The Arts of Africa at the Dallas Museum of Art by ProQuest

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Each of the works written about is worthy of consideration, but to note a few personal choices based on each work's idiosyncrasy, level of documentation, or visual interest: an eighteenth-century ivory waist pendant from the Benin kingdom (Cat.3), and the figure of a town chief or lyase from Udo (Cat.5), a rival center for power in the Benin kingdom in the sixteenth century; an Ijebu Yoruba ring (Cat.6) depicting ritual sacrifice (cast copper alloy) from the eighteenth century; a Mende side-blown horn of ivory (Cat.22) with figurai decoration dating from the late nineteenth century; the Shango dance wand (Cat.29) in which the figurai sculpture itself becomes the handle; the Yombe standing power figure (Cat.51) that is one of several brought to Europe between 1880 and 1910 originating in a single workshop on the Chiloango River; the Komo helmet mask (Cat.55) that shows both Bamana and Senufo characteristics; a Kota janus reliquary guardian figure attributed to Semangoy of Zokolunga, Gabon (Cat.69); a Dogon fragmented granary door (Cat.76), its deeply weathered wood grain texturing the relief carving; a particularly beautiful Kuba cup (Cat.88) with a handle created by an interlace pattern ending in a human hand; a Moroccan woman's marriage veil (Cat.93) with striking tie-dyed patterns, black, dark red, and yellow on white, the colors defining the areas worn over the head and the hem borders; a male figure effigy vessel (Cat. 107) made by Voania Muba, DRC, for the export trade around the turn of the last century.

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