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By Pamela Rydzewski, Robert Robinson, E. F. Candlin and D. F. Bratchell (Auth.)

ISBN-10: 0080121365

ISBN-13: 9780080121369

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The sculptures were made of clay, stone, horn and bone with stone tools. For engravings the artists used stone points and scrapers for incising and smoothing the wall; and charcoal or dry colour for drawing. PLATE 4. C o w from Font de Gaume. ) Earth colours, such as red and yellow ochre and brown umber, were bound together with animal fat, mixed on a bone palette and applied to the surface with a blow pipe, or brushes made with reeds or stiff hairs. As most of the animal paintings are in deep caves the artists must have made lamps from hollowed pieces of stone with fat as fuel and dried moss, or something similar, as a wick.

British Museum. AFRICAN TRIBAL SCULPTURE 43 composition. The mask has certain affinities with Cubist work of the twentieth century (Plate 47): in both, details are sharply defined and emphasised as units. There is a balance in the strong projecting forms derived partly from human features and partly from those of a hippopotamus which forms a symmetrical design. The cylinders representing canine teeth are not intended as supports since the sculpture is a cap mask which is worn on top of the head with its face skywards.

There is a fairly widespread belief in a supreme God whose power is so great that in many tribes his name is never mentioned. Most Africans are so awed by the might and remoteness of the supreme God that they make no attempt to have direct contact with him but try to reach him only through lesser gods and spirits. These fall into two main types: gods and spirits representing aspects of nature, and ancestor spirits. The nature gods and spirits have their priests w h o officiate over their rites.

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Art and Human Experience by Pamela Rydzewski, Robert Robinson, E. F. Candlin and D. F. Bratchell (Auth.)


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