File:Spoon, Brücke-Museum Berlin, 64977, view c.jpg
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Captions
Captions
Ceremonial or Festive Spoon with Janus Head in Dan-style, mehwuoshlümia, Liberia, Ivory Coast, around 1900-1970, view from the bottom
Summary
Object
| Artist |
English: once known creator
Deutsch: einst bekannte*r Urheber*in |
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| Description |
Deutsch: Zeremonial- oder Festtags-Löffel mit Januskopf im Stil der Dan, mehwuoshlümia
English: Ceremonial or Festive Spoon with Janus Head in Dan-style, mehwuoshlümia |
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| Date | between 1900 and 1970 | |||||||||||||||||||||||
| Medium | wood, aluminium (Q663)/ sheet metal (Q211367) | |||||||||||||||||||||||
| Dimensions | height: 47.5 cm (18.7 in); width: 12.6 cm (4.9 in); depth: 5.3 cm (2 in) | |||||||||||||||||||||||
| Collection |
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| Accession number |
H 16 |
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| Place of creation | Liberia (Q1014) / Ivory Coast (Q1008) | |||||||||||||||||||||||
| Object history |
transferred to Karl und Emy Schmidt-Rottluff Stiftung from Karl Schmidt-Rottluff |
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| Notes |
English: Among the Dan and neighboring groups such a spoon was a spiritual and ritual objects in the possession of the wa ke de, the woman who "acts at feasts". This honorary title was given to the woman in the neighborhood who excelled in hospitality, generosity, special cooking and organizational skills. The wa ke de was responsible for preparing food during feasts and ceremonies, a task in which she obtained the support of the spiritual world through the spoon. The spoon was carried through the village in advance, and from its "belly" grains of rice and coins were given to children. The handle of the spoon was usually decorated with a female face, as in this example, or with legs and feet. The spoon is thus designed in analogy with the female body and symbolizes the nourishment and life-giving power of women.
Deutsch: Bei den Dan und benachbarten Gruppen war ein solcher Löffel spiritueller und ritueller Gegenstand im Besitz der wa ke de, der Frau, die „bei Festen handelt“. Dieser Ehrentitel galt der Frau im Viertel, die sich durch Gastfreundschaft, Großzügigkeit, besondere Kochkünste und organisatorisches Geschick auszeichnete. Der wa ke de oblag die Verantwortung, während der Feste und Zeremonien das Essen zuzubereiten, eine Aufgabe, bei der sie die Unterstützung der spirituellen Welt über den Löffel erwirkte. Der Löffel wurde vorab durch den Ort getragen und aus seinem „Bauch“ Reiskörner und Münzen an Kinder verschenkt. Den Griff des Löffels zierte meist, wie bei diesem Exemplar, ein weibliches Gesicht oder ein Unterkörper mit Beinen und Füßen. Der Löffel ist damit analog zum weiblichen Körper gestaltet und Symbol für die Nahrung und Leben spendende Kraft der Frau. |
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| References | https://www.metmuseum.org/art/collection/search/312230 / Eberhard Fischer / Hans Himmelheber, The Arts of the Dan in West Africa, Zurich: Museum Rietberg, 1984. / Jan-Lodewijk Grootaers / Alexander Bortolot (Eds.), Visions from the Forests: The Art from Liberia and Sierra Leone, Exh. Cat. Minneapolis Institute of Arts, Seattle and London: The University of Washington Press, 2014. | |||||||||||||||||||||||
Photograph
| Description |
English: Ceremonial or Festive Spoon with Janus Head in Dan-style, mehwuoshlümia, Liberia, Ivory Coast, around 1900-1970, view from the bottom  |
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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 | 14:06, 25 April 2022 | | 8,270 × 6,196 (23.07 MB) | BrückeMuseumBerlin (talk | contribs) | Uploaded own work with UploadWizard |
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