Zona do título e menção de responsabilidade
Título próprio
Smoking-pipe (view 3)
Designação geral do material
- Objeto
Título paralelo
Outra informação do título
Título e menções de responsabilidade
Notas ao título
- Fonte do título próprio: Nessa Leibhammer using JAG materials
Nível de descrição
View
Entidade detentora
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Menção de edição
Menção de responsabilidade da edição
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Autoridade emissora e denominação (filatélica)
Zona de datas de criação
Data(s)
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2016 - (Online curation)
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1987 (Ownership)
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YYYY (Making)
Zona de descrição física
Descrição física
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Título próprio do recurso continuado
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Nota sobre as publicações do editor
Zona da descrição do arquivo
História custodial
Âmbito e conteúdo
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Smoking-pipe, South Sotho/South Nguni]
Zona das notas
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Fonte imediata de aquisição
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Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Instrumentos de descrição
Materiais associados
Ingressos adicionais
Nota geral
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Smoking-pipe; wood, pokerwork, sinew, glass (seed-beads), metal; bowl: 20,2 x 3,2 x 8,3; length: 34,8; South Sotho/South Nguni; JL-F-51]
Nota geral
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Identificador(es) alternativo(s)
Zona do número normalizado
Número normalizado
Pontos de acesso
Pontos de acesso - Assuntos
Pontos de acesso - Locais
Pontos de acesso - Nomes
- Five Hundred Year Archive (FHYA) ()
- Johannesburg Art Gallery (JAG) (Custódia)
- Oppenheimer Family ()
- Jonathan Lowen (Coleção)
- No attribution ()
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