Nr. 103892412

En træmaske - Guro - Elfenbenskysten (Ingen mindstepris)
Nr. 103892412

En træmaske - Guro - Elfenbenskysten (Ingen mindstepris)
This Guro mask from the Sinfra region belongs to the cultural context of masked performance traditions that emerged in the central-western part of Côte d’Ivoire from the 19th century onward, in close interaction with neighboring Dan, Yaure, and Baule groups. A characteristic feature of many Guro masks is the combination of human physiognomy with zoomorphic headdresses, which visualize notions of spiritual power, social order, and fertility.
The mask itself is marked by remarkable formal rigor. The reduced facial features - with downward-facing triangular eye openings and a single upward-facing opening for the mouth or nose - suggest an abstract aesthetic that articulates metaphysical presence rather than individuality. A monumental bird rises from the head, its sculptural rendering forming the true iconographic focal point. The elongated beak, resting protectively on the chest, conceals an egg behind it - an obvious symbol of regenerative power and cosmic renewal. The ribbed neck, the meticulously crafted feathers, and the ringed legs lend the creature both dignity and ornamental rhythm.
Within Guro art, bird motifs often signify the mediation between the earthly and spiritual realms. The connection between the ascetic mask form and the elaborate animal headdress, as seen here, points to the particular significance of performative presence and symbolic transformation in the Guro mask tradition.
The fusion of ascetic mask form and elaborate animal headdress, as seen here, points to the special importance of performative presence and symbolic transformation in the Guro masked persona.
Literature (selection)
Jaenicke-Njoya archive CAB41235
Anita J. Glaze, Art and Death in a Senufo Village, Bloomington 1981.
Eberhard Fischer / Hans Himmelheber, The Art of the Ivory Coast, Zurich 1984.
Susan M. Vogel, Baule: African Art, Western Eyes, New Haven 1997.
Herbert M. Cole, Icons: Ideals and Power in the Art of Africa, Washington D.C. 1989.
This description is made with AI. Despite careful individual review, the use of Artificial Intelligence may result in errors or inaccuracies in the description.
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