In Speechless Ecstasy: Expression & Interpretation Of by Serafim Seppala

By Serafim Seppala

In accordance with the speculation underlying this examine, Syriac and Sufi texts refer time and again to and take care of whatever "mystical" that's completely non-linguistic in nature, but is expressed linguistically below the stipulations and regulations of traditional language; this whatever is a vital issue constituting the nature of the discourse, however it doesn't undergo being an item of analysis. the aim of this examine is to adopt a scientific survey of the various parts of ecstatic readings in Syriac ascetic literature, together with the method of expression and interpretation (and manifestation, so far as possible), and to provide this including a corresponding research of classical Sufism because it is manifested in its authoritative literature, and eventually, to make concluding comments pertaining to universal gains and changes among traditions.

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The patron may also contribute to the appearance of the object after it has been purchased from the artist. For example, palm oil may be applied to the surface of a figural sculpture during its ritual use (image 27). and masks may be repainted by their owners from year to year. Image 9 33 Materials and Techniques Many tradition-based works of African art are made of perishable materials and are therefore subject to damage wrought by climate and insects in Africa. Most artifacts in museums were collected in the early twentieth century and were generally no older than a century at that time.

Luxury metals available locally include gold and copper alloys (bronze and brass). Indeed, at one point in history, most of the gold supply in Europe came from West Africa. Through trade with Europe beginning in the fifteenth century, metals like copper alloy and silver became more plentiful. Because these metals were considered precious materials, they were generally used for prestige objects and signified wealth and power. Such metals were most often cast (images 20, 22, 28), but could also be worked in other ways, such as hammering into sheets.

5 cm) The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. 121) Seated Male with Lance (Gwantigi), 15th–20th century Mali; Bamana Wood; H. 35 3/8 in. 600a,b) The large, naturalistic figures of a woman and man shown here are associated with Jo, a society of initiated Bamana men and women found primarily in southern Mali, near the towns of Bougouni and Dioila. They are also used in Gwan, a division of Jo concerned with women’s fertility and childbirth. Now displayed together in the Museum’s collection, each of these figures originally came from a different community where they were paired with mates of their own size.

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