一件青铜雕塑 - Esieku - 贝宁 - 尼日利亚
03
天
21
小时
36
分钟
10
秒
 | €570 | |
|---|---|---|
 | €500 |
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卖家的描述
Two Court Figures (Esieku / Akaeronmwon) – Benin Bronze Pair
Origin: Nigeria, Kingdom of Benin, Edo culture / Benin style
Material: Copper alloy (bronze), dark brown and greenish patina
Dating: Undetermined; stylistic affinities with early Benin court sculpture
Height: 42 cm / 42 cm
Weight: 4,5 kg / 4,5 kg
Inv. No. CAB42827
Photography: WJ
No scientific test report is provided for this piece. Its age and geographical origin have therefore not been verified
Description
This remarkable pair of bronze figures represents two individuals of short stature, traditionally associated with the royal court of the Kingdom of Benin. Both sculptures display compact bodies, short legs, prominent abdomens, and disproportionately large heads, distinguished by exceptionally individualised facial features. The first figure, possibly female, has rounded cheeks, full lips, almond-shaped eyes, and an elaborate, backward-projecting hairstyle decorated with a finely incised diamond pattern. The second figure, characterised as male by its distinctive beard, displays a pronounced nose, carefully modelled lips, short textured hair, and a pendant suspended across the chest. Both figures wear waistcloths and adopt similar postures, with their arms bent and hands positioned before the torso. The dark, partially greenish patina reveals surface irregularities and traces of corrosion.
Historical and Ritual Significance
Within the complex hierarchy of the Benin royal court, individuals of short stature occupied distinctive positions. Frequently identified as Esieku or Akaeronmwon, they performed functions extending beyond entertainment. Historical accounts associate them with gathering information, transmitting news to the Oba, and participating in courtly and ceremonial activities. Certain traditions also connected physical difference with spiritual significance and relationships to supernatural forces. Although comparable figures have been associated with royal ancestral altars, the original function of the present pair remains uncertain.
Photo wj (last photo sequence)
Art Historical Appreciation
The exceptional artistic quality of these sculptures lies in their striking naturalism and individualised physiognomy. Their expressive faces, carefully articulated hairstyles, and confidently modelled bodies demonstrate the sophistication associated with the bronze-casting traditions of Benin. Particularly noteworthy is the contrast between the rounded, softly modelled face of the first figure and the sharply defined features of the bearded companion.
Important parallels can be found in the celebrated court figures preserved in the Weltmuseum Wien, traditionally identified as Akaeronmwon and attributed to the fourteenth or fifteenth century. These comparisons illuminate the early development of naturalistic representation in southern Nigerian metal sculpture, although they cannot establish the date of the present pair.
Felix von Luschan, in his monumental publication Die Altertümer von Benin (1919), famously compared the artistic accomplishments of Benin bronze casters with those of the Italian Renaissance master Benvenuto Cellini. His discussion of the so-called Vienna dwarfs, however, concentrated largely on their physical characteristics rather than their remarkable sculptural individuality.
The present figures also recall the refined naturalistic traditions of Ife, although a direct stylistic or chronological relationship remains unproven. Despite their relatively modest dimensions, the sculptures possess an extraordinary monumental presence. Their balanced proportions, sensitive facial modelling, and complementary characterisation transform the pair into a compelling expression of human individuality and an impressive example of the artistic language associated with Benin court sculpture.
Literature
Felix von Luschan: Die Altertümer von Benin, Vol. 1, Berlin, 1919, pp. 299–300.
Philip J. C. Dark: An Introduction to Benin Art and Technology, Oxford, 1973, p. 97.
Paula Girshick Ben-Amos: The Art of Benin, London, 1995, p. 43.
Barbara Plankensteiner (ed.): Benin. Könige und Rituale. Höfische Kunst aus Nigeria, Vienna, 2007, pp. 308–311.
The literature is cited for historical and comparative reference; it does not establish publication of the present pair.
Copyright and Scientific Documentation
Some of the information and photographs have been generated with the assistance of artificial intelligence and are based on published sources in ethnography, archaeology, and art history. Original texts and photographs may be protected by copyright. All rights held by the respective rights holders are reserved.
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Two Court Figures (Esieku / Akaeronmwon) – Benin Bronze Pair
Origin: Nigeria, Kingdom of Benin, Edo culture / Benin style
Material: Copper alloy (bronze), dark brown and greenish patina
Dating: Undetermined; stylistic affinities with early Benin court sculpture
Height: 42 cm / 42 cm
Weight: 4,5 kg / 4,5 kg
Inv. No. CAB42827
Photography: WJ
No scientific test report is provided for this piece. Its age and geographical origin have therefore not been verified
Description
This remarkable pair of bronze figures represents two individuals of short stature, traditionally associated with the royal court of the Kingdom of Benin. Both sculptures display compact bodies, short legs, prominent abdomens, and disproportionately large heads, distinguished by exceptionally individualised facial features. The first figure, possibly female, has rounded cheeks, full lips, almond-shaped eyes, and an elaborate, backward-projecting hairstyle decorated with a finely incised diamond pattern. The second figure, characterised as male by its distinctive beard, displays a pronounced nose, carefully modelled lips, short textured hair, and a pendant suspended across the chest. Both figures wear waistcloths and adopt similar postures, with their arms bent and hands positioned before the torso. The dark, partially greenish patina reveals surface irregularities and traces of corrosion.
Historical and Ritual Significance
Within the complex hierarchy of the Benin royal court, individuals of short stature occupied distinctive positions. Frequently identified as Esieku or Akaeronmwon, they performed functions extending beyond entertainment. Historical accounts associate them with gathering information, transmitting news to the Oba, and participating in courtly and ceremonial activities. Certain traditions also connected physical difference with spiritual significance and relationships to supernatural forces. Although comparable figures have been associated with royal ancestral altars, the original function of the present pair remains uncertain.
Photo wj (last photo sequence)
Art Historical Appreciation
The exceptional artistic quality of these sculptures lies in their striking naturalism and individualised physiognomy. Their expressive faces, carefully articulated hairstyles, and confidently modelled bodies demonstrate the sophistication associated with the bronze-casting traditions of Benin. Particularly noteworthy is the contrast between the rounded, softly modelled face of the first figure and the sharply defined features of the bearded companion.
Important parallels can be found in the celebrated court figures preserved in the Weltmuseum Wien, traditionally identified as Akaeronmwon and attributed to the fourteenth or fifteenth century. These comparisons illuminate the early development of naturalistic representation in southern Nigerian metal sculpture, although they cannot establish the date of the present pair.
Felix von Luschan, in his monumental publication Die Altertümer von Benin (1919), famously compared the artistic accomplishments of Benin bronze casters with those of the Italian Renaissance master Benvenuto Cellini. His discussion of the so-called Vienna dwarfs, however, concentrated largely on their physical characteristics rather than their remarkable sculptural individuality.
The present figures also recall the refined naturalistic traditions of Ife, although a direct stylistic or chronological relationship remains unproven. Despite their relatively modest dimensions, the sculptures possess an extraordinary monumental presence. Their balanced proportions, sensitive facial modelling, and complementary characterisation transform the pair into a compelling expression of human individuality and an impressive example of the artistic language associated with Benin court sculpture.
Literature
Felix von Luschan: Die Altertümer von Benin, Vol. 1, Berlin, 1919, pp. 299–300.
Philip J. C. Dark: An Introduction to Benin Art and Technology, Oxford, 1973, p. 97.
Paula Girshick Ben-Amos: The Art of Benin, London, 1995, p. 43.
Barbara Plankensteiner (ed.): Benin. Könige und Rituale. Höfische Kunst aus Nigeria, Vienna, 2007, pp. 308–311.
The literature is cited for historical and comparative reference; it does not establish publication of the present pair.
Copyright and Scientific Documentation
Some of the information and photographs have been generated with the assistance of artificial intelligence and are based on published sources in ethnography, archaeology, and art history. Original texts and photographs may be protected by copyright. All rights held by the respective rights holders are reserved.
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
Esieku
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
42 cm
重量
9 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
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