Arte

Interiores e decoração

Joalharia e pedras preciosas

Relógios, canetas e isqueiros

Moda

Moedas e selos

Banda desenhada e animação

Carros, motos e automobilia

Vinho, uísque e bebidas espirituosas

Arte tribal e asiática

Cromos e cartas

Brinquedos e modelismo

Arqueologia e história natural

Desporto

Música, cinema e câmeras

Livros e memorabilia histórica

Os melhores objetos trazidos até si por {name}

Julien Gauthier

A sculptural exceptional Yaure celebration mask, collected in Ngovia region, Ivory coast, with intricately carved horns and geometric motif hairline, signs of ritual use and age. Incl stand.

Yaure celebration masks originate from central Côte d’Ivoire, where the Yaure people occupy a cultural and linguistic position between the Baule to the east and the Guro to the west. Their masking traditions reflect this intermediary geography, combining formal refinement with ritual and social functions that articulate the relationships between the living, the dead, and the spiritual realm. Among the Yaure, masks are not merely aesthetic objects but dynamic participants in ceremonies that sustain moral order and community cohesion. The so-called “celebration masks” are especially associated with performances that mark the passage of life and the maintenance of harmony between humans and spirits.

The Yaure conceive of the world as governed by invisible forces, including nature spirits (yu) and ancestral powers who influence fertility, health, and social balance. Masks appear within this cosmology as mediating instruments that allow communication with these forces. Celebration masks, often referred to collectively as lo masks, perform in funerary rituals known as lo zu and in other communal events that honor the deceased, celebrate abundance, or reaffirm collective identity. The masquerade constitutes a controlled encounter between human society and the dangerous energies of the bush, transforming spiritual power into social order through dance, music, and spectacle.

Formally, Yaure masks are among the most elegant in West African art. They are typically carved from a single piece of wood, characterized by a refined balance between geometric precision and organic rhythm. The faces are oval and smooth, the features symmetrically arranged, and the expressions composed yet animated by subtle curvature around the mouth and eyes. Many masks include a crest or superstructure—often an animal figure such as a hornbill, antelope, or ram—whose symbolic associations reinforce themes of vitality, sacrifice, and regeneration. The surface is usually darkened with pigment or patina, lending the mask a sense of spiritual depth. The sculptural restraint of Yaure masks conceals a complex iconography: the idealized human visage evokes beauty and moral rectitude, while the animal motifs connect the mask to the untamed spiritual forces of the bush.

In performance, celebration masks appear as part of an ensemble that includes drumming, song, and dance. The dancer, fully costumed in cloth and raffia, is transformed into a vessel for spiritual presence. Each mask type has its own choreography and rhythm, corresponding to its role in the ritual sequence. Some masks are considered dangerous and may not be seen by women or uninitiated men, while others perform publicly to honor the departed and to restore social equilibrium after death or misfortune. The harmony of form and movement reflects Yaure ideals of restraint, self-control, and aesthetic propriety, which are seen as necessary conditions for moral and communal well-being.

Yaure masks entered Western collections in the early twentieth century, admired for their formal beauty and compositional harmony. Modernist artists and collectors, notably during the interwar period, celebrated their abstract clarity and serene expression, often detached from their ritual origins. Subsequent scholarship has sought to correct this decontextualization by situating Yaure masks within the lived context of Yaure ritual life. As celebration masks, they are not objects of static contemplation but agents of transformation—visual and performative means through which the community negotiates its relationship with death, fertility, and the continuity of moral order.

References

Bognolo, Daniela. Masques de la Côte d’Ivoire. Paris: Éditions du Musée Dapper, 1998.
Falgayrettes-Leveau, Christiane. Art de Côte d’Ivoire: Traditions et modernités. Paris: Musée Dapper, 1993.
Homberger, Lorenz. The Art of Côte d’Ivoire. Zurich: Museum Rietberg, 1990.
Vogel, Susan Mullin. Baule: African Art, Western Eyes. New Haven: Yale University Press, 1997.
Fagg, William. African Sculpture. London: Studio Vista, 1964.
Zahan, Dominique. The Religion, Spirituality, and Thought of Traditional Africa. Chicago: University of Chicago Press, 1979.

Height: 42 cm without stand

Madeira - Boas condições

Uma máscara de madeira - Yaure - Costa do Marfim

Arte tribal e africana

Preço de reserva

Sem preço de reserva

Comprar agora

Data de fim

domingo

sábado

quarta-feira

hoje

19 abril

amanhã

terça-feira

segunda-feira

16 abril

Orçamento

Até

Localização

França

Bélgica

Espanha

Alemanha

Holanda

Áustria

Itália

Portugal

Luxemburgo

Estados Unidos

Reino Unido

Grécia

Japão

Dimensões

Altura

Largura

Profundidade

Objeto

Arte e objetos tribais

Esculturas, estátuas, talhas e estatuetas tribais

Máscaras tribais

Figura

Mask

Escultura

Máscara de dança

Fetiche

Têxteis e vestuário tribais

Têxtil

Livro

Estatueta

Pintura

Relicário

Joalharia e adornos tribais

Estátua

Marioneta

Cabeça de figura

Missanga

Impressão

Cruz

Jarra

Esculturas, talhas e estatuetas antigas

Bracelete

País de origem

República Democrática do Congo

Nigéria

Mali

Costa do Marfim

Congo

Gana

Gabão

Cameroon

Benim

África

Burkina Faso

Togo

Tanzânia

Angola

África do Sul

Chade

Etiópia

Zimbábue

Libéria

Níger

Ruanda

Quénia

Material

Madeira

Bronze

Terracota

Vidro

Cobre

Metal

Pele

Osso

Ferro (forjado)

Latão

Pedra

Concha

Alumínio

Madeira (teixo)

Ferro

Bronze patinado

Folheado

Têxteis

Coral

Ferro (molde)

Madeira (bétula)

Vidro Murano

Ouro

Prata

Estado

Bom estado

Boas condições

Bom estado - usado com pequenos sinais de envelhecimento e manchas

Excelente estado

Condição razoável - muito usado e com possivelmente algumas pequenas peças em falta

Excelente estado - muito pouco usado com sinais mínimos de envelhecimento e desgaste

Como novo - não foi utilizado

Em boas condições - usado com pequenos sinais de envelhecimento.

Bom estado - foi utilizado - com alguns sinais de desgaste

Precisa de restauro

excelente estado

Muito bom

Razoável

Muito bom estado, veja descrição

Como novo

Excelente estado - muito pouco utilizado - com sinais mínimos de desgaste

Fraco - muito usado com grandes fissuras, danos ou peças grandes em falta

Extras

Sem extras

Capa de papel protetora

Período

Final do século XX

2000-2010

meados do século XX

Início do século XX

1930-1940

1980-1990

1940-1950

1950-1960

1920-1930

1990-2000

Depois de 2020

1850-1900

1910-1920

1970-1980

1900-1910

Final do século XIX

1960-1970

1600-1650

1750-1800

Início do século XIX

meados do século XIX

1800-1850

1450-1500

1550-1600

1650-1700

Certificação

Sem relatório de um laboratório

Espéciesnão-CITES

Tema

Retrato

Cena histórica

Arte e cultura tribal

Antropologia

Animais

Arte aplicada (design)

Estilo

Ásia Antiga

Arte Folk

Arte déco

Inspirado na antiguidade

Bauhaus

Antigo

Contemporâneo

Vintage

Minimalista

Inspirado na Arte Déco

Clássico

Vitoriano

Moderno

Arte naif

Técnica

Arte tribal e africana

Este objeto já não está disponível, mas ainda há muito para explorar

Uma máscara de madeira - Yaure - Costa do Marfim

Popular em Arte tribal e africana

1083 objetos

Coleções relacionadas