The ancestors looked over his shoulders when Nsangu was seated on this throne.
The footrest shows the king resting his feet on the barrels of the guns, showing that the military rested under his feet.
After Ramsey offered to pay for a new throne to be carved and beaded for Njoya, he gave him a German officer's uniform, complete with pith helmet and saber.
The germans had a key ally in the form of Njoya.
The German colony of the throne of King Nsangu was defeated in World War I.
The king stands next to his father's throne, which he gave to Kaiser in 1908, after the French sent him into exile.
He continued his father's work in support of the arts, Intersections between History and Anthropology in Cameroon.
The Bamum kingdom is a semi-autonomous political entity within the supporter of all arts.
The French deposed Njoya in 1924 and exiled him in 1931 under the pretense that he was a threat to their authority.
He passed away in 1933 and his grandson Sultan Ibrahim Mbombo is the ruler of the Kongo kingdom.
In this 1906 photograph, King Njoya stands next to the kingdoms of Luba and Lunda, his father's beaded throne still in use.
The officer's outfit was all of them.
The photograph shows a significant event in German history that was founded by Bantu speakers from the north.
The level of cultural fluency and political structures is exemplified by the fact that they clashed over achieved by the Bamum artists.
Their kingdom was an artistic powerhouse in the 17th and 18th century.
It was possible to sell or trade Kuba sculptures, textiles, and luxury domestic goods outside of the kingdom with those willing to pay the very high price required for their manufacture.
The structure is made of wood and palm canes and has a thatched gable roof.
The exterior is decorated in its entirety.
A border of contrasting natural and dyed palm fronds creates honeycomb patterns along the ridgeline, corners, and tops of the walls.
The patterns are similar to the woven diamonds and "streets" seen on the Kongo textile.
Both kingdoms shared many religious and aesthetic values.
The mid-eighteenth century saw the reign of maMbul.
The body of the Democratic Republic is carved smoothly and to a smaller scale.
The only way to identify this sculpture wife is by standing behind him.
Everyone in his kingdom faded because of this attribute.
The queen was painted mostly in blue and would have been his symbol.
The sculptures were often placed near the scale of the two figures on the central column, which is not the king's power.
The queen is much larger than her smaller sculpture, now invested with the life force of its owner, was seated husband after the king's death.
Olowe shows the scale to the next king.
The angle of the queen's jaw is picked up in the angle of her breasts, and then in the Edo kingdom that ruled from the king's own jawline.
The seat of the king's throne is well defined by the horizontal lines of the diagonals.
The palaces were built at his bent legs.
The city-states of Ise, Osi-Ilorin, and Ikere all have vertical lines of the throne.
Throughout history, the Yoruba people have been known as prolific carvers.
Wood was masterfully used to create sculptures such as columns and doors.
The traditional arts are still being performed for wealthy kings, political leaders, and private patrons.
Olowe of Ise carved doors and veranda posts for the rulers of the Ekiti-Yoruba kingdoms in southwestern Nigeria.
The sculptural programs for several royal palaces can be attributed to him.
Olowe was a royal court carver for the kings of Ise and Ikere who were located to the north and east of Ife.
His competitor was a sculptor named Arowogun, who worked for the kings at Osi-Ilorin to the north.
These two artists are part of a huge class of specialized artists who worked for the Yoruba kings in Nigeria.
Olowe and Arowogun were more than just artists.
Along with their fellow royal carvers, they depicted histories, lineages, important events, and rituals, all in the most unique, up-to-date styles so as to demonstrate the kings' prosperity and capacity for innovation.
The left side of the New York fund depicts a royal wife standing with her hands on her twin.
The threesome faces sideways in order of the matching fund.
The portions are carved in the round.
The first British travel he sits are done in relief.
The British were welcomed to the palace of Ise by a second door ing relief and sculpture-in-the-round in the same figure panel.
One of the attributes of door is carved very deeply on a single plank of Olowe's innovative style.