WEEk 2

Week 2 - Assignment: Essay 2

Due: Sun, 13 Jul | Status: Not Completed )

Your response must be 3-4 pgs and in correct essay format. Do not forget to cite your sources and include a bibliography using Chicago Manual Style. Papers should be in Times New Roman 12pt font.All essays must be uploaded to the dropbox by Sunday at Midnight.

Write a 3-4 pg. response for the following reading, “The Myth of Aniconism.” In the response briefly summarize the article, identifying/describing the thesis and argument made by the author(s). Think about the author’s assumptions, intent, attitude, bias, and finally analyze the arguments made by the author. In addition, consider how the content in the article relates to the case studies as well as the material presented in the book.

You will be assessed using the Reading Response Grading Rubric.

Topics in the History of Nonwestern Art

:: Activity

Week 2 - Case Study 1: Islamic Art in Africa

( Due: Sun, 13 Jul | Status: Not Completed )

Islam spread into Africa in the mid-seventh century CE. Between the eighth and ninth centuries, Arab travelers and traders spread the religion from the east coast to the Sudan. Islam is an aniconic religion, meaning Muslims are forbidden from creating or having images of divine beings, prophets, animals or human beings. In Africa, Islamic aesthetics were and still are brought into African visual culture.

African Muslims began building mosques in the ninth century. The Great Mosque in Tunisia (Gardners 13-6) is believed to be the oldest mosque in Africa. In Djenne, Mali is the Great Mosque (Gardners 15-8), which was constructed out of sun-dried mud bricks in the 14th century. The protruding wooden poles on the walls and towers are functional; they support the workers who re-plaster the mosque every spring. The mosque has a qibla, three mihrabs, and three minarets. The Central Mosque (Fig. 1-2) was located in Lagos, Nigeria, but in 1980 a fire destroyed it. The mosque was constructed by Joao Baptist Da Costa, an architect of Yoruba Brazilian descent. The mosque differs from the previously mentioned mosques, as it was done in the Baroque style.

Islam not only impacted African architecture; it also affected African masquerades. The Goboi masquerade, which is part of the Poro society, incorporates miniature Quranic tablets into the dancer’s costume.

http://onlinemedia.rmcad.edu/AH2010/image/AH2010-Fig1-3.jpg

The tablets contain dramatic proclamations such as Ya Allah (Oh God). The Goboi costume illustrates how African material culture and Islam has merged. Poro masks also contain verses from the Quran.

http://onlinemedia.rmcad.edu/AH2010/image/AH2010-1-4.jpg

This Poro mask contains a reference to Chapter 3 of the Quran on the inner surface. The writing is thought to be an amulet, which not only brings protection to the masquerader, but also signifies the dancer possesses secret knowledge. This reinforces the idea that members of the Poro society possess secret knowledge.

Topics in the History of Nonwestern Art

:: Activity

Week 2 - Case Study 2: Sufi Arts in Senegal

( Due: Sun, 13 Jul | Status: Not Completed )

In this case study I will discuss the visual culture of the Mourides, which means disciple. Mouridism is a Sufi movement (a branch of Islam that focuses on the esoteric and mystical meaning of the religion) in Senegal that is centered on the life and teachings of a local saint named Sheikh AmadouBamba; hence, Mourides are disciples of Sheikh AmadouBamba. AmadouBamba was a religious leader and mystic who led a peaceful struggle against French colonialism and acquired a large following due to his pacifism. The Mourides believe images have power, especially images of Sheikh AmadouBamba, which may provide protection, healing, and prosperity. Sometimes Mourides kiss images of Bamba, believing they will receive a blessing. The Mourides treatment of AmadouBamba’s images contradicts the Islamic belief in aniconism.

Images of Sheikh AmadouBamba can be found all throughout Senegal.

http://onlinemedia.rmcad.edu/AH2010/image/AH2010-Fig1-1-Mouride_Mural.jpg

http://en.wikipedia.org/w/index.php?title=File:Mouride_Mural_DSCN1065.jpg

 

Fig 1-1 is a depiction of AmadouBamba calming a ravenous lion. The painting was done on the outer wall of a home in Dakar, the capital city of Senegal. The painting recalls an event that occurred during AmadouBamba’s exile in Gabon. The French exiled Amadou to Gabon because of his large following.

http://onlinemedia.rmcad.edu/AH2010/image/AH2010-Fig1-2-MorGueye.png

AmadouBamba Praying On the Waters (Fig. 1-2) is an artist’s rendition of Bamba’s forced exile to Gabon. In the foreground, Bamba is praying while the Quran lies next to him. Above the saint is the Archangel Gabriel with the Great Mosque of Touba in his hands. The ship that took Bamba to Gabon is in the background.

 

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