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Icônes et Iconoclasme en Afrique

Published online by Cambridge University Press:  26 July 2017

Jack Goody
Jack Goody*
Affiliation:
St John 's College, Cambridge
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Extract

On considère souvent l'Afrique comme le continent des icônes figuratives, des masques, de la sculpture, de la fonte du bronze et des « fétiches ». Dans les musées, les restes sanglants d'offrande montrent que ces objets avaient une fonction cultuelle et non pas seulement une valeur esthétique d'exposition. Les sculptures figuratives africaines sont présentes de façon dominante dans la plupart des collections d'art non européen et elles ont eu, au début de ce siècle, une grande influence sur les peintres européens eux-mêmes ; le cas bien connu du masque Fang acquis par Derain et admiré de Picasso est un exemple typique à cet égard.

Summary

Summary

Africa is often considered the land of icons, of fetishes, of three-dimensional representation Of divinity. However there are great differences between ethnic groups, only partly the result of lslamic influence or the subsequent attacks of Christians. Significantly the High God is rarely if ever represented anthropomorphically or even provided with an altar at which to communicate. Other major divinities have altars but rarely images, which are more frequently created for the category of intermediaries between man and God, the beings of the wild or “fairies”. An attempt is made to account for the external and internal differences in terms of the similar ambivalences towards the representation of the “immaterial” in material form as was found in iconoclastic phases of the cultural history of Europe and Asia. At this level the “mentalities” are comparable.

Type
Pratiques de la Représentation
Information
Annales. Histoire, Sciences Sociales , Volume 46 , Issue 6 , December 1991 , pp. 1235 - 1251
Copyright
Copyright © Les Éditions de l’EHESS 1991

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