How to look at African arts.
Hazan| N° d'inventaire | 25714 |
| Format | 13.5 x 20 |
| Détails | 384 p., numerous color illustrations, paperback. |
| Publication | Paris, 2017 |
| Etat | Nine |
| ISBN | 9782754110051 |
“Hazan Guides” Collection.
Arts guides become Hazan guides!
Dealing with African art on the scale of the black continent in its variety and specificities, and in the spirit of the "Guide to the Arts" collection, this book invites you on a journey in four stages.
In the first part, which retraces the major periods of African civilizations, we discover that these arts sometimes date back thousands of years, such as these terracottas unearthed from Mali or Nigeria.
Secondly, we realize that in Africa, the so-called "minor" arts have often created the conditions for a major art, and that it is right to put ritual and everyday objects on the same level, since pieces described as utilitarian in the West have, in Africa, a ritual dimension, and that the apparently most humble creations are often the strongest on the aesthetic level.
A third part identifies the major categories of decorations and stylistic forms based on key works, to show that these objects play multiple roles, from the most sacred to the most profane.
Finally, it will be a matter of accomplishing an immense geographical journey, to discover that African creation is immensely varied, and that, perhaps more than in the West, the plastic solutions have been innumerable and each time unexpected depending on the geo-cultural areas.
“Hazan Guides” Collection.
Arts guides become Hazan guides!
Dealing with African art on the scale of the black continent in its variety and specificities, and in the spirit of the "Guide to the Arts" collection, this book invites you on a journey in four stages.
In the first part, which retraces the major periods of African civilizations, we discover that these arts sometimes date back thousands of years, such as these terracottas unearthed from Mali or Nigeria.
Secondly, we realize that in Africa, the so-called "minor" arts have often created the conditions for a major art, and that it is right to put ritual and everyday objects on the same level, since pieces described as utilitarian in the West have, in Africa, a ritual dimension, and that the apparently most humble creations are often the strongest on the aesthetic level.
A third part identifies the major categories of decorations and stylistic forms based on key works, to show that these objects play multiple roles, from the most sacred to the most profane.
Finally, it will be a matter of accomplishing an immense geographical journey, to discover that African creation is immensely varied, and that, perhaps more than in the West, the plastic solutions have been innumerable and each time unexpected depending on the geo-cultural areas.