File:Palm Wine Cup, Brücke-Museum Berlin, 65048, view a.jpg
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Captions
Captions
Palm Wine Cup in Shape of a Human Head, Kuba-region, Southeast of Democratic Republic of Congo, around 1900-1940, front view
Summary
Object
| Artist |
English: once known creator
Deutsch: einst bekannte*r Urheber*in |
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| Description |
Deutsch: Palmweinbecher in Form eines menschlichen Kopfes
English: Palm Wine Cup in Shape of a Human Head |
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| Date | between 1900 and 1970 | |||||||||||||||||||||||
| Medium | wood | |||||||||||||||||||||||
| Dimensions | height: 18.2 cm (7.1 in); width: 9.5 cm (3.7 in); depth: 9.8 cm (3.8 in) | |||||||||||||||||||||||
| Collection |
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| Accession number |
H 85 |
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| Place of creation | Kuba people (Q358860), Democratic Republic of the Congo (Q974) | |||||||||||||||||||||||
| Object history |
transferred to Karl und Emy Schmidt-Rottluff Stiftung from Karl Schmidt-Rottluff |
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| Notes |
English: Elaborate design of accessories that were privately owned by members of the courtly elite characterizes Kuba (also Bakuba) art.
Courtly titles were not inherited in the Kuba Empire, but were awarded on the basis of merit. Personal accessories commissioned from highly specialized artists attested to the social advancement and wealth of the elite. Drinking cups were a central symbol of courtly life. By distributing palm wine to friends and acquaintances, members of the aristocracy demonstrated their wealth and generosity. The elegant cup with the symmetrically designed, stylized face reflects the aesthetic and ethical ideals of 19th century Cuba and attests to the owner's sophistication and authority. The shaved out high hairline frames the forehead as the seat of wisdom and thoughtfulness. The patterns at the temples show aristocratic scar ornamentation. The tightly closed mouth testifies that the owner thinks before he speaks.
Deutsch: Die Kunst der Kuba (auch Bakuba) zeichnet sich durch die aufwendige Gestaltung von Accessoires aus, die sich im Privatbesitz von Mitgliedern der höfischen Elite befanden.
Höfische Titel wurden im Kuba Reich nicht vererbt, sondern aufgrund von Verdiensten vergeben. Die persönlichen Accessoires, die bei hochspezialisierten Künstlern in Auftrag gegeben wurden, zeugten vom sozialen Aufstieg und Wohlstand der Eliten. Trinkbecher waren ein zentrales Symbol des höfischen Lebens. Mit dem Verteilen von Palmwein an Freunde und Bekannte demonstrierten die Mitglieder der Aristokratie ihren Reichtum und ihre Großzügigkeit. Der elegante Becher mit dem symmetrisch gestalteten, stilisierten Gesicht spiegelt die ästhetischen und ethischen Ideale der Kuba im 19. Jahrhundert und belegt die Kultiviertheit und Autorität des Besitzers. Der ausrasierte, hohe Haaransatz rahmt die Stirn als den Sitz der Weisheit und Nachdenklichkeit. Die Muster an den Schläfen zeigen aristokratischen Narbenschmuck. Der fest geschlossene Mund zeugt davon, dass der Besitzer erst nachdenkt, bevor er redet. |
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| References |
David Aaron Binkley / Patricia Darish. Kuba, Milan: 5 Continents, 2009. Jan Vansina, The Children of Woot, Madison: University of Wisconsin Press, 1978. |
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Photograph
| Description |
English: Palm Wine Cup in Shape of a Human Head, Kuba-region, Southeast of Democratic Republic of Congo, around 1900-1940, front view  |
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| Date | ||||
| Source | BrückeMuseumBerlin | |||
| Author | Nick Ash, Berlin | |||
| Permission (Reusing this file) |
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| Other versions |
The estate of Karl Schmidt-Rottluff, owned by the Karl and Emy Schmidt-Rottluff Foundation at the Brücke Museum, contains his collection of around 100 sculptures and objects with colonial backgrounds. The Brücke artist himself never travelled outside Europe and, to the best of current knowledge, bought these objects in the art trade and from private owners from the 1910s onwards. The collection includes ritual and everyday objects, alongside souvenirs for the Western market. The way they were perceived underwent changes: they came to be seen as objects of art and decoration. Little is known of their origins, the circumstances of their acquisition, or the historical and current importance of the objects. Most of them originate from Germany’s former colonies, thus referring directly to German Expressionists’ entanglements in the often unlawful appropriation of material culture in colonially occupied lands. More
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File history
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| Date/Time | Thumbnail | Dimensions | User | Comment | |
|---|---|---|---|---|---|
| current | 12:45, 26 April 2022 | | 6,196 × 8,270 (20.45 MB) | BrückeMuseumBerlin (talk | contribs) | Uploaded own work with UploadWizard |
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