Jasperised Wood Art Essay

Jasperised Wood Art Essay

Art

Studying fossil remains that have been organized over time has been controlled previously rather exclusively in allowing for the specific specimens. These specimens over time borne striking differences and resemblances to various analogies which have been studied both in the past and recent times.
According to the Wagner Free Institute of Science, there is nothing that can replace the training that gets provided by museums or knowledge in taxonomy. The institute also recommends that funding such institutions ought to be considered a priority nationally. If not, any potential benefits gained from that context and the knowledge of the biodiversity of earth might get lost.
ONE:Jasperised Wood Art Essay
Jasperised Wood
Stoz Arigona

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It is around 15cm (5 3/4″) and weighs around 510 grams (Owen, Thomas).
The gravels of similar formations seem to be of different kinds including:
i. semi-transparent quartz that is white in color, gritstone, jasper and extra rocks.
ii. Large ramose or somewhat tuberous with flints that are irregularly formed.
iii. Roundish or oval with siliceous pebbles that are flat.
iv. Pebbles which attribute their form to an impregnation and investment with silex.
Generally, they have roundish forms and smooth surfaces which is evident from abrasion. Also, excluding when in distinct cases, they show no traces of organization.
This sketch shows a slice of polished jasperised conifer wood from the United States, specifically, Hampton Butte in Central area of Oregon region. This wood was made from a Bristol paleontological collection that was old and got acquired 1950s to 1960s. it is of the 58-36 million years BP and is from Eocene Period.
I like this wood because it has been fossilized all chemicals that are original with minerals thus forming a replica of the stone of its wood originally.

TWO
Odontaster Hispidus Verrill

It commonly referred to as the asteroids with its taxonomical names being: Animalia Echinodermata Asteroidea Valvatida Odontasteridae. The vessel containing it is the fish Hawk R/V and is mainly collected by the United States Fish Commission. Most times, it can be found in the North Atlantic Ocean (Ringvold and Andersen, 27).
The Odontaster robustus Verrill is around 3 acm wide and has a depth of almost 673 m.
The star shape of Odontaster robustus Verrill makes it look attractive and can be used as a souvenir. Also, being so ancient, it can be a good antique from nature. Also, its classification is meaningful since it preserves its history as well as the holotype status. It was kept in the Wagner Free Institute of Science since 1899 in the department of Invertebrate Zoology.
Artists preserve and hold it dear for preserving local history, especially for the citizens of America. Also, there is a lot to explore regarding ancient plants or artifacts.Jasperised Wood Art Essay

THREE
Astraea Versipora

Astraea Versipora is in the animalia kingdom and the Rhizangiidae family whose origin was in 1801 with name of origin being Astrea versipora Lamarck. The species is reasonably common and widespread. Regularly, it gets acknowledged by its daytime tentacles that expand, in situ (Baird et al 49).
In 1801, the Astraea was first labelled as a genus. This plant is inherent to the tropical regions that exist in the Western Hemisphere.
All specimens of history that are natural and contain excellent data provide for a physical snapshot of a community or species at a certain point in space and time. This record which is physical makes these collections of the museum somewhat valuable. Essentially, one cannot test for residues of pesticides from a description that is written or get DNA from a picture. However, a specimen which is physical could offer a richness of unexpected statistics and information to artists.

Works Cited
Baird, Andrew H., Mia O. Hoogenboom, and Danwei Huang. “Cyphastrea salae, a new species of hard coral from Lord Howe Island, Australia (Scleractinia, Merulinidae).” ZooKeys 662 (2017): 49.
Ringvold, H., and T. Andersen. “Starfish (Asteroidea, Echinodermata) from the Faroe Islands; spatial distribution and abundance.” Deep Sea Research Part I: Oceanographic Research Papers 107 (2016): 22-30.
Owen, Thomas Richard. The geological evolution of the British Isles. Elsevier, 2015.Jasperised Wood Art Essay

African Art African Art does not have specific date to which it evolved because most early African Art was carved in wood, which perished quickly. This is why most art dates from the 19th and early 20th century. Many 20th century artists admired and collected pieces of African Art. They enjoyed the bold color, expression, and form that produced a new beginning in art history. African Art was mostly dedicated to life affirming activities such as healing, pleasure, protection, and transformation. The first African Art that made a sustained impact on Europe occurred with the bronze casing and ivory seized in 1897 by the British Royal Army. It was then that African Art began to become in demand, and seen by all areas of the world.…show more content…
African masks were to establish a different identity for the wearer in order to amuse, teach, or sacrifice. A great example of an African mask is Bayaka Mask. This mask is used for a form of rite. When a boy reaches puberty he is circumcised. After this is done, the boy is removed from the village for one year of seclusion from women. During this time, the boy is taught to hunt and protect by fellow men from the village. To end the one year confinement, a ceremony is held when the boy and his teachers return in the Bayaka Masks. Sculptures are another form of African Art that is very important to its history. Sculptures came in a variety of shapes and sizes. They were often made of wood, metal, cloth, or clay. These sculptures served as personal protection figures, symbols for supernatural powers, and representation of ancestors. Most sculptures were made to represent the human body, but some cultures never carve human faces so it resembled any individual in fear of accusations of witch craft. A great example of one such sculpture is Cango and Zaire. This sculpture is of a women breast feeding her child. The face of the two people is elongated, as well as the breasts of the mother. This is common to all African Art because they wanted representation of what is being expressed. In this particular sculpture, a supernatural power is being called upon. Jasperised Wood Art Essay

Abstraction and Idealization

Realism or physical resemblance is generally not the goal of the African artist. Many forms of African art are characterized by their visual abstraction, or departure from representational accuracy. Artists interpret human or animal forms creatively through innovative form and composition. The degree of abstraction can range from idealized naturalism, as in the cast brass heads of Benin kings (left), to more simplified, geometrically conceived forms, as in the Baga headdress (below).

Head of an Oba, Nigeria, Court of Benin, 16th century, brass, 23.5 x 21.9 c 22.9 cm (The Metropolitan Museum of Art)
Head of an Oba, Nigeria, Court of Benin, 16th century, brass, 23.5 x 21.9 c 22.9 cm (The Metropolitan Museum of Art)
Head of an Oba, Nigeria, Court of Benin, 16th century, brass, 23.5 x 21.9 c 22.9 cm (The Metropolitan Museum of Art)
The decision to create abstract representations is a conscious one, evidenced by the technical ability of African artists to create naturalistic art, as seen, for example, in the art of Ife, in present-day Nigeria. Idealization is frequently seen in representations of human beings. Individuals are almost always depicted in the prime of life, never in old age or poor health. Culturally accepted standards of moral character and physical beauty are expressed through formal emphasis.
Masks used by the women’s Sande society, for example, present Mende cultural ideals of female beauty (top of page). Instead of a physical likeness, the artist highlights admired features, such as narrow eyes, a small mouth, carefully braided hair, and a ringed neck. Idealized images often relate to expected social roles and emphasize distinctions between male and female.
Mother and Child, 15th–20th century, Mali, Bougouni or Dioila region, Bamana peoples, wood, 123.5 x 36.6 x 36.5 cm (The Metropolitan Museum of Art)Jasperised Wood Art Essay
Mother and Child, 15th–20th century, Mali, Bougouni or Dioila region, Bamana peoples, wood, 123.5 x 36.6 x 36.5 cm (The Metropolitan Museum of Art)
Mother and Child, 15th–20th century, Mali, Bougouni or Dioila region, Bamana peoples, wood, 123.5 x 36.6 x 36.5 cm (The Metropolitan Museum of Art)
In Bamana statuary, full breasts and a swelling belly highlight a woman’s role as nurturer (above). At the same time, complementary male and female pairs of figures express the concept of an ideal social unit through matched gestures, stances, and expressions.
Headdress: Female Bust (D’mba), 19th–20th century, Baga people, wood, 118.1 x 35.3 x 67.5cm (The Metropolitan Museum of Art)
Headdress: Female Bust (D’mba), 19th–20th century, Baga people, wood, 118.1 x 35.3 x 67.5cm (The Metropolitan Museum of Art)
Headdress: Female Bust (D’mba), 19th–20th century, Baga people, wood, 118.1 x 35.3 x 67.5cm (The Metropolitan Museum of Art)
Surface
Once an artifact leaves its creator’s hands, its visual appearance may be altered through use in ritual or performance contexts. Repeated handling of an artifact during ceremonies can create a smoothly worn surface, while ritual applications of palm oil may result in a lustrous sheen (example here). During ceremonies, decorative elements, such as beads, metal jewelry, and fabric, can be added to a work. Applications of sacrificial substances and organic materials create an encrusted surface that literally and figuratively empowers an object (example here). Masks and figurative sculptures may also be repainted from one season to the next. Bwa masks, for example, are soaked after the harvest and repainted red, white, and black, generally with natural vegetal or mineral pigments but now also with European enamel paints (example here).
Form and Meaning
Headdress: Janus, 19th–20th century, Nigeria, Lower Cross River region, Ejagham or Bale people, Wood, hide, pigment, cane, horn, and nails, 53.3 x 43 x 25 cm (The Metropolitan Museum of Art)
Headdress: Janus, 19th–20th century, Nigeria, Lower Cross River region, Ejagham or Bale people, Wood, hide, pigment, cane, horn, and nails, 53.3 x 43 x 25 cm (The Metropolitan Museum of Art)
Headdress: Janus, 19th–20th century, Nigeria, Lower Cross River region, Ejagham or Bale people, Wood, hide, pigment, cane, horn, and nails, 53.3 x 43 x 25 cm (The Metropolitan Museum of Art)Jasperised Wood Art Essay
While creations by African artists have been admired by Western viewers for their formal power and beauty, it is important to understand these artifacts on their own terms. Many African artworks were (and continue to be) created to serve a social, religious, or political function. In its original setting, an artifact may have different uses and embody a variety of meanings. These uses may change over time. A mask originally created for a particular performance may be used in a different context at a later time.
Nwantantay masks, used by the southern Bwa in Burkina Faso, may be performed during burial ceremonies and also for annual renewal rites. Artworks can also have different meanings for different individuals or groups. A sculpture owned by an elite association holds deeper levels of meaning for its members than for the general public, who may understand only its basic meaning. The painted designs on an Ejagham headdress, for example, represent an indigenous form of writing, the meanings of which are restricted to individuals of the highest status and rank (above). Understanding the cultural contexts and symbolic meanings of African art therefore enhances our appreciation of its form. Jasperised Wood Art Essay

Art

Art