti region), French Sudan. 23" high. / 9. Burial ceremony mask (Walu, the antelope), Dogon, French Sudan. 27" high. 10. Burial ceremony mask (Kanaga, the French Sudan. 12Vfc" high. bird). Dogon, 11. Bird mask, polychromed. Bobo, French Sudan. 13V4" high. Statue representing Ariza, the malevolent high. Region ot Black Volta. 12. V spirit. 13. Statue, representing Arbor, spirit of water. Region ot Black Volta, H a IW high.

This magnificent coordination of content and expression, the incredible organic relationship of sculpture to psy- chological needs, places African sculpture among the great meaning of form and coordination and communicative quality which is our first art traditions. It is the aesthetic quality, the interest in the study of African art. by sheer contemplation of the And work this can be obtained itself. But determining the nature of our aesthetic feelings, satisfying our intellectual background of the artistic object we adan entirely different matter.

Sometimes, as on the Baule mask from the Ivory Coast (Plate 31), the human face is intact, but horns or figures of animals may be placed above it. — customs, — folklore must be studied before the meaning Again, the ethnology of the individual tribe its myths, its its of these features can be fathomed. In general, however, it is safe to say that animal features have a mythological origin. A widely prevalent myth tells that the founding father of a was helped by an animal when he first came to the territory where the tribe now lives.

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