一块木板 - Allo Kafi Gida - 尼日利亚 (没有保留价)

01
12
小时
39
分钟
26
当前出价
€ 75
没有保留价
Dimitri André
专家
由Dimitri André精选

拥有非洲研究硕士学位及非洲艺术15年工作经验。

估价  € 350 - € 430
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fr竞买人 2165 €75
pl竞买人 3715 €70
fr竞买人 2165 €61

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来自尼日利亚的木板,豪萨(Allo Kafi Gida)板。

AI辅助摘要

卖家的描述

An Allo Kafi Gida board of the Hausa people, Nigeria, with several drawings and arabic writings on both sides of the board. Signs of ritual use.

In Hausa usage the word allo refers to the rectangular wooden board employed in Qurʾanic schooling for the writing, memorisation and recitation of verses. These boards are central artefacts of the traditional makarantar allo system, in which pupils copy lines of the Qurʾan with ink prepared from soot and gum, recite them repeatedly, wash the board and proceed to the next passage. The phrase allo kafi gida does not denote a different object; rather, in pedagogical and artisanal contexts it designates a category of boards valued for their workmanship and durability, sometimes manufactured with thicker wood and a smoother writing surface than the ordinary boards used in the home or in informal instruction. In practice such boards are preferred for intensive study or for pupils who have progressed beyond elementary copying, because the quality of the calligraphic surface affects legibility and the ease with which ink washes off.

Ethnographic accounts show that the making of these boards involves specialised woodworking techniques and regionally specific aesthetics. Carvers select light, fine-grained woods that resist warping, then plane and sand the surface to achieve an evenness suitable for repeated inscription. The boards often bear modest stylistic signatures—subtle edge bevels or carved grips—that identify the workshop or region of origin. Although not considered luxury items, allo kafi gida boards circulate as valued pedagogical tools within Qurʾanic schools and are sometimes given as gifts to promising students or teachers as marks of esteem.

Within the wider cultural economy of northern Nigeria the use of such boards illustrates the intimate link between material culture and Islamic pedagogy. The allo is both a technological aid and a moral object, associated with discipline, endurance and the cultivation of literacy in Arabic. The designation kafi gida underscores expectations about reliability and suitability for formal study, distinguishing these boards from domestically made or improvised variants whose surfaces may be irregular, porous or prone to stain retention.

References
J. Boyd The Makarantar Allo in Hausaland
A. G. Ahmad Material Culture of Qurʾanic Schooling in Northern Nigeria
M. Last Qurʾanic Education and its Artefacts in West Africa

CAB24636

"I believe that the import of all art objects from Africa—whether copies or originals—should be prohibited to protect Africa." Quote: Prof. Dr. Viola König, former director of the Ethnological Museum of Berlin, now HUMBOLDTFORUM

Legal Framework

Under the 1970 UNESCO Convention in combination with the Kulturgutschutz Gesetz (KGSG) any claim for the restitution of cultural property becomes time-barred three years after the competent authorities of the State of origin obtain knowledge of the object’s location and the identity of its possessor.

All bronzes and terracotta items offered have been publicly exhibited in Wolfgang Jaenicke Gallery since 2001. Organisations such as DIGITAL BENIN and academic institutions such as the Technical University of Berlin, which have been intensively involved in restitution-reseaches (translocation-project) over the past seven years, are aware of our work, have inspected large parts of our collection and have visited us in our dependance in Lomé, Togo, among other places, to learn about the international Art trade on site. Furthermore, the National Commission for Museums and Monuments (NCMM) in Abuja, Nigeria, has been informed about our collection. In no case in the past have there been restitution claims against private institutions such as the Wolfgang Jaenicke Gallery

Our Gallery addresses these structural challenges through a policy of maximum transparency and documentation. Should any questions or uncertainties arise, we invite you to contact us. Each matter will be reviewed diligently using all available resources.

卖家故事

我已收藏25年,从事非洲艺术交易已有20年。我的收藏灵感来源于我父亲对藏品的热爱,他留给我们一批“德国殖民地”的藏品。我曾在柏林自由大学学习人类学、艺术史和比较法,但未取得学位。在穿越喀麦隆、马里、科特迪瓦、布基纳法索、多哥和加纳的广泛旅行后,我在巴马科和塞古生活了10年。在塞古,我负责“Tribalartforum”画廊,由于马里战争,画廊于2012年关闭。随后我定居在多哥洛美,我们在那设有分支机构。16年前,Jaenicke-Njoya GmbH成立,我一直担任其管理合伙人。2018年,我们在柏林夏洛滕堡开设了一家画廊,位于夏洛滕堡宫对面,靠近毕加索博物馆柏格吕恩。我们的团队由6名员工组成:一名考古学家、一名艺术史学家、一名摄影师、一名财务控制员、一名在多哥洛美的常驻代表,以及一名在柏林/多哥的代理总监。你可以在网上找到我们,搜索wolfgang-jaenicke或Galerie Wolfgang Jaenicke,地址:Klausenerplatz 7,14059柏林,德国。
使用Google翻译翻译

An Allo Kafi Gida board of the Hausa people, Nigeria, with several drawings and arabic writings on both sides of the board. Signs of ritual use.

In Hausa usage the word allo refers to the rectangular wooden board employed in Qurʾanic schooling for the writing, memorisation and recitation of verses. These boards are central artefacts of the traditional makarantar allo system, in which pupils copy lines of the Qurʾan with ink prepared from soot and gum, recite them repeatedly, wash the board and proceed to the next passage. The phrase allo kafi gida does not denote a different object; rather, in pedagogical and artisanal contexts it designates a category of boards valued for their workmanship and durability, sometimes manufactured with thicker wood and a smoother writing surface than the ordinary boards used in the home or in informal instruction. In practice such boards are preferred for intensive study or for pupils who have progressed beyond elementary copying, because the quality of the calligraphic surface affects legibility and the ease with which ink washes off.

Ethnographic accounts show that the making of these boards involves specialised woodworking techniques and regionally specific aesthetics. Carvers select light, fine-grained woods that resist warping, then plane and sand the surface to achieve an evenness suitable for repeated inscription. The boards often bear modest stylistic signatures—subtle edge bevels or carved grips—that identify the workshop or region of origin. Although not considered luxury items, allo kafi gida boards circulate as valued pedagogical tools within Qurʾanic schools and are sometimes given as gifts to promising students or teachers as marks of esteem.

Within the wider cultural economy of northern Nigeria the use of such boards illustrates the intimate link between material culture and Islamic pedagogy. The allo is both a technological aid and a moral object, associated with discipline, endurance and the cultivation of literacy in Arabic. The designation kafi gida underscores expectations about reliability and suitability for formal study, distinguishing these boards from domestically made or improvised variants whose surfaces may be irregular, porous or prone to stain retention.

References
J. Boyd The Makarantar Allo in Hausaland
A. G. Ahmad Material Culture of Qurʾanic Schooling in Northern Nigeria
M. Last Qurʾanic Education and its Artefacts in West Africa

CAB24636

"I believe that the import of all art objects from Africa—whether copies or originals—should be prohibited to protect Africa." Quote: Prof. Dr. Viola König, former director of the Ethnological Museum of Berlin, now HUMBOLDTFORUM

Legal Framework

Under the 1970 UNESCO Convention in combination with the Kulturgutschutz Gesetz (KGSG) any claim for the restitution of cultural property becomes time-barred three years after the competent authorities of the State of origin obtain knowledge of the object’s location and the identity of its possessor.

All bronzes and terracotta items offered have been publicly exhibited in Wolfgang Jaenicke Gallery since 2001. Organisations such as DIGITAL BENIN and academic institutions such as the Technical University of Berlin, which have been intensively involved in restitution-reseaches (translocation-project) over the past seven years, are aware of our work, have inspected large parts of our collection and have visited us in our dependance in Lomé, Togo, among other places, to learn about the international Art trade on site. Furthermore, the National Commission for Museums and Monuments (NCMM) in Abuja, Nigeria, has been informed about our collection. In no case in the past have there been restitution claims against private institutions such as the Wolfgang Jaenicke Gallery

Our Gallery addresses these structural challenges through a policy of maximum transparency and documentation. Should any questions or uncertainties arise, we invite you to contact us. Each matter will be reviewed diligently using all available resources.

卖家故事

我已收藏25年,从事非洲艺术交易已有20年。我的收藏灵感来源于我父亲对藏品的热爱,他留给我们一批“德国殖民地”的藏品。我曾在柏林自由大学学习人类学、艺术史和比较法,但未取得学位。在穿越喀麦隆、马里、科特迪瓦、布基纳法索、多哥和加纳的广泛旅行后,我在巴马科和塞古生活了10年。在塞古,我负责“Tribalartforum”画廊,由于马里战争,画廊于2012年关闭。随后我定居在多哥洛美,我们在那设有分支机构。16年前,Jaenicke-Njoya GmbH成立,我一直担任其管理合伙人。2018年,我们在柏林夏洛滕堡开设了一家画廊,位于夏洛滕堡宫对面,靠近毕加索博物馆柏格吕恩。我们的团队由6名员工组成:一名考古学家、一名艺术史学家、一名摄影师、一名财务控制员、一名在多哥洛美的常驻代表,以及一名在柏林/多哥的代理总监。你可以在网上找到我们,搜索wolfgang-jaenicke或Galerie Wolfgang Jaenicke,地址:Klausenerplatz 7,14059柏林,德国。
使用Google翻译翻译

详细资料

Ethnic group/ culture
Allo Kafi Gida
原产国
尼日利亚
材质
Sold with stand
不是
状态
情况尚佳
艺术品标题
A Wood board
高度
67 cm
重量
2,8 kg
德国经验证
5607
已售出的几件物品
99,44%
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

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