Humans Create Powerful Symbols - Hornbill Figure - Essay Example

?Your F. 30 April Humans Create Powerful Symbols - Hornbill Figure In ancient times, humans had primarily used natural resources to manage their primitive way of life. They found that almost anything they needed could be derived from nature. People living in this era believed in the possibility of a powerful entity residing in a tangible form within nature. They also believed this entity allowed energy flow from one being to the next in a cyclic process. This connection between mankind and the rest of all living things inspired men to associate the image of nature to the theory of the existence of a higher being with supreme powers. These connections could be either supernatural or spiritual. This symbolic connection has been passed down through numerous generations throughout history. Different cultures and religions use the symbolism in the ways that are adapted to suit their beliefs. The specially skilled Ibans of Sarawak, whom are known for their carvings include an exclusively designed hornbill figure. This is an example of the combination of religion, nature, and art. The ‘Hornbill Figure,' known as 'Kenyalang,' has essentially been the chief subject of interest among the Iban carvers of Sarawak, Malaysia (Davenport). It was between the nineteenth and twentieth centuries that the Iban people began to show their culture by sculpting images of the hornbill. This also become a very important part of sacred ceremonies conducted by the Iban community. With a standard length of over 33 feet, the Hornbill Figure is traditionally created using wood, paint, cotton thread, plant, and wool materials and textiles. At the Fowler Museum, a person can take in the details of the art form of the hornbill sculpture. Its sharply pointed bill draws a huge curve and the painting on the body uses various strokes and pigments portraying how colorful the Iban festivals and culture are. Hornbill carvings are recognized as an art form but also is an indicator of the way of life of the Iban people. The unique portrayal of the carvings are associated with Iban’s greatest festive celebrations with religious rituals (Davenport). The Hornbill Figure typically is a special embodiment of a bird believed to possess knowledge and wisdom. Aside from bringing a prophecy to which Iban communities deeply relied on in the past, it is also considered a fundamental medium. This allowed for the blending of a spiritual dimension with the world of humans so they may possibly pass on their freedom to interact with spirits and supernatural beings for many reasons (Davenport). To achieve victory during war, the hornbill symbol and faith in its image was believed in to help aid in obtaining extraordinary power to intimidate and eventually subdue enemies. In particular, the custom of Iban’s Gawai Kenyalang had such strong meaning that it was used for the purpose of reaching success in raiding and headhunting (trophy-taking). During this, the heads taken from the enemies were claimed to have powers that could potentially add to the overall strength or invincibility of the victorious community (Davenport). Looking at the figure of the hornbill and evaluating the different features, one can feel the depth of the strong Malaysian history and culture. There is an aesthetic feeling that is brought out in its design that is highly representative of the culture of its people. Regardless of the complex processes of politics and the changes of culture for the Iban people through history that has impacted their lifestyles in several ways, the Ibans still believe in the hornbill image. The carved figure of the bird reflects the symbolism of courage and power of the Iban people. The artist takes the approach of providing exquisite carving as well as adding vibrant colors. The bird's eyes contain an intense yet subtle look. Unlike other icons of religion, the Hornbill Figure is more influential than many other types of symbols. This in turn makes the believers in its powers very strong. As the making of hornbill images increased in popularity during the nineteenth and mid-twentieth centuries, there was a turning point when some things changed. The Sultanate of Brunei handed over the political fate of Sarawak to James Brooke, a British colonist who had power to control the region after his victorious assistance in conquering local rebels. With the same privileges as a white rajah, his dynasty of three generations ruled Sarawak for a hundred years under which the indigenous inhabitants were shielded from exploitation (Sarawak). As a result, it is during this time frame that the Iban people and other Dayak natives were given the rights to assume control of the militia for the area. This could be where the culture received inspiration to enhance military performance and creative rituals through their traditional belief of the hornbill symbol. The Brooke regime, especially during the ninteenth century, wanted more commerce and trade with Chinese merchants in Sarawak. “Chinese merchandise consisted of beeswax, birds’ nests, camphor, dammar, and horns in exchange of guttah (a milky sap discovered in the early nineteenth century to be an excellent 'rubber' which could be used to glue together leather shoes) and rattan,” (Wadley, 2006). Products made of these materials became enhanced the trading economy and the overall culture of Borneo. This had a huge impact on the people of Sarawak and their way of life as determined by the increased craftsmanship of the Iban sculptors. Around the end of the ninteenth century, the Dutch were able to gain advantage over the community market in the exportation of rubber, coffee, pepper, copra, coal, tin, and petroleum products (Rowthorn & Cohen, 2008). “At the time, the commerce made a shift towards acquiring Chinese labor for employment on mining and plantation fields in Borneo and gutta-percha, a tall tree-latex extract, entered the ethnic market as a new commodity,” (Wadley). By this time, the Iban natives became more engaged in roaming through the forests rather than farming. The Iban people were in search of gutta-percha which was to support the technology of expanding cable communication during the late 1860s. This is because the latex-like material could be utilized for insulating cables of submarines (Wadley). The Iban communities from which the hornbill carvers came had the opportunity to migrate and move around. They also learned ways in which they could benefit from gathering products from the forest. However, the Brooke administration felt it was more suitable for these people to focus and increase their potential through agriculture. Migrating to other places though allowed the Iban people to seek improved ways of living and forms of socialization. The natives also agreed to interact with the Chinese traders and other ethnic groups for mutual purposes. Taking all of this in mind, the art critic understands the value of aesthetic work in the context of Iban sculpture that had been influenced by colonization and trade. The hornbill figure reflects originality in the choice of colors and the artisan's approach to carving is based on how the aspects of culture in Sarawak were shaped in the age of White Rajahs. This would have been during the times of James of Sarawak (1841–1868), Charles of Sarawak (1868–1917), and Vyner of Sarawak (1917–1946). While the image preserves its religious value, the social foreign dimensions are vivid and represent amazing advanced skills that the sculptor had obtained during the period which then greatly challenged ethnicity in certain areas of Borneo. Using techniques of wood carving in curriculum, even the average creations made from wood would most likely seem to be tedious work for secondary students in grades 7 through 12. The cultural art work over time requires serious effort toward accomplishment, skills, and appreciation of ethnic and religious worthained. This is the type of craftsmanship that is obt by expert workers who have the appropriate resources and mastery in the expected details of the hornbill figure. Creating a ‘powerful symbol’ may be something that is introduced to the students may be better created by students using different mediums rather than wood carvings. This would still give students the ability to express the hornbill’s thematic features in several different ways. This Malaysian culture and historical context as interpreted by each person can still be represented. More novice artists will then have the opportunity to use natural materials that are similar to those of the original version. After introducing the students to the interesting concepts about the hornbill image for inspiration, the instructor can discuss various mediums or materials that could be used for the project. The instructor may focus the project on some important birds or animals in their particular location. For example, in the United States, the bald eagle is a strong symbol. This then helps students consider incorporating a cross-cultural aspect during this particular classroom activity. As a small project for inspiration, students may draw a few sketches of their own hornbill figure with geometric shapes and patterns to study the types of shapes and patterns used in the original creation instead using their own interpretation. Students may then use different types of objects that are available to build the bird’s shape with clay. The shape of project could be created by carving away the soft clay material by hand, and adding clay where needed to build. Gray clay may constitute the body of the bird and could then also be decorated with colorful clays, such as play dough, by attaching them on the surface of the body or by painting on the original clay after it dries out. Clay knives and other such tools may be used in this process of constructing the main figure and with emphasis on the frame of the body through textured paint application. Some recycled objects could also be used in the design including old magazines, cotton, fibers, and cloth to surround the clay structure. Students may be encouraged to even use a central theme. Paper cutouts of British items that had existed during English colonization of Borneo, for example, can show foreign influences to the natives and the results of the time era that turned and impacted the attitude and mechanism utilized by wood carvers of the past. Blending in gemstones or other forms of decorations or embellishments similar to the elements included in the authentic hornbill model, may also enhance the overall desired effect as well of the art piece. If using clay carving sculpture for the studio project, the teacher can increase each student’s potential to explore. Students may experiment with colors and even 3-D spatial orientation. There are numerous techniques using the student's imagination that can be implemented for creating a hornbill sculpture. The project can be formed with ease and enhance the students' interest and curiosity using these mediums and exploring symbolism behind the meaning of the hornbill to the Ibans. This activity goes along with the following curriculum California state art content standards : 1.4 Analyze and describe how the composition of a work of art is affected by the use of a particular principle of design. 2.4 Review and refine observational drawing skills. 2.6 Create a two or three-dimensional work of art that addresses a social issue 3.3 Identify and describe trends in the visual arts and discuss how the issues of time, place, and cultural influence are reflected in selected works of art. 3.4 Discuss the purposes of art in selected contemporary cultures. 4.1 Articulate how personal beliefs, cultural traditions, and current social, economic, and political contexts influence the interpretation of the meaning or message in a work of art. 5.2 Create a work of art that communicates a cross-cultural or universal theme taken from literature or history. In conclusion, the carving of the Hornbill Figure has been an important symbol of Malaysian culture. It has had a strong influence on the people of the area considering how long this symbol has survived time and everchanging cultural aspects and is still a strong surviving symbol. The hornbill is a display of rich history. With struggles through several battles fought by the tribal Iban communities, one can see the benefits of how the hornbill figure was more than just an object. Instead, it is a reflection of the special traits of this indigenous society during the pre-colonial nineteenth century in Sarawak. This symbol has even preserved spirituality in the period of British occupancy in this area. In the study process, a student will earn a respect for the combination of the roots of ethnicity, cultural advantages, and also the hornbill being a product of religious and military influences. Works Cited Davenport, William H. “Hornbill Carvings of the Iban of Sarawak, Malaysia.” RES: Anthropology and Aesthetics. 2011. Web. 9 Mar 2011. Rowthorn, C., Cohen. “Borneo.” Lonely Planet Travel Guides. Lonely Planet, 2008. Wadley, Reed L. Histories of the Borneo Environment: Economic, Political, and Social Dimensions of Change and Continuity. KITLV Press, 2006. “Sarawak.” 2006. MyMalasiaParadise.com. Web. 22 Mar 2011. Art Critique 1 In the painting “Reflection” by Valerie L. Winslow (oil on canvas, 2003-2004), the artist depicts a couple sitting close to each other in a small room. Behind them is an arched window that looks out over a deep valley under a cloudy grey sky. Inside the room, the couple does not face each other. Both apparently black, the man looks out of the left side edge of the frame, appearing to be moody. Alternately, the woman faces the front and her eyes stare off slightly to the right of the viewer. The woman, dressed in pale green and with a colorful African scarf draped around her neck, holds a white cracked ceramic mask in her hands and rests one arm on the table in front of her. On the table are three tarot cards which may be representative of anything but one appears to be representing lynchings with the hanged an card, civil rights with the kustice card and perseverance with the strength card. The strength of the composition is in the line of sight of the characters which captures the eye within the frame, however, the characters do not look out toward the viewer of the painting. Color also contributes to the painting’s effectiveness. There is use of limited color on the tarot cards. However, this then causes direction of the eye to the center of the image where the woman is in her colorful dress and scarf that is in sharp contrast to the man’s white t-shirt without blending into the neutral background. The pastel shades gives the art a muted look which then highlights the emotions of the people instead. The characters both seem to feel it necessary to maintain a hold on the white mask that enables them to move in mainstream society. The symbolism apparent in the piece is clear to those with knowledge or curiosity to examine the cards on the table and to understand the condition of people of color within a white society. The valley in the background portrays a huge hurdle to overcome. This would indicate that it should be conquered before the prediction of justice found in the cards on the table occurs. However, the strength depicted in these characters and the cracks in the mask suggest this is not a condition that will not last or break the spirits of these people. By examining a series of artworks created by Valerie Winslow, it becomes clear that the artist has a very strong introspective approach to her work. This is shown in the very detailed depictions of human anatomy she has created as well as in the attitudes of the characters in her more imaginative paintings. Winslow includes a number of symbols within her paintingswhich indicates a strong narrative within the framework of the image if they can be deciphered. This type of approach is seen in the development of her piece “The Last Straw.” Early sketches of the piece show the placement and some of the expressions of the various characters but show little of the symbols that appear on the table in the artist's final piece. “The Last Straw” (2010) is an oil on canvas painting that mimics, to some extent, the composition of Leonardo da Vinci’s painting of “The Last Supper.” The various characters make their symbolic positions quite clear. The woman in the center, for example, is clearly intended to represent all women as her facial details remain unclear but there seems to be a sense of frustration and irritation that appears quite clear. Her hands are shackled and rest on the table on either side of an apple, a chalice and a small book. These symbols refer to the accepted roles of the woman as have been defined by the men around her. In the place of disciples, Winslow has created a crowd of symbolic men. At the end of the table is the corporate glass ceiling. Next to him is the Hollywood director in dark sunglasses and the plastic surgeon, both of whom seem to wish to redefine her to suit their image of her. A judge with his tongue sticking out and a general both represent the authority men hold over women. It seems that the men in red shirts express their hatred or rage for her simply because of her gender. On her other side, the woman is subjected to the expressions of men who see women as objects, representatives of the Christian church and lawmakers who still have unnatural control over her body. The table is messed up with symbols that help to identify the roles these men play as well as to make clear the inequality between the male and female genders. Art Critique 2 The work being analyzed was created by the artist Esteban Bojorquez. It is called “Tin Man Tea Party,” created between 2005-2010 and consists of a variety of mixed media. The work is a three-dimensional compilation of various types of metallic objects. The work itself measures 60 inches by 41 inches by 14 inches thick so it is rather large. The objects that are used within the piece include a steel door, miniature tea kettles, ink wells, metal rings and gears, drain spouts and other strictly metallic materials. As a result, the composition of the pieces is based on mostly geometric shapes such as triangles, rectangles, circles and even columns. Although the miniature tea kettles are not strictly geometric in form, they are placed in such a way to still show off a geometric form. For example, the artist has placed a column of tea kettles vertically aligned along the bottom right edge of the piece to emphasize their circumference. Another tea kettle is placed with its bottom attached to the back piece so as to emphasize its round opening at the top. This large piece stands vertically aligned on the wall like a misaligned small coffee table. The artist works almost exclusively with found materials which reflects the leftover pieces of society at the same time that he presents these pieces as shining new. The viewer's eye is kept moving through the piece due to the strategic use of line. None of the straight lines created are allowed to exist in horizontal or vertical alignment except for the underlying frame. Most angles are leaning on the diagonal and interrupted in some way by a circle. The composition suggests a random tea table complete with tea cups, saucers and kettles with a few sweetener cubes scattered around. However, the artist also plays with the aspects of dimension available in the medium, allowing some of these elements to stick out while others sink in to the surface. This multi-dimensional piece encourages the level of activity and discussion one might expect to find at a tea party. Kai Bob Cheng’s “Self-Portrait” is an undated mixed media piece that attempts to convey something about the artist’s interpretation of himself. The image is presented in the traditional form of a portrait complete with an aged and elaborate frame and a golden-colored background. In this frame, and even partially overlapping it, is the seated figure of the artist. The figure is created with the use of paint, wires and other found objects. A set of letters are set across the middle of the image horizontally with the left side seeming at first to be a mirror image of the right side. Upon closer examination of these letters shows that while they are printed backwards, they are different letters from those that appear correctly on the opposite side. The body and hands of the figure are the painted surface of the ‘canvas’ while the head and objects held by the figure are three dimensional additions to the composition. These elements bring attention to the concept that the body of the figure seems to be divided vertically down the center. There are a number of symbols and meanings within this painting. The golden background color of the painting was traditionally a color reserved for images that show great respect or wealth. By using this color as his background, the artist is showing that he has a strongly positive opinion of himself. This is kept from being an opinion of excessive pride by the position in which he is sitting. The position of the figure with the legs crossed and the hands resting on the knees, is a traditional symbol of the wise or spiritual man. He is also wearing red, which is a traditional color for happiness and good luck in Eastern cultures as well as a symbol of vitality and energy in Western cultures. The figure also holds a hand mirror in each of its hands, indicated by the empty frames. These mirrors are dominated by a single eye. The one on the darker side of the figure seems to be blind while the one on the light side of the image seems to be wide open. Another important symbol is the jade bead that hangs from the figure’s neck. This symbolizes nobility. In conjunction with the other symbols, this self-portrait presents a meaning that suggests that the figure or the artist himself, is spiritually noble, happy and at peace because of his ability to look inside and to acknowledge but not allow his inner darkness to be a damper. Read More