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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


Bronze Dogon equestrian figure
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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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480.00 € 384.00 ( -20.0 %)

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. ...

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 ...


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280.00 € 224.00 ( -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 ...

Horseman Bambara
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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240.00

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 ...

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 ...





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