The Artistic Difference Between Djenne and Baule Essay

Introduction

The artistic difference between Djenne and Baule are evident, but they apparently hold special message relating to the ancient cultural believes and practices. To some extent, they display some similarities in the entire context of their work. Through detailed analysis, comparing and contrasting of the two people we will examine their vast time gap between their figurative practices and their unique functionalities.

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The massive number of terracotta models of sepultures whose age can be traced for the last millennium. Most of the sepulture has been discovered around the inland Delta in Niger and regions around Mali. One of the prominent example, is the archer with a quiver near his shoulder. Some of the notable features were the cylindrical figure, the libs, and the torso, another outstanding part is the bulging eyes great years, broad nose oblong head that is set at the angle right on the neck and beyond the protecting mouth that is typical in style. This style is termed as the Djenne style. The name originated from the city of prominence and the approximate historical record around 500 A.D.

Second is the equestrian figure that is featured the same as the Djene style the fantastic look is the style that maps out the cylindrical appearance of the Torso; this again serves as evidence that it was found in anywhere around Jenne, the outlook indicates a horse rider evidence by the

The figure represents a female with incised patterns representing the bracelet around her wrist and also a double strand of beads well positioned on her neck. Amusingly she kneels raising her face slightly upward, a typical pose that is very common with the Djenne statuary.

Upon looking at the earlier catalogue of a collection of African sepulture, professor, Roy was able to note the distinct features linked to the today's practices among the inhabitants of the Niger Delta. Similarly, the interpretation of the kneeling African woman had its own perceived meaning. Some speculations were the way of respect to male relatives while the other one was a manner of adoring God. Therefore the female kneeling connoted a respect feeling by the women; the woman would kneel every moment she was serving men with a bowl full of millet beer. To understand the cultural aspects of the people, it is crucial to interpreting the cultural artifacts with the material culture of the present living generation.

Jenne Kneeling figures

The other pose consists of the kneeling figure additionally her hands are also seen in the in terracottas. From the cultural perspective, the Roy suggest that manner of kneeling is a symbol of humility and due respect. On top of that, it is an expression of the respect the women accord men when they are serving the millet beer to their male relatives. The other perspective is that it is the ancient technique of venerating gods of the abandoned inhabitants of the inland Niger Delta; respect expression was displayed according to the kind of God that was being worshiped at a particular time. According to the De Grunne report, every type of pose was a kind of holy prayer. However, a lot of caution needs to be taken because the narration conducted the analogy from the examples extracted from the terracottas of the Djenne excavations.

Historical interpretation implies one of the Akan people supposed to be inhabitants of the southern part of Ghana, probably the community of Baule Migrated to the western part of their home Ivory Coast.

The sepulture represents the ancient figures thought to give come cultural impression which may have a close correlation with those of Djene. The carving of Baule is significantly the figural sepulture presented is more distinct due to its graceful beauty and more so the virtuously of its sculptures. In particular look the Baule figure is distinctive by the beautiful appearance, in particular, the curving of a woman representing the adobe nature and conformity of the spirit, to whom the sacrifices were made. Beyond, it was a symbolic representation of the spouse of a given individual in the holy dwelling, whose image must have been attended and or venerated.

The Baule sepulture bloro Bla figure spouse

The look of the skillfully curved as well as the wooden sepulture shines out with its beauty implying the critical figure of a woman standing upright and nursing a baby. The sepulture indicates the value attached to the ability of a woman to give birth and perpetuate the generation existence. Her soft hair symbolizes the beauty of life; the outline of her facial look is smooth oval shaped face the head crowned with neat hair arrangement on the head. It is undisputable truth to say that her breast accentuates her great live giving potential of motherhood. The concept of life was therefore highly respected and upheld. On the other hand, the spiritual perspective mattered the most to the African culture; this is mainly the way they adored their gods. In many occasions sacrifices were conducted before the well-featured sepulture of figures characterized by the mother -goddess, one may have the intent of asking why the men models were not considered. The high ideal is that for a ritual purpose only god of life was found. Therefore the value of female figure was enshrined explicitly on the face of the goddess. The beauty of the woman also symbolized beautiful god. The decorated and intricate representation of the model with scarification is indeed what it meant by such a model of the graceful Baule.

In the comparative look at the value and the message links to the importance attached to the figure, there is indeed a perfect similarity. Despite the fact that the two models can be traced from afar distant there is similar life perspective, first is the role and value attached to a woman, the issue of continuity of generation. The purpose of giving birth to children and maintaining the continuity of the production, still the spiritual dimension, in both Djne represents the representation of a woman kneeling connoted respect to worship God; the figure implied the model before whom the sacrifices were made. Similarly, the Djene brings an impression of a beautiful looking woman seemingly nursing the baby, symbolizing the god of life. This represents the way value and honor of god and mostly the image before which sacrifices were made.

Blolo Bian

The existence of Blolo Bian can be traced late in the 20th century. It is another impressive appearance that indicates the figure identified as Blolo Bian meaning the spirit lover of another different world originating from the Ivory Coast. This is a figure with a well-carved piece prepared by some experienced artist. Of importance, the sculptures are usually kept in the personal shrines where individual sacrifices are made with honor and repress and high veneration. In fact, the sacrifices are made in the presence of their real-world spouse. On the other hand, we have an essential figure of a husband reflects the image of a beautiful sculpture of a "male spirit lover" which must be idealized in the realm of "spiritual world." The ideal presentation of the picture is not a photograph but rather accurate reflections of beauty in the moment of his life back to the real world. The recommended ideal of the presence of a loving husband must be impressive and impressive with physical fitness neither old nor young but a clear impression of a healthy appearance of being. Giving careful attention to the look on the head manifests well-curved details of a figure stand with scarification of the head and the mouth as well as the cheeks. Looking at the legs, they have featured adequately with a stand bland set on the foot, the stance of bent knees consistent with the beautiful and aesthetic masculine mixed with sensual promise. The look of the surface appears to have some scars giving an accurate impression of an original figure. It provides an idea of the value attached to the man as robust and healthy aesthetic and masculine, and also the ideal of honor and high respect.

The Baule statuary reflected very elaborate figures well curved as a symbol for spirit spouses. Regarding the Baule mythology, every single adult whether male or female has such kind of spouse reflected while is asleep in a dream. Furthermore, every woman has got her own similar husband

blolo bail meaning the female husband. According to the report, there is a collective dream experience that the spiritual spouse is lovely. The women have bolo ban the religious husband while men have blolo blah the faithful spouse. All the figurines of the sculpture are made for a purpose, and in particular perception, blolo is believed to cause good luck to every associate of the community.

When one is faced with any spiritual distress, he or she is permitted to consult a diviner. The common belief about such a mental disturbance is that probably there is another spirit who wish to be acknowledged, so that can be attributed to a kind of jealousy.in such a case the mind may be ordained to give emotional healing through intervention to the other world of being.

Baule and Djene Figural functions

Among the notable examples of the sepulture from sub-Saharan Africa are terracotta figures. The location of the models is thought to be near the inland of Niger Delta. Located near the place commonly known as Dogon and the Bamana home, in the region, the dominant activity was trade agriculture trade and art. The period is approximated from the beginning of the first millennium up to around 1600 (AD)

Terracotta figures were characterized by the high level of civilization of the ancient man and a woman. It appears in different manifestations some in singular while others are represented by the unique model of attires and poses. The diversity of sepulture represented in different designs implies the composition of distinct cultural heritage and sophistication in the urban life.

The figure is sitting while the back is hunched over and the two arms were clasping on the upraised leg. Also, its head is tilted slightly sideways about the bent knee. The posture evokes a severe attitude which is reinforced by the facial features. Additionally, the bulging eyes are lifted by the protruding mouth, large ears.

The geological analysis done indicates that the objects were purposely made to justify that the figure was exposed to the fire during the thirteenth century. Moreover, other sepulture figures were traced where the artistic men or women models were made implying that the characters were made by hand. The details comprised of the jewelry and other ornaments which perhaps were made or incised.

The models vary both in style and the subject matter indicating that sculptors had the different line of freedom. The understanding of the purpose and meaning of each figure that used to be mounted on the wall of the houses, evidence collected and summarized in the archeological history implies that the statistics were venerated at individual sanctuaries at home. In a different view, some scholars argue that the sitting posture indicated the attitude of mourning. The outlook of the sited poses, the completely shaved head and lack of dress implied grief and horror experience due to misfortune, of the present day similar action is still done especially in the West African region.

Some among the Baule people remains linked to the world of ancestral spirit or the blolo. The interpretation is that the mind is in charge of ever fate that occurs in the world of the living, the divination figures serve as the connection with the spiritual practices. The sepulture is perceived as the idealized value diviners are selected by the spirits for receiving and communicating the essential insights and prevailing human condition, the perfect idealized figure of male and female are meant to chase away the ghosts that appear to cause disturbance to the man...