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1)How has art been viewed in Western culture?
*Western Culture refers to The United States
2)How is art viewed in African culture?
3)What does the term “Aesthetics” mean and how do we apply it when looking at 4)African
Art? Is there an African “aesthetic?”
5)Why is it important to study African Art?
6)Why do you think traditional art history is only now beginning to consider African Art part
of the art historical canon?
In Western culture, particularly in the United States, art has historically been viewed through a lens of art for art's sake. This perspective prioritizes the aesthetic and intellectual experience of a work, often separating it from its functional or ritualistic purpose. The value of art is frequently tied to the individual genius of the artist, the originality of the work, and its ability to be displayed in a museum or private collection. The focus is on unique, non-replicable objects, often created by a single person.
In African culture, the view of art is fundamentally different. Art is generally not created as an independent object for aesthetic contemplation alone. Instead, it is integral to community life and ritual. It serves a clear function within a social, political, or spiritual context. A mask, for instance, is not a static sculpture; its power and meaning are realized only when it is danced in a ceremony. Art is often the creation of a collective or an anonymous master craftsman, and its value is derived from its utility and its role in mediating between the human and spiritual worlds.
The term “aesthetics” refers to a set of principles concerned with the nature and appreciation of beauty. When applied to Western art, it often focuses on formal qualities like composition, color, and form. When we apply this term to African art, our understanding of aesthetics must be broader.
Yes, there is a distinct African "aesthetic," but it is one rooted in function and spiritual vitality rather than just visual appeal. This aesthetic values:
Vitality and Energy: Art is expected to be dynamic and convey spiritual power.
Idealism over Realism: Figures are often stylized, not realistic, to represent an idealized form of humanity or a spiritual being.
Symmetry and Order: A sense of balance and order is often preferred, reflecting a desire for harmony.
Polyrhythm: In performance-based arts like dance and music, multiple rhythmic layers create a complex, engaging whole.
This African aesthetic is an active one; the art's beauty is tied to its effectiveness in fulfilling its purpose.
It is critical to study African art for several reasons:
Expands Art Historical Understanding: It challenges and broadens the traditional, Eurocentric definition of art, introducing concepts like functionality, community-based creation, and the integration of art into daily life.
Provides Historical and Cultural Context: African art is a primary source for understanding the history, belief systems, social structures, and values of the continent's diverse cultures, many of which have rich oral traditions but lack written histories.
Corrects Misconceptions: Studying African art helps to dismantle long-held stereotypes and colonial biases, revealing a rich, sophisticated artistic heritage that has profoundly influenced modern art movements worldwide.
Traditional art history is only now beginning to fully consider African art as part of the art historical canon due to several factors:
Colonial Bias and Ethnocentrism: For centuries, Western scholars viewed African artifacts as ethnographic "curiosities" or anthropological data rather than as fine art. This was a direct result of colonialist perspectives that considered non-Western cultures as primitive.
The "Museum" Model: Western art history is built around the museum and gallery system, which values individual authorship and static display. This model struggled to accommodate African art, which is often communal, performative, and functional.
Absence of Written Records: The lack of a written history in many African cultures meant that oral traditions were overlooked, making it difficult for traditional art historians to apply their established methods of research. The focus on a named, single artist meant that the anonymous, community-based nature of much of African art was seen as less significant. It has taken a significant cultural shift and the work of new generations of scholars to challenge these ingrained biases and create a more inclusive, global art history.