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The 16th century bronze plaques from the kingdom of Benin are among the most recognized masterpieces of African art, and yet many details of their commission and installation in the palace in Benin City, Nigeria, are little understood. The Benin Plaques, A 16th Century Imperial Monument is a detailed analysis of a corpus of nearly 850 bronze plaques that were installed in the court of the Benin kingdom at the moment of its greatest political power and geographic reach. By examining European accounts, Benin oral histories, and the physical evidence of the extant plaques, Gunsch is the first to propose an installation pattern for the series.
Over two decades this art historical tour de force has consistently proved the classic introduction to humanity's artistic heritage. From our paleolithic past to our digitised present, every continent and culture is covered in an articulate and well-balanced discussion. In this Seventh Edition, the text has been revised to embrace developments in archaeology and art historical research, while the renowned contemporary art historian Michael Archer has greatly expanded the discussion of the past twenty years, providing a new perspective on the latest developments. The insight, elegance and fluency that the authors bring to their text are complemented by 1458 superb illustrations, half of which are now in colour. These images, together with the numerous maps and architectural plans, have been chosen to represent the most significant chronological, regional and individual styles of artistic expression.
This guide examines America's oldest collection of Benin art, and one of its least published. Ivory, brass, and wooden art from one of the greatest African precolonial states--the only sub-Saharan polity with 500 years of surviving art--are examined through contextual lenses that provide insight into the Ẹdo people's creativity and world view. The guide also considers the collection's specific history and growth, and current plans to repatriate the artworks back to Nigeria's Benin Kingdom. For readers unfamiliar with Benin and its art, this introduces the complexities of the palace, its successive monarchs and chiefs, and interprets metaphorical motifs such as mudfish, leopards, and elephants. Artworks refer to family and court rivalries, as well as the strict court hierarchies that dictated who could use which materials and wear particular regalia. Interactions with the Portuguese in the 15th and 16th centuries, their impact on trade and luxury goods, and their introduction of Catholicism paint a portrait of a society that absorbed only what they found useful and flourished in both war and peace. Original fieldwork illuminates Benin art and culture and previously published archival material provides insight regarding major collectors and individuals who shaped the field of African art history.
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In this holistic approach to the study of textiles and their makers, Colleen Kriger charts the role cotton has played in commercial, community, and labor settings in West Africa. By paying close attention to the details of how people made, exchanged, and wore cotton cloth from before industrialization in Europe to the twentieth century, she is able to demonstrate some of the cultural effects of Africa's long involvement in trading contacts with Muslim societies and with Europe. Cloth in West African History thus offers a fresh perspective on the history of the region and on the local, regional, and global processes that shaped it. A variety of readers will find its account and insights into the African past and culture valuable, and will appreciate the connections made between the local concerns of small-scale weavers in African villages, the emergence of an indigenous textile industry, and its integration into international networks.
What was the "Forest Kingdom" of Benin? -- What was life like in ancient Benin? -- Did children have to go to school in ancient Benin? -- What kind of work did people do in ancient Benin? -- How did people trade goods in ancient Benin? -- What did people do for fun in ancient Benin? -- What religion did people follow in ancient Benin? -- How did the kingdom of Benin end? -- A day at the Igue festival.
This collection of essays examines the history of cotton textiles at a global level over the period 1200-1850. It provides new answers to two questions: what is it about cotton that made it the paradigmatic first global commodity? And second, why did cotton industries in different parts of the world follow different paths of development?
A fascinating account of the trade patterns and consumption practices that arose following European colonisation of the Atlantic world. Focusing on textiles and clothing, Robert DuPlessis reveals how globally sourced goods shaped the material existence of virtually every group in the Atlantic basin during the seventeenth and eighteenth centuries.