Demonic bestiary of makonde in the perception of warsaw respondents

Attempts to analyse the whole and fragmentary photography, presenting a specific work of a Makonde artist were a kind of play with some sort of optical illusions. The individual respondents were entangled in an ambiguous game or a puzzle that could be solved but not necessarily. At the same time, it is impossible to clearly determine which solution, considering the situation from a cognitive perspective, is more interpretatively attractive. We only know which one was real. Most likely, the fact that the fragments were correctly placed on the overall map of the sculpture Foremother presented from various perspectives could not have a significant impact on perception of the sculpture. It should also be taken into account that this relationship could have been noticed by a larger number of respondents, however, being uncertain, they decided not to express it. Frequently, after the first look, we are able to determine the subject with which we are dealing. Naturally, this does not mean that the sense of sight neglects details. Even children notice minor changes in familiar objects. However, it should be assumed that a viewer may not be able to determine a reason for a given change was born, which he obviously notices. This is because signs of change are an element of a coherent layout which is well-known to the viewer (Arnheim 2004, p. 58).

The research made it possible to select 4 main types of reception characterizing the respondents. A group of people who were much more excited by reception of photographs in the chiaroscuro convention. A group of people who were much more excited by reception of photographs in the formal convention. A group of people for whom the change of style did not matter.

A group of people for whom the change of style was so important that they were not able to recognize that they are dealing with the work shown in a different convention just now.

As can be seen from the above list, interpretative and cognitive paths presented by the group of respondents selected from the Warsaw society are very diverse. There are some noticeable common features of particular groups. So we can observe that some methods of human perception and reception are similar. It is, however, very difficult to clearly state what features determine reception of works of art. It is also difficult to talk about correct or incorrect reception. Certainly sculptures seen by Warsaw citizens evoked considerable emotions. According to Michel Kirby, there is no one method to interpret a given work of art (Kirby 1987, p. 166). The concept of art should be considered by each individual, because everyone perceives it in a different way. At the same time, it does not matter if a given work is universally recognized as good or bad. What matters is only emotional connotation related directly to our experience when dealing with a given work. For example, if we felt fear or anxiety when viewing the exhibition as a result of contact with art, according to Kirby, the experience itself already defines the sculptures depicted in the exhibition as works of art. This is because the essence is not positive, idyllic feelings associated with our internal experience related to the exhibition. The essence is the very experience that we had in relation to what affected our senses. Therefore, our opinion about a given work, or the emotions accompanying its perception are irrelevant. What is relevant is the fact that there are any emotions associated with perception of a given phenomenon. It is through experience, in the relation between the object and the recipient, that the work from mere creation becomes a work of art. It is a bit as if our emotions gave it that sense. Whereby the more a work falls into the recipient's psyche, the more important it seems to us (Kirby 1987, p. 166).

Since the beginning of Figure No. 7. All pictures showing the sculpture of Foremother (photo 1 by mankind, there has been Piotr Sadurski, photo 2 and 3 - own photos) social, cultural and moral

diversity. There has also existed aesthetic diversity, as well as diversity related to satisfying aesthetic needs, which is the basic demand resulting from the human nature. Importance of aesthetics is evidenced by the fact that despite many attempts to downplay its role in human life, its problems still remain valid, while the questions it poses and answers given through its prism continue to lead us through a lively scientific discussion. No matter how we approach the subject of works of art, perception will always be a stop on the road leading to full reception, as a result of which an aesthetic experience may appear. The factor causing an aesthetic experience remains irrelevant. A discussion on aesthetic significance of culturally different works of art is still open. What is certain here is the fact that there are many (often intriguing) misunderstandings at the time when Europeans come into contact with African artists. Probably an African not familiar with the European point of view, tradition and history of collecting will not see the difference (even if financial) between works of art from the Louvre and the sculptures of Makonde artists sold on the Mwengwe market in Dar Es Saalam. What is the value of these objects and who should decide about it? As we can deduct from the respondents' statements, even during good presentation of works from Africa, there can always be some dissatisfaction resulting from a different cultural code in which their meaning was written down. As a result, a recipient may find it really difficult to understand the viewed works and embed them in the proper context.

In any case perception of demonic bestiary of Makonde resulted in the whole range of emotions, associations and even sensations. Therefore, it can be assumed that during reception of Makonde sculptures aesthetic experience took place. The emotions appearing most often as a result of reception were anxiety and joy. The most common associations of the recipients referred to demons and other creatures and extraterrestrial beings, religion, family, death and sex. A very small number of people participating in the research presented a pejorative attitude towards the works presented during the exhibition. Most respondents considered the research as a nice time, arranging experience derived from reception of the sculptures.

Obtained results may become an important basis for extracting qualitative results. It is worth paying attention to the interest which the respondents gave to the research, which can be confirmed by a very long time spent on conducting interviews.1 It would also be interesting to compare Warsaw results to wider research conducted in Poland or worldwide, but for objective reasons it is impossible. Therefore, this topic should be left behind as a basis for further discourse, which in the future can be used for subsequent analyses.

The assumptions were not fully reflected in the research results. One of them was i.a. the conviction that in case of most respondents the chiaroscuro convention would intensify the impression of horror or fear during reception of the works. However, according to the interviews, this result was reflected only partially.

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