A Bamana Bankoni equestrian figure Terracotta Bamana (Bambara), Bankoni region, Ségou Region, Mali This terracotta sculpture belongs to the archaeological tradition of the Bankoni region in central Mali, an area closely associated with the medieval cultural sphere of the Inland Niger Delta. The composition depicts a mounted female rider seated upon a powerful feline, most likely a lion or leopard, an image that combines political authority, spiritual power and mythological symbolism. Such composite figures rank among the rarest creations of ancient Malian ceramic art. The rider is represented frontally with a broad, projecting abdomen, prominent breasts and an elaborate coiffure composed of rounded masses of hair. Her simplified facial features and upright posture convey dignity rather than naturalism. The animal beneath her possesses a massive head with rounded eyes, a broad muzzle and sturdy forelegs, emphasizing strength and protective force rather than zoological accuracy. The sculptor intentionally fused human and animal into a single symbolic image whose meaning extended beyond ordinary representation. Terracottas from the Bankoni area differ stylistically from the better-known sculptures of Djenné-Djenno. Whereas Djenné figures frequently display finely incised surface decoration and elongated proportions, Bankoni works often favour more compact volumes, expressive modelling and powerful sculptural masses. This figure exemplifies that distinctive regional aesthetic through its monumental composition and robust plasticity. The exact function of such sculptures remains uncertain because most entered collections through undocumented discoveries. Archaeological evidence suggests that they were associated with funerary monuments, commemorative shrines or ritual installations connected with ancestors and elite lineages. Mounted figures in particular appear to symbolize exceptional social status, spiritual authority or legendary founders whose power extended over both human society and the natural world. The porous surface bears extensive burial deposits, mineral accretions and areas of erosion acquired during centuries beneath the earth. These traces of archaeological deposition contribute significantly to the historical integrity of the sculpture and attest to its considerable antiquity. Ancient terracottas from the Bankoni region remain comparatively rare in museum and private collections. Their sculptural originality, archaeological importance and close relationship to the great medieval cultures of the Inland Niger Delta make them among the most significant ceramic traditions of West Africa. This remarkable mounted figure illustrates the imaginative richness and technical accomplishment of that enduring artistic heritage. Selected Literature McIntosh, Susan Kee. Excavations at Jenné-Jeno, Hambarketolo, and Kaniana (Inland Niger Delta, Mali). Berkeley, 1995. Bedaux, Rogier & Polet, Jean. The Inland Niger Delta: Archaeology and Cultural History of Mali. Leiden, various editions. Insoll, Timothy. The Archaeology of Islam in Sub-Saharan Africa. Cambridge University Press, 2003. Filipovič, Dragana et al. Studies on the archaeology of the Middle Niger and the Bankoni region. Selected Regional References Comparative studies on the terracotta traditions of Bankoni, Djenné-Djenno and the Inland Niger Delta, with particular emphasis on mounted figures, archaeological contexts and medieval ceramic sculpture from central Mali. Some of the information is generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history. Inv. No. MAZ23748 "I believe that the import of all art objects from Africa—whether copies or originals—should be prohibited to protect Africa." Quote: Prof. Dr. Viola König, former director of the Ethnological Museum of Berlin, now HUMBOLDTFORUM Legal Framework Under the 1970 UNESCO Convention in combination with the Kulturgutschutz Gesetz (KGSG) any claim for the restitution of cultural property becomes time-barred three years after the competent authorities of the State of origin obtain knowledge of the object’s location and the identity of its possessor. All bronzes and terracotta items offered have been publicly exhibited in Wolfgang Jaenicke Gallery since 2001. Organisations such as DIGITAL BENIN and academic institutions such as the Technical University of Berlin, which have been intensively involved in restitution-reseaches (translocation-project) over the past seven years, are aware of our work, have inspected large parts of our collection and have visited us in our dependance in Lomé, Togo, among other places, to learn about the international Art trade on site. Furthermore, the National Commission for Museums and Monuments (NCMM) in Abuja, Nigeria, has been informed about our collection. In no case in the past have there been restitution claims against private institutions such as the Wolfgang Jaenicke Gallery Our Gallery addresses these structural challenges through a policy of maximum transparency and documentation. Should any questions or uncertainties arise, we invite you to contact us. Each matter will be reviewed diligently using all available resources. Informant: Yoro