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African art - African Rider:

The riders are usually made of bronze, but many of these are made of wood. Real masterpieces of art Dogon, Sao, Bamoun, Yoruba


Figure of rider Bembé, Beembé
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African art > African Rider > Cavalier Bembé

br-Figure of rider on his mount. Sometimes set with ivory or earthenware, the almond eyes are encrusted with bone. Lack on the base. Glossy, brown and black patina. Extra black wood base on request.
Oneblis on the plateaus of the People's Republic of Congo ex. Brazzaville, and not to be confused with the Bembé group of northern Lake Tanganinyika, the small Babembé group, Béembé, was influenced by the Téke rites and culture, but especially by that of the Kongo.Installed in the present-day Republic of Congo, the Beembe originally formed the kingdom of Kongo, along with the Vili, Yombé, Bwendé and B. They were under the tutelage of the king ntotela elected by the governors. The ivory, copper and slave trade were the main resources of this little-known group until colonization. The ...

Pair of rider Sao Sokoto in bronze
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African art > African Rider > New product

Ex-collection Belgian African art.
More than an ethnic group, the Sao are a civilization that has now disappeared. Archaeological discoveries bear witness to a highly materially lavish civilization. Very well known for their bronze riders, there is a variant, the camel. An essential animal of the desert plains. Nothing is realistic in this figurine, everything must be understood symbolically. Among the Kotokos of Chad, it was intended for a cult of possession. According to Luc de Heusch, possession is one of the modes of approach to the sacred by means of bodily techniques leading to ecstasy". It can be interpreted as the intrusion into a man or woman of a spirit in search of a servant. A priest or soothsayer will have to intervene to help the possessed to suffer the daily presence ...


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100.00 € 80.00 ( -20.0 %)

Horseman talisman Sao Sokoto Putchu Guinadji
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African art > African Rider > Rider Sao

Ex-collection French African art.
Used as an amulet credited with apotropaic virtues, this small bronze sculpture is, for the Sao, a talisman supposed to protect them from madness. It is therefore worn at all times. The genius who would possess the madman is represented by the rider, the horse appearing the victim. This rider wearing a cheche rides an equine that was a rare attribute of prestige in these regions of the Sahel. The Sao, ancestors of the Kotokos, were established between the 12th and 14th centuries in a geographical area stretching along the borders between Chad, northern Cameroon and Nigeria. They settled on hills, allowing them to repel the invaders. Subjected to successive onslaughts from their neighbours in Kanem and then to hordes from the east, the Sao had to ...


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50.00 € 40.00 ( -20.0 %)

Pair of Riders Sao
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African art > African Rider > Sao Riders

Ex-French collection.
The Sao civilization was found in a geographical area stretching along the borders between Chad, Cameroon and Nigeria. It is actually one of the oldest civilizations in West Africa. Subjected to successive onslaughts from their neighbours in Kanem and then to hordes from the east, the Sao had to abandon their lands to settle in northwestern Cameroon where they mixed with the indigenous people, thus giving birth to an ethnic group called Kotoko.Their descendants, Bakoko, Beti, Peuls and Laobés, although long-islamized, have retained pagan animist rituals normally incompatible with Islam. Indeed, some still worship the spirit of water, certain trees and stones.


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Bronze Rider Sao
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African art > African Rider > Rider Sao

In African art, Sao Sokoto-inspired works are mostly imprinted with the equestrian world. Within the ethnic group, small copies of riders usually in bronze are melted and worn like talismans, patinated and lustrous by friction. They are seen above all as a remedy to fight possession by evil spirits. The horse represents the spirit of the person who is possessed, while the genius who possesses it is symbolized by the rider. Comes with a rectangular plexi support. More than an ethnic group, the Sao are a civilization that has now disappeared. They were found between the 12th and 14th centuries in a geographical area stretching along the borders between Chad, Cameroon and Nigeria. This bronze, inspired by the finest Sao achievements, has a copper patina. The warriors depicted on their mounts ...


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Rider Sao Sokot Putchu Guinadji
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African art > African Rider > Bronze Sao

In African art, Sao Sokoto-inspired works are mostly imprinted with the equestrian world. Within the ethnic group, small copies of riders usually in bronze are melted and worn like talismans, patinated and lustrous by friction. They are seen above all as a remedy to fight possession by evil spirits. The horse represents the spirit of the person who is possessed, while the genius who possesses it is symbolized by the rider. Comes with a square plexi support.
More than an ethnic group, the Sao are a civilization that has now disappeared. They were found between the 12th and 14th centuries in a geographical area stretching along the borders between Chad, Cameroon and Nigeria. This bronze, inspired by the finest Sao achievements, has a copper patina. The warriors depicted on their ...

Mali s Bobo Rider
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African art > African Rider > Statue Bobo

A rider missing an arm, displaying a tubular face-museau crowned with a sagittal crest, a characteristic hairstyle of the Mali Bobo, rides an equine with simple shapes. The naïve nature of animal sculpture evokes a docile companion. The legs disappear into a rectangular base. The figure's body, covered with scales, refers to the masks of ethnic leaves. Eroded part, desication cracks. Matte and velvety clear skate.
Divided between Burkina and Mali, the Bobo make leaf masks that embody the clan's founding ancestors. Their culture is similar to that of the bamana and minianka of Mali. Their creator god is Wuro, Dwo being the privileged interlocutor of men, assisted by spirits "secondary", such as the Wiyaxe, anthropomorphic geniuses whose altars sometimes received sculptures, and the ...


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Babalawo Yoruba Fetish
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African art > African Rider > Babalawo Yoruba Fetish

The use of colored beads in African art.

This beaded statue represents a Babalawo (or Babalao, or Babaaláwo, pronounced Baba-a-láwo), priest of Ifa, in the Yoruba language. Ifa is a divination system that represents the teachings of Orisha Orunmila, orisha of Wisdom. The babalawo claim to make sure of the future through their communication with Orunmila. Orishas are the divine spirits that control natural forces. They are mainly found in the Yoruba cosmogony but more widely in West Africa is in the diasporas of Central and South America. The character is represented here on his mount and classically covered with fine polychrome pearls.


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Benin rider figure Bini Edo
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African art > African Statues > Benin Rider

The African art of Benin is described as a court art because it is closely associated with the king, known as Oba. The tradition of bronze classroom objects from the Benin Kingdom dates back to the 14th century. The many brass heads and statues created by the artists of Benin were reserved for the exclusive use of the inhabitants of the royal palace and, more often than not, placed on altars consecrated by each new Oba. These rectangular altars were surmounted by heads, statues, carved ivory tusks, bells and sticks. They were used to commemorate an oba and to get in touch with his spirit. The craftsmen of Benin also produced figures of horseriders, representing according to interpretations either a benign king or a Yoruba emissary of the oyo cavalry. It could also be Oranmiyan, which ...

Figure of rider Bamoun
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African art > Bellows > Bamoun statue


This rider Bamoun mastering a pitched horse would represent King N'Doya in his victory over the Fulani in the 19th century. Armed with a sword carried in a sheath slung over his shoulder, he also has a sword. A dark brown leather dresses the shapes of the character and his mount, a lighter leather sheaths the hooves. The king is dressed in a canvas loincloth, the Hausa having introduced the clothing transformations in the Bamoun, he wears leather stirrups connected by a rigid wicker rod. The various decorative elements and materials form an exceptional work here. The Bamuns live in an area that is both full of wooded reliefs but also savannahs. This large territory called Grassland in southwestern Cameroon is also home to other close ethnic groups such as the Bamiléké and Tikar. ...


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1250.00 € 1000.00 ( -20.0 %)

Rider Sao Sokoto Putchu Guinadji
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African art > African bronze > Rider Sao

Used as an amulet credited with apotropaic virtues, this small bronze sculpture is, for the Sao, a talisman supposed to protect them from madness. It is therefore worn at all times. The genius who would possess the madman is represented by the rider, the horse appearing the victim. This minimalist rider straddles an equid that was a rare attribute of prestige in these sahel regions. Accompanied by a metal base. Copper golden patina. The Sao, ancestors of the Kotokos, were established between the 12th and 14th centuries in a geographical area stretching along the borders between Chad, northern Cameroon and Nigeria. They settled on hills, allowing them to repel the invaders. Lost wax cast iron was already commonly practiced as early as the 12th century by this African ethnic group, which ...

Bronze Dogon Rider
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African art > African bronze > Statue Dogon

Image of the rider in The African Art Dogon
This rider figure would represent a Dogon warrior with his spear. The stylized horse is pitched up and has stretched legs. The sculpture is provided with many details, executed meticulously, such as engraved decorative motifs. Ex. collection of the painter 'a href'"http://wiki.ibb.town/Karl-Heinz-Engstfeld"- Karl Heinz Engstfeld and 'a href-U'0022https://evibb.de/home/wir-trauern-um-ruth-engstfeld-schremper/"-Ruth Schgst , a gandher artist. The frequent representations of a rider, among the Dogon of Mali, refer to their cosmogony and their complex religious myths. Indeed, one of the Nommos, ancestors of men, resurrected by the creator god Amma, descended on the earth carried by an arch transformed into a horse. Moreover, the highest ...


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Bronze Dogon Rider
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African art > African bronze > Statue Dogon

The elegance of proportions and attitudes, in this sculpture of African art, has been translated with talent by the dogon blacksmith. The latter form an endogamous caste among the Dogon called irim . They now produce weapons, tools, and also work wood. They are also supposed to treat burns (Huib Blom). The frequent representations of a rider, among the Dogon of Mali, refer to their cosmogony and their complex religious myths. Indeed, one of the Nommos, ancestors of men, resurrected by the creator god Amma , descended on the earth carried by an arch transformed into a horse. Moreover, the highest authority of the Dogon people, the religious leader named Hogon , was parading on his mount at his induction because, according to custom, he was not to set foot on the ground. In the area of the ...


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Figure of rider Benin in bronze
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African art > African bronze > Statue Yoruba

This character on his mount is wearing the braided fiber hat reserved for the dignitaries of the Benin court. The ceremonial sword, or eben , which he is equipped with, representing the royal authority, also indicates his status as leader. A crusty patina punctuated with white pigments.
Piece from the collection of the painter 'a target''blank' href'http://wiki.ibb.town/Karl-Heinz-Engstfeld' Karl Heinz Engstfeld and 'a target''-blank' href'https://evibb.de/home/wir-trauern-um-ruth-engstfeld-schremper/' Ruth Engstfeld-Schremper , artist.
Benin art is described as a court art because it is closely associated with the king, known as oba. The tradition of Ifè's bronze classroom objects dates back to the 14th century. Before the destruction of the palace of the Kingdom ...

Yoruba Rider Cup
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African art > Usual african items > Yoruba figure

The complex iconography of Yoruba African art.
Centered on the veneration of its gods, orisà, Yoruba religion relies on artistic sculptures with coded messages (aroko) including many statues. They are designed by the sculptors at the request of the adepts, soothsayers and their clients. These spirits are supposed to intercede with the supreme god Olodumare. This Yoruba rider statue supports an offering cup whose lid is decorated with a zoomorphic scene. Oil residue lining the walls of the receptacle. Matte patina. Yoruba society is very organized and has several associations whose roles vary. While the egbe male society reinforces social norms, the aro federates farmers. The freeze has more esoteric and religious aims. The notables meet in a society called esusu. The Yoruba claim ...


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Equestrian figure Dogon in bronze
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African art > African Rider > Dogon Rider

The frequent representations of horsemen, among the Dogon of Mali, refer to their cosmogony and their complex religious myths. Indeed, one of the Nommos , ancestors of men, resurrected by the creator god Amma , descended on the earth carried by an arch transformed into a horse. Moreover, the highest authority of the Dogon people, the religious leader named Hogon , was parading on his mount at his induction because it was customary for him not to set foot on the ground. In the area of the cliffs of Sangha, inaccessible on horseback, the priests wore it, while hating in reference to the mythical ancestor Nommo . The characters are depicted naked, riding raw, the man wearing the hogon cap grabbing the bridle of one hand has a spear in the second. Grey-green skate
The Dogon ...

Sao sokoto horse rider
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African art > African Rider > Sao horse rider

Ex-collection French African art.
Used as an amulet credited with apotropaic virtues, this small bronze sculpture is, for the Sao, a talisman supposed to protect them from madness. It is therefore permanently worn. The genius who possessed the fool is represented by the rider, the horse depicting the victim. This horseman with a high horse rides an equine which was a rare attribute of prestige in these regions of the Sahel. Accompanied by a base in plexi. Copper gilded patina. The Sao, ancestors of the Kotoko, were established between the 12th and 14th centuries in a geographical area stretching over the borders between Chad, northern Cameroon and Nigeria. They settled on hills, which allowed them to repel the invaders. Since the twelfth century, this African ethnic group, which ...


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Figure of rider Yoruba Sango
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African art > African Statues > Cavalier Yoruba

It is in a sculpted figure, intended to appear on a Yoruba altar, that a divinized ancestor is embodied here. Unless it is one of the many gods orisa, comparable to the Christian saints, who animate the pantheon of Yoruba. Equid, rare in the region, was also an attribute of prestige reserved for the nobility and rulers.
This sculpture has certain elements and constant characteristics such as a mount of different proportions than those of the rider. The horse perched on a pedestal has a small size. The character with typical Yoruba facies has three incisions on each cheek, eyes set with pearls. One character is perched in the front on the saddle, a second on the back of the central figure. Polychrome crusty skate and kaolin use. Cracks.
The Yoruba, more than 20 million, ...


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490.00 € 392.00 ( -20.0 %)

Statue of rider Eshu Yoruba
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African art > African Rider > Statue Yoruba

African art and iconographic complexity of Yoruba statuary
Focused on the veneration of its gods, or orisà, the Yoruba religion relies on artistic sculptures with coded messages (aroko). They are designed by sculptors at the request of followers, soothsayers and their customers. These spirits are supposed to intercede with the supreme god Olodumare.This horseman's sculpture whose role is to facilitate communication with the afterlife values a divinized ancestor or a orisha, one of the 400 gods of the Yoruba pantheon. The figures of warrior saze are widespread in Yoruba iconography, the horse being rare in these regions that only kings could once allow themselves. The kingdoms of Oyo and Ijebu were born following the demise of the Ifé civilization and are still the basis of the ...

Figure of rider Baoulé
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African art > African Rider > Statue Baule

Naturalism of African art Baoulé
This male effigy of a naked rider would represent a baoulé leader in an idealized way, the latter being the only ones to own horses. The ovoid face with regular features is aneasted with a braided beard, the ancients of which took great care thanks to anointings of shea butter. The body has many scarifications. This sculpture, embodying a asye usu, spirit of nature, or temporal residence of a "Blolo bian" épouss of the afterlife, was probably part of the objects belonging to the soothsayer komien . During the divination sessions, these objects were wrapped in a white cloth in order to act as intermediaries between the temporal world and spirits. The representations of celestial spouses, on the other hand, were kept individually within the homes. ...


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Bamileke rider
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African art > African Rider > Bamileke rider

Rider performances are very common in Yoruba African art, and for good reason this is the central theme of the story named" "Death and the King's Horseman."

This fiction tells the funeral of the deceased King of Oyo, an ancient African state founded in the 15th century, neighbor of the Kingdom of Dahomey, and the tradition that his rider, Elesin, must commit suicide within thirty days of the death of the king in order to follow in due course the Yoruba religious dogma The death of the rider is indeed intended to guarantee the king a safe conduit to his new home. Elesin, a simple man enjoying life, is given a mission he does not want and ends up disappointing the Yoruba people who place high expectations in him. It is this myth that inspired the sculptor during the making of ...


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