File:Fertility Doll, Ghana, Brücke Museum Berlin, 64975, view a.jpg
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Captions
Captions
Fertility doll, symbol of good, Ghana, 19th-20th century, front view
Summary
Object
| Artist |
English: once known creator, Fante style
Deutsch: einst bekannte*r Urheber*in, Fante-Stil |
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| Description |
Deutsch: Fruchtbarkeitspuppe, Glückssymbol
English: Fertility doll, symbol of good luck |
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| Date | from 19th century until 20th century | |||||||||||||||||||||||
| Medium | wood, patination (Q108063964) | |||||||||||||||||||||||
| Dimensions | height: 33.8 cm (13.3 in); width: 7.6 cm (2.9 in); depth: 4 cm (1.5 in) | |||||||||||||||||||||||
| Collection |
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| Accession number |
H 14 |
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| Place of creation | Ghana (Q117) | |||||||||||||||||||||||
| Object history |
transferred to Karl und Emy Schmidt-Rottluff Stiftung from Karl Schmidt-Rottluff |
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| Notes |
Deutsch: Akua’ba Figuren wurden dem Wunsch Kinder zu bekommen und dem Schutz und Glück der Familie gewidmet. Einer Akan Legende nach war Akua die erste Frau, die eine solche Figur besaß, um einem Kind rituell den Weg zu bereiten. Sie musste den Spott der Anderen für ihr ‚Akua’ba‘ (Akua‘s Kind) ertragen, bis sie tatsächlich schwanger wurde und auch andere Frauen sich eine solche Figur wünschten. Akua’ba wurden fortan von Frauen auf dem Rücken getragen, die hofften schwanger zu werden oder, um eine bestehende Schwangerschaft positiv zu beeinflussen. Die Skulpturen wurden rituell gewaschen und gefüttert. Auch nach der Geburt von Kindern konnten sie als Familienerbe und als Erinnerung an ein geliebtes Kind im Haus aufgestellt werden.
English: Akua'ba figurines were dedicated to the desire to have children and to the protection and happiness of the family. According to an Akan legend, Akua was the first woman to possess such a figure to ritually prepare the way for a child. She had to endure the ridicule of others for her 'Akua'ba' (Akua's child) until she actually became pregnant and other women also desired such a figure. Akua'ba were henceforth carried on the backs of women hoping to become pregnant or to positively influence an existing pregnancy. The sculptures were ritually washed and fed. Even after the birth of children, they could be placed in the house as a family legacy and a reminder of a beloved child. |
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Photograph
| Description |
English: Fertility doll, symbol of good, Ghana, 19th-20th century, 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 | 09:17, 27 September 2021 | | 6,196 × 8,270 (18.12 MB) | BrückeMuseumBerlin (talk | contribs) | Uploaded own work with UploadWizard |
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