Pintura africana moderna. Una indagación en el repertorio de las artes visuales del este de África, centrándose en los progresos en el arte de la mímesis

Resumen

This thesis specifies the latest art movements of East Africa region, corroborating on the mimetic art. It is also perfectly clear that my thesis does not address of a simple subject as it tries to theorize a practice of a complex art nature, as a whole, creating a kind of practicable system; likewise mimesis that explains the mimetic values¿ deep- seated beauty and indulgence in this part of this continent. This thesis has both the constructs of art history subject and art knowledge claims, trying to theorize and/or problematize at the same time, a certain question reflecting the history of plastic/visual arts in the Eastern Africa region where painting and diverse fine arts media are practiced and other applied arts methods are still intact. Around the limitation and autonomy of the art of figuration my thesis¿ exploration is outward looking: prefiguring relatively figuration¿s mythical, historical and contemporary significance. The thesis investigates whether there exists an adequate level of strong grounds ¿ philosophical, historical, and artistic ¿ to take on and declare a propos `African Mimesis¿. The first and the last two parts in my thesis therefore specify various aspects of visual art that elucidate the pictorial representation of East Africa now. Each of those parts (1, 2, 9 and 10) also consists of sections that deal with the mimetic art significance. However the prior raised opening chapter Part 1 immediately paves the way to long-standing mimetic art problems, previewing in regaining terms, ideas mainly of mimesis and its historicity previously endorsed in the introductory unit. `Myth and history, ornament and figuration¿, are therefore the issues of Part 1 and 2. Part 9¿s issue is again approached in the middle section of Part 10, in `reviewing the substantial issues of the knowledge of adaptation and the techniques of rendering in the principle line of mimesis¿. East African artists treatment of this concept that formulate my case with its concluding remarks, as a result, is revisited by my basic motive analysed in my thesis. The rest, six parts - Part 3 to 8 - make the larger and central body of my thesis, and are set as one large union. These parts, assembled in the middle of my thesis, are maintained in two areas, each comprising three parts. Hence the central 1st body holds Part 3, 4 and 5, where as consequently the central 2nd body of my thesis, as the penultimate part, before the conclusion of my thesis deals with issues raised in Part 6, 7 and 8. The last three parts thus gradually interconnect the middle and the end - the end of my thesis is hope aspiring as it stresses like the opening of my thesis the positive developments of mimetic art now in the Horn of Africa.