一尊陶土雕塑 - Jukun - 尼日利亞 (沒有保留價)
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尼日利亞出品的陶土雕塑，標題為 A terracotta sculpture，屬於 Jukun 民族，班紐谷地區，重量 10.3 公斤，高 70 公分，深 37 公分，附座架，品相一般。
AI輔助摘要
賣家描述
A Jukun terracotta, Benue Valley region, Nigeria. Incl stand. Without any laboratory tests, the attribution is provided for reference only, based on our knowledge in the field.
This figurine is a globular terracotta vessel surmounted by a highly stylized anthropomorphic figure. The figurine, almost spherical in shape, constitutes the bulk of the object. Its rounded base has an irregular surface marked by a brownish-ochre patina with reddish and blackish areas, likely resulting from firing and use. From the top of the figurine rises a narrow neck that gradually transforms into a figure modeled in the round. The figure has a particularly elongated, vertical body whose surface is covered with regular horizontal striations. These incisions create a ringed effect that accentuates the slenderness of the silhouette. The small arms are drawn up against the torso and modeled in low relief. The anatomical treatment remains schematic, favoring symbolic expression over realism. The head is the most striking element of the composition. It presents a hybrid face whose features simultaneously evoke a human being and a bird. A long, curved appendage forms a prominent beak that dominates the face. The eyes are indicated by small circular perforations, while the top of the skull is extended by a rounded mass suggesting a headdress, a crest, or a symbolic protuberance. The silhouette adopts an elegant curve that accentuates the zoomorphic character of the head, and an impression of verticality and lightness contrasts with the ample and stable volume of the body. The terracotta figurine demonstrates an aesthetic characterized by the simplification of forms, the importance of hand-modeling, and the integration of anthropomorphic and bird-like elements within a single volume. This association between vessel and supernatural figure lends the work a strong ritual and symbolic presence.
The meaning of these object:
Spiritual and Ritual Significance
Jukun terracotta figures often served religious and ritual purposes. They were used as intermediaries between the physical and spiritual realms, playing an essential role in ceremonies, ancestor veneration, and communication with deities or spirits. These sculptures could be found in shrines and sacred spaces, where they were used for:
• Ritual Protection: To guard against evil forces or bring blessings to individuals and communities.
• Offerings: Accompanied by prayers and sacrifices to appease spirits or gods.
• Divination: Employed by spiritual leaders in interpreting the will of the divine or resolving disputes.
Representation of Ancestors and Deities
Terracotta figures often depicted:
• Ancestral Spirits: Symbolizing the presence and guidance of departed ancestors, ensuring their continued influence in the lives of the living.
• Deities and Spirits: Representing powerful entities in the Jukun pantheon, each associated with specific natural elements, virtues, or aspects of life.
Symbols of Authority and Power
Some terracotta sculptures may have been created to signify political or spiritual authority. They could depict leaders, warriors, or influential figures in stylized forms, emphasizing their roles in society.
Archaeological and Historical Context
• Jukun terracotta sculptures are part of a broader tradition of terracotta art in Nigeria, which includes the renowned Nok and Ifẹ̀ cultures. While the Jukun tradition is less widely known, it shares thematic and stylistic connections with these other art forms.
• The production of Jukun terracotta is thought to have peaked in pre-colonial times, but many pieces have been unearthed through archaeological excavations, shedding light on the spiritual and artistic heritage of the region.
Selected References
Frank Willett, African Art: An Introduction, London, 2002.
Suzanne Preston Blier, African Vodun: Art, Psychology and Power, Chicago, 1995.
Herbert M. Cole, Icons: Ideals and Power in the Art of Africa, Washington D.C., 1989.
Ezra, Kate, Art of the Dogon: Selections from the Lester Wunderman Collection, New York, 1988.
McNaughton, Patrick R., The Mande Blacksmiths: Knowledge, Power and Art in West Africa, Bloomington, 1988.
Drewal, Henry John, Sacred Arts of African Societies, New York, 1989.
This information is created by AI and based on published ethnographic, archaeological, and art-historical sources.
Shipping and handling fees are doubled.
賣家的故事
沃尔夫冈·雅尼克的对非洲艺术的参与并非在田野调查或市场交易中开始，而是在一个更安静、内在的空间里——在他父亲留下的文件、书籍与物件之间。关于德国前殖民地的档案并非按照单一故事来编排；它暗示着多种可能。它更鼓励审视，而非崇敬，并早早教会雅尼克：物件从来不是沉默的。它们内部包藏时间——以同一种形式承载断裂与连续——并且请人像解读文本一样去读它们。
在二十多年里，雅尼克一直以收藏家、经销商与中介的身份工作，尽管这些称谓都未能真正捕捉到他实践的形态。那些曾经被随意地归在“部落艺术”范畴下的事物，在他看来从来不是一个封闭的、历史性的类别。它反而是一套活着的传统，不断在当下进行协商。他的学术训练——民族学、艺术史、比较法——提供了一种语法。语言本身则是在别处学到的。在马里、喀麦隆、科特迪瓦、布基纳法索、多哥和加纳，知识是通过反复接触逐步显现，这些接触逐渐发展为关系，并通过信任在多年里逐步建立。
马里成为这一经历的引力中心。2002年至2012年间，雅尼克在巴马科和塞古生活与工作，经营Tribalartforum——一间俯瞰尼日尔河的画廊。这个空间抗拒简单的年代顺序。雕塑与陶器与摄影作品共同占据同一个房间，马利克·西迪贝的作品——70年代马里青年自信而狂放的形象——与更古老的仪式形式并列悬挂。其效果并非让人怀旧，而是使人澄清：过去与现在并非彼此排斥，而是彼此锋利。
2012年的战争突然终结了这一篇章，像战争常有的那样。但它并未消解这项工作。与阿吉博·卡马特一起，雅尼克在洛美重新集结，地点更靠近许多物件的来源地以及它们仍在穿越的路线。自2018年起，柏林成为这张地图上的另一个点。Wolfgang Jaenicke画廊现对着夏洛滕堡宫对面，由一支专业团队支援。画廊特别聚焦西非青铜器与陶土器、材料由土壤与火、以及抗拒轻易翻译的记忆形式所塑成的物件。
雅尼克的实践之所以独特，不仅在于它的地理范围，更在于其内部的张力。现场考察与出处研究并行；商业活动被视为与责任密不可分。画廊与博物馆、学术机构合作，将流通框定为一种道德过程，始终未完结。目标并非将物件从世界中移除并封存，而是让它们在世界中保持可解读的状态——允许它们继续发声，即使发声的条件在变化。
------------
Galerie Wolfgang Jaenicke是一家位于柏林的画廊，专注于西非雕塑、青铜器、陶土器、面具与当代非洲艺术。由沃尔夫冈·雅尼克掌舵，他的工作融合收藏、经销、出处研究、田野工作与档案文献整理。
据画廊自述，雅尼克 studied ethnology、art history 与 comparative law，在非洲艺术领域工作超过二十五年。他的活动在马里、喀麦隆、科特迪瓦、布基纳法索、加纳和多哥等国的长期参与中发展起来。他并不把非洲艺术呈现为一个封闭的历史范畴，而是描述为被生活共同体与不断变化的历史情境共同塑造的持续文化传统。
他职业生涯一个特别重要的阶段在马里，约在2002年至2012年之间，在巴马科与塞古生活与工作，经营Tribalartforum——一个将历史非洲雕塑与当代非洲摄影结合的画廊，其中也包含马利克·西迪贝的作品。2012年的马里政治与军事危机导致这一阶段的活动结束。
后来，与阿吉博·卡马特一起，雅尼克继续在洛美工作，随后在柏林靠近夏洛滕堡宫建立画廊。画廊格外强调西非青铜器、陶土器、与本恩（Benin）及伊夫（Ife）相关的作品、诺克（Nok）雕塑、洞贡（Dogon）艺术、鲍勒（Baule）雕塑、塞努福（Senufo）物件及约鲁巴（Yoruba）材料。
雅尼克公开立场的一大鲜明特点，是他反复强调出处透明与归还辩论。在多份公开的物件记录中，画廊明确讨论出口文件、联合国教科文组织公约、所有权历史以及与学者和归还研究者的沟通等问题。这些表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讨论。
画廊维护着庞大的在线档案与目录，记录着数百件非洲物件，包括本安与伊夫青铜器、诺克陶土、洞贡雕塑、鲍勒人像、冯（Fon）物件、莫巴（Moba）人像，以及其他西非材料。
对于研究非洲艺术贸易历史的学者而言，雅尼克代表了比约翰·J·克莱曼等人群体的后期一代经销商。克莱曼属于二战后1950s–1970s的纽约市场，而雅尼克的工作则受到当代对田野记录、出处研究、归还讨论、数字档案以及直接与西非网络与艺术家互动等关注所塑造。
本文本基于AI信息
由Google翻譯翻譯A Jukun terracotta, Benue Valley region, Nigeria. Incl stand. Without any laboratory tests, the attribution is provided for reference only, based on our knowledge in the field.
This figurine is a globular terracotta vessel surmounted by a highly stylized anthropomorphic figure. The figurine, almost spherical in shape, constitutes the bulk of the object. Its rounded base has an irregular surface marked by a brownish-ochre patina with reddish and blackish areas, likely resulting from firing and use. From the top of the figurine rises a narrow neck that gradually transforms into a figure modeled in the round. The figure has a particularly elongated, vertical body whose surface is covered with regular horizontal striations. These incisions create a ringed effect that accentuates the slenderness of the silhouette. The small arms are drawn up against the torso and modeled in low relief. The anatomical treatment remains schematic, favoring symbolic expression over realism. The head is the most striking element of the composition. It presents a hybrid face whose features simultaneously evoke a human being and a bird. A long, curved appendage forms a prominent beak that dominates the face. The eyes are indicated by small circular perforations, while the top of the skull is extended by a rounded mass suggesting a headdress, a crest, or a symbolic protuberance. The silhouette adopts an elegant curve that accentuates the zoomorphic character of the head, and an impression of verticality and lightness contrasts with the ample and stable volume of the body. The terracotta figurine demonstrates an aesthetic characterized by the simplification of forms, the importance of hand-modeling, and the integration of anthropomorphic and bird-like elements within a single volume. This association between vessel and supernatural figure lends the work a strong ritual and symbolic presence.
The meaning of these object:
Spiritual and Ritual Significance
Jukun terracotta figures often served religious and ritual purposes. They were used as intermediaries between the physical and spiritual realms, playing an essential role in ceremonies, ancestor veneration, and communication with deities or spirits. These sculptures could be found in shrines and sacred spaces, where they were used for:
• Ritual Protection: To guard against evil forces or bring blessings to individuals and communities.
• Offerings: Accompanied by prayers and sacrifices to appease spirits or gods.
• Divination: Employed by spiritual leaders in interpreting the will of the divine or resolving disputes.
Representation of Ancestors and Deities
Terracotta figures often depicted:
• Ancestral Spirits: Symbolizing the presence and guidance of departed ancestors, ensuring their continued influence in the lives of the living.
• Deities and Spirits: Representing powerful entities in the Jukun pantheon, each associated with specific natural elements, virtues, or aspects of life.
Symbols of Authority and Power
Some terracotta sculptures may have been created to signify political or spiritual authority. They could depict leaders, warriors, or influential figures in stylized forms, emphasizing their roles in society.
Archaeological and Historical Context
• Jukun terracotta sculptures are part of a broader tradition of terracotta art in Nigeria, which includes the renowned Nok and Ifẹ̀ cultures. While the Jukun tradition is less widely known, it shares thematic and stylistic connections with these other art forms.
• The production of Jukun terracotta is thought to have peaked in pre-colonial times, but many pieces have been unearthed through archaeological excavations, shedding light on the spiritual and artistic heritage of the region.
Selected References
Frank Willett, African Art: An Introduction, London, 2002.
Suzanne Preston Blier, African Vodun: Art, Psychology and Power, Chicago, 1995.
Herbert M. Cole, Icons: Ideals and Power in the Art of Africa, Washington D.C., 1989.
Ezra, Kate, Art of the Dogon: Selections from the Lester Wunderman Collection, New York, 1988.
McNaughton, Patrick R., The Mande Blacksmiths: Knowledge, Power and Art in West Africa, Bloomington, 1988.
Drewal, Henry John, Sacred Arts of African Societies, New York, 1989.
This information is created by AI and based on published ethnographic, archaeological, and art-historical sources.
Shipping and handling fees are doubled.
賣家的故事
沃尔夫冈·雅尼克的对非洲艺术的参与并非在田野调查或市场交易中开始，而是在一个更安静、内在的空间里——在他父亲留下的文件、书籍与物件之间。关于德国前殖民地的档案并非按照单一故事来编排；它暗示着多种可能。它更鼓励审视，而非崇敬，并早早教会雅尼克：物件从来不是沉默的。它们内部包藏时间——以同一种形式承载断裂与连续——并且请人像解读文本一样去读它们。
在二十多年里，雅尼克一直以收藏家、经销商与中介的身份工作，尽管这些称谓都未能真正捕捉到他实践的形态。那些曾经被随意地归在“部落艺术”范畴下的事物，在他看来从来不是一个封闭的、历史性的类别。它反而是一套活着的传统，不断在当下进行协商。他的学术训练——民族学、艺术史、比较法——提供了一种语法。语言本身则是在别处学到的。在马里、喀麦隆、科特迪瓦、布基纳法索、多哥和加纳，知识是通过反复接触逐步显现，这些接触逐渐发展为关系，并通过信任在多年里逐步建立。
马里成为这一经历的引力中心。2002年至2012年间，雅尼克在巴马科和塞古生活与工作，经营Tribalartforum——一间俯瞰尼日尔河的画廊。这个空间抗拒简单的年代顺序。雕塑与陶器与摄影作品共同占据同一个房间，马利克·西迪贝的作品——70年代马里青年自信而狂放的形象——与更古老的仪式形式并列悬挂。其效果并非让人怀旧，而是使人澄清：过去与现在并非彼此排斥，而是彼此锋利。
2012年的战争突然终结了这一篇章，像战争常有的那样。但它并未消解这项工作。与阿吉博·卡马特一起，雅尼克在洛美重新集结，地点更靠近许多物件的来源地以及它们仍在穿越的路线。自2018年起，柏林成为这张地图上的另一个点。Wolfgang Jaenicke画廊现对着夏洛滕堡宫对面，由一支专业团队支援。画廊特别聚焦西非青铜器与陶土器、材料由土壤与火、以及抗拒轻易翻译的记忆形式所塑成的物件。
雅尼克的实践之所以独特，不仅在于它的地理范围，更在于其内部的张力。现场考察与出处研究并行；商业活动被视为与责任密不可分。画廊与博物馆、学术机构合作，将流通框定为一种道德过程，始终未完结。目标并非将物件从世界中移除并封存，而是让它们在世界中保持可解读的状态——允许它们继续发声，即使发声的条件在变化。
------------
Galerie Wolfgang Jaenicke是一家位于柏林的画廊，专注于西非雕塑、青铜器、陶土器、面具与当代非洲艺术。由沃尔夫冈·雅尼克掌舵，他的工作融合收藏、经销、出处研究、田野工作与档案文献整理。
据画廊自述，雅尼克 studied ethnology、art history 与 comparative law，在非洲艺术领域工作超过二十五年。他的活动在马里、喀麦隆、科特迪瓦、布基纳法索、加纳和多哥等国的长期参与中发展起来。他并不把非洲艺术呈现为一个封闭的历史范畴，而是描述为被生活共同体与不断变化的历史情境共同塑造的持续文化传统。
他职业生涯一个特别重要的阶段在马里，约在2002年至2012年之间，在巴马科与塞古生活与工作，经营Tribalartforum——一个将历史非洲雕塑与当代非洲摄影结合的画廊，其中也包含马利克·西迪贝的作品。2012年的马里政治与军事危机导致这一阶段的活动结束。
后来，与阿吉博·卡马特一起，雅尼克继续在洛美工作，随后在柏林靠近夏洛滕堡宫建立画廊。画廊格外强调西非青铜器、陶土器、与本恩（Benin）及伊夫（Ife）相关的作品、诺克（Nok）雕塑、洞贡（Dogon）艺术、鲍勒（Baule）雕塑、塞努福（Senufo）物件及约鲁巴（Yoruba）材料。
雅尼克公开立场的一大鲜明特点，是他反复强调出处透明与归还辩论。在多份公开的物件记录中，画廊明确讨论出口文件、联合国教科文组织公约、所有权历史以及与学者和归还研究者的沟通等问题。这些表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讨论。
画廊维护着庞大的在线档案与目录，记录着数百件非洲物件，包括本安与伊夫青铜器、诺克陶土、洞贡雕塑、鲍勒人像、冯（Fon）物件、莫巴（Moba）人像，以及其他西非材料。
对于研究非洲艺术贸易历史的学者而言，雅尼克代表了比约翰·J·克莱曼等人群体的后期一代经销商。克莱曼属于二战后1950s–1970s的纽约市场，而雅尼克的工作则受到当代对田野记录、出处研究、归还讨论、数字档案以及直接与西非网络与艺术家互动等关注所塑造。
本文本基于AI信息
由Google翻譯翻譯詳細資料
族裔／文化
Jukun
原產國
尼日利亞
物料
Terracotta
Sold with stand
是
狀況
狀況一般
藝術品標題
A terracotta sculpture
Height
70 cm
Depth
37 cm
重量
10,3 kg
德國已驗證
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
- Vollständige Widerrufsbelehrung
