PT122.S3.P2.Q8 > Analytics

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Through the last half century, the techniques used by certain . ██████████ ██ ███████ ███ ███ ███████ ███ ███████ ██████ ███████ ██ ███████ ██████████ ██ ███ █████ ██ █████ ████ ████ ███████ ████████ ███

Intro Topic · Refined techniques for African sculptures

Art historians are better now at figuring out which tribes made which sculptures.

One Critic's View · Techniques are oversimplified

One critic believes that a sculpture's style doesn't necessarily tell you which tribe it came from.

Premise (for Critique) · Sculptures are diffused across regions via trade

Workshops of artists sell their work over a large area. A better way to classify is to think of "centers of style" that cover a large area with many tribes. Analogy(?): Instead of this is NYC pizza and this is Boston pizza, think this is "Northeast" pizza, because someone in Connecticut made it and shipped it to NYC and Boston.

Premise (for Critique) · An artist family creates works for client tribes

Because the same artists make the sculptures, there will be some stylistic similarity. But they must also introduce stylistic differences in order to satisfy the demands of their clients. This is what confuses the art historians.

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Example (of Critique) · Konaté family as a "center of style"

Konaté sculptors produce works for five neighboring tribes and also for tourists. Their work is stylistically similar in proportions, composition, color, and technique. But subtly different in details like foliate patterns or diamond-shaped mouths.

Conclusion / Critique · Art historian's "refined techniques" are flawed

Art historians should recognize the reality of how these sculptures are produced an hence stop trying to finely categorize styles and sub-styles.

Passage Style

Single position

Based on the passage, the ███ ██████████ █████████ ██ ███ █████ ████████ ██ ███ ███████ █████ ██ ████ ██████ ██ █████ ████ █████ ███ ██ ███ █████████ ███████████

Understanding the nature ██ ███████ ██ █████ ██ █ ███ ██ ██████ ██████████████ ██ ███████ ████

This is the author’s perspective, not the perspective of historians of art in P1.

Similarities among African █████ ███ ██ ███ ██ ████████ ██████████ ████ ██ ███████ ███ ████ ███ ██████ ██ ███ ██████

We have no reason to think the historians of art in P1 have any thoughts on similarities in African masks and the techniques used to carve them.

Some subtly distinguished █████████ ██████ ███ ██ █████████████ ████ █████ ████████ ███████

We don’t know what the historians of art in P1 would say about substyles vs. regional styles.

It is a ██████ ██████ ████████ ███ ███████ ████ █████████ ██ ███████ █████ ███ ██████ ██ █████ ████ ███ ███ ████████

We have no reason to think the historians of art in P1 have any thoughts about the recency of the practice described in (D).

The tribal origin ██ ███████ ██████████ ██ █████████ ██ █████ ███████████████

This is the best supported answer concerning what the historians of art in P1 would agree with. (E) is the closest to the idea that we can classify art based on the idea that a particular style is limited to the area populated by one tribe.

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