Unknown artist - Dogon figure





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Description from the seller
The N'duleri style is regarded as the most elegant and refined form of Dogon art. It originates from the central and northern Bandiagara plateau in the region of the Ndule river (N'duleri means "who comes from the N'dule).
This style was particularly influenced by the ancient art of the Djenne (Djennenke) empire. It is probably the direct result of the Songhay invasion in the 15th century and the Djennenke diaspora that followed. The Djennenke settled farther east in the N'duleri Snaberi region, bringing with them their know-how and aesthetics.
Hélène Leloup notes in her book "Statuaire Dogon" Ed. Amez 1994, that the N'duleri style, which seems to have reached its apogee during the 18th century, "...condenses the classical art of the north - realism and strength - with a suppleness and elegance that we don't find elsewhere, in stark contrast to the sculpture of the southern cliffs, which is highly constructed, cubist and abstract.."
Provenance: Lore Kegel, 1958, Boris Kegel-Konietzko
Seller's Story
The N'duleri style is regarded as the most elegant and refined form of Dogon art. It originates from the central and northern Bandiagara plateau in the region of the Ndule river (N'duleri means "who comes from the N'dule).
This style was particularly influenced by the ancient art of the Djenne (Djennenke) empire. It is probably the direct result of the Songhay invasion in the 15th century and the Djennenke diaspora that followed. The Djennenke settled farther east in the N'duleri Snaberi region, bringing with them their know-how and aesthetics.
Hélène Leloup notes in her book "Statuaire Dogon" Ed. Amez 1994, that the N'duleri style, which seems to have reached its apogee during the 18th century, "...condenses the classical art of the north - realism and strength - with a suppleness and elegance that we don't find elsewhere, in stark contrast to the sculpture of the southern cliffs, which is highly constructed, cubist and abstract.."
Provenance: Lore Kegel, 1958, Boris Kegel-Konietzko
