Mask Artifact Observation & Research
Published 2023/09/28 at 1:41 pm
Mask Artifact Observation
- 2 Masks from The Metropolitan Museum of Art
- 1 Mask from the The Museum of Cultural Masks: Second Face
Yup’ik, Native American
From The Metropolitan Museum of Art
Subjective reaction: It gives me the joy of having a good harvest (catching a lot of fish) and a hunger for prey.
Form and Function
| Form - “What is there?” | Function - “What does it do?” |
|---|---|
| Line: Curving lines outline the shapes of animals like birds, fish, and seals. More angular lines depict the human hand and fingers. | The lines bring symbolic meaning to each animal and create visually engaging, flowing shapes that draw the eye throughout the composition. |
| Color: Natural wooden browns, blacks, and tans are used. Grasses and possible feathers add earthy greens, yellows, and neutrals. | The natural colors connect the mask to the environment and materials where it was created. The colors lend an authentic, organic feel. |
| Composition: The central composition is a human/ animal hybrid face, perhaps representing a mythical being. | The arrangement represents the interconnectedness between humans, animals, and all living things. The composition moves the eye around the mask. |
| Size/Scale: around 50cm×70cm | This scale allows the mask to completely transform the wearer into another being when worn. The scale lends a sense of the mythical. |
| Form: The mask is made from natural materials like wood, grasses, and possibly feathers. | The organic materials make the mask feel authentic to its place of origin, not artificial or fake. The materials connect it to the natural world. |
| Emphasis: The central human/animal hybrid face draws the most focus. | This prominent central face emphasizes the transformative power of the mask. It is the most important part compositionally. |
| Unity: Circular frames around the central face and outer edge unify the composition. | Unity makes the disparate images feel cohesive. |
| Variety: A diversity of animals are represented - birds, fish, seals, human figures. | This variety symbolizes the breadth of the living world and relationships between its realms. |
| Material: The main material is wood which grounds the mask in nature. Grasses add organic texture. | The natural materials connect the mask back to the Yup’ik’s natural world and make it feel authentic. |
Tlingit, Native American
From The Metropolitan Museum of Art
Subjective reaction: The first reaction was joy and happiness, but as I gazed at its completely black pupils, I felt a sense of fear and numbness.
Form and Function
| Form - “What is there?” | Function - “What does it do?” |
|---|---|
| Line: Angular, geometric lines outline the eyes, nose, and mouth. | The stylized lines create an abstracted, exaggerated face that conveys a distinctive Tlingit aesthetic. |
| Color: The mask features red and green pigments on a wooden base. | The symbolic colors likely denote a particular spirit being or ancestral energy according to Tlingit culture. |
| Composition: The composition focuses solely on a central forward-facing face with enlarged facial features like oval eyes, a wide nose, and open mouth. | The exaggerated proportions emphasize the importance of identity and transformation through the mask. |
| Size/Scale: around 30cm× 40cm | This integrated scale allows the wearer to fully become the spirit being or ancestor when worn in ritual. |
| Form: The mask is carved from wood and then painted with pigments. | The durable wood and permanent pigments reflect the sacredness of the rituals and repeated use of the mask. |
| Emphasis: The centralized forward-facing face draws emphasis. | This focus reflects the mask’s purpose of transforming identity through exaggerated features. |
| Unity: Repeating reds, greens, and black unify the composition through color. | The uniform colors create a cohesive Tlingit aesthetic. |
| Variety: The exaggerated, abstracted facial features create captivating visual interest. | The stylized variety reflects Tlingit ideals of form and aesthetics. |
| Material: The material is a kind of mental. | The mask was likely worn as part of a headdress without eye holes. |
Emberá Macaw
From the The Museum of Cultural Masks: Second Face
Subjective reaction: It is a really cute one, round black eyes with beautiful feathers around.
Form and Function
| Form - “What is there?” | Function - “What does it do?” |
|---|---|
| Line: Curving lines outline the shape of the macaw’s head, beak, and neck. | The lines capture the essence of the bird’s form in a stylized, elegant way. |
| Color: Blue, yellow, and black colored palm fibers. | The colors reflect the natural hues of the Blue-and-Gold Macaw plumage. |
| Composition: Central beak shape framed by abstracted facial disk and neck shapes. | Focused on the macaw’s most recognizable feature, its beak. |
| Size/Scale: Small, made to be worn or displayed. | Allows mask to represent the macaw’s spirit and meaning. |
| Form: Woven from dyed palm fibers. | The natural material connects to the Emberá’s landscape and culture. |
| Emphasis: Vibrant beak draws the eye. | Emphasizes the macaw’s essence and symbolic meaning. |
| Unity: Repeating blues and yellows unify the composition. | Creates a cohesive macaw form. |
| Variety: Abstracted shapes add visual interest. | Stylization captures macaw spirit without replicating detail. |
| Material: Dyed palm fibers | connect back to materials in Emberá environment |
Written Response
Yup’ik, Native American
Why the mask was made?
This Yup’ik mask shows the artist’s view of nature’s connections using animal images. It was made to represent supernatural beings and stories and worn in important community dance ceremonies. The mask has both spiritual and social purposes.
How it was made?
The mask seems to be carved from wood and includes natural materials like hair, grass, and maybe feathers. The wood makes it durable, and the mixed materials give it symbolic texture, connecting it to the Yup’ik environment.
How it was used?
This mask was worn during dance ceremonies and rituals in the Yup’ik community. Wearing it allowed the person to become the depicted spiritual being and reconnect with ancestral stories. Wearing it publicly showed the owner’s status and knowledge.
Tlingit, Native American
Why the mask was made?
This Tlingit mask was made to represent a specific spirit or ancestor. It was worn during important ceremonial potlatches to share tribal myths and histories with the community.
How it was made?
The Tlingit mask is carved from wood and painted with symbolic red and green pigments. The sturdy wood and lasting pigments highlight the sacred nature of the mask and its role in recurring ceremonies. The stylized carved lines give it a distinctive Tlingit look.
How it was used?
The Tlingit mask was worn as part of a ceremonial headdress by a dancer or storyteller. Wearing the mask allowed the person to fully embody the specific ancestral spirit during dramatic retellings of myths and histories. Its visual impact strengthened the oral performance and the social aspects of the potlatch gatherings.
Emberá Macaw
Why the mask was made?
The Emberá people made masks like this Macaw, representing animal spirits, for shamans to use in healing and purification rituals. These masks connect to their belief system and help restore balance in their villages, with the vibrant colors of the macaw holding symbolic meaning.
How it was made?
The mask is woven from palm fibers dyed in bright blues, yellows, and blacks. The natural fibers and colors link to the Emberá’s surroundings and resources.
How it was used?
Shamans would use the Macaw mask in communal rituals, either wearing it or displaying it prominently. This brings the energy and symbolism of the macaw into the ritual to promote healing and purification. The lively colors and form of the mask reinforce the ritual’s meaning and intentions.