|
7001 |
2016-FIC-243 |
Gorget |
Stone gorget with two holes drilled into the middle and a small groove in between the two holes. The gorget is in the shape of an oblong oval with pointed edges. Very smooth exterior.
|
 |
|
7002 |
2016-FIC-244 |
Grooved Axe |
Full grooved axe that appears to be unfinished. Could have been broken in the process of making it. One side has a smooth texture while the other is rough and chipped.
|
|
|
7003 |
2016-FIC-424 |
Celt |
Long celt with rounded edges. There are small chips along the blade of the celt, slightly larger ones on each corner. Smooth in texture closer to the blade yet the rest of the celt is slightly smooth.
|
|
|
7004 |
2016-FIC-425 |
Grooved Axe |
Small part of a blade that was likely broken off of a grooved axe. Uneven and slightly chipped blade. Very smooth in texture, even where the remainder of the axe has been broken off.
|
|
|
7005 |
2016-FIC-426 |
Grooved Axe |
Full grooved axe with a rough texture, yet the groove of the axe is smooth. There is a large chip out of the blade. The head of the axe is small and uneven. There are small pourous holes around the whole texture of the axe.
|
|
|
7006 |
2016-FIC-427 |
Celt |
Very long celt with a rough exterior. There are minor chips in the blade. Very even width throughout.
|
|
|
7007 |
2016-FIC-428 |
Hammerstone |
Waisted hammerstone, one side is completely broken off. Rough in texture except along the groove of the hammerstone which is near the middle. Along with the large break there are smaller imperfections and divots missing around the surface.
|
|
|
7008 |
2016-FIC-429 |
Stone Ball |
Stone lacrosse ball used to play a game known as stickblass. Palm sized ball with a smooth texture with small scratches along the surface.
|
|
|
7009 |
2016-FIC-430 |
Maul |
Double grooved maul with a slightly rough texture, yet smooth along the groove. Small chips and scratches along the surface. Small porous holes on each end of the maul.
|
|
|
7010 |
2016-FIC-431 |
Hammerstone |
Waisted hammerstone, half has been completely broken off. Rough in texture except along the groove of the hammerstone which is near the middle. Along with being completely broken off there is a large piece of one end of the hammerstone that has been broken off as well.
|
|
|
7011 |
2016-FIC-432 |
Scraper |
Stone hafted end scraper with a smooth yet flaked texture. There is a slight curvature that gives it a more natural feel when you're holding it. The blade of the scraper is still fairly sharp.
|
|
|
7012 |
2016-FIC-433 |
Gouge |
Possibly part of Robert Frisby's Canadian collection. Stone gouge with a very smooth exterior. There are small chips on the top while the bottom, the blade, is still pretty sharp. The gouge was used to smooth out logs to make canoes.
|
|
|
7013 |
2016-FIC-434 |
Chunkey Stone |
Chunkey stone with smooth exterior, slightly chipped in the middle of the stone on each side. Each side lays perfectly flat and there is an almost perfect circular border around the bowl like depression. The object itself is a nearly perfect circle.
|
|
|
7014 |
2016-FIC-435 |
Maul |
3/4 grooved maul that's rough in texture yet smooth along the groove. One one side of the groove it is more round that the other side. The other side is more glat then gradually rounds off.
|
|
|
7015 |
2016-FIC-436 |
Hammerstone |
Full grooved hammerstone that's mostly smooth in texture. Large sections broken off, rough in the broken areas. Along with the larger missing pieces there are small scrapes and chips across the surface.
|
|
|
7016 |
2016-FIC-437 |
Burnishing Stone |
Burnishing stone, very smooth. Used in the pottery process to smooth and polish out pottery. Oval shape and palm sized that is slightly concave from use.
|
|
|
7017 |
2016-FIC-438 |
Celt |
Small celt with a consistent width throughout. One side is sharpened, while the other side is rounded. There are several small chips in the blade as well as the other end of the celt.
|
|
|
7018 |
2016-FIC-439 |
Celt |
Flared celt with small chips around each edge. Triangular shape with a smooth texture and slightly rough near the chips. Visible scrapes where is has been polished.
|
|
|
7019 |
2016-FIC-441 |
Hammerstone |
Large hammerstone that looks as if there was a groove added to a large stone. There looks to be no further change to the stone to further make it into a hammerstone. Very rough texture since there was no polishing of the rock to round it out.
|
|
|
7020 |
2016-FIC-442 |
Grooved Axe |
Grooved axe that appears to have had the back broken off. The blade has also been broken off extending onto one face. There is a discoloration on the head of the axe where it is black instead of brown like the rest of the axe. The entire axe is rough in texture.
|
|
|
7021 |
2016-FIC-443 |
Grooved Axe |
Small full grovved axe with a smoothe exterior yet the head fo the axe is slightly rough. The blade of the axe is still somewhat smooth but there are a few small chips along the blade. The groove of the axe is towards the middle of the axe, and the face of the axe is very small.
|
|
|
7022 |
2016-FIC-444 |
Pendant |
Stone pendant with the top portion broken. Very smooth in texture, especially where a hole has been drilledinto the stone to make it a pendant. The shape of the pendant is slightly wider at the top and gradually thinning out and the bottow is completely flat. There are small scratches and chips along the sides and bottom of the pendant.
|
|
|
7023 |
2016-FIC-445 |
Grooved Axe |
Smooth exterior, broken grooved axe. The blade remains but the rest of the axe was broken off leaving a rough texture. There are small scratch marks, possibly from smoothing the object. The blade has small chips and scratches from use.
|
|
|
7024 |
2016-FIC-446 |
Celt |
Smooth exterior with small scratches from being polished. Uneven, yet smooth sides and back. The blade has small chips along the edge from use.
|
|
|
7025 |
2016-FIC-447 |
Celt |
Celt with a rough texture, has only been polished enough to shape the celt and not fully to give is a perfectly smooth texture. There is a large chip among smaller chips along the blade of the celt.
|
|
|
7026 |
2016-FIC-448 |
Celt |
Celt with a smooth texture and chips along the edges leaving a rough texture behind. Many small chips along the blade with one larger chip from use.
|
|
|
7027 |
2016.17.0039 |
Grooved Axe |
3/4 grooved axe, very smooth. One face of the axe is a lighter shade than the other. There are small scratches all around the object. The blade of the axe has small chips but is overall still sharp.
|
|
|
7028 |
2017-1-1 |
Gourd |
Hollow gourd meant to hold lime (calcium oxide). Stopper made of rolled leaf and bone/tusk.
|
 |
|
7029 |
2017-1-3 |
Figure |
Hand carved Ganesh figure. Made out of wood with a felt bottom.
|
 |
|
7030 |
2017-1-4 |
Mask |
Japanese good luck mask with two red tassels at the corners of the mouth. The face is smiling and winking.
|
 |
|
7031 |
2017-1-5 |
Mask |
Oval Japanese "good luck" mask, depicted smiling. Plant fibers create a beard 18 cm long.
|
 |
|
7032 |
2017-1-6 |
Board |
Facsimile of a Rongorongo board. Three figures are on one half of the surface and rongorongo writing on the other half.
|
 |
|
7033 |
2017-1-7 |
Painting |
Native African folk art. Cardboard backing on linen held with assorted pins and nails. Acrylic paint with artist's signature in bottom right corner.
|
 |
|
7034 |
2017-1-12A |
Tapa |
Tapa cloth with card backing (A). Description, preparation, and decoration on in English and French. (B)
Removed from packaging and seperated into objects A+B on 6/3/19 for better protection of objects.
|
 |
|
7035 |
2017-1-12B |
Addendum |
Tapa cloth with card backing (A). Description, preparation, and decoration on in English and French. (B)
Removed from packaging and seperated into objects A+B on 6/3/19 for better protection of objects.
|
|
|
7036 |
2017-17-1 |
Walking Stick |
A walking stick with a leather covering and a metal tip. Two circles of brown fur and one of red cover the shaft. A leather wristlet is attached to the top. |
|
|
7037 |
2017-17-2 |
Walking Stick |
A walking stick with a leather covering. One circle of brown fur, one of red fur and one of white fur cover the shaft. A leather wristlet is attached to the top. |
|
|
7038 |
2017-17-3 |
Bow |
A wooden bow covered in leather with black and white sting in a woven design above and below the grip.
|
|
|
7039 |
2017-17-4A |
Quiver |
A brown leather quiver covered in hide with a leather strap.
|
|
|
7040 |
2017-17-4B |
Arrow |
A reed arrow with a barbed metal head.
|
|
|
7041 |
2017-17-4C |
Arrow |
A reed arrow with a barbed metal head.
|
|
|
7042 |
2017-17-4D |
Arrow |
A reed arrow with a barbed metal head.
|
|
|
7043 |
2017-17-4E |
Arrow |
A reed arrow with a barbed metal head.
|
|
|
7044 |
2017-17-5 |
Pipe |
A clay pipe with a long wooden stem. A leather wrapping on the top and lower middle of the stem.
|
|
|
7045 |
2017-17-9 |
Fly Whisk |
A fly whisk made of brown, black, and white leather. White and light grey colored hair on one end and a leather wristlet on the other end.
|
|
|
7046 |
2017-17-10 |
Fly Whisk |
A fly whisk made of brown, black, and white leather. White and brown hair on one end and a leather wristlet on the other end.
|
|
|
7047 |
2017-17-12 |
Jug |
A water jug with two spouts and a handle in between them. Made of clay stained red.
|
 |
|
7048 |
2017-17-15 |
Drumstick |
A carved wooden drumstick with a leather tension strip.
|
|
|
7049 |
2017-17-16A |
Flag |
A small Ghana flag made of paper and a wooden stick.
|
|
|
7050 |
2017-17-16B |
Flag |
A Ghana flag made of fabric and a wooden stick.
|
|
|
7051 |
2017-17-16C |
Flag |
A Ghana flag made of fabric and a wooden stick.
|
|
|
7052 |
2017-17-17 |
Ladle |
A carved ladle made from half a gourd. Black pigment is etched on its surface. Design of lizard on back of handle, back of scoop has checkerboard pattern
|
|
|
7053 |
2017-17-18 |
Ladle |
A carved ladle made from half a gourd. Black pigment is etched on its surface.
|
|
|
7054 |
2017-17-19 |
Knife |
An iron knife with a curved blade and a carved wooden handle.
|
|
|
7055 |
2017-17-20 |
Spearhead |
A barbed spearhead made of hammered iron.
|
|
|
7056 |
2017-18-1 |
Pot, Sherds |
Cord roughened ceramic pot sherds recovered in 2016 when Two Rivers Archaelogy LLC completed an archaeological survey for a proposed bridge replacement located in Black Hawk County, Iowa. During this survey, the team discovered the partial remains of a single Late Woodland period (AD 650-1200) ceramic vessel. This vessel is an excellent example of cord-decorated pottery typed as Madison Cord/Fabric Impressed, which is a hallmark of the Keyes Phase of the Effigy Mound Tradition in northeast Iowa. A sample of carbonized food residue collected from the interior surface of the ceramic vessel yielded a convental radiocarbon age estimate of 1430 (+- 30 years) before the present. The rim of the vessel was assembled before it was donated to the UNI Museum.
|
|
|
7057 |
2017-18-2 |
Lithic |
Chipped-stone biface or knife-like tool recovered in 2016 when Two Rivers Archaelogy LLC completed an archaeological survey for a proposed bridge replacement located in Black Hawk County, Iowa. During this survey, the team discovered this biface in a test hole 40 cm below the surface. It is believed to be dated somewhere between 4,000 - 500 years before the present.
|
|
|
7058 |
2017-18-3 |
Lithic, Chip |
Chip-stone artifact recovered in 2016 when Two Rivers Archaelogy LLC completed an archaeological survey for a proposed bridge replacement located in Black Hawk County, Iowa. During this survey, the team discovered this chip among the partial remains of a single Late Woodland period (AD 650-1200) ceramic vessel.
|
|
|
7059 |
2017-18-4 |
Lithic, Chip |
Chip-stone artifact recovered in 2016 when Two Rivers Archaelogy LLC completed an archaeological survey for a proposed bridge replacement located in Black Hawk County, Iowa. During this survey, the team discovered this chip among the partial remains of a single Late Woodland period (AD 650-1200) ceramic vessel.
|
|
|
7060 |
2017-18-5 |
Lithic, Chip |
Chip-stone artifact recovered in 2016 when Two Rivers Archaelogy LLC completed an archaeological survey for a proposed bridge replacement located in Black Hawk County, Iowa. During this survey, the team discovered this chip among the partial remains of a single Late Woodland period (AD 650-1200) ceramic vessel.
|
|
|
7061 |
2017-26-1 |
Sculpture |
Sukuma Female ancestor figure, Tanzania. The cylindrical shaped Sukuma sculpture portrays an extremly long-legged standing nude female constructed of wood. Her painted body displays full breasts and extended belly and a curved back. A spherical head with simplified facial features with deeply hollowed eyes, features unsmiling open lips and a displey carved teeth. Circular scarification with decending vertical line, decorate the figure's forehead, cheeks, and abdomen. A hole is present in the top of the head. The figure holds her hands upon her belly, in a relaxed pose.
|
 |
|
7062 |
2017-26-2 |
Sculpture |
The male complement to the female Sukuma figural sculpture portrays a standing figure constructed of wood. Posed in the same position , the painted figure also sports a spherical head with simplified facial features including an unsmiling mouth displaying carved teeth. The figure's forehead is adorned with a circular scarification, and a hole is present in the top of the head. Rusted sheet metal and metal tacks have been utilized to repair the left arm; the figure is missing the frontal portion of his proper left foot.
|
 |
|
7063 |
2017-26-3 |
Sculpture |
The complement to the male Sukuma figure has been decorated with two clothcovered stuffed circular attachments atop her head with beaded details. The figure has metal eyes, vertical scarification at the center of forehead, and three holes in each of her hands.
|
 |
|
7064 |
2017-26-4 |
Sculpture |
The carved wood Sukuma male figure has been decorated with cloth-covered stuffed circular attachments at the top of his head with a ring of beads. The figure has metal eyes, and a scalloped line of seven inset circles along his chest. Each hand has been adorned with three holes.
|
 |
|
7065 |
2017-26-5 |
Stool |
The round based, dark wooden Luba chief's ceremonial stool is representative of the people of the tribe figuratively and literally supporting the leader through the depiction of both male and female figures supporting the round seat. Carved from a single log, the stool portrays a father and mother ancestor figures back-to-back standing on a circular from, which comprised the central plinth support shape of the stool. The mother figure, with a hairstyle on the back of the head and a diamond-shaped scarification patterns decorating her stomach and torso, raises only one hand in support of the seat, using her left arm to support a suckling babe. The male figure, with a carved beard, raises both hands, palms outward towards the viewer, and supporting the seat on his elongated fingertips. Both figures present slightly bent knees, as if demonstrating that they are holding something of great weight, and stylized rectangle-shaped feet. Shows very old, shiny usage patina.
|
|
|
7066 |
2017-26-6 |
Female Caryatid Stool |
The round based, dark brown painated femal caryatid chief stool depicts a kneeling nude female figure that makes reference to matrilineal dynastic succession. The seat of this royal Luba stool is supported by the female figure that balances it on her head and the tips of her elongated fingers. Her small, ample body is detailed with elaborate scarification markings on the face, abdomen, and back that were regarded to enhance a woman's body as signs of beauty and civilization. The maker favors the use of solid volumes and combines elegance and balance to portray the power and stability of the female figure. Three wristbands decorate each of her enlarged arms, and her donward pointing breasts leads the viewers eye to the beautiful scarifications that ornament the belly. Her elongated hairstyle provides visual balance when observing the stool from either side, sweeping backward from her head. With few abstract traits the maker manages to give a stiocal expression to the face and slit eyes.
|
 |
|
7067 |
2017-26-7A |
Drum |
The cylindrical kyondo (slit drum or gong) in the form of a female from Luba in the Republic of Congo is carved from wood. The slit drum is an idiophone drum, made from a hollowed piece of wood in which a narrow groove serves as a sound opening. These rare and important figures are used in divination rituals, when their bowl shaped cavities are filled with magic materials. Slit drums of wood are not used by tribes in south-west Congo as musical instruments for entertainment and dancing, but instead exclusively for rythmic accompaniment during sacred rites (initiation, burial, healing the sick, etc.). The slit drum is struck with a stick along both sides of the narrow groove, which produces two different pitches. The possibility of combining rhythm with pitch enables the slit drum to act as a means of communication for tone language of the tribes.
|
 |
|
7068 |
2017-26-7B |
Stricking Baton |
Wooden Striking baton for a Luba slit drum.
|
 |
|
7069 |
2017-26-8 |
Pipe |
The Luba pipe carved from a calabash is ornamented with two smaller human heads, which are facing up toward a kneeling taller female figure. The extensions to the calabash have been attatched with reeds to the sides and top of the gourd. The two small heads take on the appearance of stoppers, and the kneeling female figure, in the typical style of the Luba, is secured onto the calabash carved out of hardwood and displays, on the stomach and the back, the typical form of the tribal scarification markings; her hands rest on her exposed breasts and her eyes are closed. The maker has ornamented her hair in protruding circular shapes.
|
|
|
7070 |
2017-26-9 |
Pipe |
The Luba is carved from a single calabash, bottle gourd. Three-quarter female figure with splayed breasts embellishes the stem of the pipe; she wears a complex coiffure that is adjoined with the stem of the pipe by fiber wrapping. Her body is adorned with horizontal scarification. A single bowl protrudes from the front of the bulbous calabash body.
|
 |
|
7071 |
2017-26-10 |
Luba Lance |
The three-dimensional carved Luba lance is distinguished by the beauty of a feminine head and figure; as such it often takes on the feminine reference of "she" whenever its referred to. Rising upward from the transition between the stem coated with copper strips wound in spiral, and the dibulu palette decorated with deeply engraved geometric patterns, the prestige figure is posed with her hands resting atop her breasts, symbolizing fertility. Emerging in high relief, the face presents a delicacy of the features and elegance of the high forehead. A graduated trapezoidal form rises from the top of her head, and is topped with a short cylinder. Metal attachment is hypothesized to have formerly held a whisk.
|
 |
|
7072 |
2017-26-11 |
Spear |
The three -dimentional carved Luba lance is meticulously ornamented with carved wood and metal appurtenances. A dual-sided face is centered on the shaft of the object, the visages rubbed smooth from years of use. Each oval face depicts closed eyes and unsmiling pulpy lips; the rubbings have enhanced the contract between the dark abd light patina. Each head is wrapped, exposing the high foreheads. Tightly wrapped rings of copper decorate the vertical length of the staff, which is truncated with a short spear point on one end, and a larger, javelin-like point upon the lower end.
|
 |
|
7073 |
2017-26-12 |
Mask |
Originating from the Ivory Coast, the Dan monkey mask, known as a Kaogle, is constructed of wood with fiber. The mask is characterized by deeply set triangular eyeholes; a low, prominent forehead, triangular distended cheekbones, and an angular protruding lower jaw. The corners of the mouth hang exaggeratedly dowwards. Harmoniously composed by the voluminous forehead and the tension created by the frontal ridge and the mouth, the great balance and expression point to the highest requirements of the Dan art dedicated to beauty.The multiple layers of holes around the perimeter are an illustration of the long use, as is the patina of the wood. The Dan monkey mask is among the more primitive examples of the northern Dan style. A woven cord is attached to the reverse.
|
 |
|
7074 |
2017-26-14 |
Lega Mask |
The wood and fiber Bwami mask combines the strength and sensitivity of the jewels of Laga art. The mask is oval in shape and displays all the typical features of the Lega style. It is carved from very light-colored and lightweight wood. Typical of the Lega is the heart-shaped face, concave in form, the characteristics slit eyes, the long, narrow nose and the small mouth. The face portion is depicted with white coloring with kaolin clay in the shape of a heart. The edge of the white heart-shaped face is marked by a continuous goroove. The outer edge of the mask, including the forehead and the top of the head , are dyed a contrasting blackish brown and surrounded by a fringe made of bast fibers that is attached to the perimeter of the head. Inside of the mask on the reverse is also dyed brown.
|
 |
|
7075 |
2017-26-15 |
Lega Mask |
The wood and fiber Bwami mask combines the strength and sensitivity of the jewels of Laga art. The mask is oval in shape and displays all the typical features of the Lega style. It is carved from very light-colored and lightweight wood. Miniscule slit eyes flank the long, narrow black nose and the small open mouth. The face portion is depicted with white coloring with kaolin clay in the shape of a heart. The edge of the white heart-shaped face is marked by a continuous goroove. The outer edge of the mask, including the forehead and the top of the head , are dyed a contrasting blackish brown. A 'beard' made of aged bast fibers, which is already brittle, is attached to the edges surrounding the face. Inside of the mask on the reverse is also dyed brown.
|
 |
|
7076 |
2017-26-16 |
Holo-Holo Mask |
The mixed media Holo-Holo mask, likely used for male initiation ceremonies is constructed of wood, polychrome pigment and fiber. The subject figure portrays a broad triangular-shaped human face with slit eyes, long sharp nose and small open mouth with protruding lips. The object is adorned with dense feather ornamentation on the crown of the head above the circlet of carved hair set back high on the forehead, and an abundant grass fiber cuff. The face is rubbed with a red clay pigment and dark pigmented carved hair is implied atop the head crown. The dense beard cuff of fiber hangs from the lower half of the face, and the halo of feathers radiates from behined the upper half of the mask asymmetrically.
|
 |
|
7077 |
2017-26-17 |
Holo-Holo Mask |
The wooden bird-like Holo-Holo mask is an elaborate example of the craft. A kaolin and blue-pigmented bird face with round eyes and a long, pointed beak forms the focal point of the mask. Beneath a handle, dark, paintedcanvas has been stretched over a cane support, which protrudes from the back of the bird's face. Long raffia fiber sttachments hang from the edges of the mask.
|
 |
|
7078 |
2017-26-18 |
Fish Headdress |
The black patinted carved wood Ijaw headdress depicts a water deity in the form of a catfish. In characteristic style, the masquerade headpiece is designed for the principle features to face the sky so they are visible to spectators when the dancer bends forward. The Niger Delta fish, an important staple in the day-to-day life of the Ijaw, is depicted with smooth skin and almond-shaped stylized eyes. Open-mouthed, the short-finned and dense bodied fish appears to glide through the water at speed; the fins are made of inserted wooden blades.
|
 |
|
7079 |
2017-26-19 |
Dogon Figures |
The encrusted wooden Dogon sculpture depicts two African nude seated figures on a stool. The sculpture offers eloquent expression to the shared and symmetrical responsibilities of men and women in Dogon society. The visual commentary presents virtually identical forms of the male and female protagonists in their subtly distinctive roles. The two figures share eloquent, lifelike, and repeated elongated vertical elements with vary few differences.
|
 |
|
7080 |
2017-26-20 |
Guardian Figure |
The wooden Fang reliquary figure depicts a standing male guardian. Looking straight ahead with convex attached metal eyes; his mouth opens under the bulbous nose, created a stunned expression on his otherwise expressionless face. The wide-eyed stare also lends infantile quality to the ancestral likeness that would have been appreciated by the Fang.
|
 |
|
7081 |
2017-26-21 |
Reliquary Head |
The encrusted wooden Fang Byeri reliquary head was made to sit with its neck inserted into the lid of a bark reliquary box that held the selected remains, most often skull fragments, of an honored ancestor; the container was seen as the torso completed the head positioned at the summit. Never intended to depict individuals, the maker captures only the "essence" of a living being.
|
 |
|
7082 |
2017-26-22 |
Idoma Mask |
The large oval wooden Idoma mask is carved of lightweight wood and displays underpinning umber and black color, decorated with white, as is common in Ibo masks. The object, worn for funerals and representing a spirit, depicts an amorphic face with a large 'laughing' mouth with one row of inserted wooden teeth carved from one piece of wood on the top. Round, prominent ears adorn side of the head and a wide nose centers the face on the forehead, between the outlined, crescent eyes. The figure's visage has been patinated with a deep black pigment, while white circles frame each eye, and while line runs vertically along the figure's forehead; red and black horizontal lines are centered in the white eye-rings, just above the mask's eye slits. A carved crosshatched coiffure decorated the top of the figure's head; a beard of hide and fur affixed with pegs forms a beard along his jaw.
|
 |
|
7083 |
2017-26-23 |
Igbo Headdress |
The wooden Igbo helmet mask is pigmented and carved to be evocative of an elephant spirit of zoomorphic form. A trunk-like appendage with a single hole ar the lower portion projects from the mask's forehead, between the two white-painted eyes and stops approximentely one-half way down the front of the mask. A white blaze beneath the trunk dissects the frontal portion of the mask to the bottom edge, providing contrast to the dark blotchy pigment that embellishes the majority of the visage. White paint surrounds the mouth opening at the base of the mask, and decorates the pair of tusks protrusions that emerge from the lower edge of the headdress. The mask would have been worn during a dance by men at agricultural festivals and funerals of prominent members of the village.
|
 |
|
7084 |
2017-26-24 |
Bamileke MU'po Figure |
The Bamileke mu'po figure depicts a genderless prestige figure, presumed to be a female squatting atop a circular shape attached to a tapering plinth. Carved out of dark wood and covered with a black layer of pigment, the figure has a high brow, elongated facial features, broad nose, and deep-set round eyes, and an expectant protruding belly that is adorned with a circle at its apex, perhaps symbolic of a magical charge.
|
 |
|
7085 |
2017-26-25 |
Dance Crest |
The typical dance crest of the Budja, is constructed of Congo wood and plant fibers, in characteristic, abstract form. The elaborate headdress is comprised of a narrow, bonnet-shaped wickerwork crest, coated with plant fiber on the outside, crowned by a braod-shaped wooden crest with abstract curved contours, represents a mythical animal, perhaps a bird.
|
 |
|
7086 |
2017-39-1 |
Basket |
Sudanese (Nubian) basket that was purchased by Fanny Scott Rumely around 1903 and was carried down the Nile during her travels. She had a scrapbook and notes about her trip that currently reside at the Lilly Library at Indiana University.
|
 |
|
7087 |
2018-24-1 |
Appliqué |
Hmong Paj Ntaub textile art (flower cloth).
|
 |
|
7088 |
2018-24-2 |
Appliqué |
Hmong Paj Ntaub textile art (flower cloth).
|
 |
|
7089 |
2018-24-3 |
Appliqué |
Hmong Paj Ntaub textile art (flower cloth).
|
 |
|
7090 |
2018-24-4 |
Appliqué |
Hmong Paj Ntaub textile art (flower cloth).
|
 |
|
7091 |
2018-24-5 |
Appliqué |
Hmong Paj Ntaub textile art (flower cloth).
|
 |
|
7092 |
2018-24-6 |
Appliqué |
Hmong Paj Ntaub textile art (flower cloth).
|
 |
|
7093 |
2018-24-7 |
Appliqué |
Hmong Star Pattern Applique
|
 |
|
7094 |
2018-24-8 |
Appliqué |
Hmong Paj Ntaub textile art (flower cloth).
|
 |
|
7095 |
2018-24-9 |
Appliqué |
Hmong Paj Ntaub textile art (flower cloth).
|
 |
|
7096 |
2018-24-10 |
Appliqué |
Hmong Paj Ntaub textile art (flower cloth).
|
 |
|
7097 |
2018-24-11 |
Appliqué |
Hmong Paj Ntaub textile art (flower cloth).
|
 |
|
7098 |
2018-24-12 |
Appliqué |
Hmong Paj Ntaub textile art (flower cloth).
|
 |
|
7099 |
2018-24-13 |
Appliqué |
Hmong Paj Ntaub textile art (flower cloth).
|
 |
|
7100 |
2018-24-14 |
Appliqué |
Hmong Paj Ntaub textile art (flower cloth).
|
 |
