Epistemological Views Analyses of Plastic Fabrics Artistic Iconography in Sub-Saharan Africa

Suh Hillary Sama

doi:doi:10.11648/j.history.20190702.16

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Epistemological Views Analyses of Plastic Fabrics Artistic Iconography in Sub-Saharan Africa

Suh Hillary Sama

Published in History Research (Volume 7, Issue 2)

Received: 8 July 2019 Accepted: 26 October 2019 Published: 4 December 2019

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Abstract

This piece of work on Sub-Saharan Africa Iconography expresses as objective the idealistic fabrics that enrich the cultural background that emanated or began from ancient Egypt during the prehistoric times and meaning images in Greek language. It was used by an artist or artists to covey particular meanings, this later move in to Greece and to other parts of the world. This has become very important to Sub-Sahara Africa like Egypt, Libya (Nubian), Senegal, Ghana (Gold Coast), Benin (Dahomey) Kenya, South Africa, Mali, Algeria, Chad, Nigeria, Cameroon, Zimbabwe and others. The breaking down of these wealthy resources as objects goes a long way to illustrate the quality substances and technical sense or knowledge in manufacturing and constructing. It should be noted that this followed a methodology, with the passing of time these Sub Sahara African Iconography has been transform to an extend gaining admirable and enjoyable plastics characteristics with a lot of meaningful interpretation from the artistic works. As a result, Sub-Saharan Africa Iconography embodied some aspects like The United States of America constructed structures in University of Dschang, Ekok and Bonaberi Bridges as Architectural Developments, the Nok-Head and carved Head of Juju Nkwifon in the Bafut palace as Sculptural advancements, Ceremonial Grassfields and Igbo Traditional Dress and Painting, a Queen Mother Head in Bafut as indicated signs of progress in Paintings, also the Egyptian hieroglyphics developed, the Shumum of the Bamoun kingdom also developed involving others like the Senegalese Wolof and kenyan Swahilis as Writings skills, has been crackdown through explanations and are very significant. They are very rich and these have given birth and rebirth to Sub Sahara African civilizations. Therefore, our notion is also to make known and comprehend that all that originated from Sub-Saharan Africa and left, returned in several folds. All has helped to build the Society. This piece of work has been developed with the help of documents, artistic pictures from Snap-shuts and museum, interviews and facts from internet sources.

Published in	History Research (Volume 7, Issue 2)
DOI	10.11648/j.history.20190702.16
Page(s)	65-76
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2019. Published by Science Publishing Group

Keywords

Sub-Saharan Africa, Iconography, Enrich, Cultural, Background, Plastics, Civilization, Build, Society

References

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Suh Hillary Sama. (2019). Epistemological Views Analyses of Plastic Fabrics Artistic Iconography in Sub-Saharan Africa. History Research, 7(2), 65-76. https://doi.org/10.11648/j.history.20190702.16

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Suh Hillary Sama. Epistemological Views Analyses of Plastic Fabrics Artistic Iconography in Sub-Saharan Africa. Hist. Res. 2019, 7(2), 65-76. doi: 10.11648/j.history.20190702.16

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Suh Hillary Sama. Epistemological Views Analyses of Plastic Fabrics Artistic Iconography in Sub-Saharan Africa. Hist Res. 2019;7(2):65-76. doi: 10.11648/j.history.20190702.16

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@article{10.11648/j.history.20190702.16,
  author = {Suh Hillary Sama},
  title = {Epistemological Views Analyses of Plastic Fabrics Artistic Iconography in Sub-Saharan Africa},
  journal = {History Research},
  volume = {7},
  number = {2},
  pages = {65-76},
  doi = {10.11648/j.history.20190702.16},
  url = {https://doi.org/10.11648/j.history.20190702.16},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.history.20190702.16},
  abstract = {This piece of work on Sub-Saharan Africa Iconography expresses as objective the idealistic fabrics that enrich the cultural background that emanated or began from ancient Egypt during the prehistoric times and meaning images in Greek language. It was used by an artist or artists to covey particular meanings, this later move in to Greece and to other parts of the world. This has become very important to Sub-Sahara Africa like Egypt, Libya (Nubian), Senegal, Ghana (Gold Coast), Benin (Dahomey) Kenya, South Africa, Mali, Algeria, Chad, Nigeria, Cameroon, Zimbabwe and others. The breaking down of these wealthy resources as objects goes a long way to illustrate the quality substances and technical sense or knowledge in manufacturing and constructing. It should be noted that this followed a methodology, with the passing of time these Sub Sahara African Iconography has been transform to an extend gaining admirable and enjoyable plastics characteristics with a lot of meaningful interpretation from the artistic works. As a result, Sub-Saharan Africa Iconography embodied some aspects like The United States of America constructed structures in University of Dschang, Ekok and Bonaberi Bridges as Architectural Developments, the Nok-Head and carved Head of Juju Nkwifon in the Bafut palace as Sculptural advancements, Ceremonial Grassfields and Igbo Traditional Dress and Painting, a Queen Mother Head in Bafut as indicated signs of progress in Paintings, also the Egyptian hieroglyphics developed, the Shumum of the Bamoun kingdom also developed involving others like the Senegalese Wolof and kenyan Swahilis as Writings skills, has been crackdown through explanations and are very significant. They are very rich and these have given birth and rebirth to Sub Sahara African civilizations. Therefore, our notion is also to make known and comprehend that all that originated from Sub-Saharan Africa and left, returned in several folds. All has helped to build the Society. This piece of work has been developed with the help of documents, artistic pictures from Snap-shuts and museum, interviews and facts from internet sources.},
 year = {2019}
}

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TY  - JOUR
T1  - Epistemological Views Analyses of Plastic Fabrics Artistic Iconography in Sub-Saharan Africa
AU  - Suh Hillary Sama
Y1  - 2019/12/04
PY  - 2019
N1  - https://doi.org/10.11648/j.history.20190702.16
DO  - 10.11648/j.history.20190702.16
T2  - History Research
JF  - History Research
JO  - History Research
SP  - 65
EP  - 76
PB  - Science Publishing Group
SN  - 2376-6719
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AB  - This piece of work on Sub-Saharan Africa Iconography expresses as objective the idealistic fabrics that enrich the cultural background that emanated or began from ancient Egypt during the prehistoric times and meaning images in Greek language. It was used by an artist or artists to covey particular meanings, this later move in to Greece and to other parts of the world. This has become very important to Sub-Sahara Africa like Egypt, Libya (Nubian), Senegal, Ghana (Gold Coast), Benin (Dahomey) Kenya, South Africa, Mali, Algeria, Chad, Nigeria, Cameroon, Zimbabwe and others. The breaking down of these wealthy resources as objects goes a long way to illustrate the quality substances and technical sense or knowledge in manufacturing and constructing. It should be noted that this followed a methodology, with the passing of time these Sub Sahara African Iconography has been transform to an extend gaining admirable and enjoyable plastics characteristics with a lot of meaningful interpretation from the artistic works. As a result, Sub-Saharan Africa Iconography embodied some aspects like The United States of America constructed structures in University of Dschang, Ekok and Bonaberi Bridges as Architectural Developments, the Nok-Head and carved Head of Juju Nkwifon in the Bafut palace as Sculptural advancements, Ceremonial Grassfields and Igbo Traditional Dress and Painting, a Queen Mother Head in Bafut as indicated signs of progress in Paintings, also the Egyptian hieroglyphics developed, the Shumum of the Bamoun kingdom also developed involving others like the Senegalese Wolof and kenyan Swahilis as Writings skills, has been crackdown through explanations and are very significant. They are very rich and these have given birth and rebirth to Sub Sahara African civilizations. Therefore, our notion is also to make known and comprehend that all that originated from Sub-Saharan Africa and left, returned in several folds. All has helped to build the Society. This piece of work has been developed with the help of documents, artistic pictures from Snap-shuts and museum, interviews and facts from internet sources.
VL  - 7
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ER  -

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Author Information

Suh Hillary Sama

Department of History and Archeology, University of Dschang, West Region, Cameroon

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Suh Hillary Sama. (2019). Epistemological Views Analyses of Plastic Fabrics Artistic Iconography in Sub-Saharan Africa. History Research, 7(2), 65-76. https://doi.org/10.11648/j.history.20190702.16

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Suh Hillary Sama. Epistemological Views Analyses of Plastic Fabrics Artistic Iconography in Sub-Saharan Africa. Hist. Res. 2019, 7(2), 65-76. doi: 10.11648/j.history.20190702.16

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Suh Hillary Sama. Epistemological Views Analyses of Plastic Fabrics Artistic Iconography in Sub-Saharan Africa. Hist Res. 2019;7(2):65-76. doi: 10.11648/j.history.20190702.16

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@article{10.11648/j.history.20190702.16,
  author = {Suh Hillary Sama},
  title = {Epistemological Views Analyses of Plastic Fabrics Artistic Iconography in Sub-Saharan Africa},
  journal = {History Research},
  volume = {7},
  number = {2},
  pages = {65-76},
  doi = {10.11648/j.history.20190702.16},
  url = {https://doi.org/10.11648/j.history.20190702.16},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.history.20190702.16},
  abstract = {This piece of work on Sub-Saharan Africa Iconography expresses as objective the idealistic fabrics that enrich the cultural background that emanated or began from ancient Egypt during the prehistoric times and meaning images in Greek language. It was used by an artist or artists to covey particular meanings, this later move in to Greece and to other parts of the world. This has become very important to Sub-Sahara Africa like Egypt, Libya (Nubian), Senegal, Ghana (Gold Coast), Benin (Dahomey) Kenya, South Africa, Mali, Algeria, Chad, Nigeria, Cameroon, Zimbabwe and others. The breaking down of these wealthy resources as objects goes a long way to illustrate the quality substances and technical sense or knowledge in manufacturing and constructing. It should be noted that this followed a methodology, with the passing of time these Sub Sahara African Iconography has been transform to an extend gaining admirable and enjoyable plastics characteristics with a lot of meaningful interpretation from the artistic works. As a result, Sub-Saharan Africa Iconography embodied some aspects like The United States of America constructed structures in University of Dschang, Ekok and Bonaberi Bridges as Architectural Developments, the Nok-Head and carved Head of Juju Nkwifon in the Bafut palace as Sculptural advancements, Ceremonial Grassfields and Igbo Traditional Dress and Painting, a Queen Mother Head in Bafut as indicated signs of progress in Paintings, also the Egyptian hieroglyphics developed, the Shumum of the Bamoun kingdom also developed involving others like the Senegalese Wolof and kenyan Swahilis as Writings skills, has been crackdown through explanations and are very significant. They are very rich and these have given birth and rebirth to Sub Sahara African civilizations. Therefore, our notion is also to make known and comprehend that all that originated from Sub-Saharan Africa and left, returned in several folds. All has helped to build the Society. This piece of work has been developed with the help of documents, artistic pictures from Snap-shuts and museum, interviews and facts from internet sources.},
 year = {2019}
}

Copy | Download

TY  - JOUR
T1  - Epistemological Views Analyses of Plastic Fabrics Artistic Iconography in Sub-Saharan Africa
AU  - Suh Hillary Sama
Y1  - 2019/12/04
PY  - 2019
N1  - https://doi.org/10.11648/j.history.20190702.16
DO  - 10.11648/j.history.20190702.16
T2  - History Research
JF  - History Research
JO  - History Research
SP  - 65
EP  - 76
PB  - Science Publishing Group
SN  - 2376-6719
UR  - https://doi.org/10.11648/j.history.20190702.16
AB  - This piece of work on Sub-Saharan Africa Iconography expresses as objective the idealistic fabrics that enrich the cultural background that emanated or began from ancient Egypt during the prehistoric times and meaning images in Greek language. It was used by an artist or artists to covey particular meanings, this later move in to Greece and to other parts of the world. This has become very important to Sub-Sahara Africa like Egypt, Libya (Nubian), Senegal, Ghana (Gold Coast), Benin (Dahomey) Kenya, South Africa, Mali, Algeria, Chad, Nigeria, Cameroon, Zimbabwe and others. The breaking down of these wealthy resources as objects goes a long way to illustrate the quality substances and technical sense or knowledge in manufacturing and constructing. It should be noted that this followed a methodology, with the passing of time these Sub Sahara African Iconography has been transform to an extend gaining admirable and enjoyable plastics characteristics with a lot of meaningful interpretation from the artistic works. As a result, Sub-Saharan Africa Iconography embodied some aspects like The United States of America constructed structures in University of Dschang, Ekok and Bonaberi Bridges as Architectural Developments, the Nok-Head and carved Head of Juju Nkwifon in the Bafut palace as Sculptural advancements, Ceremonial Grassfields and Igbo Traditional Dress and Painting, a Queen Mother Head in Bafut as indicated signs of progress in Paintings, also the Egyptian hieroglyphics developed, the Shumum of the Bamoun kingdom also developed involving others like the Senegalese Wolof and kenyan Swahilis as Writings skills, has been crackdown through explanations and are very significant. They are very rich and these have given birth and rebirth to Sub Sahara African civilizations. Therefore, our notion is also to make known and comprehend that all that originated from Sub-Saharan Africa and left, returned in several folds. All has helped to build the Society. This piece of work has been developed with the help of documents, artistic pictures from Snap-shuts and museum, interviews and facts from internet sources.
VL  - 7
IS  - 2
ER  -

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