一件木雕作品 - Lobi - 布基纳法索 (没有保留价)
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卖家的描述
Lobi statue, Bonko region, Burkina Faso, incl stand.
This wooden male figure is distinguished by its very slender silhouette, constructed with strict frontality: the ovoid head, disproportionately large compared to the body, rests on a long, cylindrical neck, while the angular shoulders, narrow torso, and parallel legs create an almost hieratic vertical structure. The face, rendered with great economy of means, features half-closed almond-shaped eyes, a straight nose, a mouth with overlapping lips, and large, geometrically shaped ears; the smooth skullcap is separated from the forehead by a curved incision. The arms, held close to the body, converge towards the pubic region, where the male genitalia and navel are clearly indicated. A reddish-ochre substance largely covers the surface, now matte, abraded, and cracked; a significant longitudinal fissure runs through the head and torso, while the ends of the legs are deeply damaged, probably by moisture and wood-boring insects. Within the framework of a Lobi attribution, this sculpture can be compared to the figures called bateba, placed in domestic sanctuaries dedicated to the protective powers associated with families and territory: conceived as auxiliaries of the spirits, they could receive libations or offerings intended to maintain their benevolence.
Dihunthe Palenfo during an interview 2007, nearly blind (Penultimate photo sequence)
We don't know if Dihunthe or Doho, as he calls himself, showed his work to Sikire for criticism and evaluation. But we do count him as one of the Sikire school because he obviously adopted the repertoire and style of the great master of Gaoua. Dihunthe Palenfo, a Birifo, was born in 1925 in Tambili, a village lying about six kilometers southwest of Gaoua. There he still lives today as a farmer and sculptor. His father was carving tool shafts and he tried to prohibit his son from carving when he saw him trying to carve bateba in early years. His father only consented when Dihunthe sold a, as he says, "very beautiful bateba" to a European. Since then Dihunthe has also sold dancing staffs (catalog no. 203), stools with Janus heads (ill. 106), forks and spoons with deer heads to natives as well as traders and tourists. Even though today he is one of the two sculptors among the Lobi who sell most of their works to tourists, he assures us that he would also like carving if he could not make any money with it. According to the information he himself gave us, he has never carved any masks (all information from Malichin, 1981). Dihunthe's style is softer and more vague. His figures do not have the strength and vigorous precision which mark Sikire's style. Typical for example is that Dihunthe puts a hole in the ears of his statues like his master, but the pupils are only circled and not drilled out like Sikire's. This gives them a rather uncertain look. Piet Meyer...Page 152, 1980, Rietberg Museum, 4.6.3
Analogue copies Thomas Keller, Switzerland 2015, Sikire Kambire, page 78/79.
Lunkena was, together with Dihunthe Palenfo, one of the best known followers of Sikire Kambire.
see also the video interviews with Sikire Kambire's daughter, wolfgang jaenicke Gaoua, 2015.
Exemplares of the same sculptor: Piet Meyer, Rietberg Catalogue, 1981, page 139; Catalogue by Thomas Keller: "Lobi Statuary, Sikire Kambire, 2015, page 74 - 79, ua
The carver Lunkena Pale (1911 - 1975) working on a figure (last photo sequence)
Some of the information is generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history.
Invt. No. MAZ20431
The seller guarantees and can prove that the object was obtained legally. The seller was informed by Catawiki that they had to provide the documentation required by the laws and regulations in their country of residence. The seller guarantees and is entitled to sell/export this object. The seller will provide all provenance information known about the object to the buyer. The seller ensures that any necessary permits are/will be arranged. The seller will inform the buyer immediately about any delays in obtaining such permits.
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Lobi statue, Bonko region, Burkina Faso, incl stand.
This wooden male figure is distinguished by its very slender silhouette, constructed with strict frontality: the ovoid head, disproportionately large compared to the body, rests on a long, cylindrical neck, while the angular shoulders, narrow torso, and parallel legs create an almost hieratic vertical structure. The face, rendered with great economy of means, features half-closed almond-shaped eyes, a straight nose, a mouth with overlapping lips, and large, geometrically shaped ears; the smooth skullcap is separated from the forehead by a curved incision. The arms, held close to the body, converge towards the pubic region, where the male genitalia and navel are clearly indicated. A reddish-ochre substance largely covers the surface, now matte, abraded, and cracked; a significant longitudinal fissure runs through the head and torso, while the ends of the legs are deeply damaged, probably by moisture and wood-boring insects. Within the framework of a Lobi attribution, this sculpture can be compared to the figures called bateba, placed in domestic sanctuaries dedicated to the protective powers associated with families and territory: conceived as auxiliaries of the spirits, they could receive libations or offerings intended to maintain their benevolence.
Dihunthe Palenfo during an interview 2007, nearly blind (Penultimate photo sequence)
We don't know if Dihunthe or Doho, as he calls himself, showed his work to Sikire for criticism and evaluation. But we do count him as one of the Sikire school because he obviously adopted the repertoire and style of the great master of Gaoua. Dihunthe Palenfo, a Birifo, was born in 1925 in Tambili, a village lying about six kilometers southwest of Gaoua. There he still lives today as a farmer and sculptor. His father was carving tool shafts and he tried to prohibit his son from carving when he saw him trying to carve bateba in early years. His father only consented when Dihunthe sold a, as he says, "very beautiful bateba" to a European. Since then Dihunthe has also sold dancing staffs (catalog no. 203), stools with Janus heads (ill. 106), forks and spoons with deer heads to natives as well as traders and tourists. Even though today he is one of the two sculptors among the Lobi who sell most of their works to tourists, he assures us that he would also like carving if he could not make any money with it. According to the information he himself gave us, he has never carved any masks (all information from Malichin, 1981). Dihunthe's style is softer and more vague. His figures do not have the strength and vigorous precision which mark Sikire's style. Typical for example is that Dihunthe puts a hole in the ears of his statues like his master, but the pupils are only circled and not drilled out like Sikire's. This gives them a rather uncertain look. Piet Meyer...Page 152, 1980, Rietberg Museum, 4.6.3
Analogue copies Thomas Keller, Switzerland 2015, Sikire Kambire, page 78/79.
Lunkena was, together with Dihunthe Palenfo, one of the best known followers of Sikire Kambire.
see also the video interviews with Sikire Kambire's daughter, wolfgang jaenicke Gaoua, 2015.
Exemplares of the same sculptor: Piet Meyer, Rietberg Catalogue, 1981, page 139; Catalogue by Thomas Keller: "Lobi Statuary, Sikire Kambire, 2015, page 74 - 79, ua
The carver Lunkena Pale (1911 - 1975) working on a figure (last photo sequence)
Some of the information is generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history.
Invt. No. MAZ20431
The seller guarantees and can prove that the object was obtained legally. The seller was informed by Catawiki that they had to provide the documentation required by the laws and regulations in their country of residence. The seller guarantees and is entitled to sell/export this object. The seller will provide all provenance information known about the object to the buyer. The seller ensures that any necessary permits are/will be arranged. The seller will inform the buyer immediately about any delays in obtaining such permits.
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
Ethnic group/ culture
Lobi
原产国
布基纳法索
材质
木
Sold with stand
是的
状态
情况尚佳
艺术品标题
A wooden sculpture
高度
53 cm
重量
1,7 kg
真伪
原始的/正式的
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
