Memory : Luba art and the making of history
著者
書誌事項
Memory : Luba art and the making of history
Museum for African Art , Prestel-Verlag, c1996
- : cloth
- : paper
大学図書館所蔵 全6件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
The exhibition is supported by grants from the National Endowment for the Humanities, the National Endowment for the Arts, the New York Council for the Humanities, and for educational programs, with public funds from the New York State Council on the Arts.
Bibliography(p. 248-252) and Includes index
内容説明・目次
内容説明
The Luba are one of the oldest recorded tribes in equatorial Africa. A Bantu-speaking people, they had already expanded their empire throughout central Africa by the 9th century AD. Much of this progress was probably due to their advanced skills in metalwork. The Luba had a wide network of kings governed by a central ruler who succeeded through the mother's line. Much more is known about the Luba than many of the other tribes on the African continent due to the way that they used intricate works of art called "lukasa" and other memory devices to record their history. The lukasa is a bead and shell-covered wooden "memory board" that embodies fundamental precepts about Luba kingship. This book recounts the history of the Luba and their culture to the present day and demonstrates the varying ways in which early Luban art is used to memorize the complex structure of sovereign rule within their empire. The book illustrates more than 100 important Luba works in museums and private collections around the world.
These illustrations feature royal emblems, including thrones, sceptres and lukasa, dating from the 18th to the early 20th century and bearing patterns, figures and motifs which served, as they do now, as vehicles of historical thought and ideology for the Luba people. Photographs from the 1980s and early archival photographs from the turn of the century show the works in their contexts of royal investitures, divination rites, and secret association dances. Many of the works of art in this publication are accompanied by the narratives of contemporary Luban people, to show how the works help to illicit memory and how memory is a dynamic, creative process. A second level of interpretation is provided by the essays written by scholars in the fields of African cultural history who have worked among the Luba people and acknowledge the role of art as a vehicle for historical inquiry.
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