In one of the most important churches in Addis Ababa (Ethiopia) there is a panel containing several paintings. Part of the paintings represent scenes from the lives of saints, while exact copies of photographs showing Emperor Haile Sillasie during the war against Italy (1935–1941) constitute another part. The subject of the paintings, as well as the form, are deeply rooted in the tradition of Ethiopian church paintings. At the same time, both the subject and the form reveal several modern influences. The paintings were copied from frequently published, and thus well-known, photographs. This fact stresses the importance of the scenes chosen to be represented on the church walls. The panel from St. George Church serves as a good example of methods used in Ethiopia under Haile Sillasie to transmit a message about power and history, and to present the intended picture of the Emperor.
The aim of the article is to present the importance of building dams and water reservoirs in the politics of the last Emperor of Ethiopia, Haile Sillasie I. The article concentrates on the propaganda aspect of this activity. The article presents the problem in a broader historical context, also referring to the periods after the fall of the Empire, thus trying to prove the continuity of the importance of the problem of water in Ethiopian politics. The main source used is ‟Ethiopian Observer”, published during Haile Sillasie’s reign, which promoted a positive image of the changes taking place in Ethiopia during this period.
The aim of this article is to consider whether it is possible to support the research concerning the history and culture of Sub-Saharan Africa through an analysis of the iconographic sources associated with this continent. The most important reason for such an attempt is the fundamental lack of any written documents in the traditional African culture. Second equally substantial part of the analyzes presented in this article is aimed to draw attention to the diversity of visual representations derived from this geographical territory. Another reason for exploring the iconography of this continent is to make an effort to broaden the reception of the African culture, and especially to attempt to abandon the Eurocentric ways of describing the world.
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Celem artykułu jest rozważenie, czy możliwe jest wsparcie badań nad historią i kulturą Afryki Subsaharyjskiej dzięki analizie źródeł ikonograficznych związanych z tym kontynentem. Najistotniejszym powodem takiego postępowania jest zasadniczy brak dokumentów pisanych w tradycyjnej kulturze afrykańskiej. Równie ważnym elementem analiz zawartych w artykule jest zwrócenie uwagi na zróżnicowanie przedstawień wizualnych pochodzących z tego obszaru geograficznego. Kolejną przesłanką do zagłębienia się w ikonografię kontynentu może być próba poszerzenia odbioru kultury Afryki, zwłaszcza zaś próba porzucenia europocentrycznych sposobów opisywania świata.
This study addresses historical and cultural problems of man’s identity and ethnic origin in the Darfur region, famous for its cultural role throughout history. This subject deserves particular academic attention in order to understand the structure and identity of the Darfurian cultural features, their dimensions and characteristics viewed from different perspectives. The article explores the rich and complex centuries-old history of the Darfur region, including the rise and fall of various kingdoms and political entities, as well as the impact of external influences such as Arab immigration and the spread of Islam, besides studying the habitats of different ethnic groups, their culture, language, traditions, and the relationships between them. It shows that the cultural differences and identity based on being a member of a certain tribe are the key factors in shaping history and the complicated situation of Darfur today.
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