Tribal Art

These protective mythical figures probably evoke the primordial couple or mythical twins, associated with the Nommos, at the origin of Dogon creation. Sitting on a semicircular base, they present a narrow morphology contrasting with a shell-like chest. The heads show a Bambara influence. Thick granular patina, satin surface. Ochre residue, powdery, on the base. Carved for the most part on commission by a family, Dogon statues can also be the object of worship by the entire community when they commemorate, for example, the founding of the village. However, little is known about their functions. In parallel with Islam, Dogon religious rites are organized around four main cults: the Lebe, relating to fertility, under the spiritual authority of the Hogon, the Wagem, ancestor ...

Ancestor figure represented naked, carried by oversized feet. The traced geometric patterns evoke the body paintings and tribal scarifications of the Mangbetu, analogous to those of the Asua pygmies with whom the tribe maintained relations. These varied according to the circumstances. The fan hairstyle was worn by the Mangbetu: from an early age, children suffered compression of the cranium by means of raffia ties. Later the Mangbetu would "knit" their hair on wicker strands and apply a headband to the forehead in order to extract the hair and produce that particular headdress which accentuates the elongation of the head. The ancients call these figures of ancestors stored out of sight and comparable to those belonging to their secret society nebeli beli. Dark satin patina. ...

Subject anchored on a circular base, presenting a cut. The integumentary ornaments of the sculpted character, meticulously engraved, express the concept of beauty of the Baoulé, constant in traditional African art: numerous scarifications in checkerboards and sophisticated hairstyle. Black satin patina, desiccation cracks.
About sixty ethnic groups populate Côte d'Ivoire, including the Baoulé, in the center, Akans from Ghana, people of the savannah, practicing hunting and agriculture just like the Gouro from whom they borrowed ritual cults and masks carved. Two types of statues are produced by the Baoulé, Baulé, within the ritual framework: The Waka-Sona statues, "being of wood" in baoulé, evoke a assié oussou, being of the earth. They are one of a type of statues intended to be ...

Representing a hybrid creature, or a masked dancer, whose head recalls the animal masks of groups in southwestern Burkina Faso, this animal sculpture is supported by stick-like growths. She embodies a spirit of the bush. Heterogeneous matte, chipped patina.
Among the Gurunsi, the Lela, Winiama, Nuna and Nunuma are the main mask carvers. They influenced the style and meaning of the masks of their neighbors Mossi and Bwa. These African masks depicting spirits of the bush came out during ritual dances and were worn by members of the village equipped with integral plant fiber outfits that covered the body. The tribal ritual was supposed to bring fertility and prosperity to the village, provided it was performed correctly. These masks were also used during funeral ceremonies of ...

Wearing his Tuwu crown, this sculpted subject forms an ancestor figure, a reduced version of the monumental statues presiding over judgments, trials and executions for various transgressions and placed in the houses of the chiefs. Nias is the largest of the islands of North Sumatra in the Indian Ocean. The ancestor figures of the Nias (men) are associated with local creation myths, according to which a heroic figure named Hia came from the celestial regions on the banks of the Gomo. Glossy brown patina. Slight erosions.
Lit. : "Indonesian Tribal Art" B.W. Carpenter; ed. EDN.

A cynocephalic monkey presents an offering cup. These sculptures were erroneously named Gbékré (mouse) because "of Delafosse's misunderstanding of two cults" (Boyer, "Baulé" 5Continents). Often linked to Mbra cults of divination and possession, these monkey statues belong to the group of "force-beings" or amwin, intermediaries between God and men and given to Baoulé by their Creator, just like the sacred masks whose wide gaping jaws they share. It would also be a minor deity called barked . With a propitiatory aim, these sculptures were to constitute the habitat of the spirits to which offerings were presented and on which libations were practiced. Grainy sacrificial patina, drips, cracks and native restorations (staples).

The African tribal art of Tabwa, prestigious objects.

The Tabwa ("scarifier" and ", write") are an ethnic group in southeastern DRC. Simple farmers without centralized power, they united around tribal leaders after being influenced by the Luba. It was mainly during this period that their artistic current was expressed mainly through statues but also through masks. The Tabwa worshipped ancestors and dedicated some of their statues named mkisi . Animists, their beliefs are anchored around the ngulu, nature spirits present in plants and rocks. The Luba dominated the Tabwa in the Lake Tanganyika region between Zaire and Zambia. "Tabwa" or " being attached" presumably refers to the system of slavery practiced in the past by Islamic merchants.
The Tabwa then regained their ...

African statue associated with ancestor worship. Sculpted in rounded volumes, she has a stocky body whose reduced arms mark the bulb of the abdomen. The head, whose chin projects forward, offers exorbitant pupils in connection with the intake of hallucinogenic plants. The posture would be one of those accompanying ceremonial dances. The statue is pierced with attachment holes intended for fragments of relics (small bones, etc...). Worn, abraded kaolin patina, red pigments remain.
The Mbete, Ambete, or even Mbédé, form a tribe of Gabon, on the border of the Middle Congo, close to the Obamba and the Pounou, whose history has been marked by a long-term conflict against the Teke. They do not have a centralized political organization, practice ancestor worship without reliquary boxes, ...

French African Tribal Art Collection.
Adorned with traditional accessories linked to prestige, including the refined element of the beaded micro panty, this African doll from the Namji or Dowayo >, an animist mountain people established in the north of Cameroon, symbolizes the values surrounding the traditional African doll.
These African tribal dolls are carved in wood by the blacksmith, initially for the play of little girls. But these dolls are mainly used by sterile women in complex fertility rituals, the doll becoming a surrogate child that they will treat as such. In some cases the groom offered it to his future wife, the doll representing their future offspring. The decoration of the doll can also reproduce the finery of the new initiates after their period of ...

Ovoid head framed by huge ears, close-set pupils, hollowed out, in a heart-shaped face. The naked and rectigilinear, elongated body is devoid of traditional scarifications. Black patina, desication cracks, lack.
This piece of tribal art comes from the northeastern region of Tanzania, bordering Kenya, facing the Indian Ocean, where the Paré, Shamba, Zigua, and Mbugu tribes live. A relative homogeneity characterizes the productions of these groups, recalling some of the Madagascans and Bataks with whom, via maritime trade, contact could once have been established. This sculpture was probably used for didactic purposes during male initiations. She could also embody an ancestor or a spirit.

This is a powerful version of African statue mumuye, masterfully treated with arched volumes framing a narrow bust. The morphology enhances the vigorous neck bearing a face compressed by ample cupules. The latter represent ears distended by labrets. Oiled black patina, minimal abrasions and cracks.
The statuary emanating from the northwestern region of the middle Benoué, from the Kona Jukun, to the Mumuye and up to the Wurkun populations is distinguished by a relative absence of ornamentation and a refined stylization. The 100,000 Adamawa language speakers form a group called Mumuye and are grouped into villages, dola, divided into two groups: those of fire (tjokwa) relating to blood and the color red, guardians of the Vabong cult, from among whom are elected the heads,and ...

This sculpture, embodying a woman with an ovoid face with regular features and whose pose, hands on the chest, evokes fertility, is also associated with royal secrets. This attitude indicates that the secrets of royalty, bizila, belong to women through their role as political and spiritual intermediaries. It is depicted wearing, behind a forehead largely cleared by the traditional shaving, braids arranged in shells, some of which return like ram horns. The so-called 'epi' scarifications, 'tactile mnemonic code', cover the abdomen and lower abdomen, highlighting the volumes and protruding umbilical. This type of figure was also used in fertility rituals: young women lacking breast milk came to touch the chest of the statue in the hope of breastfeeding more abundantly. These mothers then ...

Ancestor worship among the Mbete is accompanied by sculpted figures used as reliquary. The dorsal cavity is indeed filled with nails and bones. The abundant decoration comes in engraved metal plates, embellished with nails, a necklace and a belt made up of iron elements. The arms folded at a right angle are attached to the bust. The semi-flexed muscular legs herald a ritual dance.
Gold and copper metal, abraded matte patina, erosions, cracks.
The Mbete form a tribe of Gabon, on the border of the Middle Congo, close to the Obamba and the Pounou, whose history has been marked by a long-term conflict against the Teke. They do not have a centralized political organization, practice ancestor worship.

These Alusi Igbo couple figures, of medium size and fine morphology, display so-called "cap" hair arrangements. In addition to accessories-talismans, they wear the finery of notables. Body patterns named "uli", ichi facial markings, indicated the rank attained in the initiation society. These statues were enthroned in the obu (Sing.: obi), houses of the men of the Cross River in southeastern Nigeria. The Igbo culture has its origins in the mythology of the Nri Kingdom of Nigeria, according to which the gods brought believers palm oil, cassava, and medicines made from yams. Clear chipped patina, grainy areas. The crests show an attenuated polychromy.
Desication cracks.

Sculpture depicting a priestess or a follower with a face marked with "kpélé" vertical scarifications.
Chipped orange patina. Crack, abrasions.
Yoruba society has several associations whose roles vary. While the male egbe society reinforces social norms, the aro unites the farmers. The gelede has more esoteric and religious aims. Notables come together in a society called esusu. Offering cups, some of which were used to store kola nuts or other gifts for visitors, were once placed in royal palaces in the Ekiti and Igbomina regions of Yoruba country. The kingdoms of Oyo and Ijebu arose following the disappearance of the Ifé civilization and are still the basis of the political structure of the Yoruba . The Oyo created two cults centered on the Egungun and Sango societies, ...

Monegasque Collection of African Tribal Art Inventively designed, mumuye sculptures vary in detail. The particularly stretched bust tightens to free up space for slender arms extended by large fingered hands. The abdominal projection, in beak, overhangs a marked size. The block of the pelvis lets spring the angles of long legs equipped with hoofed feet. The head, framed by a crest and ample distended ears, offers a classical physiognomy. Semi-satin patina of use, erosions and desication cracks.
In the northwestern region of the middle Benoué, from the Kona Jukun, to the Mumuye and up to the Wurkun populations, the 100,000 speakers of the Adamawa language stand out, forming a group called Mumuye. They are divided into two groups: those of fire (tjokwa), guardians of the vabong ...

This sculpture of African tribal art was destined to be enthroned on an altar. Facilitating communication with the sacred, it reminds the deity of his duties to men. Wearing a high crest, she sports the keloids of the Yoruba nobles. The bulging eyes, fleshy lips, are also distinctive markers of Yoruba tribal statuary. The paint on these statues was frequently renewed before the rites. Crusty patina, locally flaking. Desiccation cracks and heavy abrasions. The Yoruba practiced the slave trade with the Europeans and in particular the Portuguese before being completely subjugated to the English following a long period of infighting between the different kings or obas in place. The main Yoruba cults are the Gélédé , Epa , Ogboni , and the Esu cult. Centered on the veneration of ...

French African art coll. Rare Bassa hybrid sculpture, featuring a dog whose mouth supports a human head. This face reproduces the African mask named Gela , Geh-Naw , from the Bassa ethnic group of Liberia. A second face associated with talisman masks appears in relief on the back of the animal. Object with protective purpose, simialire p.24 in Tribal Art of Black Africa" J.B.Bacquart. Velvety patina, matt, greyish brown. Erosions. Residues of kaolin whitewash.
The Bassa group of Liberia is established on the coastal region, specifically around Grand-Bassa. Its culture and artistic production have been influenced by the neighboring Mande-speaking Dan and Kpelle. The Bassa have female and male initiation societies, including the chu-den-zo which gave rise to this type of ...

Old abstract figure with a flat head on which the lines are engraved presents a tubular bust rising from a zoomorphic lower part. A cylindrical cavity takes the place of the genitals.
Patina of use, satiny areas alternating with velvety abraded areas, erosions and desication cracks.
An object of a similar type is illustrated on page 127 of "100 people of Zaire and their Sculpture", Marc Léo Félix.
The relatively small Ngombe artistic production was marked by the influence of neighboring groups, Ngbandi and Ngbaka. These sculptures, mostly magical fetishes, were used by the soothsayer bendo to promote hunting. The Ngombe migrated from Lake Victoria in East Africa. After dispersing, some of them settled among the Ngala on the banks of the Zaire River.

Statue depicting a woman wearing a helmet mask. Polychrome satin patina. Erosions.
The Western Pende live on the banks of the Kwilu, while the Eastern settled on the banks of the Kasaï downstream from Tshikapa. The influences of neighboring ethnic groups, Mbla, Suku, Wongo, Leele, Kuba and Salempasu imprinted on their large tribal art sculpture. Within this diversity, the realistic Mbuya masks, produced every ten years, take on a festive function and embody different characters. The masks of initiation and those of power, the minganji, represent the ancestors and occur successively during the same ceremonies, agricultural festivals, initiation and circumcision rituals mukanda , enthronement of the leader. Governed by heads of families, the Djogo, with a priestly function, the ...

Collection of African art Monegasque.
African Art Yoruba.
Centered on the veneration of its gods, or orisà, the Yoruba religion relies on artistic sculptures with coded messages (aroko). This carved pole fragment, despite various plagues, features a figure embodying a Yoruba goddess. A native restoration was carried out on a side area using sheet metal. Erosions from use and desication cracks.
The kingdoms of Oyo and Ijebu arose following the disappearance of the Ifé civilization and are still the basis of the political structure of the Yoruba . The Oyo created two cults centered on the Egungun and Sango societies, still active, who venerate their gods, the Orisa, through ceremonies appeal to masks, statuettes, scepters and divination supports. The slave trade ...