藝術

室內設計及裝飾

鑽石及寶石

腕錶、鋼筆及打火機

時尚及運動

錢幣及郵票

漫畫及動畫

經典汽車，摩托車及汽車用品

葡萄酒、威士忌與烈酒

亞洲及部落藝術

集換式卡牌

玩具及模型

考古學及自然歷史

運動及項目

音樂、電影及相機

書籍及歷史紀念品

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Julien Gauthier

The fragmentary sculpture attributed to the Djenné-Jeno cultural sphere, recovered in the region of Mopti and said to originate from the tumuli of the Niger Inner Delta, belongs to a corpus of West African terracotta productions whose archaeological and historical interpretation remains both rich and contested. Its present condition, described as a fragment in a recumbent or laying position, already signals the double instability that defines its scholarly reception: material incompleteness on the one hand. Please note that in absence of laboratory tests, the attribution is provided for reference only, based on our knowledge and experience in the field. Whereby we can only determine an exact age stylistically.

Djenné-Jeno, located in present-day Mali, is one of the most significant early urban centres of the West African Sahel, flourishing between roughly the third century BCE and the second millennium CE. The site, together with the broader Niger Inner Delta region, constitutes a complex archaeological landscape in which settlement mounds, burial tumuli, and dispersed habitation traces are interwoven. The reported provenance from the tumuli of the Inner Delta situates the sculpture within mortuary or commemorative contexts, although the absence of secure stratigraphic documentation complicates any definitive assignment of function.

The object’s collection in Mopti, a key riverine and commercial node in central Mali, reflects the well-documented patterns of artifact circulation that intensified during the colonial and postcolonial periods. Objects from the Djenné-Djenno cultural horizon have frequently been detached from their archaeological matrices through both controlled excavation and informal recovery, entering museum and private collections with partial or reconstructed provenance narratives. This fragmentation of context is not merely accidental but constitutive of the modern biography of such objects.

Formally, Djenné-Jeno terracottas are often characterised by schematic yet expressive modeling of the human figure, with particular attention to posture, bodily attenuation, and the abstraction of facial features. In fragmentary state, however, such sculptures resist full iconographic reading. The recumbent position of the present piece may be original or may result from post-depositional breakage; consequently, interpretation oscillates between intentional representation—perhaps of repose, ritual deposition, or funerary placement—and accidental reorientation through taphonomic processes.

Within the broader cultural horizon of the Niger Inner Delta, often referred to as the Niger Inner Delta, terracotta production is frequently associated with ritualised practices connected to ancestry, cosmology, and social memory. Yet scholarly caution is required, as ethnographic analogies cannot be straightforwardly projected onto archaeological material spanning many centuries. The fragment thus occupies an interpretive threshold: simultaneously an aesthetic object, an archaeological trace, and a displaced artifact whose meaning has been reconfigured through collection and circulation.

Its fragmentary state, rather than diminishing its significance, underscores the epistemological conditions under which West African archaeological sculpture is studied. What remains is not only a material remnant of a once-integrated object, but also a testimony to the layered histories of excavation, trade, and musealisation that continue to shape the understanding of Djenné-Jeno material culture.

Reference list

Bedaux, R. M. A. and Lange, D. (eds.), 1994. The Djenné-Jeno Archaeological Project: Report of the 1981–1982 Field Season. Leiden: Rijksmuseum voor Volkenkunde.

McIntosh, R. J., 1995. Ancient Middle Niger: Urbanism and the Self-Organizing Landscape. Cambridge: Cambridge University Press.

McIntosh, S. K. (ed.), 1998. Beyond Chiefdoms: Pathways to Complexity in Africa. Cambridge: Cambridge University Press.

Insoll, T., 2003. The Archaeology of Islam in Sub-Saharan Africa. Cambridge: Cambridge University Press.

Gallay, A., 2011. L’archéologie du Mali: des origines à l’islam. Paris: Errance.

CAB44317

Terracotta - 狀況一般

一尊陶土雕塑 - Djenne - 馬里  (沒有保留價)

家居與庭園裝飾

底價

沒有保留價

立即購買

結束日期

星期三

明天

星期四

预算

位置

義大利

西班牙

法國

比利時

荷蘭

德國

波蘭

立陶宛

保加利亞

希臘

奧地利

土耳其

尺寸

M (40-80公分)

S (10-40公分)

L (80-120公分)

XS (10公分以下)

XL (120-160公分)

XXL (160公分以上)

高度

寬度

深度

品牌

Zaccagnini

Val Saint Lambert

物品

戒指

燈籠

宗教和精神物品

耶穌受難十字架像

頸鏈

Giclée

誦經念珠

吊墜頸鏈

標誌

版畫

雕刻

三件珠寶套裝

雕像

繡帷

小雕像

十字架

裝飾飾物

浮雕

聖水字體

聖物匣

護身符

燭台

藝術品

琥珀

原產國

歐洲

中國

巴西

日本

俄國

衣索匹亞

尼泊爾

非洲

阿富汗

亞美尼亞

羅馬尼亞

泰國

物料

玻璃

金屬

青銅色

鑄鐵

鍍銀

黃銅

紡織品

石膏

瓷器

合金

陶瓷

鍍金

粘土

絲絨

素瓷

復合材料

Terracotta

樹脂

性別

中性

女士

男士

狀態

良好 - 有使用痕跡、些微老化跡象和小瑕疵

全新－未使用

極佳狀態

優良狀態－絕少使用，絕少穿戴的痕跡

極佳 - 幾乎沒有 使用痕跡/老化/小瑕疵

良好狀態

非常良好狀態－輕微使用的痕跡

狀態良好- 使用過，亦有些微老化跡象

一般 - 大量使用痕跡或遺失部分零件

自然

狀況一般

極好

良好狀態－已使用連同一些穿戴痕跡

額外

沒有額外的

時期

2020+

2000-2010

2010-2020

1960-1970

1850-1900

1920-1930

1970-1980

1980-1990

2025

1940-1950

1950-1960

1900-1910

1930-1940

1800-1850

1990-2000

1910-1920

古近紀，始新世（5600 - 3390萬年）

2026

2020

1951-1960

寶石

青金石

紫水晶

證明

沒有實驗室報告

標題

Religion

聖母

屠龍者聖喬治

塞薩洛尼基的德米特里

喀山聖母

歷史場景

款式

古董

現代

古典

Vintage

巴洛克風格

現代的

藝術裝飾

民間藝術/素人藝術

古風

新藝術風格

世紀中期現代主義

Jugendstil

工藝美術風格

卡拉瓦喬主義者

拿破崙三世

新古典主義風格

技術

藝術微噴

數位印刷

數位繪畫

混合媒體

油畫

壓克力畫

簽名

Hand signed

未簽名

帶簽名

Plate signed

限量版

原版

顏色

金色

黑色

白色

家居與庭園裝飾

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一尊陶土雕塑 - Djenne - 馬里 (沒有保留價)

313件物品

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