Kunst

Interiør og dekoration

Smykker og ædelstene

Ure, kuglepenne og lightere

Mode

Mønter og frimærker

Tegneserier og animation

Klassiske Biler, Motorcykler og automobilia

Vin, whisky og spiritus

Asiatisk Kunst og stammekunst

Byttekort

Legetøj og modeller

Arkæologi og naturhistorie

Sport

Musik, film og kameraer

Bøger og historiske memorabilia

De fineste genstande bragt til dig af {name}

Julien Gauthier

This - so called Akuma mask - of the Jukun-speaking peoples of the northwestern Upper Benue Valley in Nigeria belongs to a complex masquerade tradition that mediates between visible social life and the domain of powerful, often ambivalent, non-human forces. Produced in a region that includes long-standing interaction with neighboring groups such as the Mumuye, these masks reflect both localized stylistic vocabularies and broader regional aesthetics, particularly in their emphasis on bold surface articulation and dynamic performative presence. The example under consideration, characterized by the application of reddish and white pigments and the attachment of numerous red glass or seed beads—referred to here as “passion pearls”—further incorporates a ring-form basket of raffia designed to frame and protect the dancer’s head and upper body during performance. Incl stand.

Formally, the mask presents a striking chromatic dualism. The juxtaposition of red and white is not merely decorative but encodes a symbolic polarity widely attested across Central Nigerian masking traditions. White is frequently associated with the spirit realm, ancestral presence, and forms of moral or metaphysical clarity, while red connotes vitality, danger, transformation, and the latent violence of spiritual power. The dense application of red beads amplifies this second register, creating a shimmering, mobile surface that activates the mask under conditions of movement, light, and sound. The beads also index trade histories and prestige, linking the object to wider networks of exchange that have historically connected the Benue Valley to trans-Saharan and coastal circuits.

The raffia ring structure, extending outward from the mask’s lower perimeter, is both a practical and symbolic element. Functionally, it stabilizes the mask on the performer’s body and provides a degree of physical buffering during vigorous dances. At the same time, it establishes a visual threshold that separates the transformed body of the masquerader from the surrounding audience. Raffia, an organic and locally available material, carries connotations of liminality and transition; its fibrous, flexible qualities lend themselves to the creation of boundaries that are permeable yet clearly demarcated. In performance, the ring can also accentuate rotational movement, producing a halo-like effect that underscores the otherworldly status of the masquerade figure.

Within Jukun ritual contexts, Akuma masks are generally associated with appearances that regulate social order, mark seasonal or calendrical transitions, and intervene in moments of communal tension or crisis. While precise meanings and functions vary between communities, such masks often embody forces that are not straightforwardly benevolent. Their performative emergence is typically controlled by initiated male societies whose authority derives from esoteric knowledge and the capacity to mobilize spiritual agencies. The mask, therefore, should not be understood as a static sculptural object but as one component of a larger assemblage that includes costume, choreography, music, and controlled secrecy. Its efficacy depends on the synchronization of these elements and on the maintenance of a conceptual distinction between the human wearer and the entity manifested.

The proximity of Jukun communities to groups such as the Mumuye has contributed to a shared repertoire of elongated or abstracted facial features, as well as to comparable strategies of surface patterning. However, Jukun Akuma masks tend to privilege a more compact, forceful facial configuration, often with pronounced features that project outward, enhancing their visibility and impact in crowded performance spaces. The addition of beadwork, less common in some neighboring traditions, marks a specific investment in textural richness and auditory accompaniment, as beads can produce subtle percussive sounds when in motion.

Barley, Nigel. Plundered Skulls and Stolen Spirits: Inside the Fight to Reclaim Stolen Art. London: Signal, 2018.

Cole, Herbert M. Icons: Ideals and Power in the Art of Africa. Washington, D.C.: Smithsonian Institution Press, 1989.

Fardon, Richard. Between God, the Dead and the Wild: Chamba Interpretations of Religion and Ritual. Edinburgh: Edinburgh University Press, 1990.

Rubin, Arnold, ed. African Art and Ritual. Bloomington: Indiana University Press, 1982.

Sieber, Roy, and Arnold Rubin. Sculpture of Black Africa: The Paul Tishman Collection. New York: Metropolitan Museum of Art, 1968.

CAB44161

Træ - Rimelig stand

En træmaske - Akuma - Jukun - Nigeria  (Ingen mindstepris)

Afrikansk kunst og stammekunst

Reservepris

Ingen mindstepris

Slutdato

søndag

onsdag

i morgen

torsdag

fredag

lørdag

Budget

Lokation

Belgien

Frankrig

Tyskland

Holland

Spanien

Italien

Luxembourg

Portugal

Østrig

Polen

Storbritannien

Hongkong

Rumænien

Størrelse

S (10–40 cm)

M (40–80 cm)

L (over 80 cm)

XS (under 10 cm)

Mål

Højde

Bredde

Dybde

Genstand

Stammekunst og -genstande

Stammemasker

Gamle skulpturer, udskæringer og figurer

Figur

Skulptur

Dansemaske

Mask

Stammetekstiler og -tøj

Maleri

Stammesmykker og -udsmykninger

Stammevåben og -skjolde

Fetish figur

Spadserstok

Daggert

Halskæde

Sværd

Kort sværd

Vægte

Skjold

Stammebøger, -manuskripter og -kataloger

Perle

Forfaderfigur

Statuette

Dekorativt ornament

Oprindelsesland

DR Congo

Mali

Elfenbenskysten

Nigeria

Congo

Gabon

Ghana

Burkina Faso

Cameroun

Angola

Togo

Etiopien

Benin

Afrika

Den Demokratiske Republik Congo

Niger

Tanzania

Tchad

Sydafrika

Kenya

Madagaskar

Marokko

Sierra Leone

Materiale

Træ

Bronze

Terrakotta

Glas

Læder

Jern (smedet)

Knogle

Metal

Jern (støbt/smeltet)

Kobber

Sten

Tekstil

Jern (støbt)

Tekstiler

Bomuld

Keramik

Messing

Muslingeskal

Sølv

Stål

Lærred

Jern

Patineret bronze

Smedejern

Køn

Unisex

Kvinder

Tilstand

God stand

fremragende stand

Rimelig stand

God stand - brugt med små tegn på aldring og mindre fejl

God stand - brugt med nogle tegn på slid

Fremragende stand - næsten ikke brugt med minimalt tegn på aldring og slid

Rimelig stand -  brugt meget og mindre dele mangler muligvis

Fremragende

Som ny - ubrugt

Meget god stand, se beskrivelse

Behov for restaurering

Meget god

Fremragende stand - knap brugt med minimalt tegn på slid

Rigtigt god stand - kun lidt brugt med små tegn på slid

God stand, se beskrivelse

God stand - brugt med små tegn på aldring

Rimelig

Fremragende stand: næsten ikke brugt med minimalt tegn på aldring og slid

Meget dårlig - viser tydelige tegn på forfald, tab af originaltekstur eller soliditet af materialet

Dårlig - brugt meget med store revner, skader eller manglende store dele

Meget god +

Ekstra tilbehør

Ingen ekstramaterialer

uden manual uden boks

Periode

Slutningen af det 20. århundrede

midten af det 20. århundrede

1930-1940

1940-1950

1920-1930

Begyndelsen af det 20. århundrede

1950-1960

2000-2010

Slutningen af det 19. århundrede

1900-1910

1960-1970

1970-1980

2020+

1850-1900

1910-1920

2010-2020

1990-2000

1980-1990

1800-1850

1450-1500

1500-1550

1700-1750

17. århundrede

Begyndelsen af det 17. århundrede

Certificering

Ingen laboratorierapport

Stil

Samtidskunst

Antik

Naivisme

Realisme

Moderne

Folkekunst

Vintage

Design

Casual

Abstrakt

Teknik

Akrylmaling

Blandet teknik

Giclée

Oliebillede

Akvarelmaleri

Afrikansk kunst og stammekunst

Denne genstand er ikke længere tilgængeligt, men der er stadig meget at udforske

En træmaske - Akuma - Jukun - Nigeria (Ingen mindstepris)

Populær i Afrikansk kunst og stammekunst

965 genstande

Relaterede samlinger