Africa Dimensions and Symbolisms by African Arte

AFRICA SYMBOLISMS AND DIMENSIONS

MAY 2022 • AFRICAN ARTE GALERIA

The Nuruma represents the spirits of the wilderness...

N U R U M A

N U N A

B U R K I N A

F A S O

Africa Symbolisms and Dimensions AFRICAN

ARTE

GALERIA

African art elements of Aesthetic, usually referred to as the art of

Three-dimensions works of art provides aesthetics, composition

Sub-Saharan Africa, brings together ethnicity, complexity of

of an element, with momentum and data culture and traditions,

composition, balance and dimension, and clarity of form and

religiouscults, and symbolism, and protection, through the use of

details. They use art and sculptures to hide information, to

movement, animal, human figures, ancestor, abstracts, patterns,

provide data so as to remember, and so as to decipher, or to

and the use of red clay, as well as adornments (ethnic patterns

warn. We often find small inclusions, or fragmented pieces, datas

and scarifications, jewelries, metal, and coif). Many African

that help to identify, authenticate, the provenance or origin of the

cultures emphasize the importance of ancestors as intermediaries

artwork.

between the living, the gods, and the supreme creator, and art is seen as a way to contact the spirits of these ancestors. Art may

While African art rather focuses on human figural design, it often

also be used to depict gods, and is valued for its functional

uses wood rather than flat painting and create contemporaneous

purposes.

works of art and this includes carvings, castings, pottery, basketry,

and

Objects such as vessels, cooking utensils, Dogon doors, smoking

architectural. They also work with bronze, terracotta, or other

jewelry,

clothing

that

not

merely

flat,

pipes, weaving pulleys, bowls, stools, chairs, and textiles were

metalworks, and ivory, and precious stones, pearls, and fabrics.

made with great care to beautify their daily life as well as to

However, the art movements and prevalence of images and

enhance the status of chiefs and prominent personnages. But

sculpture of human figures, which includes gravity, creative

mostly such objects were seen or handled so regularly within

expressionism over realism and awareness, such is the case of

households, artisans’ workshops, farms, and religious shrines

masks in performing arts, a representation of abstract rather

that their users might have valued and appreciated them more for

than painting. The inner scaling and the abstract theme, and

their specific, intended uses than for how they looked; in essence,

traditions are the main symbolism of their reality and artistic

their

trends and periods.

attractiveness. And each culture created its own set of symbols

functionality

took

precedence

over

their

physical

and artistic style which were understood in the community. Though the symbols varied widely between one community and the next, there was generally within a given community a considerable degree of consistency and thus developed a large number of reasonably discreet styles.

MAY

2022

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AFRICA

SYMBOLISMS

AND

DIMENSIONS

The Punu masks represent the idealized faces of ancestors, and are worn during funerals by initiates of the Moukouji society.

P U N U

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MAY

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AFRICA

SYMBOLISMS

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DIMENSIONS

Utilitarian Artifacts Utilitarian art enabled Africans to interact with their physical, social, and spiritual environments.

Terracottas African art was mostly famous for its earthen art structure and composition. That became an important visual art form and may well be versed in the study of African art.

Bronze and Metalworks Metalwork is one of the important forms of art in Africa; and the technique is intricate, and often used to ornate, decorate significant and medium size pieces of rituals, or ceremonial objects.

Sculptures Tradition or ethnicity are the religious or spiritual value in nature for the African, would it be sculptures, dealing primarily with human form, and sometimes animal or mythical.

Masks Masks are an essential feature of traditional African culture and its form is a physical mechanism to initiate transformation, whereby the wearer takes on a new identity.

Utilitarian Artifacts AFRICAN

ARTE

GALERIA

African art tools enabled Africans to interact with their physical,

The simpler and more prevalent utility objects – rare, with

social, and spiritual environments. This notion of functionality

proven age and authenticity – now fetch very high prices.

includes not just practical uses but also a host of symbolic or “transactional” purposes. More importantly, traditional Artists

Art tools often go unnoticed by most collectors who have been

view aesthetic and utility as inextricably linked, which renders

slow to fully explore, understand and appreciate these symbolic

the

totally

and significant tools as part of Africa's artistic heritage.

inconsequential. Indeed the ability to balance usefulness and

Collectors trivialize them because they do not meet certain

beauty in the same object is uniquely shared by Africans and most

undefined western aesthetic criteriad, but most of the art from

non-Western cultures. Thus African preference for “useful” art

African cultures are predominantly functional and have long been

does not preclude an appreciation for “beauty”.

enshrined in scholarship, and widely called art tools of daily life

separation

between

“art”

and

“non-art”

and for survival. These every day useful objects were designed for purposes that are as old as the continent itself. The designs are simple and elegant, aesthetically pleasing to the eyes, playful, useful, and created with as much attention to details, forms, and techniques as figurative art. Each piece will normally be self-consciously designed and have the markings of use, such as headrest used by royal

chefs,

bowls,

chairs,

stools,

pipes,

pots,

spoons

–

collectively owned by the household.

AFRICA

SYMBOLISMS

AND

DIMENSIONS

UTILITARIAN

ARTIFACTS

Kuba Tukula MEDECINE PURSE - CONGO 100% Wood Model is 22 - 12 - 32 cm

This wooden box in the shape of a hollowed square is carved from

Competition for influence and titles was sometimes fierce, and

rosewood, and the surface is elaborately worked and polished.

found

The box originates from the Kuba of the Democratic Republic of

commonplace household objects into works of extraordinary

Congo, and features intricate design like geometric cross

beauty.

expression

the

elaboration

these

essentially

hatching, with a large Kuba face in the center at the base, and on top of the lid, and a set of raffia thread is attached to the lid and

The Kuba personal and decorative artistry is expressed in

base to carry the box.

flatwork – woven cloth or designs on mats and textiles – as well as three-dimensional objects – lidded bowls and boxes, cups,

The characteristics of the Kuba carving is borrowed in many

musical instruments, knives with decorated handles, and baskets.

forms from the Songye and Luba traditions, and the round facial

They

features with an elongated chin, eyes shaped like coffee-beans,

anthropomorphic cups.

also

carve

headrests,

divination

oracles,

and

and large rabbit-like ears are their particular aesthetics. The rounded shape evokes the moon, a feminine connotation which

The Kuba Kingdom, also known as the Kingdom of the Bakuba or

the Kuba associate with the spirit world.

Bushongo (ruling class), is a traditional kingdom in Central Africa. Each of the ethnic groups, including the Bushongo,

These boxes, mainly used by medicine men, are known as "Ngedi

Ngeende, Kel, Pyaang, Bulaang, Bieeng, Ilebo, Idiing, Kaam,

mu ntey"by the Kuba, and are generally used to hold "Tukula"

Ngoombe Kayuweeng, Shoowa, Bokila, Maluk, and Ngongo has a

powder and paste, or razors for cutting raffia, hairpins and other

representative in residence at the Bushoong court. The Kuba,

ritual objects. The Tukula called "Twool" is a red powder made of

being relatively isolated, were not as affected by the slave trade

ground camwood, and used to color hair, face, and anoint the

as many of the other peoples in the area.

chest during dances and important ceremonies, and for burial

N O 19th MAD E | 24 The Kuba Kingdom flourished between the 17th and centuries

purpose. The color red is essential to the Kuba concept of beauty.

in the region bordered by the Sankuru, Lulua, and Kasai rivers in the heart of the modern-day Democratic Republic of the Congo.

Hemba Caryatid LUBA - RDC

Made of 100% Wood Model is 28 - 28 - 49 cm

This handcrafted stool originates from the Luba people of the

The owner of the stool was identified by the characteristics of the

Democratic Republic of Congo. Carved from a single piece of

seat, and certain elements emblematic of this art. They were

wood, with a black pigment, and smoothen into a glossy or silky

particularly unique, in their characteristics, one can notice the

patina. The disk and base are supported by a caryatid, a kneeling

surface, the ovoid face (Luba esthetics, a serene and meditative

anthropomorphic figure, symbol of maternity, the infinite

state, large steady feet, symbolizing maturity and stability, fit of a

representation of beauty, and femininity, emblematic to this art.

chief), the volume of the head, an extended or slender base rather

Caryatid figures are seen as representations of the role of women

than scattered to host the caryatid in its center, and create

as spiritual mediators and the Sandogo use them in ceremonies as

structural harmony.

symbols of this bilateral celestial discourse. The Lubas (Baluba en tchiluba), are an ethnic group of central Stools are considered to be objects of prestige that define social

Africa.

status and hierarchy. The Luba stools are used during ceremonial

emplacement of the river Lubu. They came after the decline of

festivities, in the presence of important chiefs and dignitaries, or

Songhy empire, under the reign of a Llunga Kalaka, who defeated

from the Luba empire court. The stools were brought during

the king Kongolo Kalala Llunga and his successors Kasongo

these political trips, which is the origin of the emergence of

Nyembo et Kabongo during the XVIe century. In XVIeme century,

multiple forms of artistic style by the exceptional know-how of

they gave birth to a large empire, organized in Llunga Kalaka,

the Luba artisans and their neighboring tribes. The presence of a

grouped in no more than 3-4 villages, without a border but called

feminine figure was an indication of the importance of women in

states, that extended all the way from the river Kasaï to the lake

their society and during political supremacy.

Tanganyika.

Their

cradle

was

Katanga,

precisely

the

HEMBA CARYATID LUBA - RDC

TOBACCO SMOKING POT DOGON - MALI

Tobacco Smoking Pot DOGON

- MALI

100% Wood Model is 38 - 17 - 20 cm

This carved vessel is a pot or tobacco vessel from the region of

According to Dogon beliefs, The myths of all may not be known,

Toro, near Ireli, Mali and must have been owned by a “Hogon”, a

but it has been written that the monkeys, Dege, are regarded as

religious figure or authority. The tobacco vessel was carved by a

the “male villains of the bush”. The male monkey represents wild,

spiritual artisan and decorated with monkeys and lizards, and

uncivilized, dangerous, and antisocial behavior – the direct

turtles; a seated monkey is observed on the removable lid and

opposite of their beliefs about the way a proper, solid, upstanding

seem to be eating ; the body is supported by three legs of the

Dogon person is expected to behave, and as such is meant for

monkey.

protection against danger and wilderness. For the Dogon, "Dege" is the black monkey, while the white monkey is known as

The sculptural iconography refers to the Hogon's place within

"Omono", and the red monkey is called "Ko". The elephant is

Dogon cosmology, as well as his relationship to his earthly

meant for healing and safe harvest, and to ensure safe continuity

community. It represents the “Hogon” spiritual form, and

of the family line or ancestry, marriage continuity.

protects the content of the vessel, when used during ceremonial rituals and prosecution in a shrine, and for secondary burials

Dogon utilitarian sculptures are not made to be seen publicly,

rituals by the Dogon.The vessel, along with food and palm wine is

and are commonly hidden from the public eye within the houses

presented as offerings to the deceased but was also used to store

of families, sanctuaries, or kept with the Hogon. Their artworks

tobacco, medicinal plants or other valuable items.

are preserved in innumerable sites of worship, personal or family altars, altars for rain, altars to protect hunters, in markets also

Dogon art is extremely versatile, they deal with the myths whose

The importance of secrecy is due to the symbolic meaning behind

complex ensemble regulates the life of the individual. Carved

the pieces and the process by which they are made.

animal figures, such as monkeys, elephants and dogs, are placed on village altars to commemorate animals, while granary doors, stools and house posts are adorned with symbolic figures and animal reptiles to protect their livelihood.

NOMADE | 24

Fon Throne

BAMILEKE - CAMEROON Made of 100% Wood Model is 168 - 46 - 35 cm

This long narrow piece with a hollowed interior is beautifully carved from one single piece of wood, probably camwood, and designed by the Bamileke tribe of Cameroon. It might have been a ceremonial bed, or a throne used exclusively by the king ( fon ), the chief ( cast ) or the queen ( mafo ), and used for matriarchal purposes. Beds and stools were among the most sought-after and important objects, and very rare to find in Western collections. This particular one is carved in relief with stylized little human figures and heads in staggered rows. They surround the borders and seem all attached and holding what seems to be a nut. The headrest is carved in a similar way, with a head

the

center,

and

human

figures

surrounding it. The figures depicted are related to the ancient of the previous Fons, the ancestors, the heads were adorned with leaf and walnut to keep them spiritually safe throughout their journey into the afterlife. They seem to be guardians.

All royal art objects were symbols of prestige, position in hierarchy; they represent strength and power in the grassland and closely associated with royal ceremonies, but also for the secret exhibition or restricted council of the deceased king, before his burial". They were part of the royal treasure. They were spiritually connected to the king, and when faced with difficulties, he would sleep on it and the ancestors would communicate easily with him to help resolve issues. In the past, the power of a Bamileke king, called a Fon, was often represented by the elephant, buffalo and leopard, believed to have supernatural powers that allowed him to transform into any of them. The leopard; cunning, fast, mobile and guardedly

aggressive,

signifies

the

ability

survive and is the most important royal icon, often even the king's alter ego. The prestige objects or tools were carved with animal motifs, such as leopards,

human

figures

and

heads,

spiders,

lizards and other subjects plus abstract designs. The spider, often found abstracted in repeating patterns, is a symbol of wisdom.

FON THRONE BAMILEKE - MALI

Byeri Stool FANG - GABON 100% Wood, copper alloy Model is 40 - 40 - 45 cm This stool comes from the Fang tribe of Gabon, a small population

Some believe that the figures are an abstract portrait of the

located in Equatorial Guinea, northern Gabon, and southern

deceased individual, while others argue that they are guardians,

Cameroon. The stool is crafted from one piece of wood, and the

and serve to protect the spirit of the deceased from evil, and to

disk is beautifully adorned with copper and hammered into

have control over the well-being of the family. Their reliquary

intricate geometric design all over the surface, to smoothen it.

figures and wooden masks widely range in style, and are on

The base is sculpted with little Fang reliquary figures on the

display at numerous museums around the world. Discovery of

number of four, in standing position, and four Byeri heads,

Fang artwork was a source of inspiration for many Europeans.

The Fang figures relate to the Meke-Betsi of North West Gabon.

The result shows a multidimensional design. The scars on the

Known as "bieri", "byeri" or "mwan bian", and once again adorned

forehead and the cheeks are identified as “tears of a girl”. The

with metal over their shoulders, belly and head. They have a

eyes, carved in light relief, are decorated with nails of brass with

voluminous head and a stocky appearance. They stand with their

an hemispherical head. On both sides of the byeri face, the small

strong semi-flexed legs and hold with both hands the ceremonial

ears are rounded (the one on the left is decorated with a metallic

flute for initiated So, young boys rite of passage among the Beti-

buckle) and almost integrated in the mass of the headdress. The

Fang. The fangs-betsi are mythological creatures recognized by

maxillary zone, very stretched forward, without a figured mouth

the accentuated muscular reliefs of the arms and calves, as well

or chin, presents a beautiful rounding in the prolongation of the

as the curved shoulders.

curves of the face. The care taken to finish the back with a longitudinal flat in the prolongation of the crest of the cap is noticeable. The patina of the statue is of Reddish brown tone with some resinous areas on the neck and head.

Byeri Bowl FANG - GABON 100% Wood, pigment Model is 22 - 23 - 23 cm This carved bowl originates from the Fang Ngil society tribe of

Fang groups, in perpetual migrations for several centuries, had

Gabon. It depicts two Fang abstract painting on the front, with a

the recurring concern to keep with them utensils of daily life

white and brown patina. The Fang figures relate to the Meke-

carefully carved and decorated with symbolic emblems. The

Betsi of North West Gabon. Known as "bieri", "byeri" or "mwan

utilitarian Artifacts were meant to protect from the deceased,

bian".Known for their elegant abstractions of the human face, the

with a long sculptural tradition, and became a source of

facial features and refined curves of the orbital ridges above the

fascination as early as the 1910s and 1920s for some of the most

eyes and the prominent line of the tapered nose that ended above

prominent pioneers of African art.

the open mouth gives an elegant abstraction of the human face. They exhibit a high degree of sophistication in the coordination

The people that are called “Fang” in the geographic or

of bulbous forms.

ethnographic literature number 800,000 and constitute a vast mosaic of village communities, established in a large zone of

The sculpture testifies to the symbolic and social importance of

Atlantic equatorial Africa comprising Cameroon, continental

certain objects of everyday life, and included in the most intimate

equatorial Guinea and nearly the whole north of Gabon, on the

and family activities, of which obviously food. The bowls were

right bank of the Ogowe River. whose aim is to both protect

also functional during the initiation of new members, and carried

themselves from the deceased and to recruit their aid in matters

by itinerant troubadours, after the persecution of wrong-doers

of daily life.

linked with the dead and ancestors. They depict symbols related to the magical protection expected from spirits and ancestors.

Ritual Chair BAULE - IVORY COAST 100% Wood Model is 36 - 34 - 42 cm This chair belongs to the amazing culture of the Baule tribe of

The Baule people have played a central role in twentieth-century

Ivory coast. The Baules are well-known for their artistic tribal

history of Ivory Coast, and originally took part of a breakaway

art, sculptures, and furniture, and usually governed by a village-

group of the Akan people from Ghana. The Ashanti Confederacy

chief whereas large villages were ruled by a king or queen. Their

after a war broke out due to disagreements among the factions,

art is sophisticated and stylistically diverse, and notably full of

council of elders. According to a legend, during the eighteenth

history both visually and in their execution.

century, the queen, Abla Poku, had to lead her people west to the

The prestige chair is a social, and notable art tool, used for

shores of the Comoe, the land of Senufo. In order to cross the

ceremonial purposes, during rituals and commissioned by the

river, she sacrificed her own son. Everyone began throwing their

village-Chief. It is handmade and adorned with geometric

most prized possessions into the river, gold, ivory, cattle,

patterns, and then polished to a lustrous shine.

everything they owned, hoping to appease the gods during the monsoon.

It possesses supernatural powers in its visual and spiritual creation. It is an expression of art and a deep rooted cultural

This sacrifice was the origin of the name Baule, for “Baouli”

source of data. During the ceremony it is endowed with the same

means “the child has died.” Now about one million Baule occupy a

supernatural attributes the Baule believe in, for immortality of

part of the eastern Côte d’Ivoire between the Komoé and

the soul. Their execution or creations is intangible and well-

Bandama rivers that are both forest and savanna land. The Baule

known. The spirits are blessed with supernatural powers,

Society was characterized by extreme individualism, great

particularly during their rituals. The chair's central role is close

tolerance, a deep aversion toward rigid political structures, and a

to the Akan people's religion, a rich cultural history that allows a

control on age classes, initiation, circumcision, priests, secret

close cultural contact with the spiritual world. An inaccessible

societies, or associations with hierarchical levels.

and immortal god, and creator, a supernatural world associated with the ancestors cult. Asie, the god of the earth, controls humans and animals.

NOMADE | 24

Prestige Stool SENUFO - MALI 100% Wood Model is 34 - 25 - 13 cm This four legged stool carved from a single piece of wood, with a

In Africa, seating artifacts are the most important pieces of

smooth and glossy patina originates from the Senufo tribe of

furniture, usually taking the form of a stool or a chair.

Mali. The disk is supported by robust tapered legs to support the

Ceremonial stools, despite their small size, express status,

owner's weight. The stool might have belonged to a chief, and was

prestige, and power. Stools are particularly considered objects of

his source of power, and influence within his family line, and

value, hierarchic, and are passed down. It serves as a social

used on certain occasions ( ceremony, initiation or political

insignia because each person is entitled to a type of seat which

festivities).The smoothness indicates that the stool was cared for

corresponds to their social rank. It is said that a man was judged

with anointed oil for daily use or for rituals.

and respected according to the kind of stool he carried. The stool is a strictly personal item and is said to be the seat of the owner's soul. Stools can be bought by anyone, as long as the model is appropriate to the person's social status. Most stools are carved out of a single piece of wood. Some of these stools are also used by Senufo women when they do their washing.

MANGBETU JAR CONGO 100% Terracotta; iron; copper alloy Model is 29 - 18 -18 cm

This figurative jar originates from the Mangbetu, Monbuttu, tribe of

This particular jar might have been used to give water or milk,

the Democratic Republic of Congo. The sculpture is made of terracotta

and a sign of status. The jars were used during rituals, and for

and pigmented, subtly decorated by geometric design, with a round

entertainment purposes during the festivities. The women held it

and graceful base. Depicting an animal, or what seems to be a Monkey

while dancing and in supplication, and to invite the court for a

head and a rounded body. The head has an elaborate opening and

drink, therefore it was probably used for beverages other than

serves to pour the liquid or water. The “nembwo” earthenware pottery

water. However, during 1963, their role or use switched and they

vessels and small pots have a very rotund shape, not straying far from

were discarded and put aside. The Mangbetu were suspected to

the conventional pot shape.

be practicing cannibalism so we believe the content of the jar might have been blood.

More spherical than most due to how it is constructed, most are thin and smooth with a thicker opening. The more decorated and sculpted

The Mangbetu headdress and cranial modification was achieved

pots of the Mangbetu tribe have human or animal figures (mostly their

by binding and deforming the heads of babies,so that they

heads) at the opening of the jar. Occasionally the sculpted figure is a

retained through life a curiously elongated form . It is rather an

Mangbetu woman with the traditional headdress. The handles of these

expression of the political and cultural preeminence of that group

pots are sometimes molded and shaped into animal or human parts.

at the time it was created. European consumers found it

The bottom of the pot is round, and occasionally patterns will be

particularly attractive, and courtly, like the high foreheads of the

carved onto the surface.

nobility.

NOMADE | 24

MANGBETU JAR - CONGO

Mangbetu Box

CONGO

Made of 100% Wood, pigment, plant fiber Model is 38 - 19 - 18 cm

This figurative carved wooden box originates from the Mangbetu tribe, also spelled Monbuttu, people of Central Africa, near Niangara, the colonial headquarters in northeastern Congo. It is made of light wood, and fiber, with a burnished patina. The full body is fusiform, a spindle-like shape, wide in the middle, with tapered legs, a large head and the prominent hairstyles of the Mangbetu. The Figurative sculpture portrays a short neck, and symbolic scarifications and striations all over the body, and face, with partially closed eyes. These figurative box were used to store valuables, including jewelry and protective charms. The objects were reserved for the ruling class, but were secular in nature. They also make vessels to be used in special ceremonies and so that became part of an assemblage of objects placed on a shrine. The Mangbettu surrounded themselves with these objects, boxes, jars, stools, musical instruments,and weapons. They were commissioned as prestige works gifts by African leaders, and collected by European who admired Mangbetu style.

Tutsi Protection Bracelet RWANDA

Made of 100% Wood, pigment Model is 10 - 23 -25 cm

DOUBLE DOORS MEDICINE CABINET DOGON-MALI Made of 100% Wood Model is 23 - 23 - 12 cm

Carved from a single piece of wood, this figurative superimposed cabinet belongs to the Dogon tribe, located

the

administrative

districts

Bandiagara and Douentza, Mopti region in Mali. The figurative cabinet with a Nommo ancestral head, stands on three small legs, two at the front, and one at the back, with two compartments on the body part. The doors are adorned with raised carved turtles. The medicine cabinet is also decorated with two nommos on each side, and a lizard in the back.

In Dogon culture, the water turtle was the equivalent of the sun or the Nummo; both the sun and the turtle symbolized immortal beings and what humans were supposed to eventually evolve into. To correct the failed experiment, it was said that Amma cut off the four corners of Ogo’s (the Jackal’s) placenta and transformed them into a turtle. The turtle is discussed in detail in The Nummo. In the Dogon religion there was both a water turtle and a land turtle. The land turtle was the equivalent of all animals on Earth. The Hogon and the heads of families kept a tortoise in their homes as the “guardian of the world” and gave it a bit of their food before meals. It invokes blessings or to ward off evil. These cabinets are used by the shaman of the village to store medicine or magical herbs, roots and spices. Dogon medicine cabinets are among the most sought-after objects of Dogon art. Dogon are famous for their small cast figures and objects, which despite their small size, express status, prestige and power.

DOUBLE DOORS MEDICINE CABINET DOGON - MALI

ADUNO KORO RITUAL BOX DOGON - MALI 100% Wood Model is 48 - 11- 10 cm This wooden vessel called "Aduno koro", meaning "ark of the

They were also used during an annual ritual known as "goru" to

world", originates from the Dogon, an ethnic group mainly

hold the offerings dedicated to Amma, the Creator and the

located

and

ancestors. Performed at the time of the winter solstice, the

Douentza in Mali, West Africa. The sculpture is carved from a

the

administrative

districts

Bandiagara

ceremony represents the culmination of rituals that celebrate the

single piece of wood, in rectangular box, with two projected

all-important millet harvest, whose abundance will support the

headed horses , and a tail at the end of the body, a flat bottom,

family in the coming year. These ritual vessels are kept by the

and a separate lid with a carved relief crocodile; it is said the

head of the family, and polished and kept in a primordial place in

ancestral animal figure represents 'ayo geu', a black crocodile,

the house.

animal of the bush, who killed Nommo after he completed his task of guiding the ark. Part of family altars dedicated to Amma, the Creator, these vessels relate in form to a mythical ark that descended from the heavens with living beings within. The imagery evokes this journey that led to the transition from life to earth. Holding the eight original founding ancestors and everything they needed for life on earth, the ark was guided by Nommo, the primordial being who created order within the universe. When the ark settled on the ground, Nommo transformed himself into a horse and transported the eight ancestors across the earth to water, where the ark floated like a boat.

ADUNO RITUAL

KORO BOX

DOGON

100% Wood Model is 114 - 25 - 23 cm

MALI

FIGURAL HEAD CUP KUBA - CONGO 100% Terracotta, pigment Model is 22 - 25 - 19 cm

This figurative ceremonial earthenware cup originates from the

The Kuba also named the Bushoong were famous for their art.

Bushong, or Kuba people of Congo. The anthropomorphic vessel

They were the most influential chiefdom in the Kuba confederacy

is made of red clay and crafted with naturalistic human facial

founded a powerful state, located in the south-central part of the

features, scarification, slit eyes, small mouth and nose and some

Democratic Republic of the Congo, and subsequently attracted

interesting geometric handles, striations on the base part. The

many visitors, ans important royal court, and chiefs and overseas

patina is beautiful and slightly shiny, and shows signs of use.

visitors, who later became outspoken critics in the kingdom capital in 1890. Kuba kings used the opportunity to further the

These cups come in different sizes or shapes, and were objects of prestige

used

for

drinking

palm

wine

during

reputation of the Kuba as the foremost artists in central Africa.

ceremonial

gatherings, by Kuba high dignitaries. The palm wine (maan) was

The Kuba court appreciation for artistic innovation was balanced

the traditional drink of excellence in the Kuba realm. The

by reverence for tradition and continuity; one of the most

dignitaries ordered the kuba cups in wood with ornations and

significant artistry was a red basket decorated with cowries and

scarifications to be used during social gatherings, and to

beads, identified as the basket of knowledge. From Kuba

differentiate them; They helped to absorb the wine, and were a

mythology, the creator god Mbwoom lost it. The basket was later

source of power and social status.

found by a Pygmy, who gave it to the first Kuba ruler.

KUBA FIGURAL HEAD CUP CONGO 100% Terracotta, pigment Model is 12 - 23 -13 cm

KUBA FIGURAL HEAD CUP CONGO 100% Terracotta, pigment Model is 18 - 23 - 14 cm

SONGYE COMB - CONGO 100% Wood Model is 22 - 12- 32 cm

This elaborate hand carved utilitarian tool is a comb originating

They also commissioned the figures for success, fertility, and

from the Songye peoples of the Democratic Republic of the

wealth. Hair combs were considered a luxury and many became

Congo. Combs were used by men and women for styling the hair

treasured items that were passed down. They were therefore

and worn as decorative items, with ethnicl and distinctive

handled with great care by respected authorities, or healers,

designs; and elaborate coiffures that revealed social status. This

some whose reputation was so great as to exceed the circle of the

particular comb incised with striations, portray a symbolic

village. The Songye also made power figures, Nkisi (singular) and

Songye Chief or king with a high coif and a long so-called 'divine'

Mankishi (plural), to combat witchcraft and sorcery.

beard or chin ornament, a sign of authority. The Songye history is closely linked to the Luba’s, to whom the The works of Songye craftsmen are often used within the secret

Songye are related through common ancestors. Having waged war

societies during various ceremonies. They created a sculptural

against one another for a long time, the Songye and Luba later

style of intense dynamism and vitality. Small figures were kept

formed an alliance to fight the Arabs. They settled on the left

and consulted by individuals like oracles, and used to interact

bank of the Lualaba River, on a savanna and forest-covered

with higher spirits associated with ancestors. Larger ones were

plateau. Divided into many subgroups, the 150,000 Songye people

responsible for ensuring the welfare of an entire community or

are governed by a central chief assisted by innumerable secret

an entire village against hostile forces such as lightning, as well

societies. During the 16th century, the Songye migrated from the

as against diseases such as smallpox, very common in that region.

Shaba area, which is now the southern part of the Democratic Republic of the Congo.

CARYATIDS HEADREST LUBA - CONGO 100% Wood Model is 22 - 12- 32 cm

This handcrafted neckrest originates from the Luba people of the Democratic Republic of Congo. Carved from a single piece of wood, with a brown patina, and smoothen into a glossy or silky patina.

The

disk

supported

two

seated

caryatids,

anthropomorphic figures; they face each other and hold the disk with both hands. The caryatids are an infinite representation of beauty, and femininity, emblematic to this art. Caryatid figures are seen as representations of spiritual mediators and the Sandogo use them in ceremonies as symbols of this bilateral celestial discourse. The splendid artistic achievements of the Luba are due to a felicitous intermingling of different racial and cultural elements, and to the high standards prevailing at their court. Luba arts count amongst the finest that Africa has to offer. Artists occupied a privileged place in the hierarchy. The Luba artist carried a ceremonial ax on his shoulder, an emblem of prestige and of dignity of his position. Some apprentices would be recruited from among the misshapen, who could neither hunt nor be warriors and who were believed to have a close connection with magic.

"Yo Domolo" Staff DOGON - MALI Made of 100% Wood Model is 98 - 11- 4 cm

This Staff belongs to the Dogon peoples of Mali. Prestige staff, such as the present one, are a symbol of their authority. The staff is called "yo domolo" (thief’s staff), and frequently have a hook-like shape. They used it to hold them in the hand or wear them over the shoulder during the funeral ceremony. It is hand carved from a single piece of hard brown wood. The upper half is richly carved with a seated Nommo ancestral figure and a wild goose bird standing on top of his head. The remaining body of the staff is interlaced and decorated with striations and patterns. The staff has a very nice old patina. These kind of ornamental utilitarian objects were used for status, hierarchy, and featured by men who act as police, at the behest of a ruler, or to intimidate, and to ensure their success, fertility, and wealth and to protect people against hostile forces as lightning, as well as against diseases While smaller artifacts of this type were kept and consulted by individuals, larger ones were responsible for ensuring the welfare of an entire community.

The

sculptural

staff

embodied

supernatural forces, and were a source of magic, purity and peace, the moon and light. The staff appears principally in dances held at night, such as

during

lunar

ceremonies,

investiture of death of a ruler.

and

the

Caryatids Stool DOGON - MALI Made of 100% Wood Model is W 20 - 18 - 18 cm

This hand carved and elaborate ceremonial stool originates from the Dogon people of Mali. This particular one is crafted with two discs, according to Dogon cosmogony; The stool has a smooth and lustrous brown patina, adorned with geometric patterns, like engraved jagged friezes on both

discs;

they

are

anointed

with

oil

for

preservation. The top with an engraved sun disc represents the sky, while the base depicts the earth, supported by four female Caryatids. The four

Caryatids

recreates

the

hermaphroditic

silhouettes of the Dogon Tellem, usually featured with raised arms, in a position of summoning, to grant rain, and bearer of a message from the sky and safeguarding its residents. These

utilitarian

tools

serve

transmit

understanding to the initiated. In Tellem culture, the sculptures serve as a physical medium in initiations and as an explanation of the world. Stools are considered to be objects of prestige, social status and ownership, as well as for hierarchy and fertility. They are adopted as objects of worship; they participate in various rituals and for commemoration of the deceased in the village by the Dogon.

HORSE AND RIDER IFE - BENIN

Heddle Pulley DOGON - MALI Made of 100% Wood Model is 21 - 5 - 7 cm

For the Dogon of Mali, in Africa, all actions are associated with a complex ritual and belief system. The art of weaving is no different, it is a symbol of the spoken word, a fundamental expression of this culture's

cosmological

ideas.

Carved

heddle

pulleys served as an indispensable heirloom, an utilitarian tool crafted by the artisan to make a public statement and used as a brand, a symbol of ownership, a familial tresor, imbued with cultural memory. It was previously handed down from father to son. Heddles are normally used in pairs. Used on the traditional narrow-band loom, they are tied together by a string that runs through a pulley

situated

above

the

loom

ease

the

movements of the heddles while separating the warp

threads

and

allowing

the

shuttle

seamlessly pass through the layers of thread. The weaver's feet operate the heddles, alternately, during

the

elaborate

and

laborious

weaving

process, as the weaver executes the action over and over again. Like many other carved objects used in everyday activities, these pulleys were often embellished for the weaver’s delight and pride while weaving. This particular one is surmounted by a monkey figure holding his ears, a sign of silence, and to ward off any distraction and protect the artisan's work. The slim, caliper-like silhouette of the pulley has been shaped

with

delicacy,

the

shiny,

partially

encrusted patina attests to the old age of this especially beautiful item. Heddle pulleys have become real pieces of art which are found in museums

and

collections

Scholars

have

suggested

around that

the

world.

prominent

display of pulleys, hanging over the weaver’s loom in the public place, afforded artists their best opportunity to showcase their carving skills, in the hope to attract commissions for figures and masks. Weave narrow strips which are sewn together to make blankets and furnishing fabrics were widely traded.

Forge Bellow SONGYE - CONGO Made of 100% Wood, pigment Model is 25 - 3 - 5 cm

This utilitarian object is a forge bellow, carved from rosewood, and polished by an artisan of the Basonge

Songye,

bantu

tribe

the

Democratic Republic of Congo, presently found in East Kasai province, part of Katanga and Kivu Province. According to an ancestral technique, these bellows maintained the fire permanently for a few days. Blacksmith apprentices were initiated by the ancients into the sexist symbolism of forge bellows. In traditional Africa and culture, bellows were used not only as a fire stoking tool, but also as decorative or ritual objects filled with symbolic meaning—Power object associated with divination. The carving is considered a power figure, and presents an aggressive head with horns, with round

protruding

revealing

eyes,

restrained

and

open

attitude.

mouth

Although

protective, they appear confrontational objects, with a warrior attitude, and were believed to bring good and protect from evil, and combat witchcraft and sorcery. They gained their power not from the carver, but from additional objects used during funerals, rituals, and other social or political actions. They embody strength and social control.

Yoruba Ax Gelebe NIGERIA Made of 100% Wood, pigment Model is 42 - 12 - 4 cm

The

dance

staff

(oshe)

among

the

most

quintessential of Yoruba art forms. This staff bears the double ax blades of Sango—the god of warfare and thunder—representing the Neolithic stone ax heads that the god is said to hurl to Earth during thunderstorms. Below the ax blade, a woman with twins evokes Sango’s special relationship to twins, who

accompany

thunderstorms.

him

when

Mothers

twins

creates frequently

become devotees or priestesses of Sango. This staff retains the encrustation of sacrificial offerings, indicating that it once stood on a devotee’s altar with other accouterments intended to honor and invigorate the deity. Ax forms are prevalent symbols for the Yoruba, particularly the double ax form that is the sign of the fiery god of thunder, Shango in western Yoruba societies. In the eastern region of Yoruba country in the area of Owo, the single ax is associated with Ogun, the god who controls the art of metalworking and the use of all metal objects. As the master of metal, Ogun is venerated by those who create and use weapons and farming tools. Healers who need tools to harvest plants for medicines also revere Ogun, and thus he is allied with the god of healing, Osanyin. The

alliance

the

two

deities

subtly

represented in the Harn example: the carved wooden handle for the single ax blade, the sign of Ogun, features a male figure holding a double gourd medicine vessel in each hand, clearly referencing

Osanyin.

The

refinement

and

symmetrical balance of this figure express both order and calm, requisites of healing. The large ovoid head with rounded, bulging eyes and softly rounded features are distinctive of Owo figural style. The interlace pattern on the shaft indicates the continuity of divine power. The two intricately carved flanges that project from the chest and back of the figure form two loops that may have been designed to hold a strip of cloth. The lustrous patina and wear on this ax handle reveal that it was a cherished and longused ritual object.

Ceremonial Head Luba - Congo Made of 100% Wood, pigment Model is W 24 - 33 - 22 cm

We can sense a colonial influence in the features of the head. Some heads have scarification representing the social order of the royal kingdom of Lunda. The royal skull is the transfer of knowledge through oral traditions, thus the importance of the skull during the investiture of his successor. Drinking from the cup would give the spiritual quality of a semi divine ruler but adding human blood in the cup from cranium would effect a transformation.

Beautifully carved ceremonial cup originating from the Luba heartland from Congo. These royal drinking vessels, just like the

Although the history of the Luba people is one of violence and

thrones and scepters, relate to kings and important chiefs, who

warfare, their artistic style is characterized by harmonious

defined their power by the display of prestige objects during

integration of organically related forms. The splendid artistic

important ceremonies such as ruler investiture or sacred occasion,

achievements of the Luba are due to a felicitous intermingling of

and to honor paternal ancestral spirits.

different racial and cultural elements, and to the high standards prevailing at the court. Luba arts count amongst the finest that

The cups, called Musenge Llunda were to be used only by the

Africa has to offer.

priest and the king during the sacred ceremonies, and they would

Pottery, articles crafted from iron (such as axes, bows and spears),

pour a white liquid, palm wine, in the cup for cleansing rituals.

wooden staff and carvings and parts clad in sheets of copper were

The cup with a head abstract, was a source of vehicle through

routinely produced. A notable artform of the Luba people was the

which the new ruler would gain importance over the heartland,

"Mwadi", where the male ancestors were represented in their

status, power, blessing and wisdom from his predecessor, for

female incarnations of the ancestral kings.

political and moral authority. The cups are carved heads, from palm wood, into a beautiful and brown finished sculpture

Artists occupied a privileged place in the hierarchy. The Luba

representing the previous ruler, and therefore his skull. It is

artist carried a ceremonial ax on his shoulder, an emblem of

beautifully designed with lots of details, giving importance to the

prestige and dignity. Some apprentices would be commissioned

high crest, hair, aquiline nose, high cheekbones, slit eyes, and

from among the deformed, who could neither hunt nor be warriors

royal adornments.

and who were believed to have a close connection with magic.

Ritual Folding chair Luba - Congo Made of 100% Wood Model is W 62 - 63 - 30 cm The splendid artistic achievements of the Luba are due to a felicitous intermingling of different racial and cultural elements, This traditional hand-carved ceremonial chair originates from the

and to the high standards prevailing at the court. It relates to

Luba of the Democratic Republic of Congo. The wooden chair was

kings and important chiefs, who defined their power by the display

commissioned for a king, and sculpted from a single piece of wood,

of prestige objects during important ceremonies. Artists occupied

precisely camwood, and decorated with cross hatching patterns on

a privileged place in the hierarchy. Most objects were created by

the back support, and on the legs. The chair shows signs of use,

artisans living along the Lualaba River and around the lakes of the

and is polished and shiny. We can also notice the wooden pulley

Upemba Depression, or among related peoples to the east in what

that joins the back support and the base, and allows the chair to be

folded and easily transported. In Luba, traditional carving is

consequently varies regionally and has also influenced the art of

directly connected to their effectiveness, how an object looks

neighboring peoples including the Hemba and the Boyo. The Luba

dictates how well it works. Luba art each encodes topographical

artist carried a ceremonial ax on his shoulder, an emblem of

and chronological mapping, histories, genealogies and migrations

prestige and of dignity of his position. Some apprentices would be

of a particular family, lineage or chiefdom, and other data sets.

recruited from among the deformed, who could neither hunt nor

Luba art refers to the visual and material culture of the Luba

be warriors and who were believed to have a close connection with

people, and depict living divinities capable of great power.

magic.

now

the

Democratic

Republic

the

Congo.

Luba

art

Ritual Smoking Pipe BAMILEKE - CAMEROON 100% Bronze; copper alloy, pearls Model is 15 - 6 - 6 cm

This ceremonial pipe is made of terracotta and belongs to the

The Bamileke recognize Si ( a supreme god), as an ancestral spirit

Bamileke tribe of the kingdom of the Cameroon grasslands. The

of the deceased ancestors, and they pay homage to the elders,

ceremonial conical tobacco pipe is decorated with geometric

through possession of their skulls, by members of the extended

ornaments, pearls, with a complex Bamoun facial features,

Family. The pipe was then used to invoke Si, and one of the elders

rounded face and large protruding cheeks, nostrils and eyes. The

in each lineage would be linked to the object and be smoked by

art pieces mostly represent the king or Fon (Mfon) chief supreme

one of his wives. The artifacts, including skulls, and musical

instruments such as drums, and flutes are then kept in secret

many

traditional

societies

from

nord-ouest,

sud-ouest

Cameroon.

dwellings. The skulls were first purified by the diviner, so they may not be forgotten. They were preserved, and libations were

Pieces such as this one were created to honor the king and

poured into the ground, so they may not cause trouble, and

displayed as prestige objects during important ceremonies. They

undergo a ceremony. The Bamileke believe that a human death is

represent the power, strength and wealth, and status of the king,

not a normal occurrence, but an act shrouded in mystery and

throughout grassland societies. The beadwork trademark is an

mysticism.

essential element of the Bamileke art form, with dazzling and bright colors pearls on the wooden part. It becomes an highly personal essential tool, and inherited.

Nok Doll NIGERIA Made of 100% Terracotta Model is 26 - 7 - 12 cm

Terracotta AFRICAN

ARTE

GALERIA

African art was mostly famous for its earthen art structure and

The most famous and oldest traditional earthenware art form

composition. That became an important visual art form and may

comes from the terracotta of the Ife and Nok culture in Nigeria. It

well be versed in the study of African art.

flourished between the years 2000 BC and 300 AD. The early Nigerians produced a large collection of ancestral images and

In applied art, architecture made of terracotta, is called

gods and also spirit entities and life as a recognition of spiritual

earthenware, and used in various practical utilitarian objects,

power.

including vessel, notably water pots, vase and urns, objects such as figures, jewelries, crafted by hand and glazed on its surface. In

The power of rescinding and dissimulation was first noted within

the 19th century, terracotta pots were also referred to as ceramic

the Yoruba tribe, and later spread across the artistic movement of

elements, and objects of rituals in the industry.

Africa, even beyond Latin america. It was technically very sophisticated, and historically significant. Furthermore, the

The terracotta is baked, in its material sense as an earthenware

colonization from the Portuguese in different regions, had an

substrate, a clay bazed unglazed or glazed ceramic where the

extensive and deliberate influence on the art of metalworking,

cired body is porous. The term is also used for the naturel red

with the introduction of iron, and brass and copper, as well as

and brownish color of the earthenware.

ivory carving.

The red clay comes from the elements of wind, fire and water,

The ledger gave rise to a number of ethnic and sub-ethnic

and the object of art represents the essence and attributes of

religions within sub-saharan Africa. It was essentially used for

these natural forces and elements. They often require reverence,

prestige, power, ownership and leadership, and as an identify,

power, ritual practice and are magical in nature. This can be

and source of wealth, and ancestral.

called subduing art.

AVRIL

2022

•

AFRICAN

ART

SYMBOLISM

AND

DIMENSIONS

Seated Nok NIGERIA Made of 100% terracotta Model is 48 - 18 - 22 cm

Nok culture is known for its unique terracotta sculptures and its early iron working. In Nigeria in 1943, a visitor came to archaeologist Bernard Fagg and drew his attention to some unique-looking artifacts, which Fagg and his colleagues eventually determined belonged to a then-unknown culture now known as the Nok. Most Nok sculpture is hollow and coil-built like pottery. Finely worked to a resilient consistency from local clays and gravel, the millennia-long endurance of these ancient objects is a testament to the technical ability of their makers. This is not to say that Nok sculpture has survived unchanged by time. The slip (the mixture of clay and water used to give pottery surfaces an even texture) of many Nok terracottas has eroded, leaving a grainy, pocked exterior that does not reflect their original smooth appearance. Most of the Nok sculpture found consists of what appear to be portrait heads and bodies fragmented by damage and age. The recovered portions of the baked clay bodies that have survived show that they were sculpted in standing, sitting, and genuflecting postures. The most characteristic Nok artifacts are clay figurines of animals and stylized human beings, usually heads; perforated eyes of an elliptical or triangular shape are typical of the style. Other artifacts of the Nok culture include iron tools, stone axes and other stone tools, and stone ornaments. The Nok farmed crops and used iron tools. Historians and archaeologists refer to this culture as the Nok culture because artifacts were first discovered near the modern Nigerian town of Nok.

Seated Figure DJENNE - MALI Made of 100% terracotta Model is 17 - 15 - 8 cm

They are witnesses to the remarkable variety of human figures represented in sixty three different sacred postures, source of religious gestures in Africa. Every pose was a form of ‘’bodily prayer”. The style is fundamentally iconographic, and humano-centric. The figures are so dynamic and full of movement, far from reality, imperishable compared to other artistic styles in Africa, which rely on the Djenne artistic cultural traditions closely

linked

the

emancipation

the

This Djenne figure depict a seated slave in a

traditional fired red clay with the king and

genuflecting

Soninke people, Sunjata Keita. Researches have

position

reinforced

the

expressiveness of its facial expressions; The seated

shown

figure is made of ancient terracotta or fired clay,

postures, about 64 postures in the Corpus of 240

sculpted by hand. We could notice lines of cercles

human

around the arms, wrists, and ankles. This figure

diversity of these postures brings attitude, motifs,

features a naked head, a long face, with bulbous

coif, pustules, snakes, bracelets, colliers, gestures

eyes, flared nose and lifted protruding lips. He is

to each classification, portraying a ceinture of

touching his chin in a meditative or pensive

human identity.

gesture.

observe

lines

striations

succession

figures

identified.

different The

styles

and

richness

and

geometric figures all over the body. It may possibly

Djenné-Djenno art, also famous for its terracotta

be signs of ownership. They usually harbor a snake

figurines which depict animal figures including

or water-like movement shape on the back of the

snakes

body. They believe it was a representation of their

frequently snakes, or some mythological creatures,

ancestors, family line, and was visible to ward off

is an artistic tradition in parallel Africa with no

spirits or to protect.

correlation with nature.

and

horses,

chameleons

and

The figurative corpus are illnesses such as large spherical pustules like smallpox, scarifications and

The art of the inner delta of the Niger, the region

serpents, which are herpetologica symbolism, The

formed by the triangle of the cities of Mopti, Ke

snakes can represent large worms, parasitic, but

Macina,

figurative, as they are connected to ancestors, and

astonishing richness of invention and a lively

relate to the treatment of infectious diseases

concern

represented in the seated figures (200 works of

abandoned by 1400. Items of cast brass and forged

art).

Overcoming

the

spiritual

illnesses

and with

Djenne, detail,

bears but

witness

declined

and

an was

and

iron, clay vessels, and figures like this one

diseases inflicted is a testament of spiritual power

survived. They testify to what scholars contend

for both the afflicted and their healers, up until

was a richly varied and highly sophisticated urban

this time

society

TENENKOU DJENNE - MALI 100% Terracotta, pigment Model is 17 - 15 - 8 cm

This mysterious zoomorphic figure, made of red fired clay or

The City of Jenne is notable for being the oldest city in Sub-

terracotta, standing upright on all four legs, the head with a

Saharan Africa, and the one time hub of an enormous trading

sheep-like elongated muzzle, and bearing a human nose seems to

empire that dominated the area in the Middle Ages. The city

originate from the Tenenkou, Tegueré, a small district close to

emerged during a severe flood and was left untouched, while

the Mopti region of Mali. It is a classic of the region, with a stocky

everything around the city was destroyed. Djenné-Djenno art,

body and very thick legs, a stocky long neck, and a small head and

also known as Jenne-Jeno is famous for its terracotta figurines

erect ears, bulging eyes and a half-open mouth on a pointed

which depict humans and animal figures including snakes,

snout. The identity of the animal is somewhat obscure, and could

horses, and belier such as this one. A number of terracotta

depict a belier; a mythological animal and was used as a religious

figures were found in the Mopti region, dating from the 12th-16th

or devotional piece, and adorned with jewelries. The figure was

century, and apparently discovered only around 1990. The style is

seen as a mythological and coeval figure, and adorned with

fundamentally iconographic and humano-centric. The presence

flowers and jewelries, precious stone and the cult founded more

of animals such as beliers, buffalos, horses, chameleons and more

than 2000 years ago, is one of the oldest of sub-saharan Africa.

frequently snakes, or some mythological creatures, is an artistic

The devotional cult of animals became somewhat unruly due to

tradition in parallel Africa with no correlation with nature.

the decline of cults from other neighboring tribes such as the Bankass, Djenne, Koro, Douentza in the mopti region.

Nok NIGERIA Made of 100% Terracotta Model is 41 - 17 - 2 cm

This piece depicting a kneeling or sitting chief was made by the

Little is known of the original function of the pieces, but

Nok people of Nigeria. The piece is a classic of the Ala Katsina

theories include ancestor portrayal, grave markers, and charms

terracotta

the

to prevent crop failure, infertility, and illness. Also, based on

traditional wood sculpting of the Tellem people of Mali. The

the dome-shaped bases found on several figures, they could

carving is relatively naturalistic, and shaped in a series of

have been used as finials for the roofs of ancient structures.

style

and

the

technique

influenced

graceful curves, inherent to the entire body structure to capture likeliness, and always in a sitting or genuflecting position with

The works of Katsina Ala constitute a distinctive sub-style

one knee up. The sculpture is wearing a high coif like a hat, and

between the Taruga and Samun Dukiya, but have typical stylistic

what appears to be a royal or court attire, an elaborate necklace

differences.

of multiple strands, probably beads, similar to the prominent

communities of different tribes, rather than being the work of

Egyptian collars. The sculpture is barefooted and seated on a

one person.The famous Nok terracotta sculptures were first

stool, and wearing an elaborate breechcloth, similar to the

discovered in Taruga, Kaduna, in 1928 by Colonel Dent Young, a

Egyptian Gods or Kings, and Sokoto. Elaborated ornamental

tin miner. Bernard Fagg, an archaeologist, later discovered

round bans are seen around the ankles, wrists, elbows, and

more sculptures in 1940 and named them “Nok” because of the

shoulders. The figure may be a leader, or court magistrate. We

location where the sculptures were found. The Nok Culture

are unaware of the political system that was in place.

appeared in Nigeria around 1500 BC and vanished under unknown

Nok

style

circumstances

was

adopted

around

500

various

AD,

having

farming

lasted

We can observe a long elliptical robust and large head with

approximately 2,000 years. Iron use, in smelting and forging

bulbous eyes, large nostrils, full lips, and moustache, and

tools, appears in Nok culture by at least 550 BC and possibly a

prominent arched brows. The Ala Katsina facial features remind

few centuries earlier.

us of the moors or phoenicians that once invaded that part of Persia and then fled to Africa. They were never seen again.

NOK - NIGERIA

Tobacco Smoking Pot DOGON - MALI

Made of 100% Bronze Model is 21 - 13 - 11 cm

Bronze and Metalworks AFRICAN

ARTE

GALERIA

Some recent studies date the inception of iron metallurgy in

The

Africa between 3000 and 2500 BCE. Evidence exists for earlier

reproduced widely within the realm and for personal use.

architectural

ornamentation

and

dimensions

were

iron metallurgy in parts of Nigeria, Cameroon, and Central Africa, possibly from as early as around 2,000 BCE.

Some recent studies date the inception of iron metallurgy in Africa between 3000 and 2500 BCE. Evidence exists for earlier

The lost- waxing method is found in a number of traditions

iron metallurgy in parts of Nigeria, Cameroon, and Central Africa,

around the world, mostly in Africa, within the Egbo Igbo-ukwu.

possibly from as early as around 2,000 BCE.

Metalwork is one of the important forms of art in Africa; and the technique is often to ornate, decorate significant and medium

Iron smelting and forging technologies may have existed in West

size pieces of rituals, ceremonial utensils, ritualistic or spiritual

Africa among the Nok culture of Nigeria as early as the sixth

objects, as well as architectural.

A possession of spiritual art

century B.C. In the period from 1400 to 1600, iron technology

with opposed forces, that allowed to harness powers, and by

appears to have been one of a series of fundamental social assets

doing so, appease, bring control, an existential form of pact with

that facilitated the growth of significant centralized kingdoms in

the land. The finest come from the Ife as well.

the western Sudan and along the Guinea coast of West Africa. The fabrication of iron tools and weapons allowed for the kind of

The process is that of firing, melting, gilding, enameling or

extensive

engraving, but the gilding of the ritual vessels were the real art of

successful warfare necessary to sustain large urban centers.

systematized

agriculture,

efficient

hunting,

and

metalworking in Africa. Not by laziness, but because the material was extremely costly, especially during the 16th century. Such techniques were so spiritual and ceremonial, that the blacksmith had to condition himself in a significant way in order to flourish in metalworking art, especially for the royal courts, it was a prerogative.

AVRIL

2022

•

AFRICA

SYMBOLISMS

AND

DIMENSIONS

BRONZE

AND

METALWORS

Tobacco Smoking Pot DOGON - MALI

Made of 100% Brass, bronze Model is 18 - 8 - 11 cm

Bamoun Smoking Pipe Cameroon

This ceremonial smoking pipe is made of brass and copper alloy, and belongs to the Bamoun tribe of the kingdom of the Cameroon grasslands. The ceremonial conical pipe bowl is in the shape of an elephant head with long tusk. The elephant was a symbol of the king and was preserved exclusively for him. The pipe is decorated with geometric ornaments, with complex Bamoun patterns, and symbols. Pieces such as this one were created to honor the king and displayed as prestige objects during important ceremonies.

Made of 100% Brass, copper alloy Model is 23 - 14 - 9 cm

They represent the power, strength and wealth, and status of the king, throughout grassland societies. It becomes an highly personal essential tool, and inherited. .

Tobacco Smoking Pot DOGON - MALI Made of 100% Bronze Model is 21 - 14 - 13 cm

This fine Dogon tobacco pot or tabatière, with a removable lid, surmounted by a Hogon figure on top of the lid, represents the image of the world below the Hogon. The tobacco pots were used in secondary burial rituals by the Dogon. Family members would place hair and fingernails trimmings and valuable items, into the pot as mementos of themselves for the deceased. Since hair and nails grow throughout

our

life,

these

personal

offerings

would

empower the deceased to continue to grow and live in the afterlife.

Thus

the

Hogon

watches

over

their

representatives in the world of the living. It was also used to store medicine, food and palm oil would also be presented as offering to the deceased. The piece is particularly refined and made by the Dogon people with the lost-wax method, with bronze, iron and copper. The rounded cups, symbolizing the image of the world, is carried by another hogon on its back at the base of the pot and adorned ethnic patterns around it.

This rare small pot with figural lids originates from Dogon, Atop the lid a seated figure that represents an (idealistic) portrait of the

Tobacco Pot Dogon - Mali

deceased. The vessels were used in secondary burial rituals by the Dogon. Dogon tobacco pot or tabatière made of brass, bronze, comes from the extreme east of the Bandiagara cliff, near Ireli, Mali. The tobacco container is decorated with Nommo figures. Thus they watch over their representatives in the world of the living. The bowl section has a rounded base, with ribbed sides, and a wide rim symbolizing the

Made of 100% Brass Model is 20 - 10 - 19 cm

image of the world. Vessels such as this were used in secondary burial rituals by the Dogon. Family members would place hair and fingernail trimmings into the vessel as mementos of themselves for the deceased. Since hair and nails grow throughout our lives, these personal offerings empower the deceased to continue to ‘grow and live’ in the afterlife. The vessel, along with food and palm wine is presented as offerings to the deceased but was also used to store medicine or other valuable items. Dogon

art

extremely

versatile,

although

common

stylistic

characteristics – such as a tendency towards stylization – are apparent on the statues. Their art deals with the myths whose complex ensemble regulates the life of the individual. Carved animal figures, such as dogs and ostriches, are placed on village foundation altars to commemorate sacrificed animals, while granary doors, stools and house posts are also adorned with figures and symbols. Their artworks are preserved in innumerable sites of worship, personal or family altars, altars for rain, altars to protect hunters, in market.

Royal Heads Ife - Benin

The realism and sophisticated craftsmanship of the objects challenged Western conceptions of African art of the time and was considered the earliest manifestation of a tradition that continued in Yoruba art, in early Benin art and other pieces. The Royal heads are a vivid reminder of the role of the Oba, in successfully guiding the kingdom throughout the Oba reign. And strengthen

its

power:

However,

generalized

portraits

not

Made of 100% Brass

representing a specific king were found in the kingdom and used

Model is 35 -20 -20 cm

during the annual state ceremony.

Model is 19-10-19 cm The art of Benin, an art of court, is closely associated with the king, known as Oba, Oduduwa, being their first ruler, oni, in IleThese proportioned royal heads portraits with a naturalistic

Ife. These objects were put in an altar to commemorate these

cast and sturdy look originate from the Ife of Nigeria. It is

monarchs or Oni. The royal altars are semi circular mud

believed to represent the portrait of a ruler known as ‘’Ooni’’

platforms, where they put a number of brass heads, arranged

or ‘’Oni’’ or an aristocrat, and to commemorate ancestors,

symmetrically, with a cast of brass plaques (aseberia), depicting the

both royal and non royal. It was likely made under the

Oba and attendants in the center, along with freestanding brass

patronage of King Obalufon II whose famous naturalistic life

figures, and rattle staffs which are shaken to call spirits, and lets

size face masks in copper shares stylistic features with this

not forget the powerful pyramidal brass bells to alert the

work. As with most Ife heads, the pieces are made using the

ancestors. In addition ceremonial swords, ada and eben are placed

lost-wax technique and heavily leaded with copper and

on the altar. The royal ancestral altars are the important and

various alloys.

divine kingship in Benin, thus the importance of the pieces that comes along with it. It is for continuation of kingship, a connection

The method used with the copper thin casting make them the

between the living king, and his predecessors.

earliest form of naturalistic Benin art, To the Edo; the shiny surface and sometimes red or black patina, makes it both

The tradition of kingship became exclusively for the use of the

beautiful, imposing, almost fearful, and of divine monarchy.

inhabitants of the royal palace and, most often, placed on personal

The small size piece are covered with a dense network of

altars dedicated for each new Oba . People continued to reproduce

tribal striations incised into the skin, neck and sometimes

monumental artwork found in excavations and kept them in their

face only. The final effect is always of deep composure.

family line and to invoke their ancestors linked to the Royal family.

Royal Rooster EDO BENIN Made of 100% Brass, copper alloy Model is 45 - 18 - 12 cm

This fetish rooster is a handsome example of Benin art; and as such, presents a style that greatly influenced the art of the West. It was used as an altar or totem piece to commemorate the queen mother of Benin. The rooster is also a symbol of Esso, the senior wife of the Oba, a dominant position among the king's wife, as she was called “Esson Ogoro Madagba, The cock that crows at the head of the harem”. In the Dogon religion, however, the rooster is an important symbol associated with the Jackal and the failed experiment. It is the symbol of the first word and unspoken name of God. It refers to the symbolism of Horus's eyes, where the jackal is associated with an androgynous mistress, the perfect combination of Nummo and human, while the first expirement was of the lion and a human. The Nummo performed the regeneration so that being like the jackal would never be born on Earth again and the word " jackal" never to be repeated again.

Royal Edo Soldier BENIN

Made of 100% Brass Model is 35 - 20 - 20 cm

Royal Oba King EDO - BENIN Made of 100% Brass Model is 37 - 18 - 19 cm

Edo Royal Plaque BENIN

Made of 100% Brass Model is 38 - 27 - 8 cm Model is 39 - 27 - 9 cm

These bronze plaques of the Benin kingdom in what is now Nigeria exhibit the king, and warriors in a virtuosity and sophistication of style that has astonished the Western world since they were visited in the 15th Century and caused a great sensation. Several thousand metal plaques and sculptures that decorated the royal palace of the Kingdom of Benin

are

called

the

Benin

Bronze

group.

Collectively, the objects form the best examples of Benin art, and were created from the thirteenth century onwards by artists of the Edo people. The figures and pose of the king and attendants depicting ceremonial life of the court portray static figures singly, in pairs, or in small groups hierarchically arranged around a central figure. The figure heads are larger in size than the rest of the body. Portuguese symbols such as circled cross, also associated to Olokun, rosettes, signifying the sun that falls into the sea each day, crocodiles, fish, and the heads and torso of Portuguese. Their colonization was associated to the God Olokun. The back of the Plaques feature roughly shaped hollows where the figures are located, so that the metal is of uniform thickness throughout. Marks in a variety of patterns, such as raised linear design near the bottom, are found on quite a few of the Plaques, but their significance is not known.

Edo Ogun Royal Leopard Benin

These finely crafted bronze Royal pair of leopards were made by a crafstsman

blacksmith

beautifully

detailed

using

patterns,

the

technique

depicting

the

lost

leopard

wax,

with

skin.

The

“Leopard” was used as a symbol of Justice and power in the Edo culture. African proverbs about leopards are so “spot on”: The rain wets the leopard’s spots but does not wash them off.” Leopard appears most frequently in Ife Ogun art, as king of the forest, his reputation is as great as that of the Oba, or king. The leopard came

Made of 100% Brass

to be a royal symbol as it heralded for the balance between his

Model is 24 - 27 - 28 cm

strength and his reserve and moderation as a leader. The leopard symbolizes the complete harmony between two compelling forces, the menacing and the moderating that, in Benin, it is believed every ideal Oba should possess.

Primordial Couple DOGON - MALI Made of 100% Bronze, copper alloy Model is 33 - 4 - 13 cm

This sculpture depicts a family portrait from the ancestral Dogon of Mali. They are called “hogonu” and are sitting tall in a dignified posture, with idealized form and aesthetic. They portray the first “Dege dyinge” primordial couple (twins) at the origin of the Dogon line; they represent the supreme authority. Symbol of lineage, fertility, and influence their daily life and protect the village. Usually it is owned by the chief of the village or by the Hogon and passed down to his successor. It is also loaned to the bride and groom during the week preceding their ceremony, to guarantee the preservation of the couple in the face of lusts and various thefts. It was authorized a copy for each occasion,

generally

for

single

use

and

then

returned at the end of the ceremony. The female figure is holding a child on her lap, while the male or chief figure is holding the female by her shoulders and an ancestral staff on the other hand. The ritual objects are normally placed on personal altars in order to anchor the spiritual power of the ancestor to whom the altar is dedicated. According to Dogon thought, Bronze is primordial to

their

survival

and

cultural

essence

and

attributes. They serve as a passage to the afterlife and to guard the spirit safely from their deposed body. The ancestor's figure represents order, purity, fertility, and life. These objects’ ability to balance negative forces were observed in shrines and altars, and gave power and strength to their owner, like talismans. The figurines present a smooth patina carved from bronze alloy with the lost-wax technique, mielded and sharpened. It is finally gilded with ethnic patterns and jewelries. The piece of artwork is then put to rest and then polished with few natural abrasions. A timeless piece of work.

Hogo Banya Hogon Tobacco Pot DOGON - MALI Made of 100% Bronze Model is 22 - 12 - 9 cm

Oba Royal Head IFE - BENIN Made of 100% Brass Model is 62 - 24 -21 cm

Oba Royal IFE - BENIN

Made of 100% Brass Model is 48 - 14 - 23 cm

This exquisite lost-wax castings is a fine example of one of the most famous metalworking traditions in world history. One can only imagine the true splendor of the old court of Benin. Blacksmiths create sculpture from iron, through hand-beating, welding, and casting, with Ogun being honored as the god of iron. Metalworkers also create brass sculptures by lost-wax casting. Brass is seen as being

incorruptible

the

Ogboni

Society.

Beautiful sculpture abounds in wood and brass and the occasional terracotta in Benin. The custom of art and artists among the Yoruba is deeply rooted in the Ifá literary corpus, indicating the orishas Ogun, Obatala, Oshun and Obalufon as central to creation mythology including artistry (i.e. the art of humanity). The figure and pose are a classic and pay homage to the King or Oba. Reserved for the exclusive use of the residents of the royal palace and most often placed on dedicated altars to commemorate a new Oba, as well as to get in touch with their soul. He is holding the ceremonial blade on one hand qnd the ax on the other hand, symbol of Justice and perennity. The royal altars are semi circular mud platforms, where they put a number of brass heads, arranged symmetrically,

with

cast

brass

plaques

(aseberia), along with freestanding brass figures, and rattle staffs which are shaken to call spirits, and lets not forget the powerful pyramidal brass bells to alert the ancestors. In addition ceremonial swords, ada and eben are placed on the altar.

Oba Royal IFE - BENIN Made of 100% Brass Model is 16 - 5 - 7 cm

Oba Priest IFE - BENIN Made of 100% Brass Model is 19 - 4 - 8 cm

Oba Royal Head IFE - BENIN Made of 100% Brass Model is 23 - 13 - 13 cm

OBA ROYAL HEAD IFE - BENIN

Made of 100% Brass Model is 42 - 21 - 18 cm

CURRENCY BRACELET DOGON - MALI Made of 100% Brass Model is 10 - 23 - 25 cm

A great example of a forged bracelet from the Dogon people of Mali. It shows old patina from usage, and is decorated with protective signs

Currency Bracelet Dogon - Mali

and symbols. Metalworks like this one are molded by the lost-wax technique, also called cire-perdue, and goes through an 8 steps process, because the wax model is destroyed in order to create the piece - it is called the lost mold technique. Once the mold is made, the bracelet is melted and then brushed with melted wax to the desired thickness and the final Bronze is a beautiful and intricate piece of jewelry. This type of bracelets were highly prized in Western Africa, and utilized not only as jewelry but also as currency trade money, and

Made of 100% Bronze Model is 8 - 2 - 7 cm

portable wealth. The blacksmithing brought great prosperity to their mainland through their activities. Those of lower ranking position would establish a Hogon to represent them, and wear the clothes and the jewelry to mark their status and show their wealth. Blacksmithing was passed down, if anyone other than the designated forger attempted to perform these activities themselves, a curse would fall upon its family. They are feared in some societies for their skill in metalworking, considered a form of magic. They are also much admired and hold high social status. Because the trade is so specialized and dangerous, blacksmiths are often requisitioned by towns and villages where there are none. Other ironworking societies such as the Mandé peoples of Mali and the Bamana exist in West Africa. Dogon Country showed a tendency toward stylization and defeated it's rivals typically through their intemporel designs. It came to be used in many different societies, however with inconsistency, and the tendencies in patterns, ornaments, were a growing demand to solve these inconsistencies. Perhaps, the first introductions were made through patterns and textiles.

Hollow Dogon chameleon with detailed ethnic motifs or patterns. Due

Chameleon Dogon - Mali

it's physically mutating nature, and adaptability, the chameleon is a symbol of wisdom. The sculpture is made in bronze with the lost wax technique. Dogon give a particular attention to animal totems; they symbolize religious values, ideals and freedom, and for this particular one, it is for fecundity and for priestess ceremonial altars. They are commonly hidden messages, and standing figures.

Made of 100% Bronze Model is 8 - 25 - 5 cm

They are depicted through their lives, as spirits, avengers, guardians, and protectors. However, the totem animals might harm the worshiper should they do something wrong and they are not allowed to use the animal as food or sacrifice purpose. The animal totems are used during ceremonies and consecrated for different purposes, and even that to protect their agriculture and livelihood. They worship them in the Binou altar. They include among others, buffalo, hares, antelopes, lions, monkeys, cows, birds, insects and amphibians.

This bronze sculpture refers to a myth whereby the Dogon

Crocodile Dogon - Mali

would have been helped by a crocodile to cross the Niger River, when they fled the Mandé country for the Bandiagara Cliff. The crocodile represents the animal that once belonged to the ancestor binu serou (the water element). The Dogon revered the crocodile (or caiman) as a totemic animal. They used to throw meat into the river as a sacrifice to keep them at peace with the tribe and would ride them to seal the relationship. This sculpture reflects the artistry, power, and

Made of 100% Bronze

authority of the Dogon blacksmith by the use of the lost-wax

Model is 11 - 32 - 7 cm

method.

Made of 100% Iron Model is 12 - 24 - 10 cm

The piece is a testament to the skilled artistry of the Sao metalsmiths.

Sao Horserider Chad

Similar to amulets worn around the neck, they believe to bring good luck or blessings of the gods. They were mostly worn as pendants or bracelets, and represent a source of spiritual strength for their owners. The Sao place these figurines depicting men and women on many different kinds of altars, most of which are dedicated to ancestors, either real or mythical. The Sao lived by the Chari River basin in territory that later became

Made of 100% Copper, Iron

part of Cameroon and Chad. It is believed that the modern Kotoko, a

Model is 8 - 9 - 13 cm

fishing people on the Chari near Lake Chad, are descendants of the Sao. They are the earliest civilization to have left clear traces of their presence in the territory of modern Cameroon. Sometime around the 16th century, conversion to Islam changed the cultural identity of the former Sao. There is a supreme Kotoko for the whole country and they symbolize the Sao myth of creation, the concept of ‘Sao Civilization’ or ‘São Culture’, to which they relate much of their social organization. The Hogon animal motif is a strong symbol portraying power and status. These objects, although rare, have existed for over 1000 years, and categorized as metaphysical objects, and personify good and evil. They define the religious life and spiritual principles of the Sao people of Chad.

Sao Horserider Chad Made of 100% Brass Model is 36 - 24 - 12 cm

Dogon Horserider Mali Made of 100% Bronze Model is 18 - 21 - 6 cm

NajambaKindege Camel Rider DOGON - MALI Made of 100% Brass, iron Model is 32 - 18 - 5 cm

This scene depicts a rider on what seems to be a camel. It is beautifully crafted in the age-old casting process carried out by hand. Riders are held in high esteem in the Dogon culture and some depict emissaries from a distant land or arabic nomads. The piece is made of Iron, copper and bronze, with some vegetal materials, and melded to a polished finish patina, with casting imperfections. An old age

casting

process

coming

from

the

Sao

civilization. A beautifully stylized abstract design featuring the splendor of the Camel in the Dogon desert. They stand for wealth, power and strength. Although rare, the camel as an icon has existed for 50.000 years in sub-saharan Africa. In Dogon culture,

animals

play

important

role

for

ancestors worshiping. Thanks to the carrier, the ancestor arrives safely in the afterlife. The Dogon blacksmith form a cast endogamous among the Dogon called "Irim". They produce, today, the weapons, tools, and also work with the wood. "Masters of fire", they were given the task and rites to establish the cast and to heal.

Horse and Rider IFE - BENIN

Made of 100% Brass Model is 58 - 33 - 17 cm

Horse and Rider IFE - BENIN

Made of 100% Brass Model is 23 - 3 - 13 cm

The royal ancestral altars are the important and divine kingship in Benin, thus the importance of the pieces that comes along with it. It is for continuation of kingship, a connection between the living king, and his predecessors. This figure and pose is a classic of Ife Benin art and pay homage to the horse and rider, soldiers, military

the

Oba

king

himself,

sensitive

depiction and the masterly casting technique. Reserved for the exclusive use of the residents of the

royal

palace

and

most

often

placed

dedicated altars to commemorate them. It is believed the rider and the horse were highly prized and are a symbol of wealth and power. In addition ceremonial swords, ada and eben are placed on the altar. The royal ancestral altars are the important and divine kingship in Benin, thus the importance of the pieces that comes along with it. It is for continuation of kingship, a connection between the living king, and his predecessors.

Musician Drummer IFE - BENIN

Made of 100% Brass Model is 23 - 3 - 13

This staff originate from the Fang people of Gabon. The staff retains the encrustation of sacrificial offerings, indicating that it once stood

Ax Fang Gabon

on a devotee’s altar with other accouterments intended to honor and invigorate the previous owner. It is highly used during initiation rites. The refinement and symmetrical balance of the figure express both order and calm, requisites of healing. The large ovoid head with rounded, bulging eyes and softly rounded features are distinctive of the Fang Byeri figural style. The ethnic pattern on the shaft indicates the continuity of divine power.

Made of 100% wood, Brass, copper alloy Model is 56 - 21 - 5 cm

Ceremonial ax are emblem of prestige and of dignity. The lustrous patina and wear on this ax reveal that it was a cherished and longused ritual object. The Fang peoples historically derived a sense of continuity with their past and communal cohesiveness in the present through an ancestral cult known as bieri known as "bieri", "byeri" or "mwan bian" . According to tradition the Fang migrated into the forest from the savanna plateau on the right bank of the Sanaga River at the beginning of the 19th century. During its travels, each Fang family brought a bark box containing the skulls of its ancestors. A carved head or figure mounted on top of each reliquary box guarded the sacred contents against the forbidden gaze of women and uninitiated boys. The earliest reliquary guardians were heads, but by the beginning of the twentieth century busts and full figures were also being made. The Fangs were fine warriors and hunters and cultivated a reputation for cannibalism in order to repel outsiders and attacks from others.

This antique Dogon lamp with a multi carrier originates from the

Rider Lamp Dogon - Mali

Dogon people of Mali. These functional iron lamps, with bowls to burn oil, express status, prestige and power. Oil known as tulu, a vegetal oil, principally found in the Savannah of west Africa, central, and East signify life, made from the Karite tree nut was burned with cotton in one of the carrier to produce a dark, smoky light that was as much a light for ritual purposes as for illumination, cleansing effects and for candle making.

Made of 100% Iron Model is 102 - 19 - 23 cm

The Lamps were used during ceremonies in a community or individual sanctuary or used as an incense Burner. The lamps would also provide light during the rituals, for masks when they danced at night. These lamps were carried during night by guards, families, and held inside granaries to safeguard their livelihood. In the making, the iron is sanctified and then poured into a basin of water to attract good spirits. The artisan would then carry the lamp for days into the wood and use it in order to test its spiritual attraction. Once it was clear that the lamp would keep its owner safe, it was then carried back to their home and sanctified again in order to release the good spirits, the lamp attracted with its light. Therefore, the tulu oil had a strong effect on the purpose of the lamp, and contributed to its carving and conceptual design. Its standardized design is a pointed shaft to allow fixing on the ground. The lamps usually depict a former leader, seated, standing or on horse such as this one on top of the lamp. Although rare, horsemen as icons have existed for 1000 years in Mali. Some would depict a hogon, the supreme officeholder, a leader of great wisdom, or even an emissary from a distant land. These objects would bring prestige and honor to the ancestors, the current leadership and owner.

Iron Male Figure DOGON - MALI Made of 100% Iron Model is 19 - 1 - 4 cm

Wild Goose DOGON - MALI Made of 100% Iron Model is 35 - 24 - 15 cm

This sculpture is made of iron with the complex traditional lost-wax process. These are all small enough to be cast solid. The Dogon used metal for their most important ritual objects as well as everyday objects, farming implements and weapons. Dogon give a particular attention to animals totems;

they

symbolize

religious

values,

ideals

and

freedom, and for this particular one, Wild goose are for fecundity, continuity, and for priestess ceremonial altars. They are commonly hidden messages, and standing figures. They are depicted through their lives, as spirits, avengers, guardians, and protectors. However, the totem animals might harm the worshiper should they do something wrong and they are not allowed to use the animal as food or sacrifice purpose. The animal totems are used during ceremonies and consecrated for different purposes, and even that to protect their agriculture and livelihood. They worship them in the Binou altar. They include among others, buffalo, hares, antelopes, lions, monkeys, cows, birds, and amphibians.

This animal object is made of Bronze by the Dogon of Mali. They used

Toad Dogon - Mali

the lost wax technique, a model of fire perdue through mold. The

Made of 100% Bronze

as spirits, avengers, guardians, and protectors. However, the totem

Model is 3 - 10 - 7 cm

animals might harm the worshiper should they do something wrong

process is very ancient and similar to the highest civilization of Edo in sub-saharan Africa. Dogon give special attention to totem animals; they symbolize religious values, ideals and freedom. They are commonly hidden messages, and standing figures. They are depicted through their lives,

and they are not allowed to use the animal as food or sacrifice purpose. The animal totems are used during ceremonies and consecrated for different purposes, even that to protect their agriculture and livelihood. They worship them in the Binou altar. They include among others, buffalo, hares, antelopes, lions, monkeys, cows, birds, and amphibians. This sculpture reflects the artistry, power, and authority of the Dogon blacksmith by the use of the lost-wax technique.

The African rice grasshopper depicted here, is a medium-sized

Grasshoper Djenne -Mali Made of 100% Bronze Model is 8 - 22 - 9 cm

grasshopper species found in the Sahel region. The species shows gregarious

behavior

and

some

morphological

change

(phase

polymorphism) on crowding[3] and may become a moderately important pest species for small-holder farmers in the region. It is probably made by the Djenne artisan to ward them off from their crops and to protect his livelihood in the granaries. It is made from the lost-wax techniques, also called cire-perdue. The process by which a duplicate metal sculpture (often silver, gold, brass or bronze) is cast from an original sculpture. Intricate work can be achieved by this method. The steps used in casting small bronze sculptures are fairly standardized, though the process today varies from foundry to foundry. Variations of the process include: "lost mould", which recognizes that materials other than wax can be used (such as tallow, resin, tar, and textile); such as waste wax process" (or "waste mould casting"), because the mould is destroyed to remove the cast item.

Baobab Tree DOGON - MALI

Made of 100% Bronze Model is 15 - 9 - 11 cm

A symbol of great longevity, the baobab is a sacred and

magic

tree

within

the

Dogon

tribe.

integrates life, from birth to death. For the Dogon people of Mali, this tree is above all a place to meet and talk in the village or a point of reference for the travelers or inhabitants. We could also notice few birds standing on the foliage, a shepherd sitting at its base. The piece is a testament to the skilled artistry of the Dogon metalsmiths. The predominant method employed by the Dogon in creating objects of bronze such as this one is called “lost-wax casting, and each piece is unique. Known for their art as well as their remarkable villages along the heights of the Bandiagara escarpment in Mali, Dogon art remains today some of the best known and most collected African art. This is a great museum-quality piece that would compliment any collection. Dogons are famous for their small cast figures and objects, which despite their small size, express status, prestige, and power. Known for their art as well as their remarkable villages along the heights of the Bandiagara escarpment in Mali, Dogon art remains today some of the best known and most collected African art.

Maternity Figurine DOGON - MALI Made of 100% Brass Model is 21 - 16 - 5 cm

A symbol of great longevity, goddess of fertility and virginity, The Dogon Madonna and child is also associated with the fertility of crops within the Dogon tribe. It integrates life, from birth to death. This is a great museum-quality piece that would compliment any collection. The piece is a testament to the skilled artistry of the Dogon metalsmiths.The predominant method employed by the Dogon in creating objects of bronze and brass such as this one is called “lostwax casting, and each piece is unique. Dogons are famous for their small cast figures and objects, which despite their small size, express status, prestige, and power. Known for their art as well as their remarkable villages along the heights of the Bandiagara escarpment in Mali, Dogon art remains today some of the best known and most collected African art.

GUARDIAN BYERI FANG- GABON Made of 100% Wood Model is 39 - 12 - 12 cm

Sculptures AFRICAN

ARTE

GALERIA

One can find a vast variety of styles and figures in Africa, which is

Tradition or ethnicity are the religious or spiritual value in

a testament to the diversity and complexity of the various ethnic

nature for the African, dealing primarily with human form, and

groups that share the continent. Most of them were historically

sometimes animal or mythical. They depict creative spirit and

made of wood, the most prevalent; but they also used natural

skills that exhibit craftsmanship, equilibrium, and attention to

material (clay/terracotta, iron, copper alloys, ivory and stone.) for

detail and finish. Their purposes are very wide, and they could

carving, and other organic materials often varying within the

bring fertility, rain, good harvests, and ward off disease, natural

same context of origin, depending on the use of the object such as

calamities, evil spirits, and help with social decisions and

religious rituals, but wide regional trends are apparent.

judgements. commemorate important events, as well as making political statements.

Sculptures

are

most

common

among

“groups

settled

cultivators in the areas drained by the Niger and Congo rivers” in

Sculptures can be extremely powerful in ensuring the well-being

West Africa. They depict the continent's many iconic animals,

of an entire community, or replicated in a smaller fashion all the

landscapes

and

way to pendants for individuals to be used in their private homes,

expressionist sensibilities, the idea of exploring the unconscious

giving them similar benefits. They served a purpose (and still in

which reigned in Surrealism, and the exploration of myths and

some cultures) as an agent of religion, social stability, and social

archetypes. They also gravitated towards existentialism. Mostly

control.

and

peoples,

and

evokes

contemporary

stylized and abstracted, they can span centuries and be as ancient as the advent of tools, and monumental, but often strive to exaggerate on body form or characteristics that the artisan or tribe, religious practitioners are trying to convey.

AVRIL

2022

•

AFRICA

SYMBOLISMS

AND

DIMENSIONS

SCULPTURES

ZANDE AZANDE CONGO Made of 100% Wood Model is 42 - 13 - 14 cm

Fang Byeri GABON

The pieces are called royal Guardian "Byeri", and with their voluminous head and stocky appearance, characteristic of the Southern Fang style, in particular the Meke-Betsi of the North and the North – West Gabon. The origin of Byeri would also be linked to the migration or exodus of the Fang-Beti-Bulu people. Indeed, it was during the march in

Made of 100% Wood

the desert that "Nane Ngoghe" found death. At the time of

Model is 39 - 18 -12 cm

her departure, she recommended to her children to keep her skull with them in order to protect them and perpetuate her descendants. The characters, in a sitting position, usually hold with both hands the ceremonial flute for initiated So; the young boys rite of passage among the Beti-Fang. In this particular ones; The piece is seqted on a bark box, containing the skulls of its ancestors. A carved head or figure mounted on top of each reliquary box guarded the sacred contents against the forbidden gaze of women and uninitiated boys The pieces is joining hands in a mourning position. The fangs are recognized by the accentuated muscular reliefs of the arms and calves, as well as their curved shoulders

and

thighs

whose

curves

extend

into

the

callipyge mass of the gluteus (the fixation rostrum on the Nsekh-byeri reliquary has disappeared ). Their torsos are rounded into a volume that flares out in a “barrel” with a prominent navel (marked with a brass nail). Gender male pointing between the thighs. The care taken to finish the back with a longitudinal flat in the prolongation of the crest of the cap is noticeable. The head, large mass in relation to the body and a refined sculptural finish, Is a good illustration of the “classical” style of the Southern Fang with a concave-convex face, broad, rounded forehead, and slightly hollow sockets with curved incisions. A flattened and short nose, a very pronounced philtrum. The maxillary zone, very stretched forward, without a figured mouth or chin, presents a beautiful rounding in the prolongation of the curves of the face. Reliquary guardian figures were also used as puppets in a ritual called "mélan", a rite of appeasement. During the course of their initiation into adulthood, boys learned about the history of their people, which is marked by migrations and the need for portable objects, including the reliquaries. The practice of making reliquaries for ancestor worship ceased in the early twentieth century when the French colonial government banned the reliquaries and their priests.

These ChiWara carvings originate from the Bamana tribe in Mali. Their patina is rich and the surface shows significant signs of aging.

Chiwara Bamana - Mali Made of 100% Wood Model is W 25 - 61 - 12 cm

In Bambara, chi wara (also Chi wara, Ci Wara, or Tyi Wara; Bambara: ciwara;

French:

tchiwara)

means

laboring

wild

animals.

The

mythology of the Bamana people of Mali tells the story of an horse antelope, or represented as an hippotragus named Chi Wara who first taught farming skills to humanity; and taught young Bamana men social values as well as agricultural techniques and fertility of the soil. Now they are mainly used for entertainment and prohibited. The Chi Wara figures always appear as a male/female pair, combining the elements of fertility of humans with fertility of the earth. The female figure usually carries a young antelope on her back, and is said to represent human beings carried by the Chi Wara hero, as well as a newborn human carried on a mother's back. The hero descends from the sky goddess, and thus represents the sun. its body is often elongated and short legged to represent the "aardvark" who burrows into the earth like a farmer. Its high horns echo the stalks of millet, and it stands on a dancer clad in a mass of raffia stalks to represent both flowing water and a bountiful harvest. The zig-zag patterns echo the movement of the sun across the sky, and the penis of the male figure stands low to the ground, fertilizing the earth.

Chiwara Bamana - Mali

The headpieces embody both elegance and lightness, and ready to spring, powerfully emerging from the volumes which compose the animal. The headcrests were worn by Bamana society members to represent the mythical agricultural animal during dances held at

Made of 100% Wood

sowing and harvesting times. At the start of the rainy season, after the

Model is 33 - 18 - 46 cm

fields have been seeded, the Chi Wara crests are danced in the

Made of 100% Wood Model is 47 - 19 - 5 cm

evening. The masks performed at hoeing contests to promote the fertility of the fields and honor the most successful farmers.’Chi Wara’ also refers directly to strong young men. Bambara carvers have established a reputation for the zoomorphic headdresses worn by TjiWara society members. Chiwara masks are categorized in three ways: horizontal, vertical, or abstract. In addition, Chiwara can be either male or female. Female Chiwara masks are denoted by the presence of a baby antelope and straight horns. Male Chiwara masks have bent horns and a phallus. The sex of a Chiwara mask is much clearer on horizontal and vertical masks while abstract masks tend to be difficult to classify. One can find roughly assigned variations in its stylistic design according to regions such as Bougouni, Bamana empire, Segu and Sikass.

Mumuye Celestial Nigeria

The functions of sculptural figures are varied. They were used by both diviners and healers, whose professions included diagnosis and cure of ill health and other kinds of misfortunes. The figures demonstrate the ‘high degree of stylistic diversity which parallels the variety of functions of Mumuye figures: some were used as oracles, others in connection with healing

Made of 100% Wood

and still others reinforced the status of important elders as

Model is 122 - 26 - 26 cm

embodiments of vaguely conceived tutelary spirits. At times, one figure acted in two or more of these capacities. figurative

This great Mumuye figure has a characteristical toroidal shape

sculpture enhanced the influence and reputations of leaders and

and the unmistakable stylistic sign of this ethnic group. The

religious specialists in Mumuye society by furthering their

muscular legs, proportionally smaller than the remainder of the

efforts to predict the future, heal the sick, and make rain fall.

body, support the slender, arched torso with a protruding navel and rounded chest leading to arms suspended at the sides. The

The Mumuye mostly live in northeastern Nigeria between the

face is incised with geometric scarifications. Carved with

cities of Jalingo and Zinna, in a region that is bounded by the

crescentic coiffure, the small helmet-shaped head with large

bend of the Benue River and the Cameroon border. Estimated to

circular eyes and disc-like ears; vary with dark brown patina

number 70,000 to 400,000 the people cultivate sorghum, millet,

and areas of kaolin.

and yams. Socially they are divided into small family groups called dola, which are headed by a council of elders with an

The proud pose, characterized by a chest pushed out, suggests

elected leader. Due to the difficulty of access to their land of

the representation of an ancestor of certain importance for the

rocky hills and savannas, the Mumuye remained in near total

community. The Mumuye distinguish the gender of the figures

isolation until 1959. Mumuye artists are famous for their wooden

on the basis of the shape of the ears; only Mumuye women

statues

distend their earlobes. This may be the only clue to determining

discovered in 1968. With no royal system, the Mumuye are

the gender of a figure.

organized by age classes and choose a village chief who is

known

iagalagana.

assisted by a council of elders.

The

Mumuye

statuary

was

CHAMBA Kunin NIGERIA Made of 100% Wood Model is 58 - 8 - 11 cm

Akua'ba Fertility Doll AKAN GHANA

Made of 100% Wood Model is 35 - 6 - 15 cm

This beautifully carved sculpture with a lustrous brown patina is an Akua’ba doll, used by the Ashanti tribe as a talisman to promote fertility and to protect. To induce a safe pregnancy and ensure safe delivery at birth, or to ensure the attractiveness of the child being carried. They are known to have been carried by slave mothers as little deities in Americas and as a connection to their ancestral homeland of Africa. Many mothers passed it to their children whenever they were separated, removed and sold from their mothers on a plantation. When not in active use, the akua'ba would be ritually washed and cared for in the traditional homestead. All shrines are concerned either directly or indirectly with human fertility. Among the smaller sculptures is a chalkwhitened one which recalls the common practice of affecting powder-white skins for special days of worship and festivals to show reverence and devotion. Many cult images are similarly painted white. However, many Akan peoples make no great distinctions between Akuaba fertility images and figures of different configuration, size or material. Most use them as a general symbol of good luck. They have various interpretations in Africa, such as poise, dignity, and stability. They are supernatural intermediaries and they are manipulated for ritual purposes. Each of these dolls is unique because they are handmade traditionally. Today, one is more likely to see a mass-produced akua'ba or “Fante Doll” for sale as a work of art or souvenir rather than an heirloom in ritual use. Traditional use does, however, continue in some Fan tree and other Akan areas. The form of the akua'ba has also gained currency as a general symbol of good luck in Africa and Europe and Americas.

Namji Dowayo Fertility doll Cameroon

These beautiful and colorful power objects usually made of rosewood and surrounded with many strands of colorful glass beads, shells and coins, or other trinkets, are typical of the Namji tribe of Cameroon. These fetish dolls are also called "Namchi or Dowayo".The word Namchi comes from the Fulanis and means "we stopped grinding, grinding" and also includes

Made of 100% Wood

other small ethnic groups such as Koma, Bata, Papé. The fetish

Model is 53 - 6 - 24 cm

dolls are carefully handcrafted in a unique and highly abstract geometric design, like a narrow trunk standing rigid and

Made of 100% Wood Model is 17 - 4 -8 cm

straight. With a broad stylised head, sometimes the eyes are characterized with inserted white or red glass beads. In Namji culture, a woman without children is considered an imperfect creature. When a young Namji man courts a girl and wishes to marry her, such a doll is carved and elaborately decorated. Therefore, these fetish dolls have the power to fulfill a woman or newlyweds' desire of giving birth. They were commonly used, even today, by women who have difficulty becoming pregnant, or in complex fertility rituals carried around by women and cared for as a real child in order to invoke spirits by touching their belly and carrying them in an ornamented bag on their back . The doll, then considered an artificial placebo, enables the ability to unblock the situation.

Bozo Sogobo FISH PUPPET MALI

Made of 100% Wood, pigment Model is 88 - 24 - 16 cm

NOMADE | 24

Bozo Sogobo Maaniw PUPPET MALI Made of 100% Wood, pigment Model is 63 - 17 -22 cm

NOMADE | 24

Bozo Sogobo Fish Puppet Mali

The men of Segou make and perform inside the animal puppets and masks, with lively audience participation by everybody. There used to be many wild animals in the bush. The animals devoured the people so they found a solution by hunting the wild animals. These animals are constructed as wooden frames, covered with straw, with a large sculpted wooden head at one end with

Made of 100% Wood, pigment, fabric

moving parts. In this area, puppet owners ask 200 francs (1990) for

Model is W 3.5 – H 36 and weight 3.4 k

the animation of each puppet, and request pre-commission to make new ones.

The Bozo Sogobo Fish or horse puppets come from the

They were venerated objects, used in secret religious ceremonies

region of the Bamana city of Segou or the Bozo area of

that involved sacrifice. The goal of these rites was essentially to

Mopti, and are crafted by the Bozo artisans for the Sogo ba

obtain abundant rain.

masquerade.

between

A broad range of social issues are enacted in these performances,

neighboring villages to produce the best puppets and the

however, the puppet performances are light-hearted, and not

villages perform in nightly succession. Sculptures such as

serious like the mask performances. The puppet characters depict

these were used in animist rituals during performance of

local events and stories, heroes or villains and powerful animals.

Dance troops of young men, members of local youth

Hunters and warriors appear in the foreground of many puppet

groups.

groups. These hunting figures recall colonial times when the

There

fierce

competition

military was feared: they were compared to lions, the kings of the They sing, dance, drum, manipulate puppets or dance

bush. The antelope, another popular figure, is a proud animal and

masks in creating performances called "Sogo Ba".

always remains within its group. The twins walk their dog, they

Through the movements of the puppets and the songs that

too are proud, because they are so beautiful.

accompany them, the youth association is able to comment on the social and political life of the community. The

The Bozo people are known as “masters of the river” and their

puppets are prepared and dressed before an all-night

culture and artwork centers around their interaction with the

performance.

Niger River.

Bozo Sogobo Puppet (horse) Mali Made of 100% Wood Model is 54 - 5 5 - 13

Bozo Sogobo Puppet (ram) Mali Made of 100% Wood, pigment Model is 57 - 59 - 17 cm

Royal Mangbetu Congo Made of 100% Wood, pigment Model is 4 - 11 - 13 cm

The statuary of the Mangbetu tribe is outstanding if only from the

questions

they

generate,

and

their

unique

looks,

incorporating full body scarification, and aspects of head elongation. Raised scarifications and geometric patterns on the body and mostly on the face, and prominent hairstyle denotes this figure of elite status. Most of the extensive Mangbetu scarification was cut or “grooved” versus keloid “raised”. This sculpture was likely placed in a shrine to honor the

This ancestral ceremonial sculpture seated on an urn, is made

ancestral lineage. The glass fragments usually placed in the

of rosewood and nicely carved with lots of details is an

figure’s eyes suggest the sculpture’s commemorative role.

exceptional piece for your collection. It originates from the

Reflective surfaces such as mirrored glass suggest the surface of

Mangbetu also spelled Monbuttu, peoples of Central Africa

the water, a symbolic link to the ancestral realm.

living to the south of the Zande in northeastern Congo (Kinshasa). Most Mangbetu art was reserved for the ruling class

Mangbetu art was reserved for the ruling class, but were secular

and was secular in nature.

in nature. Harps and trumpets that were used by court musicians were often adorned with sculpted human heads.

They are believed to be ancestral portraits of Mangbetu

Decorated thrones and knives were also part of the royal

royalties, and were used to decorate thrones, and likely placed

regalia. They also make vessels to be used in special ceremonies

in a shrine to honor them. They were associated with "Kilima" or

or that become part of an assemblage of objects placed on the

"Noro", their creators, and greatly feared by human souls, and

shrine. The Mangbettu surrounded themselves with these

could be reborn as animals. But they could also bring

objects, boxes, jars, stools, musical instruments,and weapons.

misfortune, and punish them with sickness. The Mangbetu

They were commissioned as prestige works gifts by African

objects of rituals equally were used to decipher the work of

leaders, and collected by European who admired Mangbetu

witches

style.

Ancestral Dengese Totshi Zaire Made of 100% wood Model is 35 - 8 - 10 cm

This fine religious sculpture may be a portrait of an ancestor or

The statues are the funerary effigies of the totshi and represent

funeral effigie. The sculptures are called "Totshi" and originates

them during the anniversary ceremony of the funeral, which

from the Democratic Republic of the Congo-Zaire. These statues

would take place several months after a death. The totshi

have no lower extremities;The bust and arms lengthen to

belonged to an association that required enormous fees from its

accommodate

future members and an initiation that was performed in two

the

symbolic

inscriptions

that

recall

the

relationship between the chief and those who are subject to his

stages.

authority. The bodies are covered with scarifications, thus the body is like data, covered with text.

While the Dengese do not use masks, their artists have produced great statues that became part of museum collections.

The figures wear bracelets and have hairdos that resemble those worn by notables, or totshi: a kind of finely braided bonnet

North of the Kuba kingdom situated in the Democratic Republic

topped with a small, wooden cylinder covered with fiber. The

of the Congo, across the Sankuru River, the 12,000 Dengese

female statue is one supposedly depicting the female founder of

people claim to be the original population of the area. Their

the association, and is wearing with a

king, known as the Toshi, reigns over local chiefs who are assisted by noblemen. Powerful groups such as the blacksmith, hunting and witchcraft societies counterbalance the political power of the chiefs.

Power Figure Nkisi N'kondi Kongo DRC Made of 100% Wood Model is 53 - 21 - 18 cm

There are four main types of Nkissi, used for different purposes; the "Nkondi" are fetishes of ill omen, usually waving a spear or a knife, while "Npezo" are just as evil, but less menacing in attitude. "Na moganga" are benevolent figures, which protects against sickness and dangerous spirits. They help the hunter and the warrior; while "Mbula" protects against witchcraft. All Nkissi can be used for a variety of purposes and their meaning is ambivalent. The Power Figures

Made of 100% Wood

also may represent animals: two-headed dogs, sometimes

Model is 49 - 22 - 16 cm

monkeys. Nail

and

mirror

fetishes

are

unique

and

important

These rare and beautiful Power Figures originate from the

phenomenon of Kongo sculpture. At its most basic, the Nkissi

Kongo peoples – Democratic Republic of the Congo, and are

represent a container of empowering materials or medicines

called Nkisi N’Kondi, means medicine, and art of power; it

called “bilongo”. They were properly endowed with magic

seems to contradict by their protective nature, as beneficial

substances and additioned by the "Nganga" or witch doctor, and

intermediaries with otherworldly forces. They portray nails,

had the power to act in a number of ways. The magical

mirrors, blades and sometimes, animal skin and colored

substances may be blood along with animal, vegetal, and mineral

feathers, from which it emerges, clear and shiny. The figures

matters. The medicines are generally secured in cavities in the

were used as sacred medicinal vessels for divine protection to

stomach,

ward off danger and to protect from illness. Historically, The

empowering substance. The Kongo believed to petition the

Nkissi were public and vital in democratizing roles, as sources

power figure with magic and make it possible for the devotee to

of empowerment for rural residents and individuals outside the

establish contact with the spirits.

court.

head,

back

activate

the

work

with

the

Nkisi Nkonde Power Figure Congo Made of 100% Wood Model is 32 - 15 - 8 cm

Kota Reliquary Guardian GABON Made of 100% Wood Model is 50 - 9 - 20 cm

The Kota used reliquary guardian figures to protect and identify the revered bones of family ancestors. The Kota believed that the relics of important men and women retain power after death, providing protection and good fortune to an individual's descendants. The Kota once used reliquary (container or shrine in which sacred relics are kept) guardian figures (mbulu ngulu) to protect and demarcate the revered bones of family ancestors. The bones were preserved in containers made of bark or basketry. The "mbulu ngulu" stood atop this bundle, bound to it at the figure’s lozengeshaped base. It is thought that the figurative form of the mbulu ngulu was intended to reinforce

and

communicate

the

reliquary’s

intense power. Kota mbulu ngulu are unique among

African

sculptural

forms

their

combination of wood and hammered metal. More specifically, sculptures such as this one, whose style scholars have characterized as “foliate” for its resemblance to leaf forms, were among the first Kota reliquary figures to enter European

collections,

and

are

generally

attributed to Mahongwe and neighboring Kotaspeaking artists near the confluence of the The figure was accentuated with strips of copper & brass, this use of metal not only heightened

associations

wealth

and

prosperity, its shiny surface was believed to scare off malevolent spirits.

Beadwork is an essential element of Bamileke Art and what

Ceremonial Couple Bamileke - Cameroon Made of 100% Wood Model is 52 - 11 - 17 cm

distinguishes them from other regions of Africa. It is an art form that is highly personal in that no two pieces are alike and are often used in dazzling colors that catch the eye. They may be an indication of status based on what kinds of beads are used. Beadwork utilized all over on wooden sculptures is a technique that is unique only to the Cameroon grasslands. Before they were colonized, popular beads were obtained from Sub-Saharan countries like Nigeria and were made of shells,

This Bamileke couple comes from Cameroon, Grassland region,

nuts, wood, seeds, ceramic, ivory, animal bone and metal.

and shares stylistic traits with the Tikar and western people,

Colonization and trade routes with other countries in Europe

reflecting the complex transfer of style through trade and the

and the Middle East introduced brightly colored glass beads as

migration of artists. The Bamileke sculptures carry the symbolic

well as pearls, coral and rare stones like emeralds. These came

meaning and aesthetic reflection of the artistically sophisticated

at a price, however. There were often agreements with these

people of Bamileke.

other countries to exchange these precious luxury commodities for slaves, gold, oil, ivory and some types of fine woods.

It is made of carved wood covered with tuarag beads in various colors, combined with black volcanic ash clay at the foundation.

The Bamileke grassland people are a tribe that makes up the

An extremely hard labor fixing the beads one by one.

largest group in Cameroon, who together with the Bamoun and

They are created and consecrated traditionally in remembrance

the NSO people are directly from the last Bamileke King ( Ndeh),

of an ancestor, or passed relative, and the significance of the

before the group scattered in the Tikar region. Bamileke follows

head in the spirit world. They are not life like depictions, but

a well organized and structured pattern, called chiefdoms. The

conceptual. They are made unique within the beads work. It is

chief or Con, is con or Fong, and is considered as the spiritual,

held in the palm of hand to dance and mourn the deceased, or a

political, judicial and military leader. And the father of the

chief, or its mother. These are not trophy heads, nor a depiction

chiefdom.

of human skulls.

Kaka Keaka NIGERIA, CAMEROON Made of 100% Wood Model is 31 - 8 - 9 cm

This powerful and extremely rare figure is is a sculpture of the Kaka, probably depicting an important ancestors. With a bold crest and lateral grooves, round ears, an closed mouth and a long goatee. In typical Kaka proportions: without neck and compact, with long torso and arms bent forward. The legs are extremely short, the feet large. A characteristic feature of old Kaka figure is their thick, encrusted patina consisting of soot and clay. Made of hard, light-coloured wood. The scultpures are usually used in initiation rites, and during ceremony of transfer of command. The Kaka are a small ethnic group in northwestern Cameroon. They are neighbours of the Mambila, who live beyond the border in Nigeria. Like their neighbours, the Anyang and the Banyangi, the Keaka are renowned for their wooden masks covered in antelope hide. The Keaka have developped a rustic kind of sculpture; which stylistically, marks the transition between Igbo sculpture, and the art of the Grasslands.

Mambila Tadep Cameroon Made of 100% Wood Model is 31 - 8 - 12 cm

These Tadep figures are characterized by a heart-shaped face, enlarged head, outlined with wooden pegs. They are thought to embody ancestors who are responsible for the clan’s wealth. The Tadep figures were used in healing rites and to deter thieves. Some sources also link them to the promotion of fertility. The wide range of uses to which such a figure may have been employed was probably determined by the medicines in the possession of the owner, and how it was activated, rather than by specific stylistic characteristics of the sculpture itself. Mambila art centers upon an association called "suaga". It is primarily concerned with justice and supernatural cleansing within the community. The Mambila produced a considerable number of figures; pigmentation is often applied later. Mambila figures embody ancestors who, according to their beliefs, are responsible for the clan’s wealth. The figures appear with arched and bent short legs. The 25,000 Mambila, farmers and stockbreeders, occupy the region bordering Cameroon and Nigeria, to the north of Grassland. Land, every family’s property, is distributed by the group’s chief. They practice the ancestor cult and agrarian rites. The Mambila only worshiped family ancestors. According to their beliefs, at one’s death, the ancestors take away the soul of the deceased during the night. The chiefs of the lineage were buried in granaries, for they are representative of prosperity and life, just as the grains of millet.

Senufo Maternity Ivory Coast Made of 100% Wood Model is 148 - 18 - 30 cm

This impressive representation depicts a mother and child origintinating from the Poro society of the Senufo people of Mali. These sculptures are used to honor women and their maternal role in ceremonies and festivities of the Poro society. The well-carved female figure is usually depicted in a standing position, or seated on a stool, on the ground, with a nursing child and with protruding breasts, or riding a donkey. The child is always intently focusing on its vital nourishment, while the mother remains stoic – The fascination of motherhood. The mother head is rendered in a very expressionistic reality, with a pronounced mouth, large eyes and an elaborate coif or crest. The eyes suggest a sense of introspection and serenity as she fulfills her maternal obligations or duties. The mother's face is further adorned with complex linear incisions or scarifications on the temples and cheeks, front and back of her body. These are marks that are analogous to those made on Senufo women after reaching puberty. The essential matrilineal role is often reflected in Senufo artistic traditions. The mother represents the role of the elder, with figurative mother-child pairing during the ceremonies or processions. It nourishes its spirits. They call each young member of the initiation "my child" The surface of the sculptures is finished in a lustrous sticky patina,indicating the frequent application of oils as spiritual libations, but also for preservation.

Senufo Maternity Ivory Coast Made of 100% Wood Model is 54 - 28- 11 cm

Senufo Maternity Ivory Coast Made of 100% Wood Model is 69 - 18 -25 cm

Bamana Rider Mali

A superb abstract Bamana horse and rider figure hand-carved and used by the Bamana people of Mali. The sculpture features many elaborately carved details including the helmet atop the riders head.

Made of 100% Wood

The rider has very narrow, triangular facial features and uniquely

Model is 85 - 31 - 16 cm

short arms in respect to the rest of the proportions. The horse and rider share similar details including elongated necks and an overall narrow form. Bamana and Dogon equestrian figures reflect the prestige and power surrounding horses and thus their riders. Horses in the Bamana culture, and elsewhere, are associated with royalty, masculinity and warriors.The owner of a horse was not only rich but also worldly, for horses were the best means of movement, longdistance communication, trade and warfare.

Bamana Maternity MALI

Made of 100% Wood Model is 69 - 12 - 16 cm

A female figure, called “nyeleni” (small, pretty girl) originating from the Bambara, workers of the land in the savanna of Mali. They are considered to be extremely

beautiful.

They

illustrate

ideals

physical beauty and ideals of character and action and maternity. Figures such as this therefore are used in other rituals to embody the spirit of the ancestor of a clan, or gwa, And act as mediators in between the earthly world and the spirit. They are the object of offerings and are Believed to impart wisdom to the eldest male member of the gwa.The figures are brought out of the shrine to appear in annual public ceremonies. It has evoked stature, great dignity, and hieratic. A piece in clear Bambara style, with scarification on the head, neck, chest. The sculpture must have been part of sacred vocations, created as a display of religious beliefs and used in ritual. Bamana artistic traditions include pottery, sculpture, weaving, iron figures, and masks. They were created both for religious use

and

define

cultural

and

religious

differences. They however adapted many artistic traditions, including the N 'tomo mask from Ivory Coast. Others were created for vocational groups such as hunters, and farmers, often used as offering places by other groups after prosperous farming seasons, or successful hunting. Although most Bamana today adhere to Islam, many still practice the traditional rituals of honoring their ancestors.

Shango Maternity YORUBA NIGERIA Made of 100% Wood Model is 59 - 17 - 18 cm

This rare and beautiful mother-and-child maternity figure is named "Osé Shango" from the northeastern Igboland, Nigeria. The scepter is very successful with the quality of the sculpture representing a kneeling or standing woman holding a child on her back. A shango crest sits atop the head, with ethnic adornments and scarification and exceptional detail in the facial expression. It is made of dense wood, with a glossy honey brown patina. Shango is the god of thunder and lightning; and is recognizable by the symbol of the double ax he wears on his head. Shango is both feared in the context of justice and magic and venerated as his manifestations bring beneficial rain for crops. Shango is associated with the celestial fire that the rains cannot put out, copper, and fertility, and is in opposition to Ogun, the terrestrial fire, the fire of the forge. The Shango altar has an upturned mortar at its summit, and where there is a wooden plate containing Neolithic axes (attributes of the god of thunder), and which have a double edged blade. From this came the ‘Oshe Shango’ statues, that carried a double headed ax on their heads and were mostly women, symbolizing fertility, and a worshiper of Shango. It is also the symbol of strong sexuality. According to Yoruba belief, before the advent of modern medicine, women petitioned certain deities for fertility and the birth of a healthy infant. The Yoruba consider that ‘mother is the only deity worthy of worship’, and they see her as the container of the world’s secrets and mysteries, as manifest in several types of wooden, bronze vessels. For them, Motherhood is said to confer privileges and give credentials to the very foundations of society and women’s presumed roles in it. The Yoruba saying “Iya ni wura, baba ni jigi (“mother is gold, father is a mirror”) goes a long way in showing the importance of motherhood in African society.

Seated Yombe CONGO

Made of 100% Wood Model is 31 - 11 - 13 cm

This classical seated Yombe figure had been considered by the Kongo people a posture of circumspection, or a sign of one who reflects before speaking. The gesture also symbolizes an ideal chief. The figure is carved in the iconic Congo ‘phemba’ genre. Usually, "Phembas" represents a maternity classic theme of Yombé art that usually depicts (with variations) a mother sitting cross-legged (most times with a suckling infant on her lap), with a realistic face, gaped mouth, the body covered with keloid scarifications. Such figures in fact hold complex meanings related to statements of spiritual power supporting society, the importance of fertility, and the promise of future generations. These carvings, generally sophisticated and very graceful, were thought to favor such a happy event.

Baule Colonial IVORY COAST Made of 100% Wood, pigment Model is 44 - 10 - 7 cm

This colorful colonial sculpture originates from the Baule people of Ivory coast: it depicts a colonial satire, man in a suit with a tie, of light skin color, and dressed with a colonial white hat, to resemble modern everyday people and professions, and lifestyles of the French colonists in Ivory Coast. They are called blolo bla when they represent women, and blolo bian for men. Whether old style (with traditional clothing and a shiny patina) or modern (fully painted), these figurines represent powerful personages or spirit spouses and can be white or black (a colonist, a high military officer, a businessman, a beautiful woman ). In Abidjan, they are called “les en-haut de en-haut” (the tip top). Each Baule has his/her own spiritual blolo, dream wife or husband (sculpted by an artist-seer) whose existence he/she learned about in youth, often revealed by a soothsayer. These earthly forms of their heavenly spouse are permanently kept in the house of the owner. For some, these statues represent rivals of the living spouse: if the real husband is old, his wife’s blolo will be young and handsome, if the woman is sterile, her husband’s blolo will be a fertile woman, etc. These figurines are placed in contexts as well, slipped in their own bed, for example. Prior to European colonization, the region was home to several states including Gyaaman, the Kong Empire, and Baoulé. It became a protectorate of France in 1843-1844, and a French colony in 1893; in 1960, the country achieved independence.Today, the puppet theater in Ivory Coast often denounces corruption and works towards making people aware of social issues. In 1985, the Ki-Yi Mbock theatre, a professional artist cooperative, was created O M A D E female | 2 4 author/artist under the direction of NAbidjan’s Werewere-Liking (b.1950).

Baule Maternity Ivory Coast

This colonial sculpture originates from the Baule people from Ivory Coast. Baule figures can be among the most elegant and designed pieces in Africa. They are called "blolo bla" when they represent women and "blolo bian" for men. One can notice the intricate carving of the face, coiffure and scarification details, with refined forms but no loss of expressiveness and power.

Made of 100% Wood Model is 56 - 17 - 14 cm

They remain quiet, dignified figures, embodying spirits from the other world. They functioned as the home of a spirit to whom sacrifices were made and had cared. Baule Maternity figures depict the “spiritual” spouse who, in order to be appeased, requires the creation of a shrine in the personal hut of the individual. The Baule believe that before they were born into the world, they existed in a spirit world, where each one had a mate. Sometimes that spirit mate becomes jealous of their earthly mate and causes marital discord. When this happens, a figure depicting the other world spouse is carved and placated with earthly signs of attention. if the real husband is old, his wife’s blolo will be young and beautiful, if the woman is sterile, her husband’s blolo will be fertile etc.

NYAMWEZI Stick Figure Tanzania Made of 100% wood Model is 153 - 13 - 5 cm

This unusual elongated figure is called male "Nyamwezi stick"

The Nyamwezi people inhabit the land south of Lake Victoria.

figure; They originate from Tanzania. Nyamwezi or Nyamwezi,

Though they are large in number, socially they are organized

whose name means "Men of the Moon" in Swahili, but also means

into villages which correspond to small chiefdoms. Each chief is

"people of the west", are the largest ethnic group living in

responsible for the material wealth of the village, while the

Tanzania, with 500,000 people. Nyamwezi carvers are famous

village sorcerer governs the spiritual welfare of the villagers.

for their “stick” figures carved from a dark rich hardwood, with

Protection of each family comes from the cult of ancestors,

a shiny surface, and with the eyes inset made of circular white

which plays an important religious role in the life of the

beads, and mounted to a metal base. This particular one is

Nyamwezi people. Slavery was important; as with cattle, slaves

believed to be a male and a female combined figure, with a very

were also needed and wanted for their prestige value, for men

thin stature, it measure around 186 cm.

could gain influence and social connections, they could even make marriage payments with them. Chiefs and other

The exaggerated figures with lengthened arms and legs, and

government officials owned the largest number, sometimes well

distorted limbs were used in water divination ceremonies. The

over a thousand. Domestic slaves often lived and ate with their

stick figures are also danced in large numbers during the

owners, were allowed to work on their own, and could possess

harvest festival to promote a new beginning and growth.

their own slaves and livestock; loyal slaves could even be given part of a chiefdom, and it was not unusual for slaves to acquire positions of great influence and power.

Fertility Doll Luba CONGO Made of 100% Terracotta, shells Model is 21 - 6 - 8 cm

EKUK ANTELOPE KWELE - GABON Made of 100% Wood Model is 38 - 22 - 7 cm

Masks AFRICAN

ARTE

GALERIA

Masks are an essential feature of traditional African culture and

For instance, penitents use masks in ceremonies to disguise their

have served an important role in ritual and ceremony for

identity in order to make the act of penitence more selfless. This

centuries. They are both ideas and forms. The artistry of African

is a transformation of the mask-wearer into a spirit, which

masks is self-evident and, for the people who create them, they

usually relies on other practices – such as specific types of music

have a much deeper meaning than surface beauty.

and dance, or ritual costumes that contribute to concealing the mask-wearer's human identity.

Traditionally masks were made in various forms and shapes, and the craftsmen used readily available materials to make them.

When a ruler such as a chief or a king died, people used to make

Wood, ivory, metals and animal skin are some of the materials

masks which resembled that person, so as to honor him. These

used to make them. African masks come in all different colors,

masks also acted as evidence of the existence of that ruler, and

such as red, black, orange, and brown.

were made so that the ruler could be remembered in future.

Masks are often made to resemble people, animals and other

While the specific implications associated with ritual masks

objects that people identify with. Many African masks represent

widely vary in different cultures, some traits are common to most

animals. Some African communities believe that the animal masks

African cultures. For instance, masks usually have a spiritual and

can help them communicate with the spirits who live in forests or

religious meaning, and they are used in ritual dances, social and

open savannah.

religious events. Masks were very important during ceremonies because they were used to entertain the people. The masks made

In general, the mask form is a physical mechanism to initiate

dancers look more exciting, and they played a major role in

transformation, whereby the wearer takes on a new entity,

arousing the interest of the audience.

allowing him to have influence on the spirits to whom he is appealing to or offering thanks. In the past, masks were used to

A special status is attributed to the artists that create masks, and

associate the wearer with some kind of unimpeachable authority.

to those who wear them in ceremonies. In most cases, mask-

This means that influential people in society used to wear masks

making is an art that is passed on from father to son, along with

as a symbol of power and authority.

the knowledge of the symbolic meanings conveyed by these masks.

Masks used for rituals conceptually transform the wearer into a spiritual being, losing their human form in the process.

AVRIL

2022

•

AFRICAN

ART

SYMBOLISM

AND

DIMENSIONS

MASKS

Ekuk Antelope Kwele GABON

Kwele masks with two large horns represent the antelope whose flesh was eaten at the end of the ‘beete’ ritual. The beete ritual, which lasted for a

Made of 100% Wood, pigment

week, would open with the departure of men into

Model is 50 - 23 - 9 cm

the

forest

hunt

antelope,

whose

flesh,

seasoned with medicines, had to be eaten at a meal at the closing ceremony. There are two primary masks used by Beete dancers, one resembling the antelope (Ekuk) and the other a gorilla (Gon). The Heart-shaped "ekuk" masks represent the peaceful spirits which might be encountered during the hunt, as opposed to the "gon," which symbolizes danger. Kwele faces are usually painted in white kaolin earth, a pigment associated by the Kwele with light and clarity, the two essential factors in the fight against evil, and the color of the spirits. The Kwele masks embody protective bush spirits, with the antelope a dominant presence among them, and originate from the rain forests of Gabon on the western coast of Africa and are hand carved by the Bwete association, in charge of

maintaining

social

order.

The

mask

presented during initiation rites to warm up the village atmosphere in order to activate the beneficial

forces.

Maskers

made

the

spirits

manifest. and or at the end of a mourning period to promote well-being within a community. The Kwele people are a tribal group of eastern Gabon, Republic of the Congo, and Cameroons in Central Africa. They fled the coastal area of West Africa

during

the

19th

century,

after

their

traditional enemies acquired firearms from the slave traders. This altercation is often called the "Poupou" war. The Kwele then settled into lands between the Dja and Ivindo rivers. The Kwele are noted for their ceremonial masks which are collected as art objects. Thought to represent benevolent

forest

spirits,

the

Kwele

masks

represent people or animals, or a combination of the two. Many lack eye slits; the masks are shown rather than worn, and hanged in the household.

KUMU KOMA RDC Made of 100% Wood, raffia Model is 35 - 17 - 6 cm

Koma, Kumu people originate from the tropical rainforests of

A culturally important ritual for the Kumu people is the

Ituri, in the eastern part of Congo. They are farmers with

circumcision of boys as they enter adulthood. The nsembu

animist traditions. The Koma masks represents the spirit of

mask is used exclusively by members of the Nkunda secret

the diviner. The characteristic of the masks are often found of

society for adult initiation. They also use the mask for

the same shape, with reddish to dark brown pigmentation, no

divination under the effect of hallucinogens.

teeth or pointed teeth, a gaping expression, eyes and mouth wide open. Ethnic scarifications on the cheeks, and forehead

Kòmò experts reinforce their authority as they identify

mimicking the land of the living map. They are adorned with

malevolent forces, track down criminals, and offer

raffia, used during judicial decisions by the kòmò association

individuals solutions to their problems. The Komo

members. The mask are further enhanced by the application

association members enforce community laws, make

of ritual substances formed from a mixture of earth,

judicial decisions, and offer protection from illness,

sacrificial animal blood, and medicinal plants. This material

misfortune, and malevolent forces.

was replenished on a regular basis, endowing the mask with the critical life force, or nyama, that is the source of its extraordinary power.

Igbo Alusi Nigeria

These two masks belong to the Igbo tribe of Nigeria, carved from camewood, with a mineral polychrome, and white kaolin, on a dry patina. They represent the feminine spirit of the afterlife, protective divinities associated with elements of nature (the rivers, the earth) or social elements (markets, ancestors). They give the impression of balance and stability yet lacks the degree of refinement and precision - hence is symbolic of aggression and perseverance. They are displayed during ceremonies and strengthen the sense of community solidarity.The

Made of 100% Wood

scarring and the ornaments represent lineages, and age groupt. Ibo

Model is 33 - 16 -19 cm

sculpture is subject to rather strict rules: they are characterized by complex facial expresssions and hairdos. We find a fang head or hornbill

Made of 100% Wood Model is 66 - 10 - 14 cm

on top of their crown. They present large discs around the eyes with a long thin nose and disappearing mouth, a bird looking face on mask 1, and ornate with jewelries, horns, baskets on mask 2. We notice the influence of the Fang, acarved head or figure mounted on top of each reliquary box guarded the sacred contents against the forbidden gaze of women and uninitiated boys. The earliest reliquary guardians were heads, but by the beginning of the twentieth century busts and full figures were also being made. The lack of overall centralization among the Igbo-speaking peoples has been conducive to the development of a great variety of art styles and cultural practices. They present the status symbols of influential people. They are gathered in sanctuaries on the model of familial Igbo groups. The heads of families form the council of elders, which shares its power with numerous secret societies.They are highly hierarchical, their members passing from one level to the next. There is strong social pressure toward individual distinction, and men can move upward through successive grades by demonstrating their achievements and their generosity.

IGBO Alusi NIGERIA

Made of 100% Wood Model is 33 - 16 -19 cm

The Makishi is a masked character, representing the spirit of a deceased ancestor who returns to the world of the living to assist the

Makishi Zambia Made of 100% wood, pigment, shells Model is 25 - 30 - 3 cm

boys. The Makishi masquerade is performed at the end of the mukanda, an annual initiation ritual for boys between the ages of eight and twelve. This ritual is celebrated by the entire village, with Makishi dance and pantomime- like performance until the graduates re-emerge from the camp to reintegrate with their communities as adult men. The completion of the mukanda is celebrated with a graduation ceremony. The mukanda also has an educational function of transmitting practical survival-skills as well as knowledge about nature, sexuality, religious

beliefs

and

the

social

values

the

community.

performance mechanism used to explain, cope with, and often celebrate life's most difficult transition and transformation. In former times, it took place over a period of several months and represented the raison d’être of the Makishi masquerade. Today, it is often reduced to one month in order to adapt to the school calendar. This adjustment together with the increasing demand for makishi dancers at social gatherings and party rallies, might affect the ritual’s original character.

This zoomorphic abstract animal depicts a bushcow from the Mama people of the Benue river in Eastern Nigeria. It is a classic example of

Bushcow Mama - Nigeria Made of 100% Wood Model is 18 -40 - 24 cm

a traditional African animal carving created by the Mama people. The Mama buffalo-headed male sculptural carving represents a highly schematized wooden zoomorphic head of a bush-league cow with a rich patina.The figure’s composition is the result of a sophisticated imagination, one that takes the complex and makes it deceptively simple. The mask is carved from a hardwood and coated with a liberal amount of red pigment (camwood) and in very fine condition. This dynamic tripartite abstract ( Mama mangam) essentially consists of a dome-like cap, a circular rack of horns and an elongated, protruding mouth. The horizontally worn headdresses symbolize a protective bush-league spirit and emphasize the characteristics of their abstraction from natural referents to an actual bush cow. These animals are closely related to the material prosperity provided by good harvests. From an artistic viewpoint, the Mama are producers of rather abstract statuary, as well as masks that are associated with the world of the ancestral spirits – spirits who exercise an important function of social control. Their dance took place within the framework of the mangam cult. Outside the areas reserved for the cult, buffalo skulls, occasionally set in mud walls, prove that the animal, in the form of skulls or masks, played an important role in the Mama’ancestor cult. They share some common features with masks of the neighboring Mumuye.

Vili Yombe Congo Made of 100% Wood Model is W 3.5 – H 36 and weight 3.4 k

Made of 100% Wood Model is W 3.5 – H 36 and weight 3.4 k

Each mask seems to depict a portrait, with incisions, and represents a supernatural being, an expression of the imaginary in which the ancestors are confused. The Vili Yombe appear in groups to dance at important funerals and other occasions of potential disorder, serving as a kind of police force.These artifacts are "commentaries by themselves". These mediating masks also present in initiatory procédés, were used by fetishists during healing rituals. Such masks may also be also used by the Khimba Society in adult initiation rituals, probably by the nganga diphomba himself, or diviner, they play an important role in Yombe society, detecting and punishing sorcery. They were also associated with justice, order, truth, invulnerability, and insight—all virtues associated with the

These wooden masks are typical classical form of the Vili Yombe

nganga.

tribe of the Democratic Republic of Congo. It is also called "Bavili", "Fiote", "Ivili", "Loango", meaning black. The face masks

Adept at crafts and art, the Vilis are involved in weaving,

of the Vili Yombe are characterized by a realistic design, or

carving, and smelting, and the women make clay pots. Popular

portrait with pointed or round coiffures, crowns or helmet, and a

figures include the Nkisi Nkonde and female phemba statues.

striking color scheme. They give their masks a veritable

Other masks, by contrast, which have a symmetrical painted

expression of sadness and mourning by painting them yellow,

design in white and black, are employed in ritual by Basundi of

black, white, on the overall face, and one color pigment on the

the Bakhimba sect, which runs the bush school. Vili artists also

hairline, brow, and neck, chin, and mouth; sometimes red

carve with naturalistic features maternity figures of dogs and

pigment can be found on the mouth, at times slightly open with

monkeys often carrying mirrors, nkissi (magical objects) or

sharp teeth. The masks are pleasing and well proportioned in

nails. Much of the region’s art was produced for social and

their simplicity, and vary in color, from shiny to matte.

political leaders such as the Kongo king.

Vili Yombe CONGO Made of 100% Wood Model is 33 - 12 - 17 cm

Wanyogo Helmet Ivory Coast

The wild boar, when angered, is a destructive and mindless force, its erratic and violent nature the very opposite of the principles the Poro society emphasizes with regards to ideal human behavior.The sculptor contrasts the sharp angles of the many teeth and tusks with the more subtle forms of a pair of chameleons at the top of the helmet. The chameleon is a potent icon with references to transformational powers as well as primordial knowledge.

Made of 100% Wood Model is 29 - 82 - 26 cm

The

masquerade

also

incorporates

natural

substances

and

iconographic elements linked to the aggressive and combative This zoomorphic helmet masks is worn by members of the all-male

Senufo

Poro

association

during

funerals

powers of dangerous creatures of the bush.

important elders and other ceremonies. These prestigious

The Senufo peoples consist of more than thirty subgroups with

and powerful masks are visual statements that acknowledge

many local variations of language and custom, and occupy a large

the reality of evil while simultaneously offering a means to

area that spans the national boundaries of Côte d'Ivoire, Mali, and

control it. Linked to the aggressive and combative powers

Burkina Faso. Among Senufo males, participation and completion

of dangerous creatures of the bush, this mask’s virulent

of Poro society rituals is universal. Initiation societies like Poro

attributes—jaws and teeth like the dragon, or crocodile, but

extend across kinship lines and household ties and create a vital

the most dominant motifs of these wanyugo helmet masks,

sense of cohesion within the community. In a highly structured

are the warthog jaws, tusks, and teeth that sprout from

series of age grades and corresponding rites, the initiate "walks

sides to side. These elements allude to knowledge, power,

the path of Poro," which leads to responsibility, wisdom, and

danger, and death. The dagger like tusk is a visual

maturity. Graduation ceremonies, characterized by strenuous

metaphor of the pain and disorder that is brought about in

masquerade performances, are moments of great joy and pride, as

Senufo

the men assume positions of greater respect and authority within

society

malevolence.

through

supernatural

and

human

their community.

EKET Nigeria Made of 100% Wood Model is 39 - 12 - 30 cm

Kidumu Teke Tsaye Congo

This mask belongs to the Teke tribe of the Democratic Republic of Congo, it originates from the upper Ogowe region. The Teke used the moon-shaped masks - flat, decorated with abstract geometric motifs, bisected by a horizontal stripe, colored with white or red earth, painted

black,

blue,

and

brown.

They

portray

abstractly

interpreted human face. The masks have narrow eye slits to enable the masker to see without being seen. They have holes pierced along the edge for the attachment of a woven raffia dress with feathers and fibers. The mask is held in place with a bite bar at the back that the wearer holds in his teeth. The dress would add to the mask's costume

Made of 100% Wood, pigment Model is 37 - 14 - 24 cm

and conceal the wearer. At the same time, the design is a composition of symbols. Teke masks are worn by members of the kidumu society either during the funerals of chiefs, or weddings, or important meetings. The masks represent the spirits by a secret society that restores a society called the Kiduma'. after a death. The Kiduma are considered very much in charge of social celebrations, and initiation ceremonies of young men entering adulthood, and powerful and spiritual rituals, and funerals. The mask is also used as a social and political identifier of social structure within a tribe or family. Part of the mask belongs to the revival period of the Teke, people of the Democratic Rep. of Congo. These headpieces appeared in masquerades linked with a nature spirit called Nkita. Young male members of an association entered the village from the wilderness and executed vigorous, cartwheeling dances.

Senufo Kpelie IVORY COAST Made of 100% Wood, pigment Model is 49 - 9 - 20 cm

This

striated

mask,

Kifwebe,

originates from the Songye, southern part of the Democratic Republic of the Congo. These types of masks were used to mark important periods of social transition and transformation, appearing at the death of a chief or any other eminent person, or when a person

assumes

important

political role. Worn on the night of the

new

moon,

they

are

also

performed in honor of ancestors. Masks in the Luba-Songye style are distinguished by the convex forehead over

concave

facial

plane,

the

almond shaped downcast eyes, the broad band bisecting the forehead and

continuing

down

the

nose

terminating in a sagittal tip, and the lined surface design in relief. combination

Luba

and

The

Songye

styles is typical for the border region between both people and has historic roots. The

Luba-Songye

origins

three

attributes spirits,

its

which

emerged from a ditch near a lake. The female spirit was attracted by humans and went to live among them. The two male spirits stayed in the bush but visited the village where they dazzled the inhabitants with their dancing to the point where the men begged to be initiated.

These

distinctive

masks

vary a great deal but in general, are characterized by linear patterns all over the face. They were worn with a raffia

costume.

male/female representing

Danced couples

spirits,

in and

kifwebe

connects this world and the spirit

SongiSongey Kifwebe CONGO

world. They also are perceived as having healing abilities.

Made of 100% Wood, pigment Model is 39 - 28 - 17 cm

PUNU DEATH BED GABON Made of 100% Wood Model is 39 - 18 - 29 cm

PUNU DEATH BED GABON Made of 100% Wood, pigment Model is 33 - 15 - 22 cm

Made of 100% Wood

Model is 29 -14 - 18 cm

Model is W 33 - 15 -22 cm

These beautiful Punu masks are called ‘Okuyi’ or ‘Mukudji, a

The dark coating is made from crushed seeds mixed with palm

superb classicism, originating from the Punu tribe, south of

oil. The white coating is made of kaolin (pembe) and genderless.

Gabon. It was worn during acrobatic dances by men on stilts. The

White is a symbol for peace, deities, spirits of the dead, and the

face is very well made, delicate, full of serenity with its white

afterlife.

coating, coffee bean eyes set on swollen eyelids. The finesse of

celebrations and memorials. Therefore the masks were worn

the lines – delicately hemmed protruding pursed lips, high-

during funerals. They appeared also in the magical rites whose

domed

function was to unmask sorcerers.

foreheads,

and

characteristic

rigid

high

coiffures

thus

the

predominating

color

funeral

reflecting the Punu women's hair styles giving a discreet movement, shaded arch of the shaded eyebrows, subtle hollow of

According to the tradition of the Punu masks of South Gabon,

the orbits determining the marked cheekbones, suggesting a

the entity represented celebrates, through an idealized image,

"internal vision". The distribution of the scales in a diamond

the

shape

organization and the world of spirits.

signifies

femininity

whilst

square

form

signifies

beauty

women

and

their

importance

social

masculinity. Given that many masks have a diamond shaped raised motif on the forehead and two square motifs on the

They may have served as training masks for novice dancers.

temples,

fact

They may also have been old white masks repainted black at the

androgynous. The headdress made of large curved braid is more

occasion of collective misfortune such as (epidemic, crime, or

realistic than the headdress with nuts which is classic padded.

witchcraft). They may also have had a judicial function and

Okuyi masks are an incarnation of an ancestor occurring

helped to uncover witches.

this

may

signify

that

these

masks

are

especially during mourning ceremonies. Objects which exalted the beauty and importance of women for the Punu, these masks

The term Punu can as easily signify ‘valiant warrior’ as ‘bandit

were also among the first African objects to receive recognition

of the great deadly path’. There was a dissident faction, the Bjag

from

or Bayaca, meaning ‘warrior’, ‘wild’, ‘killer’ that battled against

modern

artists.

The

masks

often

have

Oriental

expression, but no such influence has been established.

the Kingdom of Kongo (Christianized in 1491), and against the Portuguese that intervened following the taking of the Kongo

These masks are remarkably translated by the sensibility of expression and patterns. Black masks are rarer than the coated white ones among collections, perhaps due to their malevolent nature which may have made villagers hesitant to show them to Europeans.

capital San Salvador in 1569 by the Bayaca.

Punu Okuyi Gabon Made of 100% Wood Model is 35 - 22 -13 cm Made of 100% Wood Model is 45 - 17 - 12 cm

Ogoni Nigeria Made of 100% Wood Model is W 32 - 18 - 14

This masquerade mask belongs to the Ogoni tribe of Nigeria.The Ogoni are perhaps the oldest settlers of the Eastern Niger Delta, living south of the Igbo, west of the Ibibio, and just inland from the Andoni peoples of the Atlantic coast. The Ogoni live in a fertile area rich in petroleum resources. Despite the efforts of Christian missionaries, they have retained a vital, regionally varied masquerading activity that is in part deeply rooted in their own tradition and in part adopted from neighboring ethnic groups such as the Ibibio or Ijo. They have maintained more of their pre-colonial culture and their arts exhibit less iconoclasm than that experienced by other groups. Though sculptures varies regionally, the majority fall into one of several categories: small face masks of men and women with articulated jaws and narrow teeth, usually made of cane; larger and more grotesque masks representing unruly spirits, some of which have articulated jaws; small masks depicting animals, such as antelope, goats, deer and monkeys; larger masks depicting fierce animals, such as crocodiles, leopards and pigs; human figures worn on top of the head representing ancestors or title holders; or puppets with articulated limbs and jaws. Ogoni mask dances serve a great variety of functions, which, depending on the region, can extend from pure entertainment to participation in funeral services and harvest festivals, all the way to the implementation of judicial verdicts. The masks of wild animals are danced, acrobatically, on the occasion of agrarian rituals. Historically, masks were worn in ritual performances for funerals and when yams were planted and harvested. More recently they appear at Christmas and New Year celebrations and to welcome important visitors.

OGONI NIGERIA Made of 100% Wood Model is 29 - 22 - 15

NURUMA (NUNUMA) BURKINA FASO Made of 100% Wood, pigment Model is 37 - 7 - 15 cm

This carved mask made of wood, raffia, metal, polychrome

they are used every year, especially during the cleaning

pigment, kaolin, often differ only in the shape of their horns

celebration of the village at the beginning of the rainy

and ears: They are designed from the animal of the bush, from

season.When rituals are properly executed, the community

antelope such as this one, to crocodiles, buffalo, warthogs,

receives fertility and prosperity.

hyenas, calaos, and serpents; they represent the wild spirit of

The property of an individual, a mask will, upon the

the forest. The eyes protrude, surrounded by concentric

owner’s death, be given to his son or kept in the hut of the

circles, with a rather short snout on the animal masks, and a

ancestors of the lineage.

large and protuberant mouth on the more abstract masks. Decorated with geometric motifs, the masks are repainted

Nunuma art is distinguished in particular by its very

every year; they are found throughout the region.

colorful masks - red, white and black - statuettes in clay and wood, stools and jewels, generally destined to honor

The wearer of the mask may be invisible underneath the fiber

the ancestors.

skirt and must behave as the animal does, imitating its gait.

ceremonies at the end of initiation, at the funeral of

The mask’s role is important during

These types of masks are not only used in funeral ceremonies,

notables, and as entertainment on certain market days.

FANG NGIL GABON

Made of 100% Wood, pigment Model is 71 - 26 - 13 cm

This abstract carving depicting a portrait, and pigmented with kaolin, a white powder called pembe originates from the Fang tribe. They

Ngongtang Fang Gabon

were meant to protect. The "Ngontang" dance society also used white masks, sometimes in the form of a four-sided helmet-mask with bulging forehead and eyebrows in heart-shaped arcs. The ngontang mask symbolizes a ‘young white girl’. They are of great aesthetic quality, which suggests that they are the culmination of a long sculptural tradition. Symbolic representations of ancestors, these comparatively rare masks hold a special place in the corpus of Fang statuary. They became a source of fascination as early as the 1910s and

Made of 100% Wood Model is 29 - 17 - 23 cm

1920s for some of the most prominent pioneers of African art. The Fang are best known for their wooden reliquary figures which are abstract anthropomorphic carvings. Symbolic representations of ancestors, these comparatively rare masks hold a special place in the corpus of Fang statuary. The ensemble of Fang peoples practices a cult devoted to ancestor lineages, the bieri, whose aim is to both protect themselves from the deceased and to recruit their aid in matters of daily life. This familial cult does not monopolize the Fang’s religious universe, for it coexists with other beliefs and rituals of a more collective character. The statuary of the Fang can be classified into three main groups: heads on long necks, half-figures, and full figures, standing or seated. Carved with great simplicity, at the same time they exhibit a high degree of sophistication in the coordination of bulbous forms. The neck is often a massive cylindrical form. Usually, there is a domed, wide forehead and the eyebrows often form arcs with the nose. The eyes are often made of metal roundlets.

This Mvondo originates from the Lwalu (Lwalwa) tribe of the Democratic Republic of Congo. Mvondo male masks are also called

Mvondo Lwalwa Congo

"mfondo" and "nvondo". The mask of the "Mvondo" typically display a balanced composition, an enlarged angular nose reminiscent of the "nkaki’s", a protruding mouth and slanted eyes set under a deeply formed forehead. These sharply delineated features give Lwalwa art almost geometric lenticular appearance, and a smooth adorned surface. The mask is Carved in "mulela" wood and pigmented with the mukula fruit of Bixa Orcellana. The "Ngongo" masks are danced to ward off misfortune during hunting. During the initiation ceremonies, they are also in charge of the creation of masks used by the secret Ngongo society (also named

Made of 100% Wood Model is 19 - 14 - 9 cm

"Bangongo") .They played a definite role in the fertility ritual and also in the cult devoted to the spirits, and were to be kept away from women. Lwalwa carvers are famous for their masks, the sculptors occupy a privileged place within the society, they are handsomely paid, and are responsible for the initiation and circumcision of young men and boys. Successful sculptor can accumulate wealth, become a leader and organize dances - and the Lwalwa are renowned dancers.There are three other types of wooden Lwalu masks: "Nkaki" male mask (also called "mkaki") Shifola male mask (also called "cifola") and "Mushika" female mask (also called "kashika"). The created masks are worn in masquerades, in nocturnal representations and appear in groups of ten. The choreography of masked dances was highly complex, in the past, when humans were still sacrificed, it is said that the masked dancers would appease the spirits of the victims and obtain their help as intermediaries between the kingdom of the living and that of the spirits. Nowadays, masks still play a role today in secular festivities. the mask dances are performed for payment, and their magic has largely given way to entertainment.

Mfong Anaang Nigeria

It is among the Anang, also called "Anant", located in south Nigeria and specifically Akwa IHOP state and Avia State, that one finds the most theatrical staging of the masks, with the intervention of a high number of persons. The Anang are regarded as the most artistically prolific of the Ibibiospeaking peoples in the Cross River area. The key masquerade

Made of 100% wood Model is 38 - 17 - 21 cm

performances takes place after the harvest, and are considered to mark the visit among humans of the ancestral spirits (ekpo) represented by the masks. They are also known for the efficacy of their traditional spiritual powers ( charms), for relating to spiritual beings that has become a way of life among the people. They show prowess in trading, and their own renowned art. This extends to murals, paintings, raffia, masks etc.. The art of eastern Nigerian ethnic groups is in fact characterized by its absence of uniformity. In the same community, one may encounter different styles employing an identical technique. It is among the Anang that one finds the most theatrical staging of the masks, with the intervention of a high number of persons. In addition to masks with grotesque features (idiok), which are considered dangerous and may be viewed by ekpo members only, there are masks embodying the “beautiful” spirit (mfon), which serve principally as entertainment.

This abstract zoomorphic masks represents the totemic animal of the Mossi people of Burkina faso. In the southwest masks represent animals such as antelope, bush buffalo, and strange creatures, and are painted red, white and black. Each family would refer to an appropriate myth explaining the mask’s

Mossi Burkina Faso

origin: generally, it was most often a catastrophe that had brought a sacred animal, or even a god, to make a gift of a mask to an ancestor, the power of mask allowing the restoration of order within the clan; then, too, at the ancestor’s death the mask would become the material structure of his soul. These masks made their appearance several times during the course of the year: they would escort the dead, thus helping them to join the world beyond. Masks are carved of the wood of the Ceiba pentandra, the faux

Made of 100% Wood Model is W40 x 14 19 cm

kapokier. They are carved in three major styles that correspond to the styles of the ancient people who were conquered in 1500 by the invading Nakomse and integrated into a new Mossi society. The masks preside over the sacrifices offered at the beginning of the rainy season, which were to insure the community a good millet crop and harvest of wild fruits. They “supervised,” before the first harvest, the deference given to planted seeds corresponding to a period of famine. Between “appearances,” the masks remained on the family shrine, where they received prayers and sacrifices for those members of the family who were in need, and they aided communication with the ancestors. The mask types evince regional differences. Maintaining good relations with the ancestors and a variety of supernatural forces is a major concern of Mossi ritual and motivates art production in the region.They also appeared only at the funeral of the sovereign.

The Guro have a much stronger tendency to add totem animal

Guro Ivory Coast

features to the human face – often carved in elaborate geometric patterns, surmounted by horns. Rather well known is the zamble mask combining the features of hyena, crocodile (or leopard) and antelope. Most of them are polychrome. At ceremonies the Je society animal masks are the first to appear, and they prepare the audience for the performance of the more powerful, anthropomorphic figures. This Je male society uses a variety of anthropomorphic and zoomorphic masks, some fitted with staff-like superstructures, all

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ostensibly fatal for women to view.

Model is 42 - 21 - 13 cm Guro

Made of 100% Wood Model is 39 - 11 - 14 cm

artists

also

carved

figures,

which

appear

either

during

entertainment festivals on the head of a dancer, or are kept in houses and employed as divination figures. These standing figures are carved with their hands on their hips and have a columnar neck supporting a head with similar features to the face masks. Their beautiful weavingloom pulleys are surmounted with heads, often female, of great elegance, embodying the protective spirit of labor. The art of the Guro is distinguished by extreme refinement. The Baule and Guro styles are difficult to separate. Guro masks originate from the west coast of Africa and more specifically from Ivory Coast. Guro mask is very unique and has a combination of human and animal traits and imaginary beasts.

Goli Kple Kple Ivory Coast

Baule art is sophisticated and stylistically diverse. The Baule created art in several media, including wooden sculpture, gold and brass casting similar to their Asante ancestors, and mask and figure carving, which have been greatly influenced by their Senufo, Mende and Guro neighbors. Masks correspond to several types of dances: the gba gba, the bonu amuen, the mblo and the goli. The masks have complex symbolism. At each stage, one mask is “male” and another “female”, although the differences between them are subtle, but with

Made of 100% Wood Model is 45 - 27 - 10 cm

Made of 100% Wood Model is 54 - 30 - 10 cm

male and female aspects, since they represent aspects of one individual. This mask called Goli kple kple originates from the Akan people of Ghana and the Ivory Coast who are known as the Baule. It is a traditional African dance and masquerade mask. A single performance of a goli lasts an entire day. The goli originated among the Wan people, neighbors of the Baoulé. The face of the goli mask is flat, the eyes have an oval shape and the mouth is rectangular, the mask also has two horns from the top of the head that represents power and strength. The round head is said to stand for the sun, and the horns for the buffalo. The most popular Goli is used as a symbol of fertility during agricultural and commemorative ceremonies. They differ in color, from blue representing infinity, eternal, to red, for death, renewal, protection, immortality and leniency. Other colors such as black, are for good luck, and prosperity, and brown and yellow for virtuosity. The goli kple kple are also used in rituals designed to cleanse the village of witches. Worn horizontally over the head, the masquerader performs fast, strenuous but controlled stamping movements under the weight of a heavy raffia costume.

Buffalo Dogon - Mali

A mask not painted or shining is devoid of life in Dogon aesthetics. When seen in performance, the masks bring to life ancestors, that may be human, animal, or vegetal. The function of the dama, apart from raising the taboos, is to master this secret force that emanates from the deceased and

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direct it through the medium of masks to the sacred places where

Model is 30 - 49 - 40 cm

it will in some way or another be fixed. At the end of the dama the deceased will belong to the ranks of ancestors. It is through them that the word of Amma, the Creator, will be transmitted again in all its vital force to mankind, fertilizing the fields and making

This abstract animal figure is carved in the most simplistic

fecund the women and the cattle.

way, and depicts a spirit of the bush, a buffalo, in the Dogon culture. The piece originates from Mali, located in the

So again, Dogon art deals with the myths whose complex ensemble

administrative districts of Bandiagara and Douentza, Mopti

regulates the life of the individual. They serve to transmit an

region. Their ritual's goal is to ensure the safe passage of the

understanding to the initiated, who will decipher the statue

spirits of the deceased to the world of the ancestors.They also

according to the level of their knowledge. Other carved animal

ensure a good harvest, and conveying spiritual presences in

figures, such as dogs and ostriches, are placed on village

initiation rituals or burial ceremonies.

foundation altars to commemorate sacrificed animals, while granary doors, stools and house posts are also adorned with

Dogon masks imina evoke the form of animals associated with their mythology, yet their significance is only understood by the highest ranking cult members whose role is to explain the meaning of each mask to a captivated audience. Others symbolize totem animals, creatures important to a certain family or group. The colors in which they are painted always reveal the four basic elements, Black refers to water, red to fire, white to air, and yellow or ochre to earth. They consider them the matrix with which the creator Amma brought the universe into existence.

figures and symbols

Chokwe (Ngulu) RDC, Angola

This abstract zoomorphic mask depicting an animal of the bush,the

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spirit or an ancestor, and is worn by a professional dancer, going

Model is 19 - 32 - 19 cm

from village to village, and appearing in akishi a ku hangana dance

pig or an aardvark is called Ngulu, and originated from the chokwe people of RDC. The animal presents a vertical ribbed pattern, pigmented in kaolin, around the groin, with almond shaped eyes, and large ears animating the smooth and glossy surface. Like most chokwe masks, it is coated with red ochre, a dark earth clay pigment. The effect is a deep brown color. The animal evokes a

making obscene gestures, contrasting with the civilized and subtil Mwana pwo dance. usually compliments the contours through the holes. The Mukanda carve traditionally about thirty African wooden masks that contract with the other dance masks. They portray the Cikugu, Congo, pwo, kalelwa, cikunza and Ngulu.This types of animal mask were worn as an helmet, and adorned with cotton fabric,

and

various

small

objects,

during

masked

dances,embodying the social aggressive or unpredictable spirit or an known ancestor, manifested during the rites of the Mukanda, including circumcision, during which their identity must remain hidden from the eyes of the crowd. The accessories, color and behavior depended on the case of moral value, fertility, or strangers' parody.

BLACK MONKEY DOGON MALI

Made of 100% Wood Model is 32- 13 -15 cm

Black Monkey Dogon - Mali

These pieces originate from the Dogon people of Mali. They represent an abstract monkey mask to conform to Islamic rules concerning images of people or animals, with long muzzles lengthened towards the bottom, like a nose and small rectangular eye sockets; the top of the head is elevated. According to Dogon beliefs, The myths of all may not be known, but it has been written that the black monkeys, Dege, are the “male villains of the bush”. The black monkeys stand for dangerous, and antisocial behavior, wickedness, gluttony and must not be emulated because it is the antithesis of the Dogon order – the direct opposite of their beliefs about the way a proper, solid, upstanding Dogon person is expected to behave. The Dogon utilize

Made of 100% wood Model is 37 - 14 - 19 cm Made of 100% wood Model is 32 – 13 - 15 cm

three types of monkey masks which are identified solely by their color rather than their shape. For the Dogon, Dege is the black monkey, while the white monkey is known as Omono, and the red monkey is called Ko. There are nearly eighty styles of Dogon masks, and for the most part they all utilize the use of various geometric shapes in their design, independent of the various animals they are supposed to represent. Most masks have large geometric eyes and stylized features and are often painted or colored with various vegetal pigments. The better known Kanaga and sirige masks are followed in the dama ceremony by masks that evoke the behavior of some of the animals that inhabit the regions where the Dogon live and hunt. They include among others – antelopes, hares, lions, hyenas, cows, birds and monkeys.

DAN IVORY COAST Made of 100% Wood Model is 35 - 9 - 25 cm

The Ntomo (also called N’domo) Bamana mask originate from Mali. They were worn by boys as they passed through the early cycle of initiation into manhood. The ntomo masks with thin mouths underscore the virtue of silence and the importance of controlling one's speech. During their time in ntomo, the boys learn to accept discipline. They do not yet have access to the secret knowledge related to Koré and other initiation societies. Members wore a wooden face mask during the initiation festival at harvest time and when begging for rice. The six societies are N'tomo, Komo, Nama, Kono, Chi Wara and Kore. Number of horns also believed to signify aspect of human creation 3 horns = impulse, desire 4 horns = passivity, sufferance 5 horns = need for man to work in order to live 6 horns = senses through which man comes to know the world 7 horns = joining of man (4 horns) and woman (3 horns) in marriage and society 8 horns = reincarnation As part of the six initiations societies collectively known as Dyow, the main aim of the initial 5-year long N’tomo Dyo is to prepare uncircumcised boys for adulthood and to educate them about life including farming skills and discipline. Each initiation society has its own associated mask type (mostly zoomorphic, i.e. based on animal forms) including the n'tomo mask. The masqueraders wearing the masks, enter the village compound to announce the start of a ritual or a puppet masquerade. There are two main style groups of their masks. One is characterized by an oval face with four to ten horns in a row on top like a comb, often covered with cowries or dried red berries. The other type has a ridged nose, a protruding mouth, a superstructure of vertical horns, in the middle of

BAMANA NTOMO MALI Made of 100% Wood Model is 40 - 20 - 12 cm

which or in front of which is a standing figure or an animal. The korè society is perceived by the Bambara people as the “father of the rain and thunder.” Every seven years a new age-set of teenagers experiences a symbolic death and rebirth into the korè society through

initiation

rituals

whose

symbols

relate

fire

and

masculinity. Initiations take place in the sacred wood, where the youths are harassed by elders and the clown-like performers called korédugaw. In their general form and detail, a group of korè masks conveys concepts such as knowledge, courage, and energy through the representation of hyenas, lions, monkeys, antelopes, and horses. In addition there are masks of the nama, which protect against sorcerers. Today it closely resembles various Western associations in its bureaucratic structure and its administrative and membership fees.

BOZO MALI Made of 100% Wood, pigment Model is 36 - 12 -39 cm

BOZO MALI Made of 100% Wood, pigment Model is 28 - 13 -13 cm

BAULE MBLO IVORY COAST Made of 100% Wood Model is 49 - 13 - 15 cm

This mask comes from the Bamileke people of Cameroon. They are worn as headpieces on the head. Among the Bamileke, such masks were used during the Kuosi society ceremonies. Kuosi is a regulatory society formed by members of royalty to enforce the laws and tradition. The elephant and also leopard are those animals related to this society and connected with the power, strength, and wealth of the kingship. skillfully carved from one piece of wood, the artisan has captured the essence of the elephant with a domed head, large circular and curved ears positioned as if in a steady motion. Two modest incised circles serve as eyes appearing downcast on its bold, prominent snout. A fine, blackened patina with wears is an indication of its cultural use and age. The Bamum produced large figures encrusted with beads and cowries. Noteworthy elephant heads cast in bronze, and also dance masks; They would adorn their footstools and thrones with elephant design made of beads. The wood used for masks is not always completely hollowed out, for the mask does not cover the face of the wearer but

BAMILEKE ELEPHANT CAMEROON Made of 100% Wood Model is 78 - 17 - 22 cm

rather tops a kind of bamboo cage surrounded by a tufted collar of palm fibers, which conceals the head. During these ceremonies, the leading dancer wears a n’kang mask which bears a false beard, a coiffure split in two symmetrical parts and is often covered in royal paraphernalia such as cowrie shells and beads. The n’kang mask is followed by other masks representing a woman, a man or an animal, such as the elephant, the second leader mask; second only to Nkang, represented by a human icon. Then, the king himself would appear masked and dancing. The buffalo joins the leopard, elephant, and two-headed python as an image of royal power is frequently found in the decoration of works from the region. These animals have become the icons of this society represented by the masks and their designs, but most of the meanings are now lost. However, some of them have become instruments of societies with political, administrative, judicial, or theatrical functions, and were kept in special storage houses; they were brought out at the first rainfall.

GURO IVORY COAST Made of 100% Wood Model is 66 - 10 - 4 CM

Africa Symbolisms and Dimensions PRESENTED BY AFRICAN ARTE GALERIA