File:Fertility Doll, Ghana, Brücke Museum Berlin, 64976, 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, Ashanti style
Deutsch: einst bekannte*r Urheber*in, Ashanti-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: 30.5 cm (12 in); width: 13.5 cm (5.3 in); depth: 6.5 cm (2.5 in) | |||||||||||||||||||||||
| Collection |
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| Accession number |
H 15 |
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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: Die Form der Akua’ba Figuren rief stark abstrahiert das Idealbild einer erwachsenen Frau auf und verweist auf ihre mentalen und physischen Stärken. Ihre Intelligenz, ihre Kraft und ihre Fähigkeit Kinder zu bekommen wurde in der matrilinearen Gesellschaft der Akan hochgeschätzt. Die Geburt eines Mädchens war besonders wichtig für das Fortbestehen der Familie. Akua’ba Figuren wurden seit dem 19. Jh. zu Ikonen afrikanischer Kunst und werden überall in Afrika vermarktet. Obwohl sie rituell nicht mehr genutzt werden, sind sie noch immer ein Glückssymbol.
English: The form of the Akua'ba figure invoked in a highly abstracted way the ideal image of an adult woman and refers to her mental and physical strengths. Her intelligence, strength, and ability to bear children were highly valued in Akan matrilineal society. The birth of a girl was especially important for the continuation of the family. Akua'ba figures have become icons of African art since the 19th century and are marketed throughout Africa. Although they are no longer used ritually, they are still a symbol of good luck. |
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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 | 09:18, 27 September 2021 | | 6,196 × 8,270 (20.61 MB) | BrückeMuseumBerlin (talk | contribs) | Uploaded own work with UploadWizard |
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