Further Style Analysis in African Sculpture

he analysis of in African figure sculpture, which was begun in the last issue of African Arts (Summer, 1972, Vol. 4), is here continued by reference to and discussion of a further range of examples. Before turning to the subject at hand, however, it seems beneficial to dwell briefly again on the significance of the terms style and analysis. Since style approaches the inexplicable, by virtue of its inclusion of practically every facet of an art object, it may be defined simply as the particular organization of structural elements, and their interrelationships, which produce a distinctive formal character in a work of sculpture. Analysis is to an extent implied in the recognition of the in an object. By definition an analysis is the separation of a design into its constituent parts so as to examine these elements and to determine their significance in the expressive and aesthetic character of the work as a whole. Without these two definitions in mind, the following discussion will lose a good part of its significance. For various reasons, sculpture from the Central Cameroon Grasslands area has one of the most distinctive styles in all of Black Africa (cf. African Arts, Vol. V, No. 3, pp. 39, 42). This is again well represented by Fig. 1. It is apparent at first glance that the paramount importance in this carving is the expression of vigorous movement that is held in a state of momentary suspension. Moveover, further examination reveals that all of the component parts of the figure have a strongly declared complete autonomy in space. Every form is stated here as a simple, straightforward declaration of an essential anatomical shape, devoid of detail or refinement. These forms are locked emphatically one into the other by vigorously defined joints, the important elements of articulation. As a result, the figure has a compact organic unity of expression. 1. STANDING FIGURE. CAMEROON GRASSLANDS. WOOD, 151/2. FIELD MUSEUM OF NATURAL HISTORY, CHICAGO

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