一个陶土雕塑 - Attie - 象牙海岸 (没有保留价)

A Attié pottery, Alepé region, Ivory Coast.

This pottery, in the Attié tradition of Ivory Coast, is characterized by a low, broadly flared silhouette, centered around a strongly carinated, almost lenticular body, topped by a short cylindrical neck and a very flared rim forming a wide horizontal disc; this contrast between the vessel’s broad base and its monumental opening lends the piece a presence that is both stable and ceremonial. The surface, ranging from dark brown to ochre, bears the marks of firing and prolonged use, while the shoulder is entirely covered with a remarkably dense combination of raised and incised decoration: concentric arcs in relief, vertical bands punctuated with marks, grid-like patterns, geometric shapes, small perforated or globular applied elements, as well as several schematic figures, some of which evoke objects, adornments, or emblematic symbols. The circular arrangement of these motifs around the neck transforms the vase into a veritable iconographic medium, where the decoration is likely not merely ornamental but contributes to the construction of the object’s visual and social identity. From an anthropological perspective, this accumulation of signs can be likened to decorative systems in which domestic, ceremonial, or funerary vessels serve as mediators between daily practices, collective memory, and the representation of status—even though the precise function of each motif cannot be determined by observation alone. The contrast between the dark, glossy areas of the lower section, the earthy deposits, and the lighter reliefs on the shoulder further accentuates the tactile experience of the piece and bears witness to its material history; through its shape, applied decoration, and symbolic economy, this pottery thus illustrates a conception of the vessel as an object that is at once utilitarian, social, and potentially ritual, in which the ceramic surface becomes a space for visual codification as much as a record of the uses and transformations it has undergone over time.

“The eastern coast of the Ivory Coast comprises an area of lagoons, where the population is divided into twelve different language groups The cultural and stylistic unity of these people justifies grouping the, together for the purposes of this chapter. Before colonization, each village was autonomous and, when threatened, they united to form a ‘confederation’. Unusually, these people are not governed by chiefs, although a man’s social position is determined by his age.” Source: Baquart, Jean-Baptiste. The Tribal Arts of Africa. New York: Thames and Hudson Inc. 1998. Print.

References:
Vogel, Susan M. Baule: African Art, Western Eyes. Yale University Press, 1997.
Holas, B. Arts de la Côte d’Ivoire. Musée de l’Homme, 1969.
Kerchache, Jacques, Jean-Louis Paudrat, and Lucien Stephan. Art of Africa: The Three Thousand-Year History. New York: Harry N. Abrams, 1995.
Robbins, Warren M., and Nancy Ingram Nooter. African Art in American Collections. Smithsonian Institution Press, 1989.
Bohumil Holas. Les Attié: Côte d'Ivoire. Editions Berger-Levrault, 1957.
Musée du Quai Branly – Jacques Chirac, object records and catalogue entries.
J. Camp Associates, Treasures from the Ivory Coast, 1977: number 64, New York, Tribal Art Gallery, Exhibition Catalogue

Some of the information is generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history.

Inofrmant: Bakari Bouafle

Inv. No. MAZ21489

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