Age of Encounter

Cover of Iyoba is one of the portrayals of non-Western craftsmanship that represents the contrasts between the two methodologies. Made in Nigeria roughly in 1550, it depicts the Queen Mother, the mother of Oba lord, and is right now showed at the Metropolitan Museum in New York ("Queen Mother Pendant Mask"). This item has a specific social significance for the Oba public and can be utilized to analyze the convictions and customs of this culture. By and large, it exhibits the abundance and force of the lord.

A mix of materials was utilized to make this craftsmanship piece, including iron, copper, and ivory. In such a manner, one can contend that this cover shows an association between the Western and non-Western because the ivory found in Africa pulled in the Portuguese brokers. Notwithstanding, the local individuals had the option to get materials like copper and iron. The three mediums were utilized while making the Queen Mother veil. This showcases the two likenesses and contrasts of the two ways to deal with the workmanship.

The medium used for figures by Western individuals was generally metal, while in Africa, it was ivory. As per the Metropolitan Museum, "in Benin, ivory is identified with white, an image of custom virtue" ("Queen Mother Pendant Mask," para. 3). Along these lines, the materials utilized in this craftsmanship have specific strict importance for the Oba public.

A fundamental component of this cover is the mudfish and Portuguese dealers situated on the crown. The fish was giant for the Oba, which clarifies how it turned into a piece of this craftsmanship. This theoretical portrayal of significant components for individuals in Africa is another part that recognizes the two workmanship draws near.

The Metropolitan Museum expresses that the Portuguese are a piece of this craftsmanship since they helped Oba acquire abundance through participation and trade of ivory, which was valued by individuals ("Queen Mother Pendant Mask"). In this way, one can contend that, not at all like the Western craftsmanship, things made in Africa are firmly associated with the authentic, social, and political setting, which is shown not just in the subject of a specific work yet additionally in the materials utilized.

A few particular elements of African workmanship vary from that of different societies. First and foremost, deliberation is generally applied when depicting people, which brings about distinct or unobtrusive contrasts with actual individuals in comparison with a craftsmanship piece. The Queen Mother is shown all the more. Notwithstanding, her head is covered with plans of fish and mariners.

Moreover, her face is romanticized, which is one more specific component of the African craftsmanship that contrasts these works from the Western, where individuals are depicted all the more normally. Then, this workmanship can be viewed as a portrayal of the particular social jobs that existed in Oba society. The Queen assumed a fundamental part for the Oba public, and her look made with iron and copper stresses the force of this figure.

The particular type of craftsmanship addressed by the Queen Mother is another qualification. The cover, which is joint for African craftsmanship, is not a typical Western workmanship component. As was recently referenced, Western statistics centered more around the reasonable depiction of people, and these works filled a stylish need as opposed to a commonsense one. It very well may be contended that this is because of the particular use of the workmanship things pervasive in Africa.

One can guess that culture plays an indispensable part in deciding innovative methodologies, which is particularly clear while analyzing the case of Western and non-Western craftsmanship. The particular contrasts between the social and social conditions of these social orders foreordained the focal topics and procedures utilized in workmanship. As indicated by the Metropolitan Museum, "the Oba might have worn it at customs celebrating his mom, albeit today such pendants are worn at yearly services of profound restoration and decontamination" ("Queen Mother Pendant Mask," para. 2). The cover was not made for tasteful reasons just. It had a tremendous otherworldly significance for this culture.