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Julien Gauthier

An elegant Grebo mask, Ivory Coast/Liberia, from the Sassandra region, southeastern Liberia and in the western coastal region of Côte d’Ivoire, near the Sassandra River.with an elongated, slender nose, framed by bulging, tubelike eyes and a rectangular mouth, the elongated, flattened forehead slightly bent; natural brownish to occhre patina, incl. stand, provenance Bakari Bouaflé, Abidjan.

The Grebo masks of the Sassandra region represent a distinctive tradition within the broader Grebo cultural complex of southeastern Liberia and southwestern Côte d’Ivoire. The Sassandra region specifically refers to the area along the Sassandra River in Côte d’Ivoire, though the Grebo people live on both sides of the modern national border, resulting in overlapping cultural practices. These masks are particularly notable for their highly expressive and often anthropomorphic features, which are exaggerated to convey spiritual power, social authority, or the presence of ancestral forces. Large, protruding eyes, broad noses, and open mouths—sometimes displaying teeth—serve not only aesthetic purposes but also communicate the force and vigilance of the spirit embodied in the mask.

Sassandra Grebo masks frequently incorporate additional decorative and symbolic elements such as geometric scarification patterns, raffia, shells, or feathers. These features enhance both the visual impact and the ritual potency of the mask. Functionally, the masks play an essential role in a variety of communal and ritual contexts, including initiation ceremonies, conflict mediation, funerary rites, and public festivals. During performances, the wearer becomes the vehicle for ancestral or spiritual power, and the exaggerated features of the mask amplify the perceived authority and efficacy of the spirit.

Compared with other Grebo masks from Liberia, Sassandra masks display a distinctive combination of anthropomorphic realism and expressive exaggeration. While Liberian Grebo masks can lean toward abstraction or intense dramatization, Sassandra masks maintain a balance that emphasizes human recognition while simultaneously signaling spiritual otherness. This balance allows the masks to function effectively in both social and ritual dimensions, mediating between the human community and the ancestral or spiritual realm. Their form, performance, and symbolic content illustrate the integration of aesthetics, morality, and cosmology in West African masquerade traditions.

Literature

MacGaffey, Wyatt. Religion and Society in Central Africa: The Bakongo of Lower Zaire. Chicago: University of Chicago Press, 1986.

Reed, Daniel B. Dan Ge Performance: Masks and Music in Contemporary Côte d’Ivoire. Bloomington: Indiana University Press, 2003.

Vogel, Susan Mullin, ed. For Spirits and Kings: African Art from the Paul and Ruth Tishman Collection. New York: The Metropolitan Museum of Art, 1981.

Schoffel, Serge. Masques et figures rituelles de l’Afrique de l’Ouest. Private research dossier, 2005.

Herreman, Frank, ed. Masterpieces from Central Africa. Tervuren: Royal Museum for Central Africa, 2007.

Barthélémy, Claude. Masques et sociétés africaines: Approches ethnographiques et artistiques. Paris: Éditions de l’IRD, 1995.

CAB30665

木 - 狀況一般

一个木制面具 - 格雷博 - 象牙海岸

樂器

底價

沒有保留價

結束日期

28 八月

星期日

30 八月

预算

位置

比利時

西班牙

義大利

品牌

Fender

Epiphone

Yamaha

Hohner

Henri Selmer Paris

Gibson

Aria

Cherrystone

Greco

No brand

Ibanez

Marshall

Höfner

Takamine

Muramatsu

Casio

Suzuki

Squier

Boss

Egmond

Jackson

Buffet Crampon

Electro Harmonix

物品

電吉他

原聲吉他

五弦班卓琴

原產國

美國

物料

鍍金

金屬

木 - 楓樹

狀態

一般

全新

嶄新的

額外

沒有額外的

錶帶

調諧器

吉他盒

時代

1900-2000

2000年後

已測試及運作中

經檢測，功能正常/可使用

一般 - 包含: 五弦班卓琴 - 錶帶

Gibson - RB-3 Trapdoor -  - 五弦班卓琴 - 美國 - 1924

全新 - 包含: 電吉他 - 沒有額外的

Gibson - Greenybucker Set Aged Limited to 100 -  - 電吉他 - 美國 - 2026

嶄新的 - 包含: 電吉他 - 吉他盒, 調諧器, 錶帶

Gibson - Gevarieerd lot met Gitaarkoffer en Gibson Tour-shirt -  - 電吉他  (沒有保留價)

樂器

此物品不再提供，但還有更多精彩待探索

一个木制面具 - 格雷博 - 象牙海岸

4件物品

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