一件青铜雕塑 - 匾 - 贝宁 - 尼日利亚
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本宁铜铸浮雕牌匾，源自尼日利亚，展示安祖菲仪式的杂技表演者， Benin 文化背景，重量9.1千克，高47厘米，深38厘米，品相为一般。
AI辅助摘要
卖家的描述
A Benin Relief Panel with Acrobats of the Amufi Ceremony.
The Amufi ceremony belongs to the complex cycle of court rituals associated with the kingship of the historic Kingdom of Benin and illustrates the intimate relationship between political authority, spiritual power, and the natural world. The Amufi guild was entrusted with the dangerous and highly symbolic task of capturing fish eagles used in royal sacrificial ceremonies during the annual Ugie festivals. Because fish eagles inhabit the highest treetops and are difficult to reach, members of the guild were believed to possess exceptional spiritual abilities enabling them to move between the human realm and elevated, spiritually charged spaces.
The ceremony itself was far more than an acrobatic display. In Benin cosmology, height frequently signifies proximity to supernatural forces and ancestral powers. By ascending to the tops of tall trees and suspending themselves high above the ground, the performers enacted a symbolic crossing of boundaries between earthly and spiritual domains. Their movements through the air, enhanced by rattles attached to their arms, deliberately evoked the flight of birds. In this sense, the acrobats did not merely imitate fish eagles but temporarily embodied qualities associated with them—freedom of movement between worlds, elevated vision, and access to forces beyond ordinary human reach.
The fish eagle itself held particular significance. Birds occupy an important place in Benin religious thought because they traverse the sky, a realm often associated with spiritual potency, ancestral presence, and divine authority. Capturing such a creature for the Oba's rituals demonstrated the king's ability to command powers extending beyond the human sphere. The Amufi guild therefore functioned as ritual specialists who helped transform the king's political authority into sacred authority.
The acrobatic performance may also be understood as a public demonstration of controlled spiritual power. Risking one's life while suspended high above the ground without apparent fear displayed mastery over dangerous forces. Such displays reinforced the belief that the participants were protected by medicines, ritual preparations, and supernatural assistance. Their successful descent affirmed the effectiveness of these powers and, by extension, the spiritual efficacy of the royal cult itself.
The relief panel is particularly remarkable because it translates this ephemeral performance into bronze. Unlike many Benin plaques that emphasize hierarchy, rank, and ceremonial stillness, this work captures movement, tension, and interaction with the environment. The two performers are shown in active poses rarely encountered in Benin court art, while the carefully rendered tree and the birds above create a narrative setting that directly references the ritual itself. The three large birds perched at the top almost certainly allude to the fish eagles sought by the guild and serve as visual markers of the elevated spiritual realm toward which the performers ascend.
Art historically, the plaque occupies a special position within the corpus of Benin reliefs. Barbara Blackmun has noted its close stylistic relationship to the famous leopard-hunt plaque, particularly in the treatment of movement, vegetation, and narrative composition. Both works have been attributed to the artist identified by William Fagg as the "Master of the Leopard Hunt." Because Benin bronze casting workshops generally maintained highly conservative court styles over centuries, the identification of an individual artistic personality is exceptionally rare. The dynamic compositions, naturalistic details, and sophisticated narrative structure of these plaques therefore distinguish their creator as one of the most innovative artists known from the Benin court tradition.
Selected References
Blackmun, Barbara. "Plaque with Acrobats of the Amufi Ceremony." In: Barbara Plankensteiner (ed.), Benin. Kings and Rituals: Court Arts from Nigeria. Vienna, 2007, pp. 334–335.
Fagg, William. Divine Kingship in Africa. London, 1970.
Plankensteiner, Barbara (ed.). Benin. Kings and Rituals: Court Arts from Nigeria. Vienna, 2007.
Ben-Amos, Paula Girshick. The Art of Benin. London, 1980.
Nevadomsky, Joseph. Kingship Succession Rituals in Benin. Ibadan, various publications.
This information is created by AI and based on published ethnographic and art-historical sources.
TL Analysis Kotalla 360 years +/-16,7
卖家故事
沃尔夫冈·贾艾尼克的对非洲艺术的投入并非始于田野或市场，而是在一个更安静、更内在的空间——在父亲的文件、书籍与物件之间。关于德国前殖民地的档案并非为了讲出一个单一的故事；它暗示着多种可能。它邀请审视而非崇敬，并让贾艾尼克在早年就明白，物件从来不是沉默的。它们内部携带时间——断裂与延续以同样的形式共存——并请人像对待文本那样去解读它们。
二十多年多来，贾艾尼克一直以收藏家、经销商与中介的身份工作，尽管这些称谓都不能完全概括他的实践形态。曾经较为随意地归在“部落艺术”范畴下的事物，在他看来从未是一个封闭或历史性的类别。它更像是一组活生生的传统，不断在当下进行协商。他的学术训练——民族学、艺术史与比较法——提供了一个语法；语言本身则在别处学得。在马里、喀麦隆、科特迪瓦、布基纳法索、多哥和加纳，知识是通过反复的相遇逐步显现，逐步变成关系，并通过信任在多年里一点点建立起来。
马里成为这段经历的重力中心。2002年至2012年间，贾艾尼克在巴马科和塞古居住并工作，经营着Tribalartforum，一家俯瞰尼日尔河的画廊。这个空间抵抗简单的年表化叙述。雕塑与陶器与摄影共处同一房间，马利克·西德比（Malick Sidibé）的作品——70年代昔日马里的青年形象，充满自信与热情——与更古老的仪式形式并列挂着。其效果并非让人怀旧，而是澄清：过去与现在并不彼此抵消，而是相互锐化。
2012年的战争突然结束了这一阶段，正如战争常常所做的那样。但它并未消解这份工作。与阿吉布·卡马特（Aguibou Kamaté）一起，贾艾尼克在洛美重新集结，离许多物件的来源地更近，也离它们继续行走的路线更近。自2018年以来，柏林成为这张地图上的又一个节点。Wolfgang Jaenicke画廊现设在夏洛滕堡皇宫对面，由一支小型专家团队支撑。其重点，尤其聚焦于西非青铜器与陶土器——这类以土与火为塑造材料，又以记忆形式抵御轻易翻译的材料。
贾艾尼克的实践之所以与众不同，不仅在于它的地理范围，还在于其内部张力。田野工作与来源研究并行；商业活动与责任感被视为不可分割。与博物馆及学术机构的合作中，流通被框定为一种伦理过程，而非单纯的掠取。目标并非将物件从世界中移除并封存起来，而是让它们在世界中保持可读性——在其言语的条件改变之时，仍使它们继续发声。
------------
Galerie Wolfgang Jaenicke 是一家驻柏林的画廊，专注于西非雕塑、青铜器、陶土器、面具以及当代非洲艺术。由沃尔夫冈·贾艾尼克掌舵，他的工作结合了收藏、经销、来源研究、田野考察与档案文献记录。
据画廊自述，贾艾尼克学习了民族学、艺术史与比较法，在非洲艺术领域从业超过二十五年。他的活动通过在马里、喀麦隆、科特迪瓦、布基纳法索、加纳和多哥等国的长期参与而发展起来。他并非将非洲艺术呈现为一个封闭的历史范畴，而是描述为由活生生的社区和不断变化的历史情境共同塑造的持续文化传统。
他职业生涯的一个特别重要阶段是在马里，约2002年至2012年间在巴马科和塞古居住、工作。在那里他经营Tribalartforum，一家将历史性非洲雕塑与当代非洲摄影结合起来的画廊，包括马利克·西迪贝的作品。2012年马里的政治与军事危机导致这一阶段的活动关闭。
随后，贾艾尼克与阿吉布·卡马特一起继续在洛美、多哥工作，然后在柏林夏洛滕堡宫附近建立画廊。画廊尤为强调西非青铜器、陶土器、与贝宁及伊菲相关作品、诺克（Nok）雕塑、道贡（Dogon）艺术、包雷（Baule）雕塑、塞努福（Senufo）物件以及约鲁巴材料等。
贾艾尼克公共立场的一个独特之处在于他反复强调来源透明度和赔偿辩论。在若干已发表的物件记录中，画廊明确讨论出口文书、联合国教科文组织公约、所有权历史以及与学者和赔偿研究人员的沟通等问题。这些陈述反映了当代关于非洲文化遗产流通、合法性、收藏史及博物馆收购实践的更广泛辩论。
画廊维持着大量线上档案与目录，记录着数百件非洲物件，包括贝宁与伊菲青铜器、诺克陶土、道贡雕塑、包雷人像、丰（Fon）物件、莫巴（Moba）人像及其他西非材料。
对于研究非洲艺术贸易史的学者而言，贾艾尼克代表了比约翰·J·克莱曼等人物更后期的一代经销商。克莱曼属于二战后纽约市场的1950年代至1970年代，而贾艾尼克的工作则受现代议题的影响：田野文档、来源研究、赔偿讨论、数字档案以及与西非网络与艺术家直接接触。
本文本基于人工智能信息
使用Google翻译翻译A Benin Relief Panel with Acrobats of the Amufi Ceremony.
The Amufi ceremony belongs to the complex cycle of court rituals associated with the kingship of the historic Kingdom of Benin and illustrates the intimate relationship between political authority, spiritual power, and the natural world. The Amufi guild was entrusted with the dangerous and highly symbolic task of capturing fish eagles used in royal sacrificial ceremonies during the annual Ugie festivals. Because fish eagles inhabit the highest treetops and are difficult to reach, members of the guild were believed to possess exceptional spiritual abilities enabling them to move between the human realm and elevated, spiritually charged spaces.
The ceremony itself was far more than an acrobatic display. In Benin cosmology, height frequently signifies proximity to supernatural forces and ancestral powers. By ascending to the tops of tall trees and suspending themselves high above the ground, the performers enacted a symbolic crossing of boundaries between earthly and spiritual domains. Their movements through the air, enhanced by rattles attached to their arms, deliberately evoked the flight of birds. In this sense, the acrobats did not merely imitate fish eagles but temporarily embodied qualities associated with them—freedom of movement between worlds, elevated vision, and access to forces beyond ordinary human reach.
The fish eagle itself held particular significance. Birds occupy an important place in Benin religious thought because they traverse the sky, a realm often associated with spiritual potency, ancestral presence, and divine authority. Capturing such a creature for the Oba's rituals demonstrated the king's ability to command powers extending beyond the human sphere. The Amufi guild therefore functioned as ritual specialists who helped transform the king's political authority into sacred authority.
The acrobatic performance may also be understood as a public demonstration of controlled spiritual power. Risking one's life while suspended high above the ground without apparent fear displayed mastery over dangerous forces. Such displays reinforced the belief that the participants were protected by medicines, ritual preparations, and supernatural assistance. Their successful descent affirmed the effectiveness of these powers and, by extension, the spiritual efficacy of the royal cult itself.
The relief panel is particularly remarkable because it translates this ephemeral performance into bronze. Unlike many Benin plaques that emphasize hierarchy, rank, and ceremonial stillness, this work captures movement, tension, and interaction with the environment. The two performers are shown in active poses rarely encountered in Benin court art, while the carefully rendered tree and the birds above create a narrative setting that directly references the ritual itself. The three large birds perched at the top almost certainly allude to the fish eagles sought by the guild and serve as visual markers of the elevated spiritual realm toward which the performers ascend.
Art historically, the plaque occupies a special position within the corpus of Benin reliefs. Barbara Blackmun has noted its close stylistic relationship to the famous leopard-hunt plaque, particularly in the treatment of movement, vegetation, and narrative composition. Both works have been attributed to the artist identified by William Fagg as the "Master of the Leopard Hunt." Because Benin bronze casting workshops generally maintained highly conservative court styles over centuries, the identification of an individual artistic personality is exceptionally rare. The dynamic compositions, naturalistic details, and sophisticated narrative structure of these plaques therefore distinguish their creator as one of the most innovative artists known from the Benin court tradition.
Selected References
Blackmun, Barbara. "Plaque with Acrobats of the Amufi Ceremony." In: Barbara Plankensteiner (ed.), Benin. Kings and Rituals: Court Arts from Nigeria. Vienna, 2007, pp. 334–335.
Fagg, William. Divine Kingship in Africa. London, 1970.
Plankensteiner, Barbara (ed.). Benin. Kings and Rituals: Court Arts from Nigeria. Vienna, 2007.
Ben-Amos, Paula Girshick. The Art of Benin. London, 1980.
Nevadomsky, Joseph. Kingship Succession Rituals in Benin. Ibadan, various publications.
This information is created by AI and based on published ethnographic and art-historical sources.
TL Analysis Kotalla 360 years +/-16,7
卖家故事
沃尔夫冈·贾艾尼克的对非洲艺术的投入并非始于田野或市场，而是在一个更安静、更内在的空间——在父亲的文件、书籍与物件之间。关于德国前殖民地的档案并非为了讲出一个单一的故事；它暗示着多种可能。它邀请审视而非崇敬，并让贾艾尼克在早年就明白，物件从来不是沉默的。它们内部携带时间——断裂与延续以同样的形式共存——并请人像对待文本那样去解读它们。
二十多年多来，贾艾尼克一直以收藏家、经销商与中介的身份工作，尽管这些称谓都不能完全概括他的实践形态。曾经较为随意地归在“部落艺术”范畴下的事物，在他看来从未是一个封闭或历史性的类别。它更像是一组活生生的传统，不断在当下进行协商。他的学术训练——民族学、艺术史与比较法——提供了一个语法；语言本身则在别处学得。在马里、喀麦隆、科特迪瓦、布基纳法索、多哥和加纳，知识是通过反复的相遇逐步显现，逐步变成关系，并通过信任在多年里一点点建立起来。
马里成为这段经历的重力中心。2002年至2012年间，贾艾尼克在巴马科和塞古居住并工作，经营着Tribalartforum，一家俯瞰尼日尔河的画廊。这个空间抵抗简单的年表化叙述。雕塑与陶器与摄影共处同一房间，马利克·西德比（Malick Sidibé）的作品——70年代昔日马里的青年形象，充满自信与热情——与更古老的仪式形式并列挂着。其效果并非让人怀旧，而是澄清：过去与现在并不彼此抵消，而是相互锐化。
2012年的战争突然结束了这一阶段，正如战争常常所做的那样。但它并未消解这份工作。与阿吉布·卡马特（Aguibou Kamaté）一起，贾艾尼克在洛美重新集结，离许多物件的来源地更近，也离它们继续行走的路线更近。自2018年以来，柏林成为这张地图上的又一个节点。Wolfgang Jaenicke画廊现设在夏洛滕堡皇宫对面，由一支小型专家团队支撑。其重点，尤其聚焦于西非青铜器与陶土器——这类以土与火为塑造材料，又以记忆形式抵御轻易翻译的材料。
贾艾尼克的实践之所以与众不同，不仅在于它的地理范围，还在于其内部张力。田野工作与来源研究并行；商业活动与责任感被视为不可分割。与博物馆及学术机构的合作中，流通被框定为一种伦理过程，而非单纯的掠取。目标并非将物件从世界中移除并封存起来，而是让它们在世界中保持可读性——在其言语的条件改变之时，仍使它们继续发声。
------------
Galerie Wolfgang Jaenicke 是一家驻柏林的画廊，专注于西非雕塑、青铜器、陶土器、面具以及当代非洲艺术。由沃尔夫冈·贾艾尼克掌舵，他的工作结合了收藏、经销、来源研究、田野考察与档案文献记录。
据画廊自述，贾艾尼克学习了民族学、艺术史与比较法，在非洲艺术领域从业超过二十五年。他的活动通过在马里、喀麦隆、科特迪瓦、布基纳法索、加纳和多哥等国的长期参与而发展起来。他并非将非洲艺术呈现为一个封闭的历史范畴，而是描述为由活生生的社区和不断变化的历史情境共同塑造的持续文化传统。
他职业生涯的一个特别重要阶段是在马里，约2002年至2012年间在巴马科和塞古居住、工作。在那里他经营Tribalartforum，一家将历史性非洲雕塑与当代非洲摄影结合起来的画廊，包括马利克·西迪贝的作品。2012年马里的政治与军事危机导致这一阶段的活动关闭。
随后，贾艾尼克与阿吉布·卡马特一起继续在洛美、多哥工作，然后在柏林夏洛滕堡宫附近建立画廊。画廊尤为强调西非青铜器、陶土器、与贝宁及伊菲相关作品、诺克（Nok）雕塑、道贡（Dogon）艺术、包雷（Baule）雕塑、塞努福（Senufo）物件以及约鲁巴材料等。
贾艾尼克公共立场的一个独特之处在于他反复强调来源透明度和赔偿辩论。在若干已发表的物件记录中，画廊明确讨论出口文书、联合国教科文组织公约、所有权历史以及与学者和赔偿研究人员的沟通等问题。这些陈述反映了当代关于非洲文化遗产流通、合法性、收藏史及博物馆收购实践的更广泛辩论。
画廊维持着大量线上档案与目录，记录着数百件非洲物件，包括贝宁与伊菲青铜器、诺克陶土、道贡雕塑、包雷人像、丰（Fon）物件、莫巴（Moba）人像及其他西非材料。
对于研究非洲艺术贸易史的学者而言，贾艾尼克代表了比约翰·J·克莱曼等人物更后期的一代经销商。克莱曼属于二战后纽约市场的1950年代至1970年代，而贾艾尼克的工作则受现代议题的影响：田野文档、来源研究、赔偿讨论、数字档案以及与西非网络与艺术家直接接触。
本文本基于人工智能信息
使用Google翻译翻译详细资料
Indigenous object name
Plaque
Ethnic group/ culture
Benin
原产国
尼日利亚
材质
黄铜色
Sold with stand
不是
状态
情况尚佳
艺术品标题
A bronze sculpture
高度
47 cm
深度
38 cm
重量
9,1 kg
德国经验证
protop
Rechtliche Informationen des Verkäufers
- Unternehmen:
- Jaenicke Njoya GmbH
- Repräsentant:
- Wolfgang Jaenicke
- Adresse:
- Jaenicke Njoya GmbH
Klausenerplatz 7
14059 Berlin
GERMANY - Telefonnummer:
- +493033951033
- Email:
- w.jaenicke@jaenicke-njoya.com
- USt-IdNr.:
- DE241193499
AGB
AGB des Verkäufers. Mit einem Gebot auf dieses Los akzeptieren Sie ebenfalls die AGB des Verkäufers.
Widerrufsbelehrung
- Frist: 14 Tage sowie gemäß den hier angegebenen Bedingungen
- Rücksendkosten: Käufer trägt die unmittelbaren Kosten der Rücksendung der Ware
- Vollständige Widerrufsbelehrung
