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第 1/4 張圖片
Face of the Gods : Art and Atlars of Africa and the African Americas by...
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“Heavy wear/ex-library but still readable”
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結束時間： 2024-08-03 13:03:54
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所在地：Muncie, Indiana, 美國
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估計於 9月26日, 四至 9月28日, 六之間送達 運送地點 43230
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物品細節
- 物品狀況
- 尚可
- 賣家備註
- “Heavy wear/ex-library but still readable”
- ISBN
- 9783791312811
- Book Title
- Face of the Gods : Art and Atlars of Africa and the African Americas
- Publisher
- Prestel Gmbh & Co KG.
- Item Length
- 11.8 in
- Publication Year
- 1993
- Format
- Hardcover
- Language
- English
- Illustrator
- Yes
- Item Height
- 0.6 in
- Genre
- Art, Religion
- Topic
- American / African American, Christian Rituals & Practice / General, Subjects & Themes / Religious, African
- Item Weight
- 20 oz
- Item Width
- 9.1 in
- Number of Pages
- 334 Pages
關於產品
Product Identifiers
Publisher
Prestel Gmbh & Co KG.
ISBN-10
3791312812
ISBN-13
9783791312811
eBay Product ID (ePID)
907198
Product Key Features
Book Title
Face of the Gods : Art and Atlars of Africa and the African Americas
Number of Pages
334 Pages
Language
English
Topic
American / African American, Christian Rituals & Practice / General, Subjects & Themes / Religious, African
Publication Year
1993
Illustrator
Yes
Genre
Art, Religion
Format
Hardcover
Dimensions
Item Height
0.6 in
Item Weight
20 oz
Item Length
11.8 in
Item Width
9.1 in
Additional Product Features
Intended Audience
Trade
LCCN
94-122122
Dewey Edition
20
Dewey Decimal
704/.0396
Synopsis
Robert Farris Thompson, Professor of the History of African and African-American Art at Yale University, has been working on this study of African-Atlantic altars for twenty-five years. Face of the Gods is based on fieldwork in both Africa and the Americas - in Mali, Ghana, Benin, Nigeria, Zaire, the Central African Republic, Angola, Zimbabwe, and South Africa, on the eastern part of the Atlantic, and in Cuba, Haiti, Puerto Rico, Suriname, the United States, Brazil, and Argentina, on the western. The book shows how the Africans and their descendants in the three continents worship not only before points of reverence, foci of sacrifice and prayer, but also, in certain areas, through sacred happening climaxed by possession. In the Afro-Atlantic world the concept "altar" is double: fixed (tree, fire, stone, dais) and moving (ring shouts, dancing, handclapping, circling, ecstasy), leading ultimately to visitation by healing spirits under God. Face of the Gods is an introduction, the first in any language, to a brand-new field in art history: the comparative study of Afro-Atlantic altars. Tracing icons and philosophies in altar-making from major African civilizations to the Americas, the book restores many works of art, long considered in isolation from each other, to their original constellating power. Face of the Gods is richly illustrated with full-color plates. The book opens with the fire altars of the foraging Mbuti, of the Ituri Forest in northeastern Zaire, and of the San, of Namibia. Next it describes minkisi, the extraordinary medicines of God still made in Kongo and the Kongo-influenced civilizations of Central Africa. The minkisi tradition, Thompson shows, traveled intact acrossthe Atlantic. In Havana as in the Bronx, it expands in altars to Afro-Cuban deities such as Sarabanda, its complex symbolic constructions sometimes artfully contained in as small and secret a place as an apartment closet. Likewise derived from Kongo belief are Brazilian tree-altars to the spirit Tempo, as well as altars honoring Indians of the South American interior - the creolized caboclo spirits of Brazil's Umbanda faith. And in the United States, Thompson finds traces of Kongo in everything from recent archeological discoveries to car and motorcycle decor to the myriad forms of traditional black yard art, including bottle trees, memory jugs, and cemetery architecture, all previously most often considered apart from each other. Next, Thompson describes the altar traditions of the Mande/Akan area, touching on archaeological excavations in Mali, the conical clay altars of Upper Volta and Ghana, and the mosque architecture of Mali and Cote d'Ivoire. Above all, he traces the tradition of the flag altar, and its extraordinary transformation among the maroons of Suriname, in northern South America. The largest chapter of Face of the Gods - virtually a book in itself - is an exploration of Yoruba religion and its descendants in the Americas, from Cuba to Brazil to the Bronx and New Jersey. Thompson compares the Nigerian and the American altars to the deities of ancient southwest Nigeria: the clay pillars of the trickster god Eshu, the sacred irons of Ogun, the mortars and axes of the thunder god Shango, and many more - including the altars for the goddesses of the rivers, constructed of found porcelain, which their women makers had charged with appropriative wit centuries before the birthof Duchamp. The beauty and the moral authority of the altars surveyed in this text, from Africa to the Americas, from antiquity to the present, establish Afro-Atlantic faiths as world religious. As Thompson writes, "All this sainted difference is what God wants: as Thomas More noted in Utopia, 'God made different people believe in different things, because He wanted to be worshiped in many different ways.'"
LC Classification Number
NK1085.75.T48 1993
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