Abstraction and Realism in African Art

Abstraction in the form of scaled figures, scarification and bodily abstraction worked in harmony with realism to produce a distinctive style of African art. Although African figural sculpture and figural reliefs may have incorporated abstraction, abstraction always had a clear purpose in this art and had a careful interplay with realism. Hierarchy of scale may have abstracted sculptures and reliefs, but could be used to convey messages of imperial importance and still retained relatively realistic depictions of individual features. Scarification also had real roots in a practice used for beautification purposes, but was adapted in art to feature more prominently, also most likely to show elite and superior status in certain individuals. Finally, bodily abstraction may have enlarged or emphasized specific features in the body, but the features it emphasized or changed were still real body features and still bore much resemblance to their unmodified inspirations of the real human body.

Hierarchy of scale in African art is a perfect example of how abstraction was used to show power and the hands within which it lay whilst retaining relatively realistic depictions of the features of individuals. In hierarchy of scale, the overall figure was either increased or decreased in size to show his or her relative importance in society. As figures became larger (in relation to other individuals who were depicted) this in turn symbolized that they were superior in society and had larger amounts of power. The largest figure in many pieces of art which used a method of hierarchy of scale in their depictions was often an important king or chieftain, as is likely the case in the Benin relief of a king or chieftain on a horse in a scene surrounded by attendants. Through the use of varied scale for different figures, the artist who created this work immediately makes it clear to onlookers that the man in the center is an important person (likely either a king or chieftain). Overall, the king or chieftain in the center is much larger and taller than the attendants directly around him, which expresses the technique of hierarchy of scale: in which the central figure’s larger stature implies his elevated importance and superiority over the other figures. In addition, the king or chieftain is able to almost completely dwarf the horse which he rides, which contradicts reality, in which we would always expect the horse to be larger. Again, the king or chieftain’s larger body in comparison with the horse below him emphasizes his importance and superiority over all other humans and life forms. Although the artist does use abstraction in the scale of the depictions of the central and most important figure and the scales of his attendants - for example, one attendant seems to be slightly smaller than the king or chieftain’s head – hierarchy of scale in the relief works together with many aspects of realism in order to achieve the central goals of the relief. Aside from all of the faces, bodies and clothing of each figure being relatively realistic in the relief, other realistic aspects are used in the relief to demonstrate the view of the king or chieftain’s superiority through actual happenings. The fact that the king or chieftain is flanked by a flock of attendants in itself implies his importance and power. As his attendants guard and protect him, this develops his iconography as an extremely important asset to his kingdom/chiefdom, and reinforces the ideas brought about through the abstraction in the form of scale to imply a social hierarchy with the king or chieftain at the top. In addition, two of his outer attendants hold shields above his head, which is again a realistic scenario which could actually be true (unlike the fact that the king’s depiction as larger is probably not correct in reality) and is being used to reinforce a strong and powerful imperial identity. Each face bears realistic features and seriousness at the king or chieftain’s procession, perfectly demonstrating an interplay between realism and abstraction in the form of hierarchy of scale in African art. Through the use of hierarchy of scale, reinforced by realistic aspects such as graveness in facial features, large numbers of people and other realistic protection methods, African artists were able to convey vital messages about the importance and strength of powerful people in a kingdom through art.

The practice of scarification, which bore aspects of realism in African art due to the fact that it was actually practiced by real people, was also influenced by abstraction as it slowly converted to become a status symbol in art much like the use of hierarchy of scale. In Africa, scarification in art had deep roots in the tradition of making incised lines in the heads of real people in Africa. Often used as a form of beautification, the practice of scratching these patterns into heads was likely relatively commonplace (especially amongst the elite) in ancient Africa. Scarification was quickly integrated into aspects of African art such as figural sculpture, such as in the Lyndenburg head in the shape of a terracotta pot. Although the depth and number of the scarification marks on the Lyndenburg head is likely an example of abstraction, the actual practice of scarification was most likely something often practiced by members of the ancient African elite. As is also noticed by the generally abstract features of the Lyndenburg head, iconography is used throughout the head to refer back to the practice of scarification. Although there are two main patches of these scars to be seen on the head, a very similar pattern has been used to create what seems like a large scar which cuts vertically down from the head, and repeated incised lines which look almost identical to the scarification marks have been used to form neck bands below the mouth of the figure. The Lyndenburg head thereby shows how a realistic practice has been transformed into a method of figural sculpture iconography, in which similar patterns are used throughout the sculpture for emphasis on the scarification marks. Scarification marks also feature prominently on the equestrian figure on a fly-whisk at Igbo-Ukwu. Here, the figure which sits atop the horse has large diagonal scarification marks across his face, again expressing an exaggeration in the scarification features used in art. Whilst it is highly unlikely that realism would have entailed so many scarification marks, the mix between abstraction and realism has produced a face covered with them to emphasize their meaning. In both the equestrian figure at Igbo-Ukwu and the Lyndenburg head, the large number of scarification marks and/or associated iconographical patterns is used as a status symbol. Since scarification in real life was most often used as a form of beautification, larger number of scars or associated patterns in art was associated quickly with a higher status, and used as a symbol of the elite. Much as how larger figures were used to indicate importance and power through hierarchy of scale, larger numbers of scars were associated in art with an elite and important status in African societies. Although scarification had roots in realism, its interplay with abstraction allowed for its use in art as more than just a way of beautification: it allowed for scarification to become a symbol of elite power and importance in ancient African art.

Finally, abstract scale within bodies themselves, such as elongating bodily components like the head, in order to emphasize certain parts of the body using actual imagery which these body parts represented and still retaining essential realistic characteristics of these body features such that they could be recognized. The interplay of realism and abstraction in abstracting bodies through processes such as elongation can clearly be seen throughout African art, such as in the Nok terracotta archer figure. Here, the overall body shape bears resemblance to the human body, but various parts have clearly been changed (specifically, many parts of the body have been elongated). Unlike in a real human, the head has become approximately as wide as the neck (making it much narrower) and has become elongated downwards, such that the chin sits at the height of the bottom of the neck. In addition, at least one of the arms (the other arm has broken off unfortunately) extends from the shoulder down to one knee – a much longer arm than what we would usually expect in an actual person. The key in making these abstractions effective, however, was that they still bear resemblance to the original, and that the overall form also remained relatively realistic, such that a comparison can be seen by onlookers between a real human form and the human form depicted, and the abnormal characteristics can be seen as symbols for specific messages the artist wanted to convey. Fitting in with the African belief of the head as a highly important part of the human body and the seat of the person’s power, African head elongation in art was commonplace in order to lend emphasis to this essential part of the human body. The elongation of the arm would have also allowed onlookers to understand the purpose of the figure in a better way. Whilst deciphering that the figure was an archer may have been difficult at first, the long arm implies the strength required by this aspect of an archer’s body in order for him to complete his job – of shooting arrows. Just as the head is shown larger to indicate its importance to the person, the arm here is shown to be longer than other parts of the body to indicate its importance to the archer, who would have relied on this body part to stretch back his bow when getting ready to release an arrow. Although this bodily abstraction may imply a departure from realism, realism was essential in allowing onlookers to compare the pieces and understand that the figure still represented a human and notice features which were exaggerated. By only exaggerating certain features and leaving others relatively realistic, the artist was able to emphasize the features which were important to the person depicted in the art piece, thereby depicting the dual reliance between abstraction and realism in abstracting bodily features in African art.

In conclusion, abstraction and realism both come together perfectly in African art in order to emphasize key messages in both figural sculpture and relief. Through hierarchy of scale, scarification and abstract bodily features, abstraction is able to play a large role in highlighting key people and their status, as well as key traits which different people possessed. However, each form of abstraction either requires a basis in reality, or relies on reality as a comparison in order for onlookers to see which aspects of the sculpture or relief have been abstracted and draw meaning from these abstractions. Consistently, abstractions in African art were used in conjunction with realistic features in order to establish a unique African system of art which could thrive in its unique aspects of emphasis.