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De fineste genstande bragt til dig af {name}

Julien Gauthier

A Dan/Guerre mask, collected in the region of Touba, Ivory Coast, with tubelike eyes, a dommes coiffure, the slightly open mouth with a reddish toungh, wearing a natural goatee from a horse, blackened patina, partly glossy. Incl stand.

Guerre masks are created and used by the Gueré people, also known as Wè, who inhabit parts of western Côte d’Ivoire. These masks play an important role in the spiritual and social life of the community, serving as intermediaries between the physical world and spiritual forces. The masks are associated with various secret societies and ritual performances that enforce social norms, protect the community, and honor ancestors or forest spirits. The use of masks in Gueré culture is deeply connected to notions of power, secrecy, and transformation.

Guerre masks are notable for their complex and often elaborate designs, which combine both abstract and representational elements. They are typically carved from wood and may include additional materials such as fibers, shells, or metal. The masks often exhibit stylized human faces with exaggerated features such as large, almond-shaped eyes, prominent noses, and open mouths. Horns, animal motifs, or geometric patterns are frequently incorporated to emphasize spiritual potency and link the mask to specific supernatural entities. The aesthetic qualities of these masks reflect a balance between elegance and intimidation, intended to evoke reverence and awe during ritual performances.

The masks are worn by initiated men who participate in ceremonies that may involve music, dance, and theatrical elements. Through these performances, the wearer is believed to become possessed by the spirit embodied in the mask, thereby gaining access to spiritual knowledge and authority. The mask’s presence in the community enforces social discipline, assists in conflict resolution, and ensures the continuation of cultural values. Additionally, some masks are used in funerary rites to guide the deceased into the afterlife or to communicate with ancestral spirits.

In the context of African art history, Guerre masks have attracted significant attention for their formal innovation and expressive power. Their dynamic forms influenced early twentieth-century Western artists interested in African aesthetics. Despite their prominence in art collections and exhibitions, scholarly research continues to emphasize the importance of understanding these masks within their original cultural and ritual contexts. Efforts to document and interpret the meanings embedded in Guerre masks help to counteract their reduction to mere art objects and highlight their role as living cultural symbols.

The dispersion of Guerre masks into international museums and private collections occurred largely during the colonial period, often without comprehensive ethnographic records. This has sometimes led to confusion or misattribution, with some masks labeled generically as "Dan" or grouped with neighboring peoples’ artworks. Recent scholarship advocates for more precise identification and culturally informed interpretation that respects the masks’ ritual functions and local significance.

References:
Vogel, Susan Mullin. Art of the Dan: Masks and Materials. New York: The Metropolitan Museum of Art, 1981.
Homberger, Lorenz. Masks and Masking in African Art: The Transformation of Ritual and Power. New York: Routledge, 2005.
Fischer, Eberhard, and Lorenz Homberger. The Arts of the Dan in West Africa. Zurich: Museum Rietberg, 2001.
Thompson, Robert Farris. Flash of the Spirit: African and Afro-American Art and Philosophy. New York: Vintage Books, 1984.	

Height: 30 cm without stand/ without beard.

Træ - Rimelig stand

Et træmask - Dan / Krig - Elfenbenskysten  (Ingen mindstepris)

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Et træmask - Dan / Krig - Elfenbenskysten (Ingen mindstepris)

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