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Die schönsten Objekte – präsentiert von {name}

Julien Gauthier

A male terracotta figure in the Nok style, seated, his arms resting on his knees, his large, bearded head supported by his left forearm. Scarification marks on the cheeks. Like many Nok figures, the figure is broken into two pieces; the head and torso are therefore offered separately. However, it should be emphasized that the break occurred without loss of substance, and restoration should not be difficult. This can be carried out by our in-house restorer for a small fee, or the purchase is "as described." The figure will be shipped well-protected in a professional wooden box, such as those used by museums.

In this context it is interesting to see a Nok Docu-film on ARTE Mediathek, in which the director of the National Commission of Museums and Monuments (NCMM) and the German Prof. Breuninger
Goethe Universität Frankfurt, who did fieldwork in the Nok region, speaks about the "looting" of Nok Tersacotta.

“Nok head fragments were once part of entire bodies and are the most renowned objects within the corpus known to date. These objects are so highly varied that it is likely they were modeled individually rather than cast from molds. Although terracottas are usually formed using additive techniques, many Nok pieces were sculpted subtractively in a manner similar to carving. This distinctive approach suggests that a comparable wood-carving tradition may have influenced them. The heads of Nok terracottas are invariably proportionally large relative to the bodies, and while not enough is known of Nok culture to explain this apparent imbalance, it is interesting to note that a similar emphasis of the head in later African art traditions often signifies respect for intelligence.” Source: The Met Museum, New York.

The Nok sculptures from the Kaduna region in central Nigeria are among the earliest known forms of figural representation in sub-Saharan Africa. Their significance lies in several aspects that are both art-historically and archaeologically important.

First, the Nok sculptures are distinguished by a highly developed terracotta technique, indicative of a sophisticated understanding of form, proportion, and plastic modeling. Most figures feature strongly stylized faces with triangular or almond-shaped eyes, prominent lips, and elaborate coiffures. These stylistic elements are remarkably consistent and suggest a coherent sculptural tradition that lasted several centuries.

Second, the early dating of the Nok culture is particularly noteworthy. Radiocarbon and thermoluminescence dating place the production of these sculptures between approximately 1500 BCE and 500 CE, making them among the oldest known figural artworks in Africa outside the ancient Egyptian context¹. This early development of figural art challenges long-held assumptions about the absence of complex visual cultures in precolonial sub-Saharan Africa.

Third, the archaeological context of the finds in present-day Kaduna suggests the existence of a complex, yet still largely unexplored, societal structure. Most sculptures have been discovered as fragments in alluvial deposits, often without stratigraphic context, which complicates precise interpretation. Nevertheless, their presence implies ritual or social functions, possibly in the realms of ancestor veneration or fertility cults².

Lastly, the reception of Nok art in the Western art historical canon is of considerable importance. Since their "discovery" in the 1940s, Nok sculptures have contributed both to the formation of African cultural identity and to a reassessment of Africa’s precolonial artistic autonomy. Today, they are considered key works in the recognition of indigenous artistic traditions prior to European contact.

The description is given to the extend of our knowledge. Without any scientific test, it stays our opinion. 

The seller guarantees and can prove that the object was obtained legally. The seller was informed by Catawiki that they had to provide the documentation required by the laws and regulations in their country of residence. The seller guarantees and is entitled to sell/export this object. The seller will provide all provenance information known about the object to the buyer. The seller ensures that any necessary permits are/will be arranged. The seller will inform the buyer immediately about any delays in obtaining such permits.

Lit. Peter Breuning, African sculpture in Archaelogical Context, Oct. 2013; Bernhard de Grunne, Birth of Art in Africa,1998; Suzanne Preston Blier, Art and Risk in Ancient Yoruba, Cambridge University Press, 2015. Bernhard and Angela Fagg, Nok Terracottas, Ethnographica Ltd, 1990, Willet, Frank. African Art: An Introduction. Thames & Hudson, 2002.

Terracotta - Angemessener Zustand

Eine Terrakotta-Skulptur - Knoten - Nigeria

Afrikanische Kunst und Stammeskunst

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Eine Terrakotta-Skulptur - Knoten - Nigeria

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