Content deleted Content added
Tom.Reding (talk | contribs) m Enum 2 author/editor WLs; WP:GenFixes on |
No edit summary |
||
Line 3:
The relative lack of centralization that characterized Igbo forms of governance has resulted in greater difficulties in terms of the scholarly study of artistic productions. Lacking the expansive and hierarchical as well as widespread mythology of, for example, the Yoruba, Igbo art is more localized. As such, general studies of Igbo art do not exist.<ref>{{Cite journal|last=Ottenberg|first=Simon|date=February 1983|title=Igbo and Yoruba Art Contrasted|journal=African Arts|volume=16|issue=2|pages=48–55, 97–98|doi=10.2307/3335850|jstor=3335850}}</ref> An added difficulty in studying Igbo art is that there is no clear consensus on who counts as being a member of the Igbo culture. There is often a tension between self-identification and external classification which means that the identity is fluid and continually re-negotiated.<ref>{{Cite journal|last=Cole|first=Herbert M.|date=1988|title=Igbo Arts and Ethnicity: Problems and Issues|journal=African Arts|volume=21|issue=2|pages=26–27+93|doi=10.2307/3336525|issn=0001-9933|jstor=3336525}}</ref> Understanding the developments of Igbo art production is often hindered by the assumption that forms of "traditional" art remain unchanging.<ref>{{Cite journal|last=Ogbechie|first=Sylvester Okwunodu|date=2005|title=The Historical Life of Objects African Art History and the Problem of Discursive Obsolescence|journal=African Arts|volume=38|issue=4|pages=62–95|issn=0001-9933|jstor=20447736|doi=10.1162/afar.2005.38.4.62}}</ref>
Many art pieces were stolen during the colonial period. In 2020, art historian [[Okeke-Agulu]] called on auction house [[Christie's]] to cancel its planned Paris sale of two Igbo sculptures, which were stolen during colonialism.<ref>{{cite web |last1=Obi-Young |first1=Otosirieze |title=Art Historian Chika Okeke-Agulu Calls for Cancellation of Paris Auction of Igbo Sculptures |url=https://folio.ng/art-historian-chika-okeke-agulu-calls-for-cancellation-of-paris-auction-of-igbo-sculptures/ |website=Folio Nigeria |accessdate=17 August 2020}}</ref> The auction went ahead.▼
==Masks==
Line 63 ⟶ 61:
In Mbari houses, there is a close relationship between where material objects are placed within the domestic environment and their symbolic significance. Domains within the house reflect societal dynamics outside on the house. The house delineates the private space from the public space, and within the house itself, male and female spaces exist through the work performed. Accordingly, the objects within the gendered sections gain meaning through the associations with the work and activities that occur there. Mbari houses are seen as taking on a larger societal significance beyond just being shelters. They become reflections of the cosmos and a cycle of rebirth.<ref>{{Cite book|title=Household Objects and the Philosophy of Igbo Social Space|last=Aniakor|first=Chike C.|work=African Material Culture|publisher=Indiana University Press|year=1996|pages=214–240}}</ref>
==Repatriation==
▲
== References ==
| |||