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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


Cavalier Sao Sokoto Putchu Guinadji
African art > African Rider > Bronze 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 Kotoko Putchu Guinadji
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African art > African Rider > Bronze 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 depicting the victim. The rider wearing a cheche rides an equine that was a rare prestige attribute in these sahel regions. Golden brown patina.
The Sao, ancestors of the Kotoko, were established between the 12th and 14th centuries in a geographical area extending along the borders between Chad, northern Cameroon and Nigeria. They settled on hills, which allowed them to repel the invaders. Subjected to successive onslaughts from their Kanem neighbours and then to hordes from the east, the Sao had to abandon their lands to ...

Cavalier Sao Kotoko Putchu Guinadji
objet vendu
African art > African bronze > Horseman 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 depicting the victim. This rider wearing a cheche rides an equine that was a rare attribute of prestige in these regions of the Sahel, has an interesting patina of use. The Sao, ancestors of the Kotoko, were established between the 12th and 14th centuries in a geographical area extending along the borders between Chad, northern Cameroon and Nigeria. They settled on hills, which allowed them to repel the invaders. Subjected to the successive onslaughts of their neighbours in Kanem and then to hordes from the east, the Sao had to ...

Horseman Bambara
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African art > African Rider > Horseman Bambara

Naturalist sculpture of rider Bambara riding his horse raw, evoking traditional races. The room features a warm brown glossy patina.
In-Central and Southern Mali, in a savannah area, the Bambara , " Bamana " or " unbelievers ", as the Muslims have named them, belong to the large Group Mande, along with the Soninke and Malinke. Mostly farmers, but also herders, they make up the largest ethnic group in Mali. In addition to their remarkable masks, the Bozo and Bambara are renowned for their puppets of various sizes. The groups of craftsmen bambara nyamakala , more specifically the blacksmiths named numu , are in charge of the sculpture of ritual objects, endowed with the nyama , occult energy. Using fire and magical objects, the role of healer and soothsayer is also assigned to them. ...


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Horseman Dogon in bronze
African art > African Rider > New product

br>Image of the rider in the African art Dogon
This rider figure would represent a priest .hogon. The stylized horse has stretched legs. The sculpture is patinated in light green.
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 , 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 ...


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Dogon Horsemen s Cup in Bronze
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African art > African bronze > Dogon Cup

The emblematic cuts of African dogon art
On this figurative cut for ceremonial use, the Hogon, religious leader personified by the rider on his mount, is perched on the lid. The cut is supported by particularly stylized horses. Nommo, a mythical ancestor to which the rider also refers, is a water god who taught humans to weave(Mr. Buratti). Grey-green patina.
The Dogons are a people renowned for their cosmogony, myths and rituals. Their population is estimated at about 300,000 souls living southwest of the Niger Loop in mali's Mopti region (Bandiagara, Koro, Banka), near Douentza and part of northern Burkina (northwest of Ouahigouya). Their religious leader, the Hogon, the highest authority of the Dogon people, was parading on his mount at his induction because it was customary ...

Dogon Rider Couple
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African art > African Rider > Cavaliers Dogon

The frequent representations of the rider, among the Dogon of Mali, refer to their cosmogony and their complex religious myths. Indeed, one of the Nammos, 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 appointed Hogon , paraded on his mount during his induction because it was customary 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.
Gon blacksmiths form an endogamous caste among the Dogon called irim. They now produce weapons, tools, and also work with wood. " They are also supposed to treat burns (Huib Blom). ...


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Cavalier Sao Sokoto Putchu Guinadji
African art > African Rider > 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 ...


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125.00

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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Figure Dogon and buffalo in bronze
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African art > African Rider > Statue Dogon

This sculpture depicting a figure perched on a buffalo probably refers to the religious leader hogon or still one of the primordial ancestors N
ommo forming a recurring sculpted motif, shown here holding a container.
Dogon blacksmiths form an endogamous caste among the Dogon called irim . They now produce weapons, tools, and also work with wood. " Masters of Fire associated in dogon cosmogony with primordial beings Nommo created by the god Ama, they are also supposed to cure burns. Small metal objects, made using the lost wax technique, were widespread in the Interior Delta region of Niger, with copper making it through trans-Saharan trade. Excavations on the Bandiagara plateau have uncovered remains of steel sites prior to the 15th century, when the Dogons arrived. Nommo, a ...

Yoruba rider statuette
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African art > African Rider > Cavalier Yoruba

This figure of a rider glorifies a deified ancestor. The equine, rare in the region, was also an attribute of prestige that was reserved for the nobility and sovereigns. Focused on the veneration of his gods, or orisà, the religion yoruba relies on artistic sculptures with coded messages (aroko). They are designed by sculptors at the request of followers, soothsayers and their clients. These spirits are supposed to intercede with the supreme god Olodumare.Patine satiny black brown, orange reflections.
Soruba, more than 20 million, occupy southwestern Nigeria and the central and southeastern region of Benin under the name Nago. They are patrilineal, practice excision and circumcision. The kingdoms of Oyo and Ijebu were born following the disappearance of the civilization Ifé and ...


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Sao Sokoto Healer Ring
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African art > Jewels > Sao Ring

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 horseman-talisman is here mounted on a ring worn by the soothsayer during divination rituals. The genius who would possess the madman is represented by the rider, the horse depicting the victim. This rider wearing a cheche rides an equine that was a rare prestige attribute in these sahel regions. Height on a base: 11 cm.
The Sao, ancestors of the Kotoko, were established between the 12th and 14th centuries in a geographical area extending along the borders between Chad, northern Cameroon and Nigeria. They settled on hills, which allowed them to repel the invaders. Subjected to the successive ...


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Sao Kotoko Putchu Guinadji horseman
objet vendu
African art > African bronze > Horseman Sao

Ex-collection French African art.
Used as an amulet credited with apotropaic virtues, this small bronze sculpture is, for the Saos, 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 depicting the victim. This rider wearing a cheche rides an equine that was a rare attribute of prestige in these regions of the Sahel, has an interesting patina of use. The Sao, ancestors of the Kotoko, were established between the 12th and 14th centuries in a geographical area extending along the borders between Chad, northern Cameroon and Nigeria. They settled on hills, which allowed them to repel the invaders. Subjected to the successive onslaughts of their neighbours in Kanem and then to ...

Bronze Dogon equestrian figure
objet vendu
African art > African Rider > Cavalier Dogon

The frequent representations of horsemen among the Dogon of Mali refer to their cosmogony and their complex religious myths. Indeed, one of the Nammos, ancestors of men, resurrected by the creator god Amma, descended on the earth carried by an arch transformed into a horse. In addition, 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 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 patina.
The Dogon population ...

Congo Vili
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African art > African Rider > Congo Vili

As for the peoples of West Africa in African art, the rider and his mount in Central Africa symbolize strength and prestige.
On finds on the room the eyes covered with a glass typical of Kongo.
The Kongo people, a close cousin of the Punu ethnic group in Gabon, is therefore of great importance for the art of Central Africa.
Attitude dignified and austere this statue shows the signs of its rank.


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Yoruba rider figure
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African art > African Rider > Cavalier Yoruba

It is in a sculpted statuette intended to appear on a Yoruba altar that a divinized ancestor, or one of the many gods, orisa, comparable to the Christian saints, who animate the pantheon of Yoruba, the divine messenger Esù or Elegba. The equine, rare in the region, was an attribute of prestige that was reserved for the nobility and the sovereigns.
This sculpture has certain constant elements and characteristics such as a mount of different proportions than the rider. The horse perched on a plinth has a small size. The character with the typical Yoruba facies has triple claw incisions on the face of the cheeks, smokes the pipe and is equipped with a rifle. Patina mate polychrome granular. Kaolin residue.
Soruba, more than 20 million, occupy southwestern Nigeria and the central ...


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Coupe Agere Ifa Yoruba
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African art > African Rider > Yoruba Cup

In the Yoruba pantheon, Orunmila is the deity of the which is consulted in case of problems through the divination ifà via the soothsayer babalawo (iyanifà for a woman). Intended to stand on the altar of the god, this sculpture consists of a cup that contained the sacred palm nuts and a rider figure. The character would embody Esu or Elegba , divine messenger who unites orisa to men. Cracks on the pot.
Centrée on the veneration of her gods, or orisà, the religion yoruba relies on artistic sculptures with coded messages ( aroko). They are designed by sculptors at the request of followers, soothsayers and their clients. These spirits are supposed to intercede with the supreme god Olodumare. The kingdoms of Oyo and Ijebu were born following the disappearance of the civilization Ifé ...


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

Ex-collection French African tribal art.
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. 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 natives, thus giving birth to an ethnic group called Kotoko.More than an ethnic group, the Sao are a civilization now extinct. ...

Horseman talisman Sao Sokoto Putchu Guinadji
objet vendu
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 ...

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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