Sassaka a Africa

Yawancin **sassaka na Afirka** sun kasance a tarihi a cikin itace da sauran kayan halitta waɗanda ba su tsira daga baya ba fiye da mafi yawan 'yan ƙarni da suka wuce; Ana kuma samun tsofaffin adadi na tukwane daga wurare da yawa. Masks abubuwa ne masu mahimmanci a cikin fasahar mutane da yawa, tare da adadi na ɗan adam, galibi kuma suna da salo sosai. Akwai nau'ikan suna bambanta a cikin mahallin asali iri ɗaya dangane da amfani da abin, to amma kuma fa'idodin yanki sun bayyana; sassaka ya fi zama ruwan dare a tsakanin "rukunin masu noma a yankunan da kogin Nijar da Kongo ke yashe " a yammacin Afirka .  Hotunan kai tsaye na gumakan Afirka ba su da yawa, amma musamman abin rufe fuska ana yin su ne ko kuma galibi ana yin su don bukukuwan addinin gargajiya na Afirka ; a yau an yi da yawa don masu yawon bude ido a matsayin "fasahar filin jirgin sama".  Manyan hanyoyin tattarin Afirka sun kasance tasiri a kan fasahar zamani na Turai, wanda ya samo asali daga rashin nuna damuwa game da yanayin dabi'a.

## Ta yanki
Masarautar Kush ta Nubian a Sudan ta zamani tana cikin kusanci kuma galibi tana adawa da Masar, kuma ta samar da wani sassaka mai ban mamaki galibi wanda ya samo asali daga salon arewa. A Yammacin Afirka, sanannun sassaƙaƙen farko sun fito ne daga al'adun Nok waɗanda suka bunƙasa tsakanin 500 BC zuwa 500 AD a Najeriya ta zamani, tare da adadi na yumbu yawanci tare da tsayin jiki da siffofi na kusurwa.  Daga baya al'adun kasashen Afirka ta Yamma sun ɓullo da simintin tagulla don kayan abinci don ƙawata fadoji kamar shahararriyar Benin Bronzes, sannan da kuma kyawawan sarakunan gargajiya daga kewayen garin Ife na Yarbawa a cikin terracotta da ƙarfe daga ƙarni na 12 zuwa na 14. Akan zinariya nau'i ne na ƙananan sassaka sassaka na karfe da aka samar a cikin shekaru 1400-1900, wasu a ciki fili suna wakiltar karin magana don haka tare da wani abu mai ban mamaki a cikin sassa na Afirka, kuma kayan sarauta sun haɗa da abubuwa masu ban sha'awa na zinariya. 

Ana amfani da mutane da yawa a Yammacin Afirka a cikin al'adun addini kuma galibi ana lulluɓe su da kayan da aka ɗora a kansu don hadayu na biki. Al'ummar Mande na yanki ɗaya suna yin guntun itace masu faɗin faffaɗaɗɗen fage da hannaye da kuma ƙafafu kamar silinda. A Afirka ta Tsakiya, duk da haka, kuma manyan halayen da ake bambancewa sun haɗa da fuskoki masu siffar zuciya waɗanda ke lanƙwasa a ciki da kuma nunin yanayin da'ira da ɗigo.

Ba a san mutanen Gabashin Afirka da sassaka ba,  amma salo ɗaya daga yankin shi ne zane-zanen sanda, wanda aka sassaƙa da surar ɗan adam kuma an yi masa ado da siffofi na geometric, yayin da aka zana saman da siffofi na dabbobi, mutane, da abubuwa daban-daban. Sannan Kuma Ana ajiye waɗannan sandunan kusa da kaburbura kuma ana danganta su da mutuwa da duniyar kakanni. Al'adun da aka sani daga Babban Zimbabwe sun bar gine-gine masu ban sha'awa fiye da sassaka amma tsuntsayen sabulu guda takwas na Zimbabwe suna da mahimmanci na musamman kuma an ɗora su akan monoliths . Kuma Masu sassaƙa na zamani na Zimbabwe kuma a cikin dutsen sabulu sun sami babban nasara a duniya . Alkaluman laka mafi dadewa a Afirka ta Kudu sun kasance daga 400 zuwa 600 AD kuma suna da kawuna na silindi da cakuɗen siffofi na mutum da na dabba. Da kuma wasu abubuwan iri na ban sha'awa 
Brooklyn Museum 74.64 Helmet Mask ndoli jowei for Sande Society.jpg|Helmet mask (ndoli jowei) for Sande society; late 19th-early 20th century; wood; 39.4 x 23.5 x 26&nbsp;cm (15 x 9 x 10 in.); Brooklyn Museum (New York City). A vertical crack runs from base of mask to head band at back center and includes a triangular 1 hole below band
Seated figure grom Mali, 13th century, Djenné peoples, Metropolitan Museum of Art, 1981.218.JPG|Terracotta seated figure from Mali; 13th century; earthenware; 29.9&nbsp;cm (11&nbsp;in) high; Metropolitan Museum of Art (New York City). The raised marks and indentations on the back of this hunched Djenné figure may represent disease or, more likely, sacrification patterns. The facial expression and pose could depict an individual in mouring or in pain
Brooklyn Museum 1989.51.14 Chi Wara Headdress Male.jpg|Chiwara headdress (male); late 19th-early 20th century; 72.4 x 30.5 x 7&nbsp;cm (28 x 12 x 2 in.); by Bambara people; Brooklyn Museum. Chiwara masks are categorized in three ways: horizontal, vertical, or abstract. In addition, Chiwara can be either male or female
File:WLA metmuseum Mask Kpeliye.jpg|Poro mask; 19th-mid-20th century; wood, horns, raffia fiber, cotton cloth, feathers, metal; height: 30 in.; by Senufo people; Metropolitan Museum of Art. Designed to pay homage to female ancestors, this mask's serene dark oval face is offset by glinting brass, symmetrical extensions, and delicate patterns symbolizing wisdom and beauty
UP rhino.JPG|The Golden Rhinoceros of Mapungubwe; 1075–1220; discovered in 1932; Mapungubwe Collection (University of Pretoria Museums). This artifact is described as being "small enough to stand in the palm of your hand."
WLA metmuseum Ram Mask Bata.jpg|Kwele mask; 19th–20th century; wood coloured with kaolin; from Gabon or Democratic Republic of Congo; height: 52.7&nbsp;cm (20 in.), width: 38.1&nbsp;cm (15 in.); depth: 10.2&nbsp;cm (4 in.); Metropolitan Museum of Art. This mask was used in the rituals of witchcraft protection
Nok sculpture Louvre 70-1998-11-1.jpg|Nok seated figure; 5th century BC – 5th century AD; terracotta; 38&nbsp;cm (1&nbsp;ft 3 in); Musée du quai Branly (Paris). In this Nok work, the head is dramatically larger than the body supporting it, yet the figure possesses elegant details and a powerful focus. The neat protrusion from the chin represents a beard. Necklaces from a cone around the neck and keep the focus on the face
Plaque- Warrior and Attendants MET DT1231.jpg|Benin plaque with warriors and attendants; 16th–17th century; brass; 47.6&nbsp;cm (18 in.) height; Metropolitan Museum of Art. The Benin Bronzes led to a greater appreciation in Europe of African culture and art. Initially, it appeared incredible to the discoverers that people "supposedly so primitive and savage" were responsible for such highly developed objects
Queen Mother Pendant Mask- Iyoba MET DP231460.jpg|Benin ivory mask of the Queen Mother Idia; 16th century; ivory, iron & copper; Metropolitan Museum of Art. One of four related ivory pendant masks among the prized regalia of the Oba of Benin taken by the British during the Benin Expedition of 1897
Afrikaabteilung in Ethnological Museum Berlin 29.JPG|Head of Queen Idia; early 16th century; bronzs; from Kingdom of Benin; Ethnological Museum of Berlin (Germany). Queen Idia was a powerful monarch during the early sixteenth century at the Benin court. Four cast bronze heads of the queen are known and are currently in the collections of the British Museum, the World Museum in Liverpool, the Nigerian National Museum in Lagos and the Ethnological Museum of Berlin
Brooklyn Museum 61.33 Ndop Portrait of King Mishe miShyaang maMbul (5).jpg|Ndop of king Mishe miShyaang maMbul; 1760–1780; wood; 49.5 x 19.4 x 21.9&nbsp;cm (19 x 7 x 8 in.); Brooklyn Museum. Ndops are royal memorial portraits caverd by the Kuba people of Central Africa. They are not naturalistic portrayals but are intended as representations of the king's spirit and as an encapsulation of the principal of kingship
Afrikaabteilung in Ethnological Museum Berlin 99.JPG|Ngady-Mwash mask; 19th century; from Kuba Kingdom; Ethnologic Museum of Berlin. A great deal of the art was created for the courts of chiefs and kings and was profusely decorated, incorporating cowrie shells and animal skins (especially leopard) as symbols of wealth, prestige and power
Máscara de oro - tesoro del rey Kofi Kolkalli.jpg|Ashanti trophy head; circa 1870; pure gold; Wallace Collection (London). This artwork represents an enemy chief killed in battle. Weighing 1.5&nbsp;kg (3.3&nbsp;lb), it was attached to the Asante king's state sword
Ciad, cultura sao, statuette antropomorfe, dalla regione di ndjamena, IX-XVI sec. 03.JPG|Sao anthropomorphic figure; 9th-16th century; from the n'djamena region; Musée du quai Branly
Mbulu viti reliquary figure, Gabon or Congo Republic, Mindassa or Bawumbu, 19th or 20th century AD, wood, brass, copper - Ethnological Museum, Berlin - DSC02235.JPG|Mbulu viti reliquary figure; 19th-20th century; wood, brass, copper; by Kota people; Ethnographical Museum of Berlin. Finely carved and overlaid with contrasting cooper and brass, this sculpture combines shimmering srfaces, minimal depiction of physical features and body, and an imaginative elaboration of the head
Fang Ngil Berlin IIIC6000.jpg|Ngil mask from Gabon or Cameroon; wood colored with kaolin (chiny clay); by Fang people; Ethnological Museum of Berlin. Worn with full costume in a night masquerade to settle disputes and quell misbehavior, this calm visage was terrifying to wrong-doers
Carved door, probably by Sakiwa, Nupe peoples, Nigeria, c. 1920-1940, wood, iron staples - Hood Museum of Art - DSC09183.JPG|Carved door; circa 1920–1940; wood with iron staples; by Nupe people; Hood Museum of Art (Hanover, New Hampshire, USA). Nupe art is often abstract, being well known for their wooden stools with patterns carved onto the surface
Brooklyn Museum 2011.4.2 Female Kifwebe Mask (2).jpg|Female kifwebe mask; late 19th or early 20th century; 30.5 x 18.1 x 15.6&nbsp;cm (12 x 7 x 6 in.); Brooklyn Museum. The kifwebe masquerade is a genre shared by the Luba and Songye, indicative of the interaction that has occurred between the two societies. Kifwebe masks represent either male or female beings
Mbangu mask - Central Pende, Southern Bandundu, DRC - Royal Museum for Central Africa - DSC06657.JPG|Mbangu mask; wood, pigment & fibres; height: 27&nbsp;cm; by Pende people; Royal Museum for Central Africa (Tervuren, Belgium). Representing a disturbed man, the hooded v-looking eyes and the mask's artistic elements – facd surfaces, distored features, and divided colour – evoke the experience of personal inner conflict. Picasso copied a mirror image of this Pende mask in "Les Demoiselles d'Avignon"
File:Brooklyn Museum 87.215 Maiden Spirit Helmet Mask Agbogho Mmwo (2).jpg|Igbo maiden spirit helmet mask (Agbogho Mmwo); early 20th century; 50.2 x 14.6 x 30.5&nbsp;cm (19 x 5 x 12 in.); Brooklyn Museum. This helmet mask has long narrow face, painted white; narrow protruding sharp nose; slit eyes; open mouth showing teeth; small ears
Bronze ceremonial vessel in form of a snail shell, 9th century, Igbo-Ukwu, Nigeria.JPG|Bronze ornamental staff head; 9th century; from Igbo-Ukwu; Nigerian National Museum (Lagos, Nigeria)
Tomb figure, soapstone - Mboma - Royal Museum for Central Africa - DSC06950.JPG|Tomb figure; soapstone; by Boma people, from Democratic Republic of Congo; Royal Museum for Central Africa. Stone sculptures are extremely rare in African art
Galwa-Masque anthropomorphe-Musée du quai Branly (2).jpg|Anthropomorphic dance mask; early 19th century; by Adouma people; from Gabon; wood & pigments; Musée du quai Branly
File:African Art, Yombe sculpture, Louvre.jpg|Head of a scepter; 19th century; by Yombe people
File:Masque probablement Bobo-Burkina Faso (2).jpg|Mask from Burkina Faso, 19th century
File:Statuette Mambia Nigéria.jpg|Mambila figure, Nigeria
File:Waga 01.jpg|Waga sculptures from Ethiopia
File:Brooklyn Museum 69.10 Gravepost Aloalo.jpg|Mahafaly. Gravepost (Aloalo), Brooklyn Museum
File:Brooklyn Museum 2002.31.3 Fragment of a Female Figure.jpg|Mende, Fragment of a Female Figure, Brooklyn Museum


## Duba kuma

* Fasahar Afirka
* Maskuran gargajiya na Afirka
* Fasahar kabilanci 

## Wasu abubuwan

## Manazarta

* Hugh Honor da John Fleming, *Tarihin Fasaha na Duniya*, 1st ed. 1982 (da yawa daga baya bugu), Macmillan, London, shafi na refs zuwa 1984 Macmillan 1st ed. takarda takarda. ISBN&nbsp;

## Wasu manazarta

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## Sauran hanyoyin karatu

* "Sculptures na Afirka Votive" . Herbert E. Roese
* Hotunan Najeriya da Kamaru