中国福彩快三开奖号码结果+历史开奖查询-极速快3开奖现场直播视频 Tribal Art

African statue of an altar belonging to an anjenu cult very widespread among the animist Idoma as well as among the Igala and the Yoruba of the South. This traditional sculpture is supposed to promote fertility and protect offspring. These statues which benefited from offerings were kept in sanctuaries. Crusty matte patina. Desiccation cracks, erosions.
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The Idoma live at the confluence of the Benué and the Niger. Their art and customs are marked by Igbo, Cross River and Igala influences and it is often difficult to distinguish them from their neighbors. Royal lineage members of their oglinye society, glorifying courage, use masks and crests during funerals and festivities. The Anjenu cult worships the spirits of the bush, who are said to reside in waterways and ...

The rich production of African art among the populations of Cameroonian Grassland is illustrated mainly by wood statuary: commemorative sculptures of kings, queens, princesses and titled servants, as well as the parents of twins. Within the large Bamileke people in western Cameroon, the Bangwa constitute a small kingdom. The influence of the Bamileke on Bangwa statuary is notable by their relatively comparable facial features and morphology. Typical of the Bamileke country, Bangwa statues often represent fertility but also power and combativeness. They are often positioned on either side of the induction chairs during meetings of notables.
Crusty dark patina. Minor cracks.

The Tikar inhabit the western part of central Cameroon which is located within the dense secondary forest of medium altitude, along the Mbam. Within this ecotone, the "tikar plain" (which takes its name from its current occupants) constitutes a depression which leans respectively to the west and to the north to the Mbam massif and to the first foothills of the Adamaoua plateau . From an ethnic point of view, the current boundaries of the Tikar country coincide with those of the Bamun to the west (Foumban), the Mambila to the northwest, the Foulbé to the south, the Babouté to the southeast (Yoko) and small groups individuals (Djenti, etc.) scattered across its borders. The structure of the kingdom is made up of a large chiefdom subdivided into districts: the residences of queens, children ...

The look symbolizing mediumistic abilities, a hallucinogenic root between the teeth, this African statue displays a bust with a receptacle for magical substances. This type of African sculpture sometimes illustrates a proverb. Crusty patina imprinted with kaolin, desiccation cracks.
The Vili, the Lâri, the Sûndi, the Woyo, the Bembé, the Bwende, the Yombé and the Kôngo constituted the Kôngo group, led by the ntotela king. Their kingdom reached its peak in the 16th century with the trade in ivory, copper and the slave trade. With the same beliefs and traditions, they produced statuary with codified gestures in relation to their vision of the world. The nganga sorcerers, both healers, were in charge of religious activities and mediation towards the God called Nzambi through ...

Anthropomorphic figure of an ancestor, bust, presenting closed eyes with rounded eyelids, thick lips, a large tri-lobed hairstyle extending down the back. A white clay-based patina, called mpemba, covers the whole, like the okuyi masks. This same makeup also covers the dancers during the different rites and ceremonies. This type of punu and lumbu sculpture was intended for magical use, or to sit on a reliquary package in which the object was inserted.
Desiccation cracks and abrasions.
The Punu settled in southwest Gabon and the Congo following conflicts with their Fang neighbors. Punu art objects, imprinted with the Kongo world, are linked to funerary rituals, to the initiation rites of the mukudji society but also to specific magical rites during which the dancers ...

Attached with a wicker clamp, the lower jaw of this mask embodying an ancestor or a high-ranking character, can be articulated, revealing wooden sticks representing a dentition.
Two-tone satin patina. Abrasions.
African mask inspired by Ogoni culture

The Ogoni live along the coast of Nigeria, near the mouth of the Cross-River, south of the Igbo and west of the Ibibio. Their carvings vary from village to village, but are primarily renowned for their jointed jaw masks such as some Ekpo Ibibio masks. Their masks were usually worn at funerals, festivities accompanying planting and harvesting, but also more recently to welcome distinguished guests. Acrobatic demonstrations linked to the karikpo celebration, and accompanied by the kere karikpo drum, were additionally ...

This female figure forms the sculpted incarnation of a edjo , hence the name edjo re akare. With igbeton high-ranking women, she also has jewelry, necklaces and scarifications. The surface remains partially encrusted with white clay and red pigments, the base on which the piece rests is fragmented. Cracks and gaps located on the lower part.
The Urhobos , living near the northwest of the Niger Delta River, form the main ethnic group of the Delta State among the 36 states of the Federal Republic of Nigeria. They speak Urhobo, a language of the Niger-Congo group. Together with the Isoko whose art is close, they are collectively known as Sobo . Their large sculptures depicting the spirits of nature, edjo , or those depicting the founding ancestors of the clan, to whom sacrifices were ...

A symbol of power, this African statue features a founding ancestor and mythical hero, Chibinda Ilunga, wearing the chipangula, intended for chiefs. He holds a ritual horn and a staff. The chiefs had a major function in the propitiation rites intended for hunting and the fertility of women. Applications of castor oil and coloring plant decoctions were generally administered to the surface.
Erosions.

Peacefully settled in eastern Angola until the 16th century, the Chokwé were then subject to the Lunda empire from which they inherited a new hierarchical system and the sacredness of power. Three centuries later, they ended up seizing the capital of the Lunda weakened by internal conflicts, thus contributing to the dismantling of the kingdom. The Chokwé did not have ...

The African statues associated with the Byeri cult embody the ancestor of the clan acting as "guardians" of reliquaries.
Figured seated, wrists and shoulders encircled by wicker vines crossed behind the back , the subject offers classically prominent musculature. A fragment of a ritual mirror lines the bottom of a cup placed on the bust. Hollowed pupils indicate a trance state.
Heterogeneous oiled patina, abrasions, restoration and cracks from use.

Among the Fang of Cameroon and Gabon, each family has a "Byeri", or reliquary box, in which the bones of the ancestors are kept. These boxes were guarded by the oldest man in the village, the “esa”. The reliquary boxes were topped with a statue or head which acted as guardian of the “byeri” boxes. These were kept in ...

Ex-French African artcollection.
Within the wide diversity of nkisi sculptures to which multiple virtues were attributed, this African maternity in figurative style, image of the protective ancestor of the clan, offers an abundance of very finely chiseled details. This type of female statue was accompanied by its male counterpart named Mabyaala.
Burgundy brown satin patina. Minor erosions and desiccation cracks.
The Vili, the Lâri, the Sûndi, the Woyo, the Bembé, the Bwende, the Yombé and the Kôngo formed the Kôngo group, led by king ntotela . With the same beliefs and traditions, they produced statuary with codified gestures in relation to their vision of the world.
Ref. : "Africa, the art of a continent" ed. Prestel (p.247)

Rarely presented in such a posture, the mbole sculpture here depicts a seated subject, hands clasped in prayer. Oiled black patina, erosions and drying cracks, restorations (reptile skin).
The province of Lualaba had several close ethnic groups with similar associations. The Mbole are known for their statues embodying, according to D. Biebuck, hanged men, called ofika. The lilwa, an association with dogmatic initiation rites, had the custom of judging and condemning to hanging those guilty of infractions of the imposed rules. These offenses ranged from murder to adultery to breaking the secret surrounding the lilwa. Dishonored, the bodies of the condemned received no funeral and were buried in the forest. It was during the end of initiation ceremonies, presided over by a notable ...

极速快三168体彩全天计划 官网app 开奖记录查询 在线计划免费 APP手机版下载 官方开奖记录查询结果 正规168体彩开奖网. African statue altar part of a cult supposed to promote fertility and protect descendants, very widespread not only among the animist Idoma, but also among the Igala and the Yoruba of the South. These statues which benefited from offerings were kept in sanctuaries. Matte crusty patina. Erosions.
The Idoma live at the confluence of the Benué and the Niger. Numbering 500,000, they are farmers and traders. There are Igbo, Cross River and Igala influences in their art and customs and it is often difficult to distinguish them from their neighbors. Royal lineage members of their oglinye society, glorifying courage, use masks and crests during funerals and festivities. They also produced fertility statues with whitened faces displaying incised teeth. Janiform crests generally appear at ...

In African art, the sowei constitute, through Mende culture, the feminine ideal. This "bell" shaped mask called bundu, among the most important among the Mendé, features a face encased in rings, symbolizing an abundance of flesh associated with prosperity.
Painted black or tinted using a leaf wash, the mask was then rubbed with palm oil. Semi-matte patina, abrasions from use, gaps.
The Mende, Vaï and Gola cultures, of Sierra Leone, Liberia and the west coast of Guinea, are known in African art for the helmet masks and more particularly those of the female initiation society Sandé< /i> which prepares young girls for marriage. The male society is the Poro society. Relatively rare in sub-Saharan Africa, these masks are made by men and worn by women.
To close the rituals, ...

Stick surmounted by a Fang Mabea type miniature, embodying the ancestor of the clan, guardian of the reliquary boxes of the Byeri cult. Minor erosions.
Height on base: 645 cm.
The Fang ethnic group, established in a region extending from Yaoundé in Cameroon to Ogooué in Gabon, has strongly influenced the Mabea of southern Cameroon who have absorbed a large part of their rites such as so and the ngil. The reliquary statues, sculpted by the Mabea, are however generally larger than those of the Fang and adorned with various finery. The hairstyle is also very distinct, divided into shells, unlike the Fang crest. Among the Fang of Cameroon and Gabon, each family has a “Byeri”, or reliquary box, in which the bones of the ancestors are kept. The reliquary boxes were topped with a ...

Ex-collection of French African tribal art.
This African sculpture called "ugonachonma" depicts a young nubile woman. It included staging in village squares during dry season entertainment ceremonies. These figures are specific to village age groups in the north central Igbo region, around Onitsha and Awka. Women have specific criteria of Igbo beauty, including uli tattoos. Eroded matte patina, discreet polychrome highlights, drying cracks and gaps.
br>The Igbo worship a considerable number of deities known as alusi, or agbara, considered to be the descendants of Chuku, or Chukwu, and as such constitute intermediaries to whom sacrifices such as kola nuts, money, kaolin, are granted in order to enjoy their favors. These sculptures produced in several regions range from around ...

In African art, a panel of objects, the regalia, made up of headdresses, seats, weapons, crowns, scepters, cups and drinking horns, belong to the chiefs. They magnify and reinforce their authority. An emblem of power and prestige, this fly swatter is sculpted with a figure of a singiti ancestor.
Satin brown patina.
The Hemba, established in the south-east of Zaire, on the right bank of the Lualaba, have long been subject to the neighboring Luba empire which had a certain influence on their culture. The cult of ancestors, whose effigies have long been attributed to the Luba, is central in Hemba society. The singiti statues were preserved by the fumu mwalo and honored during ceremonies during which sacrifices were offered to them. Alongside the authority of hereditary ...

African mask "Unangled" whose carefully braided hairstyle contours the upper part of the face. A lustrous dark patina enhances the soft harmony of the features. The masks were sculpted according to precise instructions following dreams in which the spirits appeared. Height on base: 38 cm. Abrasions, small accidents.
The Dan masks, of various styles, generally occur during very theatrical entertainment festivals where women play a leading role. The so-called "mocking" mask called Déanglé defines an ideal of beauty and benevolence because it is sculpted in honor of the young girls of the village or renowned men. Each mask had a name linked to its function. Also used during circumcision rites, they appear in the company of the gle sö singing masks and the large go ge masks ...

The Fang of the region extending from Yaoundé in Cameroon to Ogooué in Gabon strongly influenced the Mabea of southern Cameroon. The latter have absorbed a large part of their rites such as the so and the ngil. The reliquary statues, sculpted by the Mabea, are however generally larger than those of the Fang and adorned with various finery. The hairstyle is also very distinct, divided into two shells, unlike the Fang crest. This figure of a female ancestor is treated according to the conventions in use, hands resting on the thighs. Its jewelry represents the copper torques and bracelets worn by dignitaries. Minor cracks. Heterogeneous, slightly grainy patina.
Among the Fang of Cameroon and Gabon, each family has a “Byeri”, or reliquary box, in which the bones of the ancestors ...