Dogon mask - Mali (No reserve price)





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Masque Dogon, a wood tribal mask from Mali, of the Dogon people, in good condition, reproduction, 52 cm high and 24 cm wide, sold without a stand.
Description from the seller
The Dogon people are renowned in African tribal art for their myths and beliefs related to their cosmogony. With an estimated population of around 300,000, they live mainly in the Mopti region of Mali, notably in Bandiagara, Koro, Banka, near Douentza, as well as part of northern Burkina Faso, in the northwest of Ouahigouya.
The Dogon produce more than 80 types of masks, among which the most famous are the Kanaga, Sirigé, Satimbé, and Walu. These masks are primarily used during funeral ceremonies by initiated circumcised members of the Awa society. Some masks depict animals, referring to the rich mythology of Dogon African art. The “nyama,” the life force of the mask, is activated by various rituals to unleash its full magical potential.
During a Dama, a ritual marking the end of mourning, the Dogon carve new masks, thus perpetuating their artistic and spiritual tradition.
References: “Dogon” by Huib Blom; “Art of the Dogon,” published by the Metropolitan Museum; “Dogon” by H. Leloup, Somogy editions.
The Dogon people are renowned in African tribal art for their myths and beliefs related to their cosmogony. With an estimated population of around 300,000, they live mainly in the Mopti region of Mali, notably in Bandiagara, Koro, Banka, near Douentza, as well as part of northern Burkina Faso, in the northwest of Ouahigouya.
The Dogon produce more than 80 types of masks, among which the most famous are the Kanaga, Sirigé, Satimbé, and Walu. These masks are primarily used during funeral ceremonies by initiated circumcised members of the Awa society. Some masks depict animals, referring to the rich mythology of Dogon African art. The “nyama,” the life force of the mask, is activated by various rituals to unleash its full magical potential.
During a Dama, a ritual marking the end of mourning, the Dogon carve new masks, thus perpetuating their artistic and spiritual tradition.
References: “Dogon” by Huib Blom; “Art of the Dogon,” published by the Metropolitan Museum; “Dogon” by H. Leloup, Somogy editions.

