Vodou Haitian Art is an art associated with the religion of Vodou Haiti. This religion is rooted in the traditional religions of West Africa brought to Haiti by slaves, but has assimilated elements from Europe and America and continues to evolve. The most distinctive form of Vodou art is Vodou drapo, an embroidery flag often adorned with beads or beads, but it includes various forms of art including paintings, embroidered clothes, clay sculptures or wood, musical instruments and bundles. Since the 1950s, there has been a demand for Vodou art by tourists and collectors.
Video Haitian Vodou art
Origins
Art historians disagree on the origins of Vodou Haitian art. Suzanne Blier made the case that they were from the coastal regions of Benin and Togo. Robert Farris Thompson made a sensible relationship with Central Africa based on similarities with figures from the Congo, and the cosmograms, flags, drums and dances of the area.
The first slaves of West and Central Africa were brought to the Caribbean in the 16th century. Europeans often claim that the slaves were saved from the devil's worship. However, the slaves retained their religious practices in secret, and their priests were among the first rebel leaders in Haiti in 1791. Haiti became the first independent nation of Africans in the Western Hemisphere in 1804 under President Jean-Jacques Dessalines. Traditional religion continued to be forbidden, and in the late 1940s the Catholic Church campaigned against Vodou, ransacked the temple and burned religious artifacts. Many sacred art techniques have now been forgotten, and several statues were made in 2001. Vodou's religion was finally officially recognized in 2002.
The majority of Haitians still practice Vodou religion. Religion continues to evolve, and in addition to the traditional West African duo (spirit) it now includes the spirits of the hero's resistance to the colonial army, and the spirit of the powerful religious leaders. Haitian religious orthography Vodou combines elements from Africa, Europe, and America. So the drapo made for the soul of Africa may include the image of a Catholic saint. The image of the saint was originally partly designed to deceive Catholic missionaries, but was also chosen in recognition of the similarity between the saint and the liver. From that moment the saint and spirit became syncretized.
Maps Haitian Vodou art
Interpretation
Vodou's art can be difficult to classify in Western terms. Rachel Beauvoir-Dominique, writing the collection of Vodou art Marianne Lehmann, notes that "even today, the Creole language has no word to point to what Western civilization calls 'art'." Andrà ©  © Breton fired the art of Haiti, noting that Haiti has no museum or collection of art. He does not seem to see the value in art associated with the backward Vodou religion.
Some scholars distinguish the narrative art of Haiti, which may include the depiction of events or ceremonies where there are many images of Vodou, from "Vodou Art" in the sense of art that has a sacred function. The latter will be designed for use in ceremonies or for placement in temples or at the altar. With the Omnipresence Vodou in Haiti, most of the narrative art will also include Vodou images. However, Vodou's fluid and adaptive nature makes it difficult to distinguish clearly the art of religion, art and religion.
Alessandra Benedicty points out that Western scholars were led by their postmodern intellectual skeletons to try to explain Vodou's art in terms of "intellectual truth". Vodou is open and sometimes deliberately deviant. Benedicty writes that in "Vodou/Haiti's aesthetic system, objet d'art maintains ambivalence and demands that readers or audiences interpret and thus participate in the production of meaningful artistic texts." If there is veve in the job, it is possible that the lwa job is created because it will have the viewer. Buyers of Vodou altars or other artwork may be owned by their purchase. The 1995 exhibition at the Fowler Museum of Cultural History in California of "The Sacred Arts of Haitian Vodou" includes the dramatic ritual interactions between Vodouists and lwa that may include ownership.
Drapo
A drapo Vodou is a handmade flag, usually embroidered and adorned with beads and beads. Although flags may have been made in West Africa prior to the arrival of Europeans, the flags that were widely used there in 1600 came from European flags. They are used as a symbol of ethnic, military or religious allegiance. The drapo Vodou also draws on Yoruba beadwork, Catholic robes and Masonic aprons. In the 19th and early 20th centuries, most of the Vodou drapo was made from one or two pieces of colored fabrics embroidered with embroideries, metal bracelets and glass beads, with images of ly made of shiny fabric appliquÃÆ' Â © d into fabric using techniques still followed in West Africa. Flags and banners used in the 21st century in rural areas often still have a simple design, in part because of the high cost of decorative materials.
With an older flag, the background plane that frames the image is usually decorated with beads or very wide beads. Modern flag-makers often cover the field with glittering beads in one color, or with complex geometric patterns. The border, which was simple or absent at the beginning of Vodou drapo, has evolved into a very complicated pattern. The use of sequins in modern drapos dates back to 1940, when Joseph Fortine saw a group of Afro-Brazilian samba dancers wearing sequin shirts in a Carnival parade. Fortine began to decorate the costumes of Rara band performers with sequins, and in 1943 made a Vodou drapo for Damballa from a burlap sack that was strung out on a wooden frame. He creates an image of a sequin line on a satin background, and adds a random sequet around the image. Fortine taught his techniques to sequin artists such as Edgard Jean Louis, Sylva Joseph, Clotaire Bazile, and Yves Telemak. The youngest of them, Telemak, was the first to sign his work.
There are two types of drapo Vodou . The drapo servis was made for ceremonial purposes, and the art flags were made for sale.
Drapo servis
The drapo servis is an important religious icon. They were kept in the temple room, and carried by a flag carrier in a complicated ceremony in the main hall of the temple. A drapo servis will include a Catholic image of the image or vÃÆ'¨vÃÆ'¨ (a worksheet) of a lwa (spirit) like Papa Legba or Ogun from the Yoruba religion. There are many lwas , including Erzulie, GuÃÆ'Â © dÃÆ'Â ©, Damballa and La Sirene. The purpose of the drapo ceremony is to flatter lwa in the hope of getting a reply in return. Usually drapo servis are made pairs, for example representing Ogun and Damballa. Ogun is lwa who leads the slave to freedom, and Damballa is a snake, representing the power of life. Ogun can be paired with other .
A drapo service will have a central image surrounded by diamond-shaped borders, will often have edges, and will measure 36 x 36 inches (910 x 910 mm). The image may depict a symbolically associated Catholic Saint or lover who represents lwa symbolically and provides a gateway for him to enter the human world. The picture may be a chromolithograph, a clear colored paper image from Italy, Mexico or Spain from a Catholic saint that has been synchronized with the same African spirit of drapo. Images may be outlines of saints traced from chromolithographs, or perhaps copies of detailed and faithful chromolithographs in beads and beads.
The most widely used images of saints are Saint Isidore, Saint James Major, Saint Patrick, and the Holy Virgin. Veves belongs to the AgwÃÆ' © ©, the crossing of the grave of Baron Samedi, the Legba interchange and so on. The mermaid image is used on the flag for the water spirits of LaSiren. It does not come from veve or Catholic origins, but appears to have originated from a European maritime source. The image of fish is very important in Vodou as in Christian art, but the Vodou symbol is derived from the mythology of Fon and not Christian. It represents AgwÃÆ'Â ©, which corresponds to the sea god Fon AgbÃÆ'ª. AgbÃÆ'ª takes the form of a fish when he is given responsibility for the sea.
Art flags
The art flag shows a wider variety of sizes and themes than the service drapo , and rarely has edges. Some flags closer to the rug. In the 1950s collectors began buying drum vodou, and the priest began making them for sale as a source of income. The next generation of artists, active in the 1990s, included Eviland Lalanne, Joseph Oldof Pierre, Le Petit Frere Mogirus, Wagler Vital, Georges Valris, Roland Rockville, Ronald Gouin, and Antoine Oleyant. They introduce a variety of innovations, partly driven by the lack of materials to create flags. Antoine Oleyant has been called "the artist who actually carries a flag to the world of fine arts."
In Port-au-Prince skilled artisans of drapo have ready access to beads and beads brought from Canada and the United States. These artists make a living from sales to tourists and art galleries. In the twenty-first century there has been a major change in Vodou drapo as an art form, in which artists like Myrlande Constant have introduced new themes and techniques. Other contemporary artists include Drapo, including Evelyne Alcide, Roudy Azor, Gabriel Chery, Lindor Chiler, Mireille Delice, Christian Dorleus and Josiane Joseph. drapo large and complex they represent in more detail the interaction with lwas in events such as ceremonies and marriages of Vodou. They can also represent evangelical Christian themes, or have secular subjects. Edgard Jean Louis, a famous flag-maker, made a flag called "Diana Erzulie" which included a picture of Princess Diana England. There is a request for drapo as such by international art collectors.
Other objects
In the 1940s Haitian professional artists began to make imitations of images provided by foreign businessmen. The pictures represent the view of a stranger about the essence of Vodou art. This interaction was later dismissed and the works of Haiti declared authentic. In 1949, fifteen artists adorned the Episcopal Saint Trinite Cathedral in Port-au-Prince with a mural that distinguishes Vodou art and traditional scenes from the Bible. Thirteen artists are Catholic and/or Vodouist. In the 1950s the mural became famous in the world. African gods are found in the symbolism of Christian images. Thus "Damballah Virgin" by Andre Dimanche is identified as Erzulie, a lwa connected to Aphrodite, Mater Dolorosa, angry health and Madonna.
A doll incorporated in Vodou artwork can be animated so that it can do supernatural work, protecting the house. Haitian pastor Vodou Georges Renà © à © explains the process, saying "anything can do mysticism if you believe in it... You have to turn it into a mystic You baptize it You make a ceremony You put that food eat ... after that you can work with him.This gets the soul.You can put it on the altar. "
Pierrot Barra (1942-99) and Marie Cassaise make the installation of the sacred altar of everyday objects such as dolls, sunglasses, sequins, speedometers, rosaries, mirrors and tinsel. Barra said that his work was inspired by the spirit of Vodou, who sometimes demanded it. He said, "When I sleep, when I dream, I see Mystery.When I sleep I see spirits... they show me a design, some faces, sort of thing.Then when I woke up I made t." A visitor to Port-au-Prince in 1991 described an installation of the Barra altar made for Ezili Dantor's mother goddess. His head came from a plaster doll, with rouge, lipstick, and white synthetic hair. He holds a picture of a baby piece of Jesus, which represents the daughter of the goddess Anais. A red snake wrapped around the goddess's body, and a small rubber baby doll at the foot of the statue. Entirely decorated with sparkling and cheap jewelry. This is not a traditional design, but was soon recognized by Vodouists as the original Vodou art.
References
Source
Source of the article : Wikipedia
0 Comments