Kunst

Interiør og pyntegjenstander

Smykker og edelstener

Klokker, penner og lightere

Mote

Mynter og frimerker

Tegneserier og animasjon

Klassiske biler, motorsykler og automobilia

Vin, whisky og brennevin

Asiatisk kunst og stammekunst

Samlekort

Leker og modeller

Arkeologi og naturhistorie

Idrett

Musikk, filmer og kameraer

Bøker og historiske minner

De flotteste objekter gitt til deg av  {name}

Julien Gauthier

A fragmentary Bamana or Bozo N'tomo mask collected in Somo village of the Ségou region, Mali, covered with ornamented aluminium sheets, with six, fragmentary, uprising horns; traces of age and ritual use. Incl stand.

"The Bamana (Bozo) Ntomo masks were worn by boys as they passed through the early cycle of initiation into manhood. The masks reinforce the lessons the boys are taught as they are prepared by elder males in the society for circumcision. There are two main style groups of their masks. One is characterized by an oval face with four to ten horns in a row on top like a comb, often covered with cowries or dried red berries. The other type has a ridged nose, a protruding mouth, a superstructure of vertical horns, in the middle of which or in front of which is a standing figure or an animal. The ntomo masks with thin mouths underscore the virtue of silence and the importance of controlling one’s speech. During their time in ntomo the boys learn to accept discipline. They do not yet have access to the secret knowledge related to korè and other initiation societies. Members wore a wooden face mask during the initiation festival at harvest time and when begging for rice.

One reference sites the number of horns on such masks to symbolizes a human being's levels of increased knowledge based on the initiation stages, while another reference sites that Ntomo masks with an even number of horns are female and those with an odd number of horns are male. Some masks are plain wood with no decoration while others are covered in brass reprouse, cowrie shells or small red seeds with further esoteric significance and the masks will vary greatly by region. The miniature mask rising from the forehead can be compared to other Ntomo masks that feature a full human or animal figure.

The wearer of these masks will usually be seen walking through the village and entering the family compounds to announce a ritual or a puppet masquerade. The village association comprises female and male divisions and is organized according to age groups (flan-bolow). One enters the ton after circumcision and leaves it at the age of about thirty-five. Every year the ton organizes a festival (called Checko) of theatrical performances in the village square. These include koteba and the puppets known as sogo bo in a succession of light-hearted sketches that satirize aspects of Bamana social and religious life. Prior to the public performances, ton members parade through the village streets accompanying masks (sogow) such as Ngon and Ntomo. Sogobaw (big beasts) resemble small, mobile theaters with a head and a wood-frame body. Small puppets, expertly manipulated, emerge from the back of this “beast”." Sources Bamana: The Art of Existence in Mali, Africa. The Art of a Continent, A History of Art in Africa.

In Bamana (or Bambara) culture of Mali, the N’tomo society is a male initiation society, and its masks play a crucial role in initiation rites for boys. The masks used in N’tomo ceremonies are generally referred to as N’tomo masks or “antelope” masks, though their forms vary regionally. A distinctive feature of many Bamana N’tomo masks is the presence of a specific number of horn-like projections, which are usually carved in pairs on the mask’s head.

Wolfgang Jaenicke (based on his informant Daba Diarra, Segou, and other ethnographers have discussed the symbolic and functional significance of these horns. The number of horns is not purely decorative; it carries layered meanings related to social, cosmological, and didactic functions within the initiation process. Specifically:

    Symbol of age or stage of initiation: Different numbers of horns can indicate the level or stage of the boy’s initiation within the N’tomo society. As boys progress through the initiation, masks with different horn configurations may be used to signify their advancement.

    Association with spiritual and animal powers: The horns often evoke the strength, virility, and alertness of antelopes or other horned animals. These qualities are deemed desirable for initiates as they transition into adult responsibilities.

    Numerical cosmology: Bamana culture assigns symbolic meaning to certain numbers, often connected to concepts of balance, duality, or lineage. The horns, when counted, may reflect cosmological ideas, such as the pairing of forces, the duality of male and female, or the multiplicity of virtues expected from an initiate.

    Communicative function: During initiation ceremonies, masks with different horn configurations help distinguish groups of initiates or represent different moral lessons, historical narratives, or mythological figures. The number and arrangement of horns can thus communicate specific messages to the community and to the boys being initiated.

In short, the number of horns on Bamana N’tomo masks serves as a symbolic and functional tool within the ritual, linking social hierarchy, moral instruction, and cosmological understanding. Jaenicke notes that while these interpretations are somewhat flexible and region-specific, the underlying principle is that each horn contributes to the mask’s role as a pedagogical and spiritual instrument within the initiation framework.

Horns on Bamana N’tomo masks, based on the studies of Wolfgang Jaenicke and other ethnographers:
Number of Horns 	Symbolic/Functional Meaning
Single pair (2 horns) 	Represents the initial stage of initiation; emphasizes alertness, readiness, and basic virtues expected of the youngest initiates.
Two pairs (4 horns) 	Associated with advancement in initiation; embodies strength, endurance, and growing social responsibility.
Three pairs (6 horns) 	Marks a higher or final stage of initiation; symbolizes mastery of ritual knowledge, moral maturity, and integration into adult society.
Multiple pairs (8 or more) 	Rare; may signify exceptional virtues, leadership potential, or specific mythological or ancestral associations.

The horns on Bamana N’tomo masks, based on the studies of Wolfgang Jaenicke and other ethnographers:

Number of Horns Symbolic/Functional Meaning

Single pair (2 horns) Represents the initial stage of initiation; emphasizes alertness, readiness, and basic virtues expected of the youngest initiates.

Two pairs (4 horns) Associated with advancement in initiation; embodies strength, endurance, and growing social responsibility.

Three pairs (6 horns) Marks a higher or final stage of initiation; symbolizes mastery of ritual knowledge, moral maturity, and integration into adult society.

Multiple pairs (8 or more) Rare; may signify exceptional virtues, leadership potential, or specific mythological or ancestral associations.

Hommage á Julio Remeo de Torres, wj (last photo sequence).

Heght: 72 cm without stand

Tre - God stand

Et treskulptur - Bamana / Bozo - Mali

Afrikansk kunst og stammekunst

Reservasjonspris

Ingen reservasjonspris

Sluttdato

søndag

onsdag

18 september

torsdag

20 september

tirsdag

mandag

19 september

Budsjett

Sted

Frankrike

Belgia

Nederland

Tyskland

Spania

Italia

Portugal

Østerrike

Romania

Luxemburg

Hongkong

Irland

Japan

Polen

Størrelse

S (10–40 cm)

M (40–80 cm)

L (over 80 cm)

XS (under 10 cm)

Mål

Høyde

Bredde

Dybde

Objekt

Stammekunst og objekter

Statue

Stamme-masker

Stammeskulpturer, statuer, utskjæringer og figurer

Dansemaske

Skulptur

Maleri

Stammevåpen og skjold

Dolk

Tekstil

Mask

Kort sverd

Stamme-maske

Stammesmykker og utsmykninger

Fetish figur

Perle

Vekter

Skje

Sverd

Spyd

Stammetekstiler og klær

Armbånd

Utskrift

Opprinnelsesland

Republikken Kongo

Mali

Nigeria

Kongo

Elfenbenskysten

Ghana

Burkina Faso

Gabon

Benin

Den demokratiske republikken Kongo

Kamerun

Togo

Afrika

Angola

Sør-Afrika

Tanzania

Niger

Tsjad

Etiopia

Kenya

Haiti

Senegal

Materiale

Bronse

Terrakotta

Glass

Lær

Metall

Jern (smijern)

Messing

Kobber

Jern (støpt/smittet)

Jern

Patineret bronse

Aluminium

Tekstiler

Stein

Stål

Ibenholt

Kleberstein

Bomull

Smijern

Sølv

Komposittmateriale

Krystall

Kjønn

Unisex

Dame

Tilstand

God tilstand

God stand - brukt, med små tegn på aldring og skavanker

Glimrende tilstand

God stand

Grei tilstand - mye brukt og med muligens mindre deler mangler

Utmerket

Utmerket stand - knapt brukt med minimal tegn på aldring og slitasje

Veldig god

God tilstand - brukt med noen tegn på bruk

Som ny - ubrukt

Veldig god tilstand - lite brukt med små tegn på bruk

Vintage - brukt med synlige tegn av bruk

Som ny

God tilstand, brukt med noe tegn til bruk

Trenger restaurering

God stand - brukt med små tegn på aldring

Rimelig

Dårlig - mye brukt med store sprekker, skader eller store deler mangler

Veldig bra tilstand, se beskrivelse

Bra tilstand, se beskrivelse

Veldig god tilstand, minimale tegn på slitasje

Svært dårlig - viser betydelig forfall, tap av opprinnelige struktur eller soliditet av materialet

Veldig god +

Ekstra tilbehør

støvjakke

No extra's

Signert av forfattere

Periode

1930–1940

Sent på 1900-tallet

Tidlig på 1900-tallet

midten av 1900-tallet

1920-1930

1940–1950

1950–1960

Sent på 1800-tallet

2000-2010

1990–2000

2020+

1850-1900

1910–1920

1970–1980

1960-1970

1900–1910

1980–1990

1800-1850

1400-1450

2010-2020

Tidlig på 1800-tallet

1550-1600

1750-1800

1500-1550

1900-tallet

Sertifisering

Ingen laboratorierapport

Emne

Dagscene

Portrett

Havutsikt

Natur

Pop-kultur

Abstrakt figur

Interiør scene

Antropologi

Landskap

Religion

Stil

Samtidskunst

Vintage

Afrikansk kunst og stammekunst

Dette objektet er ikke lenger tilgjengelig, men det er fortsatt mye å utforske

Et treskulptur - Bamana / Bozo - Mali

Populær i Afrikansk kunst og stammekunst

968 objekter

Relaterte samlinger