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African art - Bronze rider, wooden rider, dogon, yoruba :

The riders are generally made of bronze, but many of them are made of wood. True masterpieces of Dogon, Sao, Bamoun, Yoruba art


Royal equestrian figure Bini Edo Benin
African art > Bronze rider, wooden rider, dogon, yoruba > Benin rider

African art from Benin is described as court art because it is closely associated with the king, known as the Oba. The tradition of bronze court objects in the Benin kingdom dates back to the 14th century. The many brass heads and statues created by Benin artists 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 topped with heads, statues, carved ivory tusks, bells and sticks. They were used to commemorate an oba and to contact his spirit. Beninese artisans also produced figures of horsemen on horseback, representing either a Beninese king or a Yoruba emissary of the Oyo cavalry, depending on interpretation. It could also be Oranmiyan, who imported horses to ...

Benin horse rider
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African art > Bronze rider, wooden rider, dogon, yoruba > Benin horse rider

Numerous heads and statues out of bronze made by Benin craftmen were kept for personal use of the nobility., and , most of the time put on altars consecrated by each new Oba. These rectangular-shaped altars were surmounted by heads, statues, carved ivory tusks, bells and staffs. They were being used to recall a Oba and to get in touch with his spirit.


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Bronze Dogon Rider
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African art > Bronze, leopard, messenger, warrior, statue, pirogues > 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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Equestrian figure Lobi
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African art > Bronze rider, wooden rider, dogon, yoruba > Cavaliers Lobi

Minimalism and stylization for this figure of African tribal art coated with a rusty ochre patina. Riding an equine, this couple is equipped with a hoe, symbolizing the work of the earth, but also a shield, linked to the status of warrior. The populations of the same cultural region, grouped under the name " lobi ", make up one-fifth of Burkina Faso's population. Few in Ghana, they also settled in northern Côte d'Ivoire. It was at the end of the 18th century that the Lobi, from northern Ghana, established themselves among the Thuna and Puguli Autochtons, Dagara, Dian, Gan and Birifor. The Lobi believe in a creator God named Thangba Thu , to whom they address through the worship of many intermediate spirits, the Thil, the latter being supposed to protect them, with the help of the sooth, ...


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Dogon horseman statue in bronze
African art > Bronze, leopard, messenger, warrior, statue, pirogues > Dogon bronze

Delicate bonzier work for this ancient figure of a Dogon horseman featuring a character, the hogon, equipped with his stick, and riding bareback. Ritual ochre patina. 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, came down to earth carried by an ark metamorphosed into a horse. Moreover, the highest authority of the Dogon people, the religious chief named Hogon, paraded on his horse during his enthronement because according to the custom he should not put his foot on the ground. In the region of the Sangha cliffs, inaccessible by horse, the priests carried him, neighing in reference to the mythical ancestor Nommo. Dogon ...


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360.00

Sao Sokoto Putchu Guinadji rider
African art > Bronze, leopard, messenger, warrior, statue, pirogues > Sao bronze

In African art, Sao Sokoto inspired works are mostly marked by the equestrian world. Within the ethnic group, small examples of horsemen, generally made of bronze, are cast and worn as talismans, with a patina and a lustrous finish. They are considered above all as a remedy against possession by evil spirits. The horse represents the spirit of the person who is possessed, while the genie that possesses him is symbolized by the rider. Subjected to successive assaults by their neighbors from Kanem and then by hordes from the East, the Sao had to abandon their lands to settle in the northwest of Cameroon where they mixed with the natives, thus giving birth to an ethnic group called Kotoko. More than an ethnic group, the Sao are a civilization that has now disappeared. They were found ...


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40.00

Sao Sokoto rider
African art > Bronze, leopard, messenger, warrior, statue, pirogues > Sao rider

This bronze has a coppery patina. The warrior represented on his mount has his head wrapped in a chêche identical to those of the Tuaregs.

In African art, works of Sao Sokoto inspiration are mostly marked by the equestrian world. Within the ethnic group, small examples of horsemen, generally in bronze, are cast and worn as talismans, patinated and polished by rubbing. They are considered above all as a remedy against possession by evil spirits. The horse represents the spirit of the person who is possessed, while the genie that possesses him is symbolized by the rider. Subjected to successive assaults by their neighbors from Kanem and then by hordes from the East, the Sao had to abandon their lands to settle in the North-West of Cameroon where they mixed with the ...


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80.00

Sao Sokoto Putchu Guinadji rider
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African art > Bronze, leopard, messenger, warrior, statue, pirogues > Sao bronze

In African art, Sao Sokoto inspired works are mostly marked by the equestrian world. Within the ethnic group, small examples of horsemen, generally made of bronze, are cast and worn as talismans, with a patina and a lustrous finish. They are considered above all as a remedy against possession by evil spirits. The horse represents the spirit of the person who is possessed, while the genie that possesses them is symbolized by the rider.
Subjected to successive assaults by their neighbors from Kanem and then by hordes from the East, the Sao had to abandon their lands to settle in the northwest of Cameroon where they mixed with the natives, thus giving birth to an ethnic group called Kotoko. More than an ethnic group, the Sao are a civilization that has now disappeared. They ...

Sao Sokoto Putchu Guinadji rider
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African art > Bronze, leopard, messenger, warrior, statue, pirogues > Sao bronze

In African art, Sao Sokoto inspired works are mostly marked by the equestrian world. Within the ethnic group, small examples of horsemen, generally made of bronze, are cast and worn as talismans, with a patina and a lustrous finish. They are considered above all as a remedy against possession by evil spirits. The horse represents the spirit of the person who is possessed, while the genie that possesses them is symbolized by the rider.
Subjected to successive assaults by their neighbors from Kanem and then by hordes from the East, the Sao had to abandon their lands to settle in the northwest of Cameroon where they mixed with the natives, thus giving birth to an ethnic group called Kotoko. More than an ethnic group, the Sao are a civilization that has now disappeared. They ...

Dogon horseman figure in bronze
African art > Bronze, leopard, messenger, warrior, statue, pirogues > Dogon rider

This statuette represents a horsewoman, carrying a spear. Brown patina with residual ochre inlays. 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 the men, resuscitated by the creator god Amma, came down on the earth carried by an ark metamorphosed into a horse. Moreover, the highest authority of the Dogon people, the religious chief named Hogon, paraded on his horse during his enthronement because according to the custom he should not put his foot on the ground. In the region of the Sangha cliffs, inaccessible by horse, the priests carried him, neighing in reference to the mythical ancestor Nommo.
The Dogon blacksmiths form an endogamous caste among the Dogon ...


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280.00

Dogon riders in bronze
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African art > Bronze rider, wooden rider, dogon, yoruba > Dogon bronze

Bronze sculpture featuring Dogon mythical heroes. Black patina with greenish inlays.
The frequent representations of horsemen, among the Dogon of the Mali, refer to their cosmogony and their complex religious myths. Indeed, one of the Nommos , ancestors of men , resurrected by the creator god Amma , came down to earth carried by an ark metamorphosed into a horse. Moreover, the highest authority of the Dogon people, the religious chief named Hogon, paraded on his horse during his enthronement because according to the custom he should not put his foot on the ground. In the region of the Sangha cliffs, inaccessible by horse, the priests carried him while neighing in reference to the mythical ancestor Nommo.
The Dogon blacksmiths form an endogamous caste among the Dogon called ...


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Dogon rider figure
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African art > Bronze, leopard, messenger, warrior, statue, pirogues > Bronze Dogon

The elegance of proportions and attitudes, in this African work of art made of bronze, has been skillfully translated by the Dogon blacksmith. These form an endogamous caste among the Dogon called irim . Today they produce weapons, tools,and also work with wood. "Masters of fire", they are also supposed to cure burns (Huib Blom). 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 man, resurrected by the creator god Amma , descended to earth carried on an ark metamorphosed into a horse. In addition, the highest authority of the Dogon people, the religious leader named Hogon , paraded on his mount during his enthronement because according to custom he was not to set foot on ...


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Sao Sokoto Putchu Guinadji rider
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African art > Bronze rider, wooden rider, dogon, yoruba > Sao bronze

In African art, Sao Sokoto inspired works are mostly marked by the equestrian world. Within the ethnic group, small examples of horsemen, generally in bronze, are cast and worn as talismans, patinated and polished by rubbing. They are considered above all as a remedy against possession by evil spirits. The horse represents the spirit of the person who is possessed, while the genie that possesses them is symbolized by the rider.
Subjected to successive assaults by their neighbors from Kanem and then by hordes from the East, the Sao had to abandon their lands to settle in the northwest of Cameroon where they mixed with the natives, thus giving birth to an ethnic group called Kotoko. More than an ethnic group, the Sao are a civilization that has now disappeared. They were ...

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Sao Sokoto Putchu Guinadji rider
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African art > Bronze, leopard, messenger, warrior, statue, pirogues > Sao bronze

In African art, Sao Sokoto inspired works are mostly marked by the equestrian world. Within the ethnic group, small examples of horsemen, generally made of bronze, are cast and worn as talismans, with a patina and a lustrous finish. They are considered above all as a remedy against possession by evil spirits. The horse represents the spirit of the person who is possessed, while the genie that possesses them is symbolized by the rider.
Subjected to successive assaults by their neighbors from Kanem and then by hordes from the East, the Sao had to abandon their lands to settle in the northwest of Cameroon where they mixed with the natives, thus giving birth to an ethnic group called Kotoko. More than an ethnic group, the Sao are a civilization that has now disappeared. They ...

Yoruba rider figure
African art > Bronze rider, wooden rider, dogon, yoruba > Yoruba rider

It is in a carved statuette intended to appear on a Yoruba altar that is embodied here a deified ancestor, or one of the multiple gods, orisa, comparable to Christian saints. The latter animate the pantheon of the Yoruba, either the divine messenger Esù or Elégba . The equine, rare in the region, was an attribute of prestige that was reserved for the nobility and the rulers. This sculpture has certain constant elements and characteristics such as a mount with different proportions from the rider. The horse perched on a pedestal is indeed smaller in size. The character with a typically Yoruba face has triple incisions on his face, smokes a pipe and carries a spear. Shaded patina. Residues of kaolin. The Yoruba, more than 20 million, occupy southwestern Nigeria and the central ...


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180.00

Cavalier Sao Sokoto Putchu Guinadji
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African art > Bronze rider, wooden rider, dogon, yoruba > Horseman Sao

Used as an amulet credited with apotropaic virtues, this small bronze sculpture constitutes, for the Sao, a talisman supposed to protect them from madness. It is therefore worn permanently. The genius who would possess the madman is represented by the rider, the horse representing the victim. The rider wearing a goat's head is riding an equine which was a rare attribute of prestige in these regions of the Sahel. Golden brown patina.
The Sao, ancestors of the Kotoko, 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, which enabled them to repel invaders. Subjected to successive assaults from their neighbors in Kanem and then to hordes from the East, the ...

Horseman Dogon in bronze
African art > Bronze, leopard, messenger, warrior, statue, pirogues > Dogon Bronze

This statuette would represent the Hogon, who rode without a saddle. Grey-green patina. 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 the men, resuscitated by the creator god Amma, came down on the earth carried by an ark metamorphosed into a horse. Moreover, the highest authority of the Dogon people, the religious chief named Hogon, paraded on his horse during his enthronement because according to the custom he should not put his foot on the ground. In the region of the Sangha cliffs, inaccessible by horse, the priests carried him, neighing in reference to the mythical ancestor Nommo. The Dakar-Djibouti mission of 1931, led by Marcel Griaule, was charged with ...


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320.00

Sao Sokoto Putchu Guinadji Horseman
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African art > Bronze rider, wooden rider, dogon, yoruba > Horseman Sao

This bronze has a copper patina. The warrior depicted on his mount has his head wrapped in a choir identical to those of the Tuareg.

In African art, The Works of Sao Sokoto Inspiration are mostly imprinted with the equestrian world. Within the ethnic group, small specimens 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. Subjected to the successive onslaughts of 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 natives giving ...

Cavalier Sao Sokoto Putchu Guinadji
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African art > Bronze rider, wooden rider, dogon, yoruba > Bronze Sao

Ex-collection french african art.

This bronze has a copper patina. The warrior represented on his mount has his head wrapped in a chestnut identical to those of the Tuaregs.
In African art, Sao Sokoto-inspired works are mostly imbued with the equestrian world. Within the ethnic group, small examples of riders, generally in bronze, are melted and worn like talismans, patinated and polished by friction. They are considered above all as a remedy to fight against possession by evil spirits. The horse represents the spirit of the person who is possessed, while the genie who possesses it is symbolized by the rider. Subjected to successive assaults from their neighbors in Kanem and then to hordes coming from the East, the Sao had to abandon their land to settle in the ...

Horseman Dogon in bronze
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African art > Bronze, leopard, messenger, warrior, statue, pirogues > Bronze Dogont

Ex-collection of French African art.

The frequent representations of the 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, paraded on his mount during his induction because it was customary for him not to set foot on the ground. In the region of the cliffs of Sangha, inaccessible on horseback, the priests wore it, while whining in reference to the mythical ancestor Nommo. The Dakar-Djibouti mission of 1931, led by Marcel Griaule, was tasked with studying in depth the rites of this population established in ...


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Horseman Sao Sokoto in bronze
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African art > Bronze, leopard, messenger, warrior, statue, pirogues > Bronze Sao

This bronze has a copper patina. The warrior represented on his mount has his head wrapped in a chestnut identical to those of the Tuaregs. Base in addition.
In African art, Sao Sokoto-inspired works are mostly imbued with the equestrian world. Within the ethnic group, small examples of riders, generally in bronze, are melted and worn like talismans, patinated and polished by friction. They are considered above all as a remedy to fight against possession by evil spirits. The horse represents the spirit of the person who is possessed, while the genie who possesses it is symbolized by the rider. Subjected to successive assaults from their neighbors in Kanem and then to hordes coming from the East, the Sao had to abandon their land to settle in the North-West of Cameroon ...


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