一个青铜雕塑 - Senufo - 象牙海岸 (沒有保留價)

01
05
小時
43
分鐘
56
目前出價
€ 60
沒有保留價
Julien Gauthier
專家
由Julien Gauthier精選

憑藉近十年在科學、博物館館藏和傳統鐵匠方面的經驗,朱利安在歷史武器、盔甲和非洲藝術方面積累了獨特的專業知識。

估價  € 300 - € 380
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來自科特迪瓦的青銅與木雕,屬於森諾福(Senufo)族文化,標題為 A bronze sculpture,高45 cm,重970 g,附底座出售,狀況一般。

AI輔助摘要

賣家描述

A couple of ceremonial staffs in the style of the Senoufo's, Ivory Coast, sourmounted with female figure, made of bone and brass, incl. metal stand.

In Senufo artistic practice, ceremonial staffs function as material expressions of authority, ritual knowledge, and cosmological order. They are closely associated with the Poro society, the central male institution that regulates initiation, moral conduct, and the transmission of esoteric knowledge within Senufo communities of Côte d’Ivoire, Mali, and Burkina Faso. Within this context, the staff operates not merely as an emblem of rank but as an active ritual object through which social and spiritual power is exercised.

Ceremonial staffs are most often carried by elders and ritual specialists during initiations, funerary rites, agricultural ceremonies, and public processions. Their presence signals legitimate authority sanctioned by ancestral and spiritual forces. In ritual performance, the staff may be planted into the ground, held upright, or carried in measured movement, reinforcing its role as a conduit between the human realm and the invisible world. The vertical orientation of the staff emphasizes its symbolic function as a mediator linking earth, community, and ancestral domains.

Many Senufo staffs are surmounted by carved human figures, frequently female, whose calm demeanor and idealized proportions reflect core Poro values such as self-discipline, moral restraint, and continuity of life. These figures are not portraits but conceptual embodiments of ancestral presence and generative power. Through them, the staff becomes a vessel of memory and lineage, asserting the enduring authority of tradition over the present moment.

The tactile surfaces of ceremonial staffs, often darkened and polished through repeated ritual handling, attest to their sustained use and accumulated potency. This material transformation reinforces their status as objects activated through performance rather than passive works of art. In this sense, the staff participates in the regulation of social order, functioning as a visual and physical affirmation of ethical norms and collective responsibility.

Within Senufo art, ceremonial staffs thus occupy a liminal position between sculpture and instrument. Their significance lies not in aesthetic autonomy but in their capacity to make authority visible, to embody ancestral sanction, and to stabilize the moral and spiritual structure of the community through ritual action.

Susan M. Vogel (Hg.), For Spirits and Kings: African Art from the Paul and Ruth Tishman Collection, New York: The Metropolitan Museum of Art, 1981.
(Grundlegend für Senufo-Skulptur, Autoritätsinsignien und Poro-Kontext)

Susan M. Vogel, African Aesthetics: The Carlo Monzino Collection, New York: The Center for African Art, 1986.

Anita J. Glaze, Art and Death in a Senufo Village, Bloomington: Indiana University Press, 1981.
(Zentral für Poro-Rituale, funeräre Kontexte und rituelle Objekte)

Anita J. Glaze, “The Senufo Poro Society and Its Artistic Expression,” African Arts, Vol. 10, No. 3, 1977.

Patrick R. McNaughton, The Mande Blacksmiths: Knowledge, Power, and Art in West Africa, Bloomington: Indiana University Press, 1988.
(Wichtig für regionale Konzepte von Macht, Ritual und Insignien, auch für Stäbe relevant)

Patrick R. McNaughton, A Bird Dance near Saturday City: Senufo Masquerades of West Africa, Bloomington: Indiana University Press, 2008.

Marie Mauzé und Dominique Malaquais (Hg.), Senufo: Art et société en Afrique de l’Ouest, Paris: Musée du quai Branly, 2012.

Musée du quai Branly – Jacques Chirac (Hg.), Poro: Masques et sculptures d’Afrique de l’Ouest, Paris: Skira / quai Branly, 2010.

The Metropolitan Museum of Art, African Art: The Michael C. Rockefeller Memorial Collection, New York: The Metropolitan Museum of Art, 1982.

Frank Herreman (Hg.), Secrecy: African Art That Conceals and Reveals, New York / München: The Museum for African Art / Prestel, 2006.
(Relevant für geheime Gesellschaften und rituelle Insignien wie Stäbe)

MAZ9000

Height: 41 cm / 45 cm
Weight: 480 g / 490 g

賣家的故事

由Google翻譯翻譯

A couple of ceremonial staffs in the style of the Senoufo's, Ivory Coast, sourmounted with female figure, made of bone and brass, incl. metal stand.

In Senufo artistic practice, ceremonial staffs function as material expressions of authority, ritual knowledge, and cosmological order. They are closely associated with the Poro society, the central male institution that regulates initiation, moral conduct, and the transmission of esoteric knowledge within Senufo communities of Côte d’Ivoire, Mali, and Burkina Faso. Within this context, the staff operates not merely as an emblem of rank but as an active ritual object through which social and spiritual power is exercised.

Ceremonial staffs are most often carried by elders and ritual specialists during initiations, funerary rites, agricultural ceremonies, and public processions. Their presence signals legitimate authority sanctioned by ancestral and spiritual forces. In ritual performance, the staff may be planted into the ground, held upright, or carried in measured movement, reinforcing its role as a conduit between the human realm and the invisible world. The vertical orientation of the staff emphasizes its symbolic function as a mediator linking earth, community, and ancestral domains.

Many Senufo staffs are surmounted by carved human figures, frequently female, whose calm demeanor and idealized proportions reflect core Poro values such as self-discipline, moral restraint, and continuity of life. These figures are not portraits but conceptual embodiments of ancestral presence and generative power. Through them, the staff becomes a vessel of memory and lineage, asserting the enduring authority of tradition over the present moment.

The tactile surfaces of ceremonial staffs, often darkened and polished through repeated ritual handling, attest to their sustained use and accumulated potency. This material transformation reinforces their status as objects activated through performance rather than passive works of art. In this sense, the staff participates in the regulation of social order, functioning as a visual and physical affirmation of ethical norms and collective responsibility.

Within Senufo art, ceremonial staffs thus occupy a liminal position between sculpture and instrument. Their significance lies not in aesthetic autonomy but in their capacity to make authority visible, to embody ancestral sanction, and to stabilize the moral and spiritual structure of the community through ritual action.

Susan M. Vogel (Hg.), For Spirits and Kings: African Art from the Paul and Ruth Tishman Collection, New York: The Metropolitan Museum of Art, 1981.
(Grundlegend für Senufo-Skulptur, Autoritätsinsignien und Poro-Kontext)

Susan M. Vogel, African Aesthetics: The Carlo Monzino Collection, New York: The Center for African Art, 1986.

Anita J. Glaze, Art and Death in a Senufo Village, Bloomington: Indiana University Press, 1981.
(Zentral für Poro-Rituale, funeräre Kontexte und rituelle Objekte)

Anita J. Glaze, “The Senufo Poro Society and Its Artistic Expression,” African Arts, Vol. 10, No. 3, 1977.

Patrick R. McNaughton, The Mande Blacksmiths: Knowledge, Power, and Art in West Africa, Bloomington: Indiana University Press, 1988.
(Wichtig für regionale Konzepte von Macht, Ritual und Insignien, auch für Stäbe relevant)

Patrick R. McNaughton, A Bird Dance near Saturday City: Senufo Masquerades of West Africa, Bloomington: Indiana University Press, 2008.

Marie Mauzé und Dominique Malaquais (Hg.), Senufo: Art et société en Afrique de l’Ouest, Paris: Musée du quai Branly, 2012.

Musée du quai Branly – Jacques Chirac (Hg.), Poro: Masques et sculptures d’Afrique de l’Ouest, Paris: Skira / quai Branly, 2010.

The Metropolitan Museum of Art, African Art: The Michael C. Rockefeller Memorial Collection, New York: The Metropolitan Museum of Art, 1982.

Frank Herreman (Hg.), Secrecy: African Art That Conceals and Reveals, New York / München: The Museum for African Art / Prestel, 2006.
(Relevant für geheime Gesellschaften und rituelle Insignien wie Stäbe)

MAZ9000

Height: 41 cm / 45 cm
Weight: 480 g / 490 g

賣家的故事

由Google翻譯翻譯

詳細資料

族裔/文化
Senufo
原產國
象牙海岸
物料
木, 青銅色
Sold with stand
狀況
狀況一般
藝術品標題
A bronze sculpture
Height
45 cm
重量
970 g
德國已驗證
5824
已售物品
99,54%
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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