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African art > African statues : tribal fetish, maternity > Statues Fang
Ex-French tribal art collection.
Ritual sculptures of African Fang art.
Of majestic proportions, this pair of guardian statues of reliquary " eyema " (from yem: know) presents the characteristic morphology of the protective fetishes of reliquary linked to the traditional rite of the Byéri, cult of the Fang stoms of Gabon, southern Cameroon, and Equatorial Guinea. These statues also appeared during the rites of the So society that structuring the Fang society. The rites of the Ngil, feared by the population, also achieved social justice by unmasking the sorcerers. The so initiations took place every three years, during which boxes containing the relics of ancestors, masks and statues were presented to novices and their symbolism revealed. These slender-bodied effigies show a ...
African art > African statues : tribal fetish, maternity > Baoule colon
This statuette is represented frontally, in a confident posture, hands in the pockets. The oversized feet are joined. Abraded polychrome patina.
Some sixty ethnic groups populate the Ivory Coast, including the Baule, in the center, Akans from Ghana, people of the savannah, practicing hunting and agriculture just like the Gouro from whom they borrowed ritual cults and sculpted masks.
Two types of statues are produced by the Baoulé, Baulé, within the ritual framework: The Waka-Sona statues, "being of wood" in Baoulé, evoke an assié oussou, being of the earth. They are part of a type of statues intended to be used as a medium tool by the komien diviners, the latter being selected by the asye usu spirits in order to communicate revelations from the beyond. The second type of ...
African art > African mask, tribal art, primitive art > Baule mask
Appearing nowadays during celebrations associated with the Gbagba dance, this African mask of the "Moon" type integrates all the masks associated with natural phenomena, such as the setting sun, the arc- rainbow and the moon, and "warms up" the scene before larger masks appear.
This unusual circular mask, presenting several intertwined faces, is also surmounted by a statuette sculpted in the round.
Smooth, satiny, black-brown patina, residual kaolin encrustations.
The African art of the Baoulé, an Akan group established in the south-east of Côte d'Ivoire, includes a wide range of masks renowned for their quality, finesse and symmetry. On the one hand, these African masks transposing the main features of the face of a very beautiful young girl or a remarkable man, ...
African art > The fetish, this emblematic object of primitive art > Zande figure
A bust in capsule, punctuated with a cowrie, established on two legs, the whole surmounted by a voluminous head, blind, where the size of the ear pavilions calls out... the whole is articulated with creativity for this statuette of the Mani-Yanda cult. Satin patina.
Formerly referred to as " Niam-Niam " because they were considered anthropophagous, the tribes grouped under the name Zande , Azandé , settled, from Chad, on the border of the D.R.C.(Zaire), Sudan and the Central African Republic. According to their beliefs, man is endowed with two souls, one of which transforms into the animal-totem of the clan to which he belongs upon his death. Their sculptures have been linked to their secret society since the early 20th century, the Mani, exalting the importance of women. Their ...
African art > African mask, tribal art, primitive art > Bobo mask
The African animal masks of Burkina Faso
This imposing helmet mask embodies a large West African antelope, the antelope, with high ringed horns curved backwards. Grainy brown and black patina.
Mandinka people most of whom live in eastern Burkina Faso, but also in southern Mali, the culture of the Bobo Fing is similar to that of the Bambara. They are organized into lineages headed by councils of elders. In each village altars are erected under the authority of the blacksmiths, priests of the cult of Dwo, but the Bobo also venerate secondary spirits and those of the ancestors. In addition to objects carved from wood, they also make masks out of fiber sheets which they will wear during ceremonies in order to establish a relationship with the spiritual world. The most important ...
African art > African statues : tribal fetish, maternity > Statue Songye
African art and fetishes nkisi
This fetish statue Nkisi , nkishi (pl. mankishi) does not seem to have passed into the hands of the fetishist, the umbilical, hollowed out in cup, not having a magic charge. Other elements strengthening its "power ", and associated with rituals, such as horn, necklaces, insertion or metal veneer, being also absent. The particularity of these objects most often resides in the angular treatment of the form, the imposing triangular face whose chin blends into the beard, the mouth cracks raised in rictus, and the attitude deported to the front of the bulging belly. Dark brown patina with blackish residual inlays, satin touch. Desication cracks.
These home protection fetishes are among the most prized in Africa. Nkisi plays the role of mediator ...
African art > The fetish, this emblematic object of primitive art > Songye fetish
Statuette Nkisi, nkishi (pl. mankishi) at the top of which a horn has been inserted by the point. The power of the fetish, according to the beliefs of the Songye, would be reinforced by the presence of its accessories, metal and, or, various additions of materials, vegetable fibers, animal skins, dried fruits, etc... Beautiful abraded light brown patina.< br />
These protective fetishes for homes are among the most popular in Africa. The Nkisi plays the role of mediator between gods and men. The large specimens are the collective property of an entire village, while the smaller figures belong to an individual or a family. In the 16th century, the Songyes migrated from the Shaba region to settle on the left bank of the Lualaba. Their society is organized in a patriarchal way. Their ...
African art > African statues : tribal fetish, maternity > Nyamézi figure
Figurative anthropomorphic sculpture, carved in very dense wood. Represented in a posture linked to the dance, the character offers a severe physiognomy, which a hairstyle meticulously made of glass beads softens.
Brown satin patina, cracks.
The Nyamwezi, Nyamézi, form the largest group among the tribes living in north central Tanzania. Coming from diverse origins, although sharing the same cultural specificities, their ritual and artistic production consequently presents very different formal aspects. The cult of ancestors and chiefs, of major importance within their culture, marked their statuary.
The Sukuma and the Nyamézi produced statues represented in a static position, some of which, with filiform limbs, evoke the artistic creations of Alberto Giacometti. They ...
African art > Chair, palaver seat, throne, stool > Kaguru stool
Old circular seat, with a slightly concave center, carried by three feet. The decoration consists of opposing geometric patterns, finely engraved on the uprights.
Contours and feet eroded.
Gray brown age patina.
In the southern coastal region of Tanzania, around Dar-es-Salaam, a relatively homogeneous group produced most of the artistic productions. It includes the Swahili, Kaguru, Doé, Kwéré, Luguru, Zaramo, Kami.
Among these populations, the seats are thrones intended for the heads of lineage, each of them being under the protection of a tutelary spirit. These stools were set apart in shrines
named kolelo, guarded by priests.
African art > Bronze, leopard, messenger, warrior, statue, pirogues > Benin Plate
Ex-collection French African art.
Before the destruction of the palace of the Kingdom of Benin in 1897, the divine character of kings, the Oba , was illustrated by multiple works celebrating their power. In African tribal art, glorifying war scenes were reproduced on narrative plates, in bronze, and affixed to the walls. Sumptuous bronze altars, commemorative figures of deceased chefs, majestic felines, heavy bracelets, hairs and recades were produced in quantity in many workshops of smelters according to the technique of cast iron with lost wax. During the 16th century, oba Esigie commissioned the first copper alloy plates with embossed ornamentation. Many of them were cast in pairs to symmetrically decorate the pillars or walls of the palace. Olfert Dapper describes these plaques ...
African art > Bronze, leopard, messenger, warrior, statue, pirogues > Benin rider
Benin African art is described as court art because it is closely associated with the king, known as Oba. The tradition of bronze court 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 staves. They were used to commemorate an oba and to get in touch with his spirit.
The craftsmen of Benin also produced figures of riders on horseback, representing according to the interpretations, either a Benin king, or a Yoruba emissary of the cavalry of Oyo. It could also be Oranmiyan, who ...
African art > African mask, tribal art, primitive art > Korobla Mask
This African senoufo mask with a round head, exorbitant pupils, wide toothed jaw and zoomorphic ears, is named "c redeemer of fire" (Korobla). It is sometimes accessorized with magical attributes. Patine mate. Residual libations. Very good state of preservation.
The Senoufo, the name given to them by french settlers, are mainly made up of farmers who have dispersed between Mali, Côte d'Ivoire, and Burkina Faso. The councils of elders, led by an elected chief, administer the senoufo villages.
Representations of hybrid beings, the zoomorphic African masks of Sénufo are worn by members of the Poro society, an institution that controls political and economic life. Their function is to honour the elders or to appear at funerals, hence their name, poniugo , " funeral head". ...
African art > Tam Tam, Djembe, musical instruments > Tambour Zande
A zande percussion musical, this wooden idiophone is carved from a human bust. It extends in the shape of a dugout at the feet of which a character is depicted sitting, hands on ears. A long slit acts as a resonance opening. The walls are engraved with different decorative motifs. Satin patina.
odies referred to as " Niam-Niam " because they are considered anthropophages, the tribes grouped under the name Zande , Azandé , settled, from Chad, on the border of R.D.C.(Zaire), Sudan and the Central African Republic. According to their beliefs, man is endowed with two souls, one of whom turns into a totem animal of the clan to which he belongs. The African tribal art of the Zande, or "these who own a lot of land", apart from their court art consisting of spoons, receptable, pipes and ...