African Arts Gallery

Ex. French collection of African art This damaged African sculpture, depicting a rider on his mount, embodies a deified ancestor, one of the many gods, orisa, comparable to Christian saints and who make up the Yoruba pantheon. The statue also evokes the divine messenger Esù or Elégba . The equine, rare in the region, was an attribute of prestige that was reserved for the nobility and sovereigns. This type of sculpture was intended for a Yoruba altar. Black-brown patina. The Yoruba, more than 20 million, occupy the southwest of Nigeria and the central and southeast region of Benin under the name of Nago. They are patrilineal, practice excision and circumcision. Centered on its multiple gods or orisa, the Yoruba religion is illustrated by its altars on which sacrifices are ...

The figures on mounts, intended for Yoruba altars, represented a deified ancestor or one of the multiple orisa gods, comparable to Christian saints, belonging to the Yoruba pantheon. The equine, rare in the region, constituted an attribute of prestige which was reserved for the nobility and sovereigns. Satin patina. Cracks (base).
The Yoruba, more than 20 million, occupy southwest Nigeria and the central and southeastern region of Benin under the name of Nago. They are patrilineal, practice excision and circumcision. The kingdoms of Oyo and Ijebu were born following the disappearance of the Ifé civilization and are still the basis of the political structure of the Yoruba . The Oyo created two cults centered on the Egungun and Sango societies, still active, which worship their gods, ...

African sculpture of Dogon inspiration depicting a man riding his mount. Thick grainy patina, gaps and erosions.
The frequent representations of riders 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 to earth carried by an ark transformed 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 the ground. In the region of the cliffs of Sangha, inaccessible on horseback, the priests wore it, while neighing in reference to the mythical ancestor Nommo.

French collection of African art.
The rider and his horse, a theme frequently treated among the Dogon of Mali, is presented here in the form of a very detailed bronze sculpture. Brown patina with ocher inlays. In Dogon mythology, one of the Nommos, ancestors of men resurrected by the creator god Amma, descended to earth carried by an ark transformed 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 should not set foot on the ground. In the region of the Sangha cliffs, inaccessible on horseback, the priests wore it, while neighing in reference to the mythical ancestor Nommo.

Used as an amulet credited with apotropaic virtues, this small bronze sculpture constitutes, for the Sao, a talisman worn permanently, supposed to protect them from madness. The genius who possesses the madman is represented by the rider, the horse representing the victim. This horseman wearing a cheche rides an equine which was a rare attribute of prestige in these regions of the Sahel.
The Sao, ancestors of the Kotoko, were established between the 12th and 14th centuries in a geographical area extending over the borders between Chad, northern Cameroon and Nigeria. They established themselves on hills, which enabled them to repel invaders. Subjected to successive attacks from their neighbors in Kanem and then to hordes from the East, the Sao had to abandon their lands to settle ...

Miniature in bronze alloy depicting a rider on his mount, the latter representing an exceptional attribute of prestige in the arid regions of the Sahel. This talisman constitutes, for the Sao, a protection against madness. The rider symbolizes the genius who possesses the madman, the horse representing the victim.
Between the 12th and 14th centuries, the Sao, ancestors of the Kotoko, were established on hills in the border regions of Chad, northern Cameroon and Nigeria, in order to repel invaders. Subjected to successive attacks from their neighbors in Kanem and then to hordes from the East, the Sao had to abandon their lands to settle in the North-West of Cameroon where they mixed with the natives, thus giving birth to the Kotokos. The Kotoko still attribute today to the copper ...

Collection ofAfrican artBelgian.
This African statuette represents the Hogon, riding without a saddle. Its verdigris patina gives it an authentic and old appearance.
The frequent representations of horsemen among the Dogon of Mali refer to their cosmogony and their complex religious myths. According to these stories, one of the Nommos, ancestors of men, was resurrected by the creator god Amma and descended to earth carried by an ark transformed into a horse. Furthermore, during his enthronement, the highest religious authority of the Dogon people, the religious leader called Hogon, paraded on his mount, not having to set foot on the ground according to custom. In the region of the Sangha cliffs, where access on horseback is impossible, the priests wore it, evoking the ...

Used as an amulet credited with apotropaic virtues, this bronze sculpture constitutes, for the Sao, a talisman supposed to protect them from madness. It is therefore worn permanently. The genius who possesses the madman is represented by the rider, the horse, a rare attribute of prestige in these regions of the Sahel, representing the victim.
The Sao, ancestors of the Kotoko, were established between the 12th and 14th centuries in a geographical area extending over the borders between Chad, northern Cameroon and Nigeria. Subjected to successive attacks from their neighbors in Kanem and then to hordes from the East, the Sao had to abandon their lands to settle in the North-West of Cameroon where they mixed with the natives, thus giving birth to an ethnic group called Kotoko. . ...

Collection ofAfrican artBelgian.
This African statuette represents a horsewoman holding a spear. Its brown patina has residual ocher encrustations.
The Dogon of Mali are known for their frequent representations of horsemen, which echo their cosmogony and their complex religious myths. According to these stories, one of the Nommos, ancestors of men, was resurrected by the creator god Amma and descended to earth carried by an ark transformed into a horse. Furthermore, during his enthronement, the highest religious authority of the Dogon people, the religious leader called Hogon, paraded on his mount, not having to set foot on the ground according to custom. In the region of the Sangha cliffs, where access on horseback is impossible, the priests wore it, evoking the ...

Iphri type sculpture in figurative version. Satin black patina, abrasions and drying cracks.
The Urhobos, living near the northwest of the Niger Delta River, form the major ethnic group in Delta State among the 36 states of the Federal Republic of Nigeria. They speak Urhobo, a language of the Niger-Congo group. Along with the Isoko, whose art is similar, they are collectively known as Sobo. Their large sculptures representing the spirits of nature, edjo, or the founding ancestors of the clan, to whom sacrifices were offered, were grouped in sanctuaries within the villages. They also produce figures similar to the ikenga of the Igbo called iphri, half-animal, half-human in shape. They personify masculine aggression and are intended for warriors and notables. However, after ...

This sculpture of a rider on his mount depicts a deified ancestor, one of the multiple gods, orisa, comparable to Christian saints and who make up the Yoruba pantheon. The statue also evokes the divine messenger Esù or Elégba. The equine, rare in the region, constituted a prestigious attribute which was reserved for the nobility and the sovereigns. This type of sculpture was intended for a Yurba altar. Polychrome matte patina. Desication abrasions and cracks.
The Yoruba, more than 20 million, occupy southwestern Nigeria and the central and southeastern region of Benin under the name of Nago. They are patrilineal, practice excision and circumcision. Centered on its multiple gods or orisa, the Yoruba religion is famous for its altars on which sacrifices are performed. The arts and ...