Figure of Africa c. 1766

Editor: This charming porcelain sculpture, "Figure of Africa," was created around 1766 by the Bow Porcelain Factory. It’s so ornate, the details of the dress and flowers feel very delicate. What strikes me most is the contrast between the dark skin and the brightly decorated fabric, there is also a small lion next to the figure, do you see any kind of symmetry? How should we look at it? Curator: Indeed. Immediately one perceives a studied asymmetry, wouldn't you agree? The dynamism hinges on the opposition between the stillness of the allegorical figure and the vibrant bestial counterpart. This asymmetry isn't accidental; it functions to create a visual interest, preventing the sculpture from feeling static or predictable. What is your feeling towards this deliberate imbalance? Editor: It does make the sculpture more visually interesting, drawing your eye around the different elements. And you can say the form looks elegant because it goes against simple symmetrical concepts. Could you tell me more about that sculptural, formal arrangement and if the colors matter to what you say? Curator: The coloration amplifies this tension. The muted palette of the lion acts as a counterpoint to the more vibrant hues adorning the figure. This juxtaposition serves to highlight the symbolic dichotomy, perhaps alluding to the subdued, primal nature coexisting with, if not complementing, an aesthetic or perceived level of civilization and decorum, an aspect often explored through these Rococo allegories. It underscores that every visual choice here participates in a grander scheme, guided by the artist. Do you agree with such an intended reading? Editor: Yes, I see now how everything in the work contributes to a larger meaning! The colors, the asymmetrical form, nothing is random, is there a connection in semiotics that you could explore with this figure? Curator: Yes. Analyzing these formal choices within a broader framework reveals an artistic expression loaded with signs; the very construction dictates how one is to engage with the presented themes, be they socio-political, anthropological, or purely aesthetic. And from the formalist point of view, it emphasizes the role of the artists’ intention in crafting specific visual structures with which the beholder interacts, is that a solid concept? Editor: Yes, that clarifies the artwork in question quite well for me!