Answering other questions about African sculpture - AP Art History

African masks are one of the chief examples of sub-Saharan artwork and are traditionally used in various African religious ceremonies. These ceremonies reflect traditional religious beliefs, which are usually based on spirit animism and ancestor worship; therefore, it is thought that the masks often allow the actors to take on something more powerful than themselves, including animals, ancestors, and various kinds of spirits.

African masquerade arts have been crucially important, particularly before the advent of colonialism. They function to serve many of the societies' governmental methods, and they serve to express cultural, dramatic, and artistic purposes.

During his 17 year reign, Amenhotep IV forbade the worship of any god with the exception of Aten, the power light embodied by the sun disk. This brief period represents a radical departure from what typically comprised Egyptian religion, which was a consistent cornerstone of ancient Egyptian art. An example of this is "Akhenaton Presenting a Duck to Aten."

The Yoruba culture of Southern Africa is one of the key artistic hubs of the region, and produces remarkable works in sculpture, jewelry, and masks. One chief feature is the usual focus on the head, which the Yoruba traditionally believe is the home of the entirety of the person. This belief is best reflected in Yoruba busts, which do not even feature necks or shoulders, only the head itself.

African masks are one of the chief examples of sub-Saharan artwork and are traditionally used in various African religious ceremonies. These ceremonies reflect traditional religious beliefs, which are usually based on spirit animism and ancestor worship; therefore, it is thought that the masks often allow the actors to take on something more powerful than themselves, including animals, ancestors, and various kinds of spirits.

African masquerade arts have been crucially important, particularly before the advent of colonialism. They function to serve many of the societies' governmental methods, and they serve to express cultural, dramatic, and artistic purposes.

During his 17 year reign, Amenhotep IV forbade the worship of any god with the exception of Aten, the power light embodied by the sun disk. This brief period represents a radical departure from what typically comprised Egyptian religion, which was a consistent cornerstone of ancient Egyptian art. An example of this is "Akhenaton Presenting a Duck to Aten."

The Yoruba culture of Southern Africa is one of the key artistic hubs of the region, and produces remarkable works in sculpture, jewelry, and masks. One chief feature is the usual focus on the head, which the Yoruba traditionally believe is the home of the entirety of the person. This belief is best reflected in Yoruba busts, which do not even feature necks or shoulders, only the head itself.

African masks are one of the chief examples of sub-Saharan artwork and are traditionally used in various African religious ceremonies. These ceremonies reflect traditional religious beliefs, which are usually based on spirit animism and ancestor worship; therefore, it is thought that the masks often allow the actors to take on something more powerful than themselves, including animals, ancestors, and various kinds of spirits.

African masquerade arts have been crucially important, particularly before the advent of colonialism. They function to serve many of the societies' governmental methods, and they serve to express cultural, dramatic, and artistic purposes.

During his 17 year reign, Amenhotep IV forbade the worship of any god with the exception of Aten, the power light embodied by the sun disk. This brief period represents a radical departure from what typically comprised Egyptian religion, which was a consistent cornerstone of ancient Egyptian art. An example of this is "Akhenaton Presenting a Duck to Aten."

The Yoruba culture of Southern Africa is one of the key artistic hubs of the region, and produces remarkable works in sculpture, jewelry, and masks. One chief feature is the usual focus on the head, which the Yoruba traditionally believe is the home of the entirety of the person. This belief is best reflected in Yoruba busts, which do not even feature necks or shoulders, only the head itself.

African masks are one of the chief examples of sub-Saharan artwork and are traditionally used in various African religious ceremonies. These ceremonies reflect traditional religious beliefs, which are usually based on spirit animism and ancestor worship; therefore, it is thought that the masks often allow the actors to take on something more powerful than themselves, including animals, ancestors, and various kinds of spirits.

African masquerade arts have been crucially important, particularly before the advent of colonialism. They function to serve many of the societies' governmental methods, and they serve to express cultural, dramatic, and artistic purposes.

During his 17 year reign, Amenhotep IV forbade the worship of any god with the exception of Aten, the power light embodied by the sun disk. This brief period represents a radical departure from what typically comprised Egyptian religion, which was a consistent cornerstone of ancient Egyptian art. An example of this is "Akhenaton Presenting a Duck to Aten."