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Index of all items Items are sorted on type, ethnic group and origin |
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Dogon granary shutter This very old small shutter was placed midway up the granary wall. It
provided access, throughout the year following harvests, to the goods
stored inside (millet, sorghum, rice, corn). The Dogon granaries are
narrow, four-sided or round, with a structure made of wood and
covered with cob, and generally a thatch roof or a terrace roof (see
picture). Origin : Mali (Ende area, Bandiagara cliffs) Type : Architectural components Ethnic group : Dogon Material : Wood with a grey patina, covered in places with a crusty material |
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Dogon granary shutter Shutters were placed midway up the granary wall, and provided access
to the goods stored inside. The Dogon granaries are narrow,
four-sided or round, with a structure made of wood and covered with
cob, and generally a thatch roof. Origin : Mali (Dourou area, Bandiagara cliffs) Type : Architectural components Ethnic group : Dogon Material : Wood, iron, and age-old used patina |
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Dogon granary shutter This granary shutter is carved of a crocodile (ayo), animal
symbolizing at the same time the fertilizing water of grounds and
defending against robbers. The crocodile represents the animal that
once belonged to the ancestor binu serou (the water element).
This shutter was used by the totemic priest of the binu cult
for sealing his granary. The close association of such shutter with
vital food supplies harvested from binu fields means that it
also symbolizes binu serou himself. The binu cult links
the living to those early ancestors who are immortal. Shutters
primarily protect the contents of the granaries by their symbolic
presence. The crocodile (or caiman) is one of totemic animals of the
Dogon. One as well finds it represented on shutters, as on attic
posts, doors, or door locks. Origin : Mali (Banani village area, Bandiagara cliffs) Type : Architectural components Ethnic group : Dogon Material : Densely brownish wood, furrowed patina |
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Dogon granary shutter This very old shutter was placed midway up the granary wall, and
provided access to the goods stored inside. The Dogon granaries are
narrow, four-sided or round, with a structure made of wood and
covered with cob, and generally a thatch roof (see picture). Origin : Mali (Bandiagara cliffs area) Type : Architectural components Ethnic group : Dogon Material : Brownish wood, furrowed patina |
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Dogon granary shutter This shutter was placed midway up the granary wall, and provided
access, throughout the year following harvests, to the goods stored
inside (millet, sorghum, rice, corn, fonio). The Dogon granaries are
narrow, four-sided or round, with a structure made of wood and
covered with cob, and generally a thatch roof or a terrace roof (see
pictures). Origin : Mali (Ireli, Bandiagara cliffs area) Type : Architectural components Ethnic group : Dogon Material : Brownish patinated wood |
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Dogon granary shutter This granary shutter, with a great variety of iconographic symbols,
is carved with four rows of chevrons symbolizing both the fertilizing
water of growing and the nommo ancestors as they fell to the
earth in the form of rain. Two rows are engraved with alternating X
and circles patterns. What is unusual about these engravings is not
only their diversity, but also their relationships to one another, as
in a regular sequence. Circles would be both the symbol of the
original seed (pô) and of the amma placenta.
Their association with the chevrons speaks of the rainy season and
agricultural fertility. The sequential would represent the vibration
of the original matter in the placenta, which gave birth to the first
human being, the nommo anagonno (a fish). On the right side of
the shutter, six nommo figures are represented, four females
and two males. Origin : Mali (Yougo Dogorou, Bandiagara cliffs) Type : Architectural components Ethnic group : Dogon Material : Dense brownish wood, crusty aged patina |
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Dogon granary shutter This granary shutter is carved of two crocodiles (ayo). These
animals symbolized at the same time the fertilizing water of grounds
and defended against robbers. The crocodile represents the animal
that once belonged to the ancestor binu serou (the water
element). This shutter was used by the totemic priest of the
binu cult for sealing his granary. The close association of
such shutter with vital food supplies harvested from binu
fields means that it also symbolizes binu serou himself. The
binu cult links the living to those early ancestors who are
immortal. Origin : Mali (Banani village, Bandiagara cliffs) Type : Architectural components Ethnic group : Dogon Material : Densely brownish wood, furrowed and crusty patina |
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Dogon house door This very beautiful and antique Dogon door is carved in relief with
four projecting breasts, and suggests the vital importance of women
in Dogon society (fertility symbol). Consisting of two wooden panels
of unequal width joined at the side, this door swing open on
projecting pivots at the top and bottom that are set into depressions
on the sill and lintel. Origin : Mali (Bandiagara cliffs) Type : Architectural components Ethnic group : Dogon Material : Wood, exquisite deep dark patina from use |
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Dogon sanctuary door This very old Dogon sanctuary door is carved with five rows of
nommo figures. Those rows symbolize a strong magic and
spiritual force, usually reserved for the binu sanctuary (see
picture). This force is then, according to beliefs' animists of
Dogon, imparted to the door. In the Dogon myth of the creation of the
Earth, the amma god bore a being figure known as nommo
(the nommo anagonno, symbolized by a fish). This nommo
gave birth to four couples of nommo, considered as the eight
ancestors of the mankind and the four elements. Origin : Mali Type : Architectural components Ethnic group : Dogon Material : Densely very eroded wood |
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Dogon Toguna post The toguna (sheltered meeting place) is the site where the men
elders meet to discuss maters of the village ; this is also a
place where the word of experienced men makes law. The toguna
consists of an open structure with vertical elements (in most cases,
and ideally, eight posts) that support a thatched roof. In the cliffs
area, the posts may be mud brick (see attached pictures). The roof is
low so that the men inside must remain seated in discussion. The
thatch is ideally composed of eight tiers. The tiers refer, as do the
toguna posts, to the eight ancestral nommo (Dogon
cosmogony). Origin : Mali (Seno plain area) Type : Architectural components Ethnic group : Dogon Material : Natural eroded wood |
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Dogon Toguna post The toguna (sheltered meeting place) is the site where the men
elders meet to discuss maters of the village ; this is also a
place where the word of experienced men makes law. The toguna
consists of an open structure with vertical elements (in most cases,
and ideally, eight posts) that support a thatched roof. In the cliffs
area, the posts may be mud brick (see picture). The roof is low so
that the men inside must remain seated in discussion. The thatch is
ideally composed of eight tiers. The tiers refer, as do the
toguna posts, to the eight ancestral nommo. Origin : Mali (Somanagoro area, Seno plain) Type : Architectural components Ethnic group : Dogon Material : Aged patinated wood |
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Tellem granary shutter This small granary shutter is carved of a crocodile (ayo) or a
tortoise (kiru), and of four nommo figures on its lower
part. The crocodile represents the animal that once belonged to the
ancestor binu serou (the water element). The tortoise is
symbolic of the placenta of the nommo. Chevrons on the upper
part symbolize both the fertilizing water of growing and the
nommo ancestors as they fell to the earth in the form of rain.
This row would represent also the vibrations of the original matter
in the amma placenta, which gave birth to the first human
being, the nommo anagonno (a fish). The four nommo
ancestors, androgynous figures, would be the descendants of the
nommo anagonno (three of them were fishes, the fourth one,
ogo, became the Pale Fox). Origin : Mali (Teli village, Bandiagara cliffs) Type : Architectural components Ethnic group : Tellem / Dogon Material : Densely brownish wood, furrowed patina |
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Bamana door lock This important door lock, depicting a female figure, was probably
attached to the door of the enclosed area of the men's house (ty
so). The presence on the door of a lock representing a woman was
believed to prevent the man from being unfaithful to his wives. It is
unusual that the breasts, the navel and the legs appear. The face is
surmounted by a headdress reminiscent of the Bamana masks of the
n'tomo initiation society. Origin : Mali (Kolokani area) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, with a honey-colored patina derived from significant use |
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Bamana door lock This door lock depicts a male figure. The face and the crested
traditional coiffure (bambada) are illustrated in a very
abstract way (see attached picture). The head is represented by a
striking triangular form with a concave face and a prominent ridge
forming the bridge of the nose. The body is incised with various
geometrical patterns symbolizing the fertility. The goitre figuration
symbolizes the word. Wooden door locks were used on the doors of
dwellings, cookhouses, sanctuaries, and on granary shutters. Each
lock is given a name in accordance with its message, person, myth, or
any anecdote referred to. Door locks were a prized gift for young
brides, and passed down from generation to generation. Origin : Mali (Kolokani area) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, iron, fine deep black aged patina |
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Bamana door lock This door lock depicts a female figure and a butterfly
(mpérémpéréni). According the
legend, God (pemba) originally created the butterfly as both a
large and an important creature. Overcome by pride and vanity, the
butterfly offended pemba, who in turn reduced it to a small
and fragile creature. The butterfly represents also the deity
mouso koroni (who tried to be God's equal) and her offenses
against the creator God. Origin : Mali Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood and iron, old brown patina from use |
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Bamana door lock This door lock depicts a female figure with long ears. These are
symbolizing the guardian spirit komo, who hears every sound,
and the abstract crocodile jaws arising from the head. This lock was
traditionally fixed on the door of the married women and it was
supposed to protect woman and children from the sorcerers. The goitre
figuration symbolizes the word, and the komo secret society.
Double-lined chevrons, at the base of the vertical part, are
representing the cosmic travel of the deities faro (the water)
and mouso koroni (the earth, she initiated human beings,
animals, and vegetables). Origin : Mali (Kolokani area) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, very beautiful aged patina |
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Bamana door lock This very rare door lock depicts a crocodile (bama). The
vertical part forms the body of the animal. It symbolizes the
protective spirit of the family (the guardian spirit) which protects
from robbers. In the past, the representation of
« prohibited » or dangerous animals, like the crocodile,
was regarded as the sign of a great protective force. These animals
could not be killed, eaten, nor even touched. Origin : Mali (Yanfoilla area) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, deep brown patina |
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Bamana door lock This door lock (konbalabala) is decorated with incised
patterns symbolizing the fields and the center of the universe. The
higher part represents the head of a crocodile or a koro
lizard surmounted by a very rare solar symbol. The circles incised
represent both the rain and water, and mouso koroni tears
(goddess of the Earth). Origin : Mali (Sikasso area) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, age-old use patina |
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Bamana door lock This door lock, surmounted by a pair of horns (or ears), represents a
female character in a very stylized way. The long ears are
symbolizing the guardian spirit komo, who hears every sound. Origin : Mali Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, very age-old use patina |
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Bamana door lock This very old door lock represents in an abstract form the tail of
the black scorpion (dyonkomi), sacred animal for the Bamana.
In the past, the representation of « prohibited » animals,
like the scorpion, was regarded as the sign of a great protective
force. Origin : Mali Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood with a very old crusty patina and granitic surface with gray tonality, metal |
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Bamana door lock Like the majority of the Bamana figures, door locks were
traditionally sculpted by the blacksmiths. Blacksmiths belong to a
caste of highest rank, they are at the same time Masters of fire
(work of metal, and knowledge of melting points), and carve the major
part of wooden objects. Origin : Mali (Beledougou area) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, very beautiful old bright brownish-red patina from use |
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Bamana door lock This door lock depicts a female figure with long-eared forms
symbolizing the protective spirit komo who hears every sound.
This lock, angular-faced, with an apparent navel and short legs, was
fixed on the door of the enclosed area of the men's house (ty
so). The presence on the door of a lock representing a woman was
believed to prevent the man from being unfaithful to his wives. Origin : Mali Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood with brownish and black crusty patina |
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Bamana door lock This important door lock depicts a male figure. The face and the
crested coiffure (bambada) are illustrated in a very abstract
way. The head is represented by a striking triangular form with a
concave face and a prominent ridge forming the bridge of the nose.
The body is incised with various geometrical patterns symbolizing the
fertility, and the breast appears (symbol of the protective spirit).
The goitre figuration symbolizes the word. Wooden door locks were
used on the doors of dwellings, cookhouses, sanctuaries, and on
granary shutters. Each lock is given a name in accordance with its
message, person, myth, or any anecdote referred to. Door locks were a
prized gift for young brides, and passed down from generation to
generation. Origin : Mali (Bougouni area) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, very fine aged patina |
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Bamana door lock This very rare door lock depicts a crocodile (bama). The
vertical part forms the body of the animal. It symbolizes the
protective spirit of the family (the guardian spirit) which protects
from robbers. The crocodile is also the totemic animal of the
kore secret society, the guardian of faro's waters, and
symbolizes fertility, wealth and good fortune. This mythical
crocodile was the first to stow away the ark of creation in
faro's pond, and thus is in close relationship with this
deity. Like the majority of the Bamana figures, door locks were
traditionally sculpted by blacksmiths. Blacksmiths belong to a caste
of highest rank, they are at the same time Masters of fire (work of
metal, and knowledge of melting points), and carve the major part of
wooden objects. Origin : Mali (Bougouni area) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, exceptional and aged patina, glossy in places |
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Bamana door lock This very rare door lock depicts a water lizard (kana). The
vertical part forms the body of the animal. It symbolizes the
protective spirit of the family (the guardian spirit,
gné) which protects from robbers. Like the majority of
the Bamana figures, door locks were traditionally sculpted by
blacksmiths. Blacksmiths belong to a caste of highest rank, they are
at the same time Masters of fire (work of metal, and knowledge of
melting points), and carve the major part of wooden objects. Origin : Mali Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, exceptional and aged patina |
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Bamana door lock This exceptional door lock is surmounted by a six-faced head. To our
knowledge, this kind of representation is unique. The body is incised
with various geometrical patterns symbolizing the fertility, and the
breast appears. The goitre figuration symbolizes the word. Origin : Mali (Bougouni area) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, very fine aged patina |
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Bamana door lock This very rare door lock, with an exceptional patinated wood, depicts
a crocodile (bama) or the kana (water lizard). The
crocodile is also a symbol of the kore initiation society, and
the guardian of faro's waters. The vertical part forms the
body of the animal, which the tail is slightly curved. It symbolizes
the protective spirit of the family (the guardian spirit) which
protects from robbers. In the past, the representation of
« prohibited » or dangerous animals, like the crocodile,
was regarded as the sign of a great protective force. These animals
could not be killed, eaten, nor even touched. Origin : Mali (Mali southern area, bordering on Ivory Coast) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, exceptional and aged patina, glossy in places |
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Bamana door lock This important door lock depicts a male ancestor. The face and the
crested coiffure (bambada) are illustrated in a very abstract
way. The head is represented by a striking triangular form with a
concave face and a prominent ridge forming the bridge of the nose.
The bambada hat depicts also the open jaws of the crocodile.
The goiter figuration symbolizes the word and the komo's
anti-sorcery powers. Origin : Mali (Djitoumou area, district of Bamako) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, very fine and crusty aged patina |
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Bamana door lock This very rare door lock depicts a female figure with a crested
complex coiffure. The vertical part forms the body of the figure, the
breast and the legs are sculpted. It symbolizes the protective spirit
of the family (the guardian spirit, gné) which protects
from robbers. Like the majority of the Bamana figures, door locks
were traditionally sculpted by blacksmiths. Blacksmiths belong to a
caste of highest rank, they are at the same time Masters of fire
(work of metal, and knowledge of melting points), and carve the major
part of wooden objects. Origin : Mali (Dioila area) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, exceptional and aged patina |
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Bamana door lock This lock was intended to represent the kana (water iguana),
and to protect against sorcerers and malevolent nyama (the
spirits). The lizard head sits atop a stylised neck. This
anthropomorphic feature reflects faro's possession of some
human physical characteristics. This contextual association with the
stylised form of a kana emphasizes the intimate relationship
between faro (the deity of water) and this water creature. Origin : Mali (Markala area, district of Segou) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood with natural blond-colored and crusty patina |
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Bamana door lock This very rare door lock depicts a crocodile (bama). The
vertical part forms the body of the animal. It symbolizes the
protective spirit of the family (the guardian spirit) which protects
from robbers. The crocodile is also the totemic animal of the
kore secret society, the guardian of faro's waters, and
symbolizes fertility, wealth and good fortune. This mythical
crocodile was the first to stow away the ark of creation in
faro's pond, and thus is in close relationship with this
deity. Like the majority of the Bamana figures, door locks were
traditionally sculpted by blacksmiths. Blacksmiths belong to a caste
of highest rank, they are at the same time Masters of fire (work of
metal, and knowledge of melting points), and carve the major part of
wooden objects. Origin : Mali (Bougouni area) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, very fine age-old use patina |
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Bamana door lock This important door lock, depicting a female figure, was probably
attached to the door of the enclosed area of the men's house (ty
so). The presence on the door of a lock representing a woman was
believed to prevent the man from being unfaithful to his wives. The
face is surmounted by a headdress reminding the Bamana masks of the
n'tomo initiation society. Origin : Mali Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood with a very age-old honey-colored patina from use |
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Bamana door lock This very fine door lock depicts a male figure. The face and the
crested coiffure (bambada) are illustrated in a very abstract
way (see attached pictures). The head is represented by a striking
triangular form with a concave face and a prominent ridge forming the
bridge of the nose. The body is incised with various geometrical
patterns symbolizing the fertility, and the breast appears (symbol of
the protective spirit). The goitre figuration symbolizes the word.
Wooden door locks were used on the doors of dwellings, cookhouses,
sanctuaries, and on granary shutters. Each lock is given a name in
accordance with its message, person, myth, or any anecdote referred
to. Door locks were a prized gift for young brides, and passed down
from generation to generation. Origin : Mali (Bougouni area) Type : Door locks Ethnic group : Bamana (Bambara) Material : Wood, very fine aged patina |
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Bozo door lock This granary door lock, with an oval-shaped body, depicts a crocodile in a very stylized way. Bozo people lives on banks of the Niger, near their Dogon neighbors. They are the most former population established in this area. They are fishing or paddlers. Their resources come from fishing, as well as the river transport. During several centuries, Bozo hold the monopoly of the transport of the rock salt plates coming from the mines located in the northern Mali, in Taoudeni (see attached picture). These plates are transported by the Bozo paddlers, which then take over the Tuareg caravans coming from the desert, from Timbuktu to Bamako. Origin : Mali Type : Door locks Ethnic group : Bozo Material : Wood, metal and aged patina |
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Dogon chief door lock This exceptional door lock is surmounted by a horse and its rider.
The rider represents the hogon, the spiritual and temporal
chief of the Dogon. He plays a role of mediator, judge, and also of
guardian of the community. He also takes part in the preservation of
the delicate relationship maintained by Men with the ancestors and
the bush spirits. Origin : Mali (Bandiagara cliffs area) Type : Door locks Ethnic group : Dogon Material : Wood, old patina from use |
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Dogon door lock This door lock represents a human figure in an extremely abstract
way. The vertical beam symbolizes the cultivated fields, and the
rectangular patterns represent « the pond » (myth of Dogon
Creation, tihinle). The legs are truncated below the body of
the lock. Visually, the body of the lock becomes the body of the
figure, and the bolt the arms. Origin : Mali (Bandiagara cliffs area) Type : Door locks Ethnic group : Dogon Material : Wood, very age-old honey-colored patina from use |
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Dogon door lock This door lock is surmounted by a single human-like figure, probably
a nommo, carved in a circular form. The primordial couple (of
nommo or ancestors) is frequently represented on Dogon door
locks, as a significant element of their cosmogony. The appearance of
only one nommo (as here) is rather rare. The circular form may
represent the Earth or a solar symbol. Origin : Mali (Sangha area, Bandiagara cliffs) Type : Door locks Ethnic group : Dogon Material : Wood, patina from a very age-old use |
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Dogon door lock This door lock (called ta koguru) depicts in abstract way the
primordial couple which gave birth to the four couples of
nommo considered as being the eight ancestors of the mankind
(Dogon myth of Creation). The horns of the walu antelope
symbolize this couple of ancestors. These are rafters-carved, symbol
of water and fertility, and also of the spiritual being nommo
in water and rain. The truncated legs appear at the bottom of the
lock, which becomes the body of the figures. It should also be noted
stars engravings on the body. Origin : Mali (Kani Kombole village, Bandiagara cliffs) Type : Door locks Ethnic group : Dogon Material : Wood, metal, beautiful aged brownish patina |
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Dogon door lock This door lock depicts in abstract way the primordial couple which
gave birth to the four couples of nommo considered as being
the eight ancestors of the mankind (Dogon myth of creation). The man
and the woman are represented and symbolized by the antelope horns.
The vertical beam is decorated with incised patterns which evoke the
fields (terrestrial space and fertility) and the center of the
universe. Therefore, these patterns are symbolizing water and
fertility, and also the spiritual being nommo in water and
rain. The truncated legs appear at the bottom of the lock, which
becomes the body of the figures. Origin : Mali (Bandiagara cliffs area) Type : Door locks Ethnic group : Dogon Material : Fine aged granular patinated wood |
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Dogon door lock This lock contains the structural elements of both lizards
(geo) and crocodiles (ayo). These reptiles are
frequently represented in locks. The lizard symbolizes the prepuce of
a circumcised boy's penis. The Dogon believe that the female element
of a boy's spiritual being resides in his prepuce. On removal at the
time of circumcision, it is transformed into a reddish-colored lizard
that the Dogon call the Sun Lizard. The crocodile represents the
animal that once belonged to the ancestor binu serou,
allegoric figure of the water element. Locks depicting crocodiles are
frequently used by the totemic priests of the binu cult for
sealing their granaries or sanctuaries. Origin : Mali (Bandiagara plateau, village of Keti) Type : Door locks Ethnic group : Dogon Material : Dense wood, brownish patina from use |
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Dogon door lock This door lock depicts in abstract way the primordial couple which
gave birth to the four couples of nommo considered as being
the eight ancestors of the mankind (Dogon myth of creation). The
pointed horn-like structures atop this lock could represent as well
stylised nommo figures or the horns of the antelope
(ka). The vertical beam is decorated with incised and
pyroengraved patterns which evoke the fields (terrestrial space and
fertility) and the center of the universe. Therefore, these patterns
are symbolizing water and fertility, and also the spiritual being
nommo in water and rain. Origin : Mali (Bandiagara cliffs, Teli area) Type : Door locks Ethnic group : Dogon Material : Brownish patinated wood |
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Dogon door lock This granary lock, with a great variety of iconographic symbols, is
surmounted by a couple of nommo, two of the eighth ancestors
of the mankind (Dogon myth of creation, tihinle). The vertical
beam is sculpted with patterns which evoke the fields and the water
(terrestrial space and fertility), guarded by a crocodile ayo.
The crocodile represents the animal that once belonged to the
ancestor binu serou (the water element). Chevrons which are
engraved symbolize water and fertility, and also the spiritual being
nommo of binu serou in water and rain. This lock was
used by the totemic priest of the binu cult for sealing his
granary. The close association of such lock with vital food supplies
harvested from binu fields means that it also symbolizes
binu serou himself. The binu cult links the living to
those early ancestors who are immortal. Origin : Mali (Bandiagara cliffs, Ireli) Type : Door locks Ethnic group : Dogon Material : Wood, metal, natural gray aged patina |
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Dogon door lock This door lock depicts in abstract way the primordial couple which
gave birth to the four couples of nommo considered as being
the eight ancestors of the mankind (Dogon myth of creation). The
pointed horn-like structures atop this lock could represent as well
stylised nommo figures or the horns of the antelope. The
vertical beam is decorated with incised and pyroengraved patterns
which evoke the fields (terrestrial space and fertility) and the
center of the universe. Therefore, these patterns are symbolizing
water and fertility, and also the spiritual being nommo in
water and rain. The truncated legs appear at the bottom of the lock,
which becomes the body of the figures. Origin : Mali (Bandiagara cliffs, Ireli area) Type : Door locks Ethnic group : Dogon Material : Brownish patinated wood |
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Dogon door lock This door lock depicts in abstract way a couple of nommo, two
of the eighth ancestors of the mankind (Dogon myth of creation,
tihinle). The pointed horn-like structures atop represent both
stylized nommo figures and the horns of the antelope
(ka). The vertical beam is sculpted with patterns which evoke
the fields and growing (terrestrial space and fertility).
Double-lined chevrons symbolize water and fertility, and also the
spiritual being nommo of binu serou in water and rain.
This lock was used by the totemic priest of the binu cult for
sealing his granary. The close association of such lock with vital
food supplies harvested from binu fields means that it also
symbolizes binu serou himself. The binu cult links the
living to those early ancestors who are immortal. The starry pattern
engraved on the bolt would be both the symbol of the universe and of
the Sirius satellite. Origin : Mali (Bandiagara cliffs, Yougo Na) Type : Door locks Ethnic group : Dogon Material : Brownish patinated wood |
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Dogon door lock This granary lock, with a great variety of iconographic symbols,
depicts in abstract way a couple of nommo, two of the eighth
ancestors of the mankind (Dogon myth of creation, tihinle).
The pointed horn-like structures atop represent both stylised
nommo figures and the horns of the antelope (ka). The
vertical beam is sculpted with patterns which evoke the fields and
growing (terrestrial space and fertility), guarded by a crocodile
ayo (see attached pictures). The crocodile represents the
animal that once belonged to the ancestor binu serou (the
water element). Double-lined chevrons are engraved around the fields,
and symbolize water and fertility, and also the spiritual being
nommo of binu serou in water and rain. This lock was
used by the totemic priest of the binu cult for sealing his
granary. The close association of such lock with vital food supplies
harvested from binu fields means that it also symbolizes
binu serou himself. The binu cult links the living to
those early ancestors who are immortal. Origin : Mali (Bandiagara cliffs, Ireli) Type : Door locks Ethnic group : Dogon Material : Wood, metal, natural gray aged patina |
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Dogon door lock This elaborate lock, richly decorated with bronze facing, represents
both a bird and a protective ancestor. It would be a stork
(associated with the rainy season and the fertility of growing) or
the representation of the ostrich (ogotanala), allegory of the
lebe snake. The ostrich (ogotanala) is known for its
zigzag course when running. This zigzagging is symbolic of
lebe because it replicates his movements. These bird's and
snake's movements are also similar to those of the nommo as
they fell to earth in the form of rain. Origin : Mali (Seno plain, area bordering the Burkina Faso) Type : Door locks Ethnic group : Dogon Material : Wood, bronze facing, very age-old patina from use |
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Dogon door lock This Dogon door lock (ta koguru) is surmounted by the horns of
the walu antelope. These horns are finely carved with steps,
like a Dogon ladder. The horns symbolize a couple of nommo
ancestors in an abstract way. The particularity of this lock lies in
the receptacle sculpted at the bottom. It was probably closed by a
small shutter, and would have contained a totemic stone (dugo)
that connect the granary owner to his immediate ancestor. Origin : Mali (Kambari area, Bandiagara cliffs) Type : Door locks Ethnic group : Dogon Material : Wood with brown and weathered gray patina |
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Dogon door lock This elaborate lock combines the symbolism of the lebe snake
(the first hogon, spiritual chief of the Dogon) and what
appear to be the nommo twins of amma serou, another early
Dogon ancestor. Lebe, part human and part supernatural,
metamorphosed into a snake (it is in this form that lebe is
believed to exist today), introduced death to the world. He visits
the hogon, licks his body, and in so doing gives him and all
humanity the strength to live. For the Dogon, lebe is the
mainspring of germination and the source of vital life force.
Lebe is symbolized both by rows of chevrons (which are also
the representation of water and fertility), and by the ostriches
carved at the bottom. The ostrich (ogotanala) is known for its
zigzag course when running. This zigzagging is symbolic of
lebe because it replicates his movements. These bird's and
snake's movements are also similar to those of the nommo as
they fell to earth in the form of rain. Origin : Mali (Kani Kombole area, district of Bankass) Type : Door locks Ethnic group : Dogon Material : Wood, metal, dark aged patina |
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Dogon door lock This rare and exceptional Dogon door lock depicts a fish, the tail
carved atop and the head pointed at the bottom of the lock. To our
knowledge, this iconography is unique. The engraved patterns
symbolize the scales of the animal. The separated tail, placed atop
by the sculptor, is symbolic of the twins' nommo ancestors,
and more generally of the duality. In the Dogon myth of the creation
of the universe, the fish is also the first living being created by
amma : the nommo anagonno. Origin : Mali (Ireli area) Type : Door locks Ethnic group : Dogon Material : Wood, very fine crusty and glossy aged patina |
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Dogon granary door lock This very beautiful granary door lock, with an oval-shaped vertical
beam, is surmounted by a bird. It should be the ostrich known for its
zigzag course, symbol of the lebe snake and the course of the
nommo falling on the earth in the form of rain (Dogon myth of
Creation). Origin : Mali (Sangui area) Type : Door locks Ethnic group : Dogon Material : Wood, metal, aged patina |
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Dogon granary door lock This small Dogon granary door lock is surmounted by two finely carved
ostriches. The chevrons borders, carved on the rectangular central
section (representing the pond), symbolize the lebe snake, as
well as the fertilizing rain. The central figure represents a
tortoise in very abstract way. The tortoise is one of totemic animals
of the Dogon. One as well finds it represented on shutters, as on
attic posts, doors, or door locks. Aquatic animal related to the
fertility of growing, it protects by its symbolic strength the
granary against robbers, and generally wards off fate. Note the fine
work in the lower part, depicting nommo legs (the spiritual
being nommo is present in water and rain). Lebe, part
human and part supernatural, metamorphosed into a snake (it is in
this form that lebe is believed to exist today), introduced
death to the world. He visits the hogon, licks his body, and
in so doing gives him and all humanity the strength to live. For the
Dogon, lebe is the mainspring of germination and the source of
vital life force. Lebe is symbolized both by the chevrons
(which are also the representation of water and fertility), and by
the ostriches carved atop. The ostrich (ogotanala) is known
for its zigzag course when running. This zigzagging is symbolic of
lebe because it replicates his movements. These bird's and
snake's movements are also similar to those of the nommo as
they fell to earth in the form of rain. Origin : Mali (Bandiagara cliffs area, Teli village) Type : Door locks Ethnic group : Dogon Material : Wood, remarkably beautiful and aged patina |
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Dogon granary door lock This Dogon granary door lock is surmounted by a slender-shaped bird.
It would be both a stork (associated with the rainy season and the
fertility of growing) and the representation of the ostrich
(ogotanala). The latter is known for its zigzag course when
running. This zigzagging is symbolic of the lebe snake because
it replicates his movements. These bird's and snake's movements are
also similar to those of the nommo as they fell to earth in
the form of rain. Lebe, or lebe serou, symbolizes the
earth and the first hogon (spiritual and temporal leader of
the Dogon). Part human and part supernatural, metamorphosed into a
snake (it is in this form that lebe is believed to exist
today), lebe introduced death to the world. He visits the
hogon, licks his body, and in so doing gives him and all
humanity the strength to live. For the Dogon, lebe is the
mainspring of germination and the source of vital life force. Origin : Mali (Bandiagara cliffs, village of Yougo Piri) Type : Door locks Ethnic group : Dogon Material : Wood, metal inlaying, beautiful and aged patina |
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Dogon granary door lock This very old granary door lock represents the water tortoise
(kiru). The water tortoise would be symbolic of the placenta
of the nommo, and locks with this unique figure are often
affixed to the granaries holding the harvest of a hogon's
field. Locks depicting the water tortoise are also affixed to the
granary doors of women who capture these reptiles in the bush and
keep them in their compounds for purification rites. These rites are
associated with the postpartum period and menstruation. However, the
legend about the tortoise varies greatly, so it seems unwise to draw
too close an analogy with mythological events. Origin : Mali (Bandiagara cliffs, village of Yougo Dogorou) Type : Door locks Ethnic group : Dogon Material : Wood, deep brown patina |
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Dogon granary door lock This Dogon granary door lock is surmounted by a slender-shaped bird.
It would be both a stork (associated with the rainy season and the
fertility of growing) and the representation of the ostrich
(ogotanala). The latter is known for its zigzag course when
running. This zigzagging is symbolic of the lebe snake because
it replicates his movements. These bird's and snake's movements are
also similar to those of the nommo as they fell to earth in
the form of rain. Lebe, or lebe serou, symbolizes the
Earth and the first hogon (spiritual and temporal leader of
the Dogon). Part human and part supernatural, metamorphosed into a
snake (it is in this form that lebe is believed to exist
today), lebe introduced death to the world. He visits the
hogon, licks his body, and in so doing gives him and all
humanity the strength to live. For the Dogon, lebe is the
mainspring of germination and the source of vital life force. The
chevrons engraved on the left side of the bolt symbolize both the
lebe snake and the fertilizing rain. Origin : Mali (Bandiagara cliffs, Sangha area) Type : Door locks Ethnic group : Dogon Material : Wood, remarkably beautiful and aged patina |
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Dogon granary door lock This Dogon granary door lock is surmounted by a very stylized bird.
It would be both a stork (associated with the rainy season and the
fertility of growing) and the representation of the ostrich
(ogotanala). The latter is known for its zigzag course when
running. This zigzagging is symbolic of the lebe snake because
it replicates his movements. These bird's and snake's movements are
also similar to those of the nommo as they fell to earth in
the form of rain. Lebe, or lebe serou, symbolizes the
Earth and the first hogon (spiritual and temporal leader of
the Dogon). Part human and part supernatural, metamorphosed into a
snake (it is in this form that lebe is believed to exist
today), lebe introduced death to the world. He visits the
hogon, licks his body, and in so doing gives him and all
humanity the strength to live. For the Dogon, lebe is the
mainspring of germination and the source of vital life force. The
chevrons engraved on the left side of the bolt symbolize both the
lebe snake and the fertilizing rain. Origin : Mali (Bandiagara cliffs area, Yougo Na) Type : Door locks Ethnic group : Dogon Material : Wood, remarkably beautiful and aged patina |
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Dogon granary door lock This Dogon granary door lock is surmounted by two birds facing each
other. It would be a couple of storks (associated with the rainy
season and the fertility of growing) or the representation of the
ostriches. The ostrich (ogotanala) is known for its zigzag
course when running. This zigzagging is symbolic of the lebe
snake because it replicates his movements. These bird's and snake's
movements are also similar to those of the nommo as they fell
to earth in the form of rain. Lebe, or lebe serou,
symbolizes the Earth and the first hogon (spiritual and
temporal leader of the Dogon). Part human and part supernatural,
metamorphosed into a snake (it is in this form that lebe is
believed to exist today), lebe introduced death to the world.
He visits the hogon, licks his body, and in so doing gives him
and all humanity the strength to live. For the Dogon, lebe is
the mainspring of germination and the source of vital life force. The
chevrons engraved atop and at the bottom of the vertical beam
symbolize both the lebe snake and the fertilizing rain. Note
the fine starry motif engraved on the left part of the bolt. It would
be the symbol of the Sirius satellite of which the eclipse is closely
connected with the sigui ceremonies. The sigui is a
dance festival celebrated only once in every sixty years to assure
the renewal of the world. Origin : Mali (Bandiagara cliffs area, Teli) Type : Door locks Ethnic group : Dogon Material : Wood, remarkably beautiful and aged patina |
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Dogon granary door lock This granary door lock represents a single human-like figure,
probably a nommo or the ancestor binu serou. The
originality of the body lies in the square openwork design in the
center of the vertical beam, engraved with double-lined chevrons
around it. Chevrons patterns symbolize water and fertility, and also
the spiritual being nommo of binu serou in water and
rain. This lock was probably used by the totemic priest of the
binu cult for sealing his granary, or by a blacksmith. The
close association of such lock with vital food supplies harvested
from binu fields means that it also symbolizes binu
serou himself. The binu cult links the living to those
early ancestors who are immortal. Origin : Mali (Bandiagara cliffs, Banani village) Type : Door locks Ethnic group : Dogon Material : Wood, very age-old patina from use |
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Dogon granary door lock This elaborate lock, richly decorated with bronze facing, is
surmounted by a protective ancestor (may be lebe serou) placed
opposite with a bird at the bottom. It would be a stork (associated
with the rainy season and the fertility of growing) or the
representation of the ostrich (ogotanala), allegory of the
lebe snake. The ostrich (ogotanala) is known for its
zigzag course when running. This zigzagging is symbolic of
lebe because it replicates his movements. These bird's and
snake's movements are also similar to those of the nommo as
they fell to earth in the form of rain. Origin : Mali (Seno plain, area bordering the Burkina Faso) Type : Door locks Ethnic group : Dogon Material : Wood, bronze facing, very age-old patina from use |
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Dogon granary door lock This very old granary door lock is surmounted by the representation
of the antelope mask walu. This mask was used during
commemorative ceremonies of dama, every five years. It was
accompanied by hundreds of other masked dancers, thus forming an
abstract representation of the environment of the Dogon people. The
antelope mask is admired by Dogon for its beauty and the strength of
its performances. The origin of dama ceremony has close links
with the worship of the ancestors (and death), as well as with the
balance of the Universe. At the mythical time, masks were first
acquired and used to counteract the negative effects of death. By
reenacting the behavior of their mythic ancestors, as on this lock,
the Dogon strive to restore order to their world after the disruption
caused by death. Origin : Mali (Bandiagara cliffs, Teli) Type : Door locks Ethnic group : Dogon Material : Brownish patinated wood |
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Dogon granary door lock This elaborate small lock represents both bird and lebe, the
first hogon of the Dogon who was a descendant of the eighth
nommo. It would be a stork (associated with the rainy season
and the fertility of growing) or the representation of the ostrich
(ogotanala), allegory of the lebe snake. The ostrich
(ogotanala) is known for its zigzag course when running. This
zigzagging is symbolic of lebe because it replicates his
movements. These bird's and snake's movements are also similar to
those of the nommo as they fell to earth in the form of rain. Origin : Mali (Bandiagara cliffs area, Teli) Type : Door locks Ethnic group : Dogon Material : Wood, remarkably beautiful and aged patina |
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Dogon granary door lock This Dogon granary door lock (ta koguru) is surmounted by a
cruciform design. This very abstract form could represent the god
amma, coded as such by the sky at the top, the air, and the
earth. Water should be symbolized by the rectangular-shaped form
carved on the body. It would be also the representation of the four
elements and the four cardinal points. It's the same form as the
inside compartments of a granary. Origin : Mali (Bandiagara cliffs, Teli) Type : Door locks Ethnic group : Dogon Material : Wood, metal, aged patina |
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Dogon granary door lock The pointed horn-like structures atop this lock could represent
highly stylised nommo figures or the horns of the antelope
(ka). The horns pointed at the bottom could symbolize the
legs. This lock would have been used on the door of a binu
sanctuary granary. The binu cult links the living to those
early ancestors who are immortal. This lock is remarkable for its
perfect symmetrical figures, its geometric and pure Dogon style. Origin : Mali (Ende area, Bandiagara cliffs) Type : Door locks Ethnic group : Dogon Material : Wood, very age-old honey-colored patina from use |
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Dogon granary door lock This granary door lock (called ta koguru) is carved with a
couple of nommo figures. These symbolize a strong magic and
spiritual force. This force is then, according to beliefs' animists
of Dogon, imparted to the door lock. In the Dogon myth of the
creation of the Earth, the amma god bore a being figure known
as nommo (the nommo anagonno, symbolized by a fish).
This nommo gave birth to four couples of nommo,
considered as the eight ancestors of the mankind (unum) and
the four elements. Origin : Mali (Teli area) Type : Door locks Ethnic group : Dogon Material : Wood, metal, dark aged patina |
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Dogon granary door lock This very old granary door lock is surmounted by the representation
of the antelope mask walu. This mask was used during
commemorative ceremonies of dama, every five years. It was
accompanied by hundreds of other masked dancers, thus forming an
abstract representation of the environment of the Dogon people. The
antelope mask is admired by Dogon for its beauty and the strength of
its performances. The origin of dama ceremony has close links
with the worship of the ancestors (and death), as well as with the
balance of the Universe. At the mythical time, masks were first
acquired and used to counteract the negative effects of death. By
reenacting the behavior of their mythic ancestors, as on this lock,
the Dogon strive to restore order to their world after the disruption
caused by death. Origin : Mali (Bandiagara cliffs area) Type : Door locks Ethnic group : Dogon Material : Brownish patinated wood |
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Dogon granary door lock This granary door lock (called ta koguru) is carved with a
couple of nommo figures. These symbolize a strong magic and
spiritual force. This force is then, according to beliefs' animists
of Dogon, imparted to the door lock. In the Dogon myth of the
creation of the Earth, the amma god bore a being figure known
as nommo (the nommo anagonno, symbolized by a fish).
This nommo gave birth to four couples of nommo,
considered as the eight ancestors of the mankind (unum) and
the four elements. Origin : Mali (Teli area) Type : Door locks Ethnic group : Dogon Material : Wood, metal, dark aged patina |
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Dogon granary door lock This Dogon granary door lock is surmounted by a slender-shaped bird.
It would be both a stork (associated with the rainy season and the
fertility of growing) and the representation of the ostrich
(ogotanala). The latter is known for its zigzag course when
running. This zigzagging is symbolic of the lebe snake because
it replicates his movements. These bird's and snake's movements are
also similar to those of the nommo as they fell to earth in
the form of rain. Lebe, or lebe serou, symbolizes the
Earth and the first hogon (spiritual and temporal leader of
the Dogon). Part human and part supernatural, metamorphosed into a
snake (it is in this form that lebe is believed to exist
today), lebe introduced death to the world. He visits the
hogon, licks his body, and in so doing gives him and all
humanity the strength to live. For the Dogon, lebe is the
mainspring of germination and the source of vital life force. The
chevrons engraved on the left side of the bolt symbolize both the
lebe snake and the fertilizing rain. Origin : Mali (Bandiagara cliffs) Type : Door locks Ethnic group : Dogon Material : Wood, beautiful and aged patina |
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Kurumba door lock This very rare and small granary door lock depicts a crocodile. The
vertical part forms the body of the animal. It symbolizes the
protective spirit of the family (the guardian spirit) which protects
from robbers. In the past, the representation of
« prohibited » or dangerous animals, like the crocodile,
was regarded as the sign of a great protective force. These animals
could not be killed, eaten, nor even touched. This door lock
protected the granary by its symbolic strength. Origin : Burkina Faso (Djibo area, northern Burkina Faso) Type : Door locks Ethnic group : Kurumba Material : Bright-brownish eroded wood, aged patina |
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Malinke door lock This lock was intended to represent the hornbill, associated with the
rainy season and the fertility of growing. Birds are almost an
exclusive theme of the Malinke door lock. The lower portion of the
vertical beam is sculpted in the form of a long beak, while the flare
atop could represent the tail. The surfaces of this lock are devoid
of designs, but the bolt is sculpted with an unusual knob on the
right side where the key is inserted. Origin : Mali (Kita area) Type : Door locks Ethnic group : Malinke Material : Very hard wood, crusty aged patina |
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Malinke door lock This lock was intended to represent the swallow
(nanalékou), and to protect against sorcerers. However,
it could also symbolize the hornbill, associated with the rainy
season and the fertility of growing. A characteristic feature of the
Malinke door locks, the triangular head sits atop a stylized
rectangular neck, and the terminal flare at the base would be a
tail-like shape. The central motif engraved, a large double-lined X,
represents both a powerful fertility symbol, water, and the four
cardinal angles. The swallow symbolizes the water deity and his
powers, as the faro's aerial messenger in the Bamana legends
of creation. Origin : Mali (Yanfoilla area) Type : Door locks Ethnic group : Malinke Material : Very hard wood, fine aged and eroded patina |
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Chieftainship Mossi door lock This rare and exceptional door lock is composed of two crossbeams,
attesting it was reserved for a chieftainship door as an element of
prestige. The crossbeams are sculpted in an old traditional
crenellated fashion. Origin : Burkina Faso Type : Door locks Ethnic group : Mossi Material : Thick bright-brownish wood, very fine aged patina from use |
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Mossi door lock This very beautiful Mossi door lock is entirely decorated with
geometrical patterns. The bolt is sculpted in an old traditional
crenellated fashion (with wood prongs in the locking mechanism). Origin : Burkina Faso (Kongoussi area) Type : Door locks Ethnic group : Mossi Material : Wood, deep brown patina from use |
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Mossi door lock This rare and exceptional door lock is composed of two crossbeams
(generally reserved for chieftainship door locks, as an element of
prestige). It represents a protective spirit of harvests. The
engraved patterns on the vertical beam are depicting the scars worn
by Mossi women who have given birth. Origin : Burkina Faso (Kongoussi area) Type : Door locks Ethnic group : Mossi Material : Wood, deep granitic brown patina |
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Dogon granary door lock This granary door lock is surmounted by a single human-like figure,
probably a nommo ancestor, or andoumboulou (the first
occupiers of the Bandiagara cliffs). The appearance of only one
nommo (as here) is rather rare. This lock is coming from the
deserted Tellem village of Yougo Dogorou, cave dwellers settlement in
the cliffs. These caves and deserted old granaries are considered as
sacred places by the Dogon themselves (see attached pictures). Origin : Mali (Yougo Dogorou village) Type : Door locks Ethnic group : Tellem / Dogon Material : Natural blond-colored wood, metal, aged patina |
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Bozo stool This small and very ancient wooden stool has been collected in the
Bozo country. The evidence of wear, on the upper square surface and
on the supports, suggests that it was made to sit on. It may be that
it was intended for use by women or children, or a boatman. This
stool is extraordinary in its slender and symmetrical character, and
its old-used patina (probably 19th
century or earlier). Origin : Mali (Mopti area) Type : Ethnographic items Ethnic group : Bozo Material : Very dense beige wood, age-old used patina |
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Bwa women stool Among the Bwa, such stools, as well as other personal property,
become intimately associated with the spirit of the owner after
decades of use. So that when she dies her stool is placed on the
family ancestral shrine as a vehicle for communication from one
generation to the next. Origin : Burkina Faso (Dedougou area) Type : Ethnographic items Ethnic group : Bwa Material : Very dense wood, very age-old used patina |
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Lobi stool Among the Lobi, such stools, as well as other personal property,
become intimately associated with the spirit of the owner after
decades of use. So that when the owner dies as a respected elder his
stool is placed on the family ancestral shrine as a vehicle for
communication from one generation to the next. Origin : Burkina Faso (Southwestern area of the Black Volta River) Type : Ethnographic items Ethnic group : Lobi (or Dagari) Material : Very dense beige wood, very age-old used patina |
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Tuareg pole In Saharan daily life, wood is one of the most important materials,
and is used for the poles and beams of the nomads' tents, as well as
bed frames, milking bowls and dishes. Sharpened to a point for
standing upright in a nomadic encampment, it should have been used
for hanging leather bags. The upper half is elaborately and carefully
carved with semicircles, triangular and « lotus flower »
shapes. Origin : Mauritania (Niger or western Sahara) Type : Ethnographic items Ethnic group : Tuareg Material : Wood, old brownish-red patina from use |
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Tuareg pole In Saharan daily life, wood is one of the most important materials,
and is used for the poles and beams of the nomads' tents, as well as
bed frames, milking bowls and dishes. Sharpened to a point for
standing upright in a nomadic encampment, it should have been used
for hanging leather bags. The upper half is elaborately and carefully
carved with semicircles, triangular and « lotus flower »
shapes. Origin : Mauritania (Niger or western Sahara) Type : Ethnographic items Ethnic group : Tuareg Material : Wood, old brownish-red patina from use |
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Bwa pendant This Bwa pendant is symbolizing a crescent of the moon, as well as
three small birds. Worn with a leather link, it was used to chase
away the ghostly spirits and disease. Origin : Burkina Faso (Hounde area) Type : Jewellery and materials Ethnic group : Bwa Material : Patinated bronze, made using the process of lost wax |
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Dogon pendant This Dogon pendant is representing a solar symbol and its radiance.
Worn with a leather link, it was the privilege of the ginna
chief (house of the lineage), and sometimes by certain aged persons.
The pendant enclosed the spiritual and protective strength of the
lineage, it is not just an ornament, but reveals the cultural
identity. Origin : Mali (Bandiagara cliffs area) Type : Jewellery and materials Ethnic group : Dogon Material : Patinated bronze, made using the process of lost wax |
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Kuba ceremonial skirt This raffia cloth is a woman's overskirt (called ncaka kot),
worn by the Kuba for special occasions and funerals. These skirts
were worn by family and friends to celebrate the life of the
deceased. As among other groups neighbor of the Kuba, men are alone
responsible for all stages of the preparation of fiber and completion
of weaving. Origin : D. R. Congo Type : Jewellery and materials Ethnic group : Kuba (Bushoong) Material : Raffia |
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Kuba raffia cloth This old raffia cloth was used as a wedding present (a dowry). As
among other groups neighbor of the Kuba, men are alone responsible
for all stages of the preparation of fiber and completion of weaving.
It consists of embroidered and appliquéd motifs, in which each
symbol is named to correspond to the shape it represents. The raised
patterns on this cloth were produced by a technique of « cut
pile » embroidery. Origin : D. R. Congo (Kasai River area) Type : Jewellery and materials Ethnic group : Kuba (Bushoong) Material : Raffia, natural pigments |
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Kuba raffia cloth This old raffia cloth was used as a wedding present (a dowry). As
among other groups neighbor of the Kuba, men are alone responsible
for all stages of the preparation of fiber and completion of weaving.
It consists of embroidered and appliquéd motifs, in which each
symbol is named to correspond to the shape it represents. The raised
patterns on this cloth were produced by a technique of « cut
pile » embroidery. Origin : D. R. Congo (Kasai River area) Type : Jewellery and materials Ethnic group : Kuba (Bushoong) Material : Raffia, natural pigments |
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Lobi bracelet This heavy and very old bronze bracelet, Lobi or may be Fra-Fra, was
probably a wedding gift, offered by a father to his daughter or by a
man to his wife. She will keep it throughout her life. It is not just
an ornament, but reveals the cultural and tribal identity, and the
status of the woman who wears it. Origin : Burkina Faso Type : Jewellery and materials Ethnic group : Lobi Material : Patinated bronze, made using the process of lost wax |
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Lobi pendant This Lobi or Loro pendant is symbolizing, in very abstract way, four
snake or crocodile heads jointed around a circular form. Worn with a
leather link, it was used to chase away the ghostly spirits. This
pendant enclosed the protective strength of the lineage. Origin : Burkina Faso (Southern Burkina Faso, bordering Ivory Coast) Type : Jewellery and materials Ethnic group : Lobi (or Loro) Material : Patinated copper alloys, made using the process of lost wax |
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Mossi hairpin This Mossi hairpin, with finely carved birds finial, was used to
chase away the ghostly spirits and disease. This bronze depicts
hornbills, birds associated with growth and fertility in many
communities. Origin : Burkina Faso (Kaya area) Type : Jewellery and materials Ethnic group : Mossi Material : Made using the process of lost wax, the bronze (copper alloy) has acquired a really nice patina over the years |
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Senufo amulet This small amulet representing a couple was worn by the women and the men, sometimes attached to clothing, to protect itself from the bush spirits. Origin : Ivory Coast (area bordering the Burkina Faso) Type : Jewellery and materials Ethnic group : Senufo Material : Bronze, encrusted patina, made using the process of lost wax |
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Senufo pendant This Senufo pendant represents a couple of chameleons, who are among
the first animals of creation in Senufo mythology. This pendant was
related to the councils of a soothsayer-healer, it was used to chase
away the ghostly spirits and disease. Origin : Ivory Coast Type : Jewellery and materials Ethnic group : Senufo Material : Bronze, encrusted patina, made using the process of lost wax |
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Dogon pendant Dogon pendants depicting a human figure are extremely rare. This one,
whose legs are bent and slightly apart, raises one arm to cover its
face, the other lies on the knee. The mouth is half-opened. Origin : Mali (Inland Niger Delta area) Type : Jewellery and materials Ethnic group : Tellem / Dogon Material : Oxidized pewter |
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Tuareg pendent This Tuareg pendent is composed of a metal core covered with leather.
It was used as a protective talisman. Origin : Mali (Saharan area) Type : Jewellery and materials Ethnic group : Tuareg Material : Plating of silver, bronze and copper, leather, old-imported beads (Murano), aged patina |
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Tuareg pendent This Tuareg pendent is composed of a metal core covered with leather.
It was used as a protective talisman. Origin : Mali (Saharan area) Type : Jewellery and materials Ethnic group : Tuareg Material : Plating of silver, leather, aged patina |
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Afikpo mask This mask was in use in the most important male secret society of the
Afikpo, and took part in its initiation rituals. Spiritual
incarnation of the god egebele, it danced during the annual
masked festival called okumkpa or okonkwo. Origin : Nigeria (Cross River area) Type : Masks and headdresses Ethnic group : Afikpo / Igbo (Ibo) Material : Wood, fine aged patina |
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Afikpo mask This mask was in use in the most important male secret society of the
Afikpo, and took part in its initiation rituals. Spiritual
incarnation of the god egebele, it danced during the annual
masked festival called okumkpa or okonkwo, and probably
also during funeral rites. Origin : Nigeria (Cross River area, Uzouwani) Type : Masks and headdresses Ethnic group : Afikpo / Igbo (Ibo) Material : Wood, fine aged patina, natural pigments |
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Afikpo mask This mask (called mma ji) was in use in the most important
male secret society of the Afikpo, and took part in its initiation
rituals. Spiritual incarnation of the god egebele, it
performed during the annual masked festival called okumkpa or
okonkwo, and probably also for agricultural festivities and
funerals ceremonies. Origin : Nigeria (Cross River area) Type : Masks and headdresses Ethnic group : Afikpo / Igbo (Ibo) Material : Wood, fine aged patina, vegetal fibers |
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Bamana Kore mask This very old mask was used by the kore secret society within
the framework of initiation rites, and at the time of the
agricultural ceremonies. The shape of the face is oblong, and this
mask has been clearly carved in a Bamana style. Origin : Mali (Ouelessebougou area) Type : Masks and headdresses Ethnic group : Bamana (Bambara) Material : Fine aged patinated wood |
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Bamana Kore mask This very fine and old mask, called kore suruku, was used by
the kore society within the framework of initiatory rites, and
in agricultural ceremonies. This mask is extremely rare, and belongs
to an unusual type characterized by its stylistics' proportions and
iconography. It probably represents a hyena, one of the totemic
animals of this secret community. The significance of the long ears
could be that the komo spirit hears every sound. The incised
patterns are probably fertility symbols. Origin : Mali (Koutiala area) Type : Masks and headdresses Ethnic group : Bamana (Bambara) Material : Fine aged and patinated wood |
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Bamana Kore mask This very old Bamana mask (called kore suruku or nama
koroni koun) depicts a hyena's head. This mask represents one of
the totemic animals of the kore secret association (the sixth
secret society of the Bamana). The hyena was admired for its strength
and its craftiness. This mask was used during funerals and agrarian
initiation rites, to seek the help of the protective spirits. Origin : Mali (Kolondieba area, Bougouni) Type : Masks and headdresses Ethnic group : Bamana (Bambara) Material : Wood with beautiful deep brown aged patina, native repairs |
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Bamana mask This very beautiful mask depicts a buffalo. The monumental treatment
of the horns, as well as the harmonious geometric style of the ears
on the basis of the muffle, give to this object a quite perfect
symmetry. The kore secret society used this mask in the event
of bad harvest or during dryness periods. The geometric treatment of
this mask, extrapolating the forms to perfection, is a means of
sublimating the concept of the animal representation. Origin : Mali (Bougouni area) Type : Masks and headdresses Ethnic group : Bamana (Bambara) Material : Wood, thick aged and sacrificial patina |
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Bamana N'Golo mask This anthropo-zoomorphic mask was used during initiatory rites of the
kore secret society (the ceremony is called n'golo).
This mask served as an intermediary between the ancestors, the world
of the dead ones, and the world of the living ones. Origin : Mali Type : Masks and headdresses Ethnic group : Bamana (Bambara) Material : Wood, age-old use patina |
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Bamana N'Tomo mask This very old mask, probably dated 19th century, was used during n'tomo
society initiation rites. The shape of the face is oval, with
« tube » eyes and the nose bridge joining the mouth. Origin : Mali (Koutiala area) Type : Masks and headdresses Ethnic group : Bamana (Bambara) Material : Wood, very deep patina |
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Tyi Wara crest masks The tyi wara headdress, set on top of the head using a wicker
basket, was the attribute of its initiation society whose fundamental
principles are to harmonize the community life, the fertility of the
cultures and the place of the Man within cosmos. At the time of these
ceremonies, the mask, then inert and secular, became the attribute of
a dressed up dancer which gave it life and word. Because this is only
through the movement, and through the dancer more particularly, that
the mask finds its effectiveness. Origin : Mali (Kayes area) Type : Masks and headdresses Ethnic group : Bamana (Bambara) Material : Wood, aged patina, fabric, cowries, natural pigments, basket work |
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Tyi Wara headdress This very beautiful sogoni kun headdress (usually called
tyi wara) represents a stylized antelope caring two young ones
on her back (three pairs of horns). In use during agrarian
festivities of the secret male initiation association tyi wara
of the young farmers, this object (decorated with small incised
circles) was to favor harvests. Origin : Mali (Bougouni area) Type : Masks and headdresses Ethnic group : Bamana (Bambara) Material : Wood, aged brownish patina |
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Bini mask This facial mask was used by the ekpo society, essentially
during the yam harvest. It represents a chief or a person of high
social status. A small bird is carved and added between the horns.
The horns probably express fertility. Origin : Nigeria (Iyekhoriomo area) Type : Masks and headdresses Ethnic group : Bini Material : Dense wood, aged and grayish crusty patina on the head, kaolin, indigo traces around the eyes |
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Bolon Koufen mask This mask was used by the secret initiation dwo society
(probably a version of the initiations of the Bamana dyow
societies, or of the Senufo poro society) in agricultural
ceremonies and competitions. This association is arranged in a
hierarchical order of initiation, with complex and esoteric levels of
knowledge, and internal subdivisions. After a seven-year waiting
period before initiation, this association is divided internally into
five age grades, the most senior of which can be entered when the
process of initiation has been successfully acquired. The first grade
culminates in a ritual in which the candidate is symbolically killed,
revived the next day and spends the following week in retreat away
from the village. Origin : Burkina Faso (Western area bordering on Mali) Type : Masks and headdresses Ethnic group : Bolon Material : Very dense brownish wood, micro cracked patina |
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Dan racing mask This mask, representing an idealized human face, is of Diomande
style : the face is oval, eyes are circular and forehead is
slightly domed. The mouth is particularly marked, and enhanced with
an old material piece. Embodiment of the wild bush spirits, this mask
function is to maintain the vital strength within the village and to
preserve peace. Origin : Ivory Coast (Southwestern area, Danané) Type : Masks and headdresses Ethnic group : Dan (Diomande) Material : Very aged and patinated wood, material |
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Dogon antelope mask This very old antelope mask (called ka or karanda) was
used during commemorative ceremonies of dama. It was
accompanied by hundreds of other masked dancers, thus forming an
abstract representation of the environment of the Dogon people. The
antelope mask is admired by Dogon for its beauty and the strength of
its performances. The origin of dama ceremony has close links
with the worship of the ancestors (and death), as well as with the
balance of the Universe. At the mythical time, masks were first
acquired and used to counteract the negative effects of death. By
reenacting the behavior of their mythic ancestors, as on this lock,
the Dogon strive to restore order to their world after the disruption
caused by death. Origin : Mali (Yougo Piri area) Type : Masks and headdresses Ethnic group : Dogon Material : Wood, original pigments, age-old patina from use |
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Kanaga mask The kanaga mask can be interpreted various ways by the
initiates, the dancers and the witnesses. For the ones, the
uninitiated, it represents the bird kommolo tebu, for others
the crocodile, the cow, the antelope, or the blacksmith-sculptor
himself. All depends on the interpretation of the dancer's attributes
(headdress, purse, cane, costume
) and in the way in which
the mask « dances ». The deeper meaning of the
kanaga mask apparently pertains both to God, the crossbars
being his arms and legs, and to the arrangement of the universe, with
the upper crossbar representing the sky and the lower one the earth. Origin : Mali (Tireli area, Bandiagara cliffs) Type : Masks and headdresses Ethnic group : Dogon Material : Wood, natural pigments, resin and vegetal fibers, fine aged patina |
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Kanaga mask The kanaga mask can be interpreted various ways by the
initiates, the dancers and the witnesses. For the ones, it represents
the bird kommolo tebu, for others the crocodile, the cow, the
antelope, or the blacksmith-sculptor himself. All depends on the
interpretation of the dancer's attributes (headdress, purse, cane,
costume
) and in the way in which the mask
« dances ». The deeper meaning of the kanaga mask
apparently pertains both to God, the crossbars being his arms and
legs, and to the arrangement of the universe, with the upper crossbar
representing the sky and the lower one the earth. Then inert and
secular, the mask became the attribute of a dressed up dancer which
gave it life and word. Because this is only through the movement, and
through the dancer more particularly, that the mask finds its
effectiveness. Origin : Mali Type : Masks and headdresses Ethnic group : Dogon Material : Very age-old patina from use, original pigments, indigenous repairs |
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Kanaga mask The kanaga mask can be interpreted various ways by the
initiates, the dancers and the witnesses. For the ones, it represents
the bird kommolo tebu, for others the crocodile, the cow, the
antelope, or the blacksmith-sculptor himself. All depends on the
interpretation of the dancer's attributes (headdress, purse, cane,
costume
) and in the way in which the mask
« dances ». The deeper meaning of the kanaga mask
apparently pertains both to God, the crossbars being his arms and
legs, and to the arrangement of the universe, with the upper crossbar
representing the sky and the lower one the earth. Origin : Mali (Yougo Na area, Bandiagara cliffs) Type : Masks and headdresses Ethnic group : Dogon Material : Wood, natural pigments, resin, very fine aged patina |
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Mask of justice The Kran and Guere (Wè) are located in the south-western area
of the Ivory Coast and in the southern Liberia, and both belong to
the Krou group. Origin : Ivory Coast (Cavally area, bordering on southern Liberia) Type : Masks and headdresses Ethnic group : Kran (Guere (Wè), Krou group) Material : Aged and patinated wood, vegetable fibers, material |
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Koulango mask This mask, exceptional and very rare, represents a deceased soul, and
was worn by the men of the secret society kiemvé during
funerary rituals of its members. At the time of these ceremonies, the
mask, then inert and secular, became the attribute of a dressed up
dancer which gave it life and word. Because this is only through the
movement, and through the dancer more particularly, that the mask
finds its effectiveness. Origin : Ivory Coast (Bondoukou area) Type : Masks and headdresses Ethnic group : Kulango (or Ligbi) Material : Patinated wood from age-old use, ancient kaolin traces around the eyes |
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Kurumba antelope mask Made in one piece, this antelope mask is carried out with great care,
drawing attention to the details and volumes. Remarkable for the
length of its horns, this mask was admired by the Kurumba for its
beauty and the strength of its performance during agricultural
festivities, at the beginning and the end of the rainy season. As for
the Dogon, it would have been used also for funeral ceremonies to
transport the souls of deceased family members away from the village. Origin : Burkina Faso (Djibo area, northern Burkina Faso bordering on Mali) Type : Masks and headdresses Ethnic group : Kurumba Material : Bright brownish eroded wood, age-old use patina, native repairs and pigments |
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Malinke N'Tomo mask This mask, of an unusual type, is attributable to Malinke, neighbors
of Bamana and which adopted the n'tomo society initiation
rites. Multi-horned headpieces are specific to the n'tomo
associations, but one of the particularities of this mask is that the
horns are fitted into a large oval. Origin : Mali (Kayes area) Type : Masks and headdresses Ethnic group : Malinke Material : Fine aged patinated wood |
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Nuna hyena mask This mask represents a hyena, wild and totemic animal in the Nuna
society. Worn over the face, this mask is sculpted with geometric
patterns, and lines radiate from the eyes. The shape of the mask and
its geometrical patterns constitute the elements of a system of
communication. Each element has a meaning which may change from one
group to another, and also within a village. On the exoteric level of
the uninitiated, they represent the spirits of the bush (su)
who act as intermediaries between the ancestors and mankind. At a
most esoteric level, the mask and its symbols are reminders of a
social, political and religious order of the community. Origin : Burkina Faso (Area located between the Red Volta and the Black Volta River) Type : Masks and headdresses Ethnic group : Nuna / Gurunsi Material : Fine aged brownish wood, granular and micro cracked patina |
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Eastern Pende mask Among the range of Pende masks the human and animal are often linked,
and in the West Kasai one particular type seems to share a
masquerading and an architectural function. The lateral elongation of
the panya ngombe mask relates to the buffalo which itself has
chiefly associations. Origin : D. R. Congo Type : Masks and headdresses Ethnic group : Pende (Eastern) Material : Wood, fine aged patina, oily in places, pigments |
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Eastern Pende mask The Pende live in the southwestern part of Zaire. They are mainly
farmers, producing millet, maize, plantain and peanuts. The women do
most of the farm work and all of the selling of goods in community
markets. Men help clear fields and occasionally hunt and fish for
additional food. The Pende people are matrilineal, with the eldest
maternal uncle recognized as the head of the family with
responsibility for the well-being of the family and taking care of
the ancestors. The Pende carve several types of masks (human and
animal forms are often linked), mostly associated with education and
initiation rituals. The masks embody ancestral forces and serve as
intermediaries with the spirit world. Origin : D. R. Congo Type : Masks and headdresses Ethnic group : Pende (Eastern) Material : Wood, fine aged patina, natural pigments |
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Senufo Wanyugo mask Wanyugo masks are used, during elaborate funerals, to usher
the deceased soul into the realm of the spirits. This mask is worn to
control dangerous spiritual forces and witchcraft which might
threaten the village. Originating in the « sacred wood »,
sanctuary of the ancestors and spirits of the bush, this mask was
worn by an initiate of the poro secret society. This very
powerful association, about which the dignitaries speak a secret
language, plays an essential role in the community life. The mask
draws its strength from its iconographic associations : the
strength of the buffalo, the wisdom of the hornbill, the
aggressiveness of the wart hog, and the power of the crocodile's
mouth. Origin : Ivory Coast Type : Masks and headdresses Ethnic group : Senufo Material : Wood, crusty and very old sacrificial patina, material pieces |
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Teke mask As facial masks used during the kidumu dances of the Tsaayi,
this object presents a form and patterns interpreted like lunar
symbols. However, and contrary to the rare other specimens, this mask
was not intended to perform attached to the face. Constituted of two
round parts joined together by a kind of handle allowing a suspended
fixing, this mask was probably a house mask. It could have been also
used like chest masks, but the patina present on the backside does
not reveal traces of friction, but a thick smoked and crusty patina.
The front face is composed of a thick and encrusted sacrificial
patina. Origin : D. R. Congo (Ogooue River area) Type : Masks and headdresses Ethnic group : Teke (or Tsaayi) Material : Very dense wood, age-old use sacrificial patina on the front side, black eroded on the back side |
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Yaka initiation mask The most important event in the Yaka ceremonial cycle is the
initiation of young boys into adulthood. To mark the end of the
educational period, festivities are held in which the initiates
perform with newly carved masks. Additionally, it showcases the most
startling masks and the most spectacular dances. Origin : D. R. Congo (Kwango river, southwestern Zaire) Type : Masks and headdresses Ethnic group : Yaka Material : Wood, canvas, raffia, coated cloth, natural pigments, age-old use patina |
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Vodun altar This altar is composed of a pot containing anthropomorphic figures
and a bell. The bell is to summon benign spirits, and to summon evil
powers. The pot contains materials intended to be used to
« feed » the gods with offerings. There is also a kind of
skull with cowries and an old padlock (used and placed here to seal
the initiation). Origin : Togo (Area bordering on Benin) Type : Ritual items Ethnic group : Adja / Fon Material : Pot, wood, iron, old padlock, cowries, sacrificial patina and vegetal materials |
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Dogon altar This small altar, made into a terracotta bowl, consists of a wooden
statuette (probably an ancestor's representation), an iron neckrest
from the Tellem people, an iron bracelet, and various metal elements,
arrowheads (see attached video). Origin : Mali (Bandiagara cliffs) Type : Ritual items Ethnic group : Dogon Material : Terracotta bowl, wood figure, metal pieces, sacrificial materials |
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Dogon altar figure This object was probably placed on a family altar to serve as
physical medium through which the deceased ancestors' soul
(vageu) was expressed. It was also the physical support for
their vital strength (nyama). Origin : Mali (Songo village, Guimbala area) Type : Ritual items Ethnic group : Dogon Material : Eroded wood with fine sacrificial patina |
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Dogon votive ladder Symbolizing the utility ladder, in a miniature round image, this
votive one was used on family altars intended for ancestors' cult. It
symbolizes the steps that they have to climb to reach the deceased
world. In the same way as ancestor statuettes and others ritual
items, it was destinated for the repose of the dead ancestors' souls. Origin : Mali (Kani Kombole, Bandiagara cliffs area) Type : Ritual items Ethnic group : Dogon Material : Bright brownish wood with cracked patina |
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Dogon votive ladder Miniature image of utility ladder, this votive one was used on family
altars intended for ancestors' cult. It symbolizes the steps that
they have to climb to reach the deceased world. In the same way as
ancestor statuettes and others ritual items, it was destinated for
the repose of the dead ancestors' souls. Origin : Mali (Bandiagara cliffs area) Type : Ritual items Ethnic group : Dogon Material : Wood, thick crusty patina |
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Thief's staff Yo Domolo Held in the hand or worn over the shoulder, this curved staff is the
emblem of the society of yona (« ritual thieves »,
younw). The principal activity of the society seems to occur
at the funeral of one of its members, stealing domestic animals to be
sacrificed and eaten at the funeral ceremony. Each Dogon clan has a
ritual thief. This staff is called yo domolo (« thief's
staff »), and has a hook-shaped form similar to weapons and
tools sometimes used as ritual objects in binu altars. Origin : Mali (Bandiagara cliffs, village of Yougo Na) Type : Ritual items Ethnic group : Dogon Material : Fine aged patinated wood with brownish and partly crusted patina |
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Ikegobo altar This ikegobo altar was used by the Edo during rituals linked
with the ikenga cult. Ikenga is the embodiment of
traditional male leadership and power. The shrine expressed their
personal spirit or chi, a source of strength and courage.
Ikenga visualizes the authority of leadership : the
ability to sit in judgment and be a warrior-chief. An ikenga
typically received offerings as farm produce (sacrifices for the yam
deity, ifejioku), prayers to the physical power (the power of
the right hand and arm, the obo, and the right hand cult,
aka nri, literally « hand of the food »), and stands
for personal determination (ivri) in warrior secret society. Origin : Nigeria (Northern area of the Niger Delta) Type : Ritual items Ethnic group : Edo Material : Wood, sacrificial materials |
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Tellem neckrest Neckrests are among the oldest surviving wooden objects in West
Africa. Found in burial caves in the Bandiagara cliffs, high above
Dogon villages, neckrests are attributed to the Tellem people who
preceded the Dogon in the cliff. The Tellem did not live in caves,
but they used some for funerary rituals and burials, and others in
which they built mud-brick granaries for millet storage. Origin : Mali (Bandiagara cliffs) Type : Ritual items Ethnic group : Tellem / Dogon Material : Bright-brownish eroded wood |
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Tellem neckrest Neckrests are among the oldest surviving wooden objects in West
Africa. Found in burial caves in the Bandiagara cliffs, high above
Dogon villages, neckrests are attributed to the Tellem people who
preceded the Dogon in the cliff. The Tellem did not live in caves,
but they used some for funerary rituals and burials, and others in
which they built mud-brick granaries for millet storage (see picture). Origin : Mali (Ireli area, Bandiagara cliffs) Type : Ritual items Ethnic group : Tellem / Dogon Material : Brownish eroded wood, exceptional aged patina |
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Tellem neckrest Neckrests are among the oldest surviving wooden objects in West
Africa. Found in burial caves in the Bandiagara cliffs (see
pictures), high above Dogon villages, neckrests are attributed to the
Tellem people who preceded the Dogon in the cliff. The Tellem did not
live in caves, but they used some for funerary rituals and burials,
and others in which they built mud-brick granaries for millet storage. Origin : Mali (Bandiagara cliffs, Teli) Type : Ritual items Ethnic group : Tellem / Dogon Material : Dark-brown eroded wood |
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Yaka drum This small drum is called mukoku ngoombu by the Yaka. It was
used with a cord around the neck at the end of which was suspended a
wood stick. One played of this instrument during a divination ritual
called ngoombu weefwa. The instrument announces the presence
of the diviner, the nganga, giving the rhythm, but is also
used as container to prepare medicines. Posed on the ground, it is
also used as stool by the diviner. The face would personify the link
with the ancestors' spirits. The closed eyes refer to the interior
vision and the dreams of the diviner. Origin : D. R. Congo (Kwango River, bordering Angola) Type : Ritual items Ethnic group : Yaka Material : Wood, aged bright-brownish patina, brass nail |
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Bamana Do Nyeleni figure This Bamana figure was used in the fertility rituals of the
dyow societies, and its role was to ensure the vital force
within the village. For this reason, it played a significant role at
the initiation ceremonies of the young adults (dyo
initiates) : transmission of the social and moral rules of
conduct, perpetuation of the religious practices and of the
ancestors' cult (faro, goddess of water). Origin : Mali (Bougouni area) Type : Statuary Ethnic group : Bamana (Bambara) Material : Wood, brownish red aged patina |
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Bamana Do Nyeleni figure This Bamana figure was used in the fertility rituals of the
dyow societies, and its role was to ensure the vital force
within the village. For this reason, it played a significant role at
the initiation ceremonies of the young adults (dyo
initiates) : transmission of the social and moral rules of
conduct, perpetuation of the religious practices and of the
ancestors' cult (faro, goddess of water). This statuette is
the guardian of the community knowledge. Origin : Mali Type : Statuary Ethnic group : Bamana (Bambara) Material : Bright brownish wood, fine aged and eroded patina |
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Bamana seated figure This Bamana seated figure was used in the fertility rituals to ensure
the vital force within the village. For this reason, it played a
significant role at the initiation ceremonies of the young adults
(dyo initiates) : transmission of the social and moral
rules of conduct, perpetuation of the religious practices and of the
ancestors' cult (faro, goddess of water). Origin : Mali (Bougouni area) Type : Statuary Ethnic group : Bamana (Bambara) Material : Wood, metal and cloth, thick encrusted aged patina |
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Baule figure Among the Baule, figural sculptures represent either nature spirits
(asie usu) or « other-world » mates, the ancestor
figures (blolo bian, male figures, or blolo bla, the
female ones). Origin : Ivory Coast Type : Statuary Ethnic group : Baoule Material : Wood, thick and aged encrusted sacrificial patina |
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Baule male figure Among the Baule, figural sculptures represent either nature spirits
(asie usu) or « other-world » mates, the ancestor
figures (blolo bian, male figures, or blolo bla, the
female ones). Origin : Ivory Coast Type : Statuary Ethnic group : Baoule Material : Fine aged patinated wood with dark glossy and partly crusted patina, cloth |
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blolo bian Baule figure Among the Baule, figural sculptures represent either nature spirits
(asie usu) or « other-world » mates, the ancestor
figures (blolo bian, male figures, or blolo bla, the
female ones). Origin : Ivory Coast Type : Statuary Ethnic group : Baoule Material : Fine aged patinated wood, with brownish encrusted sacrificial patina |
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Bobo blacksmith fetish This statuette is a forge guardian, a mythical being, whose only
blacksmith holds the secrecy. It emanates from it an impressive
power, primarily due to the posture of the figure and its
scrutinizing glance (see attached video). Origin : Burkina Faso (Area bordering Mali) Type : Statuary Ethnic group : Bobo (Bobo Fing) Material : Iron structure covered with a thick earthy material, hair, cloth, kauris, sacrificial patina |
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Bobo blacksmith fetish This statuette is a forge guardian, a mythical being, whose only
blacksmith holds the secrecy. It emanates from it an impressive
power, primarily due to the posture of the figure and its
scrutinizing glance. Origin : Burkina Faso (Area bordering Mali) Type : Statuary Ethnic group : Bobo (Bobo Fing) Material : Iron structure covered with a thick earthy sacrificial patina, cloth |
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Boki ancestor figure This statuette, which has been largely obliterated by use patina and
erosion, presents a face with protruding eyes surmounted by an
openwork rectangular headdress. Scarifications are carved on the
temples. It could represent a female figure, a protective ancestor,
in very stylized geometrical forms. Entirely covered with white
coats, probably made of kaolin, it was placed in a sanctuary
dedicated to the spirit of nature anjenu. This statuette
anjenu appears in the worships of fertility, reinforces the
religious power of the sanctuary, and could also be used in
divination rituals. It was then a receptacle facilitating the
communication with the ancestors and the water spirits. Origin : Nigeria (Area located between the Cross River and the Benue River) Type : Statuary Ethnic group : Boki (or Idoma / Egede) Material : Wood, sacrificial materials, age-old use patina and erosion |
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Bwa couple figure This very rare couple is coming from a grouping of three Bwa villages
located in the area of San (area bordering on the Burkina Faso). The
original stylistic treatment indicates a very strong cultural
identity, probably because of the proximity and of a majority
presence of Bamana in this area of Mali. Origin : Mali (San area) Type : Statuary Ethnic group : Bwa Material : Bright-brownish wood, fine aged patina |
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Chamba figure The Chamba figures are rare, and generally of a very crude style
without any relief. The originality of this piece lies in its
movement, the face (with its characteristic crest) and the shoulders
projected ahead, while preserving a pure and geometric style. Origin : Nigeria (Southeastern area of the Benue River) Type : Statuary Ethnic group : Chamba Material : Very thick wood with an old sacrificial patina |
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Dogon ancestor figure This statue represents a male standing figure. Arms are missing, but
were brought back on the navel and formed a kind of plate. One
notices the pride of the head with ears U-shaped, the long and fine
body, and the very ancient break of the arm leaving no doubt as for
the great antiquity of this exceptional piece. Origin : Mali (Tireli area, Bandiagara cliffs) Type : Statuary Ethnic group : Dogon Material : Densely eroded wood with gray tonality, iron and shells |
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Dogon ancestor figure This very beautiful female figure is a perfect example of the Dogon
statuary (Seno style). The schematic volumes reducing the plastic to
what is here considered as essential, underlines elements linked to
womanliness and fertility. The breasts, very accentuated, leave
shoulders to preserve the elongated form of this object. Metal rings
are attached to the ears. Origin : Mali (Seno plain area) Type : Statuary Ethnic group : Dogon Material : Brownish patinated wood, aged sacrificial patina, metal rings |
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Dogon ancestors figures These small figurines, probably a couple of ancestors, are
represented hands clasped in front of the lower abdomen. The human
form is reduced to its essential significance. The rounded faces, the
cubist processing and the shaped legs are in a specific style of
Dogon located in the Bandiagara cliffs villages. The surface patina
is composed of a thick encrustation of sacrificial material. Origin : Mali (Tireli village) Type : Statuary Ethnic group : Dogon Material : Crusty patinated wood |
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Dogon ancestors figures These very ancient figures depict a couple of ancestors. The blunted
faces, as well as the elongated busts without legs, reinforce their
fragile appearance. They were placed on the ancestors' altar
(vageu), to preserve and release the vital force of the
deceased (nyama). Origin : Mali Type : Statuary Ethnic group : Dogon Material : Wood, very encrusted grayish sacrificial patina |
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Dogon figure This statuette depicts a figure whose chest and belly are projected
forwards. The very « cubist » style and the hands brought
back on the knees are characteristic of the style of the Dogon of the
Seno plain. This piece probably represents a protective spirit
(dege). Origin : Mali (Madougou area) Type : Statuary Ethnic group : Dogon Material : Exquisite deep brown sweating patina |
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Dogon figure This figure undoubtedly depicts a nommo, with hands on both
sides of the front and one arm raised. The carver has taken many
liberties with the anatomy to use this abstract gesture to create a
balance of the forms to represent this figure with a raised arm. This
small Dogon sculpture is therefore ambiguous and complex. The gesture
of raised arms represents various aspects of nommo role in the
organization of the universe and its relationship with the
amma god, and also in Dogon rituals of fertility (the
spiritual being nommo is present in water and rain). Origin : Mali (Bandiagara cliffs area, Teli village) Type : Statuary Ethnic group : Dogon Material : Eroded wood with sacrificial materials |
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Dogon figure This anthropomorphic statuette, probably an ancestor or a
nommo figure, is represented with hands clasped in front of
the lower abdomen, and with a cylindrical treatment of the body. The
human form is reduced to its essential significance. The rounded
face, the cubist processing and the shaped legs are in a specific
style of Dogon located in the Bandiagara cliffs villages. The surface
patina is composed of a thick encrustation of sacrificial material. Origin : Mali (Collected from Ireli, Bandiagara cliffs) Type : Statuary Ethnic group : Dogon Material : Wood, encrustation |
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Dogon figure The cubist character of this statue makes it possible to attribute
this very old figure to the Dogon style of the Seno plain, area
bordering on Burkina Faso. This standing male figure (probably a
protective ancestor), with very structured forms, alternating round,
angular, tubular and conical volumes, give the work a strong
geometrical force. Origin : Mali (Seno plain area) Type : Statuary Ethnic group : Dogon Material : Dark-patinated wood, partially oozing |
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Dogon figure This statuette depicts a figure with sharply angled legs, and whose
arms are bent at the elbows and at the wrists to create a step like
form. The breasts are placed high on the torso and continue the mass
of the shoulders. This stylization of the human body can be seen in
many Dogon sculptures. The almost featureless face conforms to the
simplification of forms that characterizes these sculptures. This
piece probably represents a protective spirit (dege) or a
nommo ancestor. Origin : Mali (Bandiagara cliffs area, village of Ireli) Type : Statuary Ethnic group : Dogon Material : Wood, iron necklace, sacrificial materials |
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Dogon figure This statuette depicts a figure with truncated legs, and whose arms
are bent at the elbows and at the wrists to create a step like form.
The breasts are placed high on the torso and continue the mass of the
shoulders. This stylization of the human body can be seen in many
Dogon sculptures. The almost featureless face conforms to the
simplification of forms that characterizes these sculptures. This
piece probably represents a protective spirit (dege) or a
nommo ancestor. Origin : Mali (Bandiagara cliffs area) Type : Statuary Ethnic group : Dogon Material : Wood, sacrificial materials atop the head, eroded patina |
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Dogon figure with bowl This female figure is represented with a bowl atop the head. The
breasts are placed high on the torsos and continue the mass of the
shoulders. This stylization of the human body can be seen in many
Dogon sculptures. The thick aged patina of this object demonstrates
clearly its great age and its ritual use by many generations. Origin : Mali (Yougo Dogorou area) Type : Statuary Ethnic group : Dogon Material : Eroded wood, traces of thick encrusted sacrificial materials |
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Dogon figures These statuettes depict a couple of figures with truncated legs, and
whose arms are bent at the elbows and at the wrists to create a step
like form. The breasts are placed high on the torsos and continue the
mass of the shoulders. This stylization of the human body can be seen
in many Dogon sculptures (see attached video). The almost featureless
faces conform to the simplification of forms that characterizes these
sculptures. These pieces probably represent nommo ancestors. Origin : Mali (Bandiagara cliffs area) Type : Statuary Ethnic group : Dogon Material : Eroded wood, very fine sacrificial patina |
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Dogon healing figure Originally drive in the ground, this statue presents a very schematic
style. Metal parts are fixed on the neck and the head, the face is
simply outlined. A thick sacrificial patina, very encrusted, is
visible on the higher part. This figure is most probably of
prophylactic use. Origin : Mali Type : Statuary Ethnic group : Dogon Material : Wood, iron, sacrificial materials |
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Dogon kneeling figure This very ancient figure depicting a knelt figure is particularly
fine and delicate. The blunted face, as well as the elongated bust
without arm, reinforces its fragile appearance. Origin : Mali (Sangha area) Type : Statuary Ethnic group : Dogon Material : Wood, very deep sacrificial patina |
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Dogon seated figure This seated female figure is characteristic of Dogon art in the area
of Bandiagara cliffs. The most notable elements are short bent legs
and lengthened arms, with the breasts located high on the chest. Origin : Mali (Sangha area, Bandiagara cliffs) Type : Statuary Ethnic group : Dogon Material : Very eroded wood, traces of old crusty patina |
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Dogon votive figure This statuette depicts a male figure, the arms in offering position.
The face and the legs are shaped in a specific style of Dogon located
in the Seno plain. Origin : Mali (Bereli area) Type : Statuary Ethnic group : Dogon Material : Wood, very old black sweating patina, sacrificial materials |
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Female Ewe altar figure This statuette is considered to link the visible to the invisible,
the spirits and the ancestors to the human beings. The end of the
figure is generally stuck into the ground so as to emerge from the
earth. The Ewe personifies the earth as an ambivalent mother. Apart
from alluding to the interdependence of the sexes in the procreative
process, the male figure alludes to the negative aspect of the
spirits, and the female to the positive one. This female figure was
one of a pair originally placed in a family altar. Origin : Togo (Southwestern area, bordering Ghana) Type : Statuary Ethnic group : Ewe Material : Bright brownish wood, aged and eroded patina |
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Goemai healing figure While little informations are available on the Goemai, present data
indicates that such statues have a variety of essential communal
roles and function in divination, in healing rites, and as
vessels to facilitate communication with the ancestors or spirit
beings. Goemai art is an integral component in the maintenance of
communal health. Origin : Nigeria (Northern area of the Benue River) Type : Statuary Ethnic group : Goemai Material : Wood with brownish patina, traces of sacrificial materials |
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Hemba ancestor figure This statue represents a standing male figure, the hands clasped on
the abdomen. The sculpture, all in curves, expresses both an infinite
softness and a great interiority. The features of the face are fine
and regular : almond eyes, right and pointed nose, the
curvilinear mouth following the oval of the chin. A cruciform motif
carved in shallow relief decorates the heavy coiffure (see attached
pictures). Origin : D. R. Congo (Mbalula area) Type : Statuary Ethnic group : Hemba Material : Wood, exceptional and aged patina, both crusty and glossy, raffia skirt |
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Igbo ancestors figures These figures are tutelary deities known as alusi or
agbara. The arms position with hands held as if begging is
interpreted as indicating the deity's readiness to receive
sacrificial offers as well as its open-handedness and honesty. The
incised scars and pigments indicate titled status. Origin : Nigeria Type : Statuary Ethnic group : Igbo (Ibo) Material : Wood with ochre, reddish brown, black and pink pigments, cloth, sacrificial patina |
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Ikenga figure Ikenga is the embodiment of traditional male leadership and
power among the Igbo. Men strived to achieve rank and a high title.
The shrine expressed their personal spirit or chi, a source of
strength and courage. Ikenga visualizes the authority of
leadership : the ability to sit in judgment and be a
warrior-chief. The representation of a carved wooden stool strongly
resembles that associated with title-taking by elite men. These are
often portrayed in representations of seated figures owned by lineage
segments in respect of the ikenga cult. The horns refer to the
powerful and aggressive nature of the ram. An ikenga typically
received offerings as farm produce (sacrifices for the yam deity,
ifejioku), prayers to the physical power (the power of the
right hand and arm, the obo, and the right hand cult, aka
nri, literally « hand of the food »), and stands for
personal determination (ivri) in warrior secret society. Origin : Nigeria (Awka area) Type : Statuary Ethnic group : Igbo (Ibo) Material : Dense wood with encrusted patina, sacrificial materials in places, traces of pigments |
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Ikenga figures Ikenga is the embodiment of traditional male leadership and
power among the Igbo. Men strived to achieve rank and a high title.
The shrine expressed their personal spirit or chi, a source of
strength and courage. Ikenga visualizes the authority of
leadership : the ability to sit in judgment and be a
warrior-chief. The representation of a carved wooden stool strongly
resembles that associated with title-taking by elite men. These are
often portrayed in representations of seated figures owned by lineage
segments in respect of the ikenga cult. The horns refer to the
powerful and aggressive nature of the ram. An ikenga typically
received offerings as farm produce (sacrifices for the yam deity,
ifejioku), prayers to the physical power (the power of the
right hand and arm, the obo, and the right hand cult, aka
nri, literally « hand of the food »), and stands for
personal determination (ivri) in warrior secret society. Origin : Nigeria () Type : Statuary Ethnic group : Igbo (Ibo) Material : Dense wood with crusty patina, sacrificial materials |
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Ikenga shrine figure Ikenga is the embodiment of traditional male leadership and
power among the Igbo. Men strived to achieve rank and a high title.
The shrine expressed their personal spirit or chi, a source of
strength and courage. Ikenga visualizes the authority of
leadership : the ability to sit in judgment and be a
warrior-chief. The representation of a carved wooden stool strongly
resembles that associated with title-taking by elite men. These are
often portrayed in representations of seated figures owned by lineage
segments in respect of the ikenga cult. The horns refer to the
powerful and aggressive nature of the ram. An ikenga typically
received offerings as farm produce (sacrifices for the yam deity,
ifejioku), prayers to the physical power (the power of the
right hand and arm, the obo, and the right hand cult, aka
nri, literally « hand of the food »), and stands for
personal determination (ivri) in warrior secret society. Origin : Nigeria (Awka area) Type : Statuary Ethnic group : Igbo (Ibo) Material : Wood with red-brownish patina, traces of sacrificial materials |
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Ikenga shrine figure Ikenga is the embodiment of traditional male leadership and
power among the Igbo. Men strived to achieve rank and a high title.
The shrine expressed their personal spirit or chi, a source of
strength and courage. Ikenga visualizes the authority of
leadership : the ability to sit in judgment and be a
warrior-chief. The symbolic representation of a carved wooden stool
strongly resembles that associated with title-taking by elite men.
These are often portrayed in representations of seated figures owned
by lineage segments in respect of the ikenga cult. The horns
refer to the powerful and aggressive nature of the ram.
Exceptionally, these are chevron-shaped, and supported by a back to
back couple. An ikenga typically received offerings as farm
produce (sacrifices for the yam deity, ifejioku), prayers to
the physical power (the power of the right hand and arm, the
obo, and the right hand cult, aka nri, literally
« hand of the food »), and stands for personal
determination (ivri) in warrior secret society. Origin : Nigeria Type : Statuary Ethnic group : Igbo (Ibo) (or Edo) Material : Wood with brown patina, traces of sacrificial materials |
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Ikenga shrine figure Ikenga is the embodiment of traditional male leadership and
power among the Isoko, Ijo, Igbo and Urhobo peoples. Men strived to
achieve rank and a high title. The shrine expressed their personal
spirit or chi, a source of strength and courage. Ikenga
visualizes the authority of leadership : the ability to sit in
judgment and be a warrior-chief. The representation of a carved
wooden stool strongly resembles that associated with title-taking by
elite men. These are often portrayed in representations of seated
figures owned by lineage segments in respect of the ikenga
cult. The horns refer to the powerful and aggressive nature of the
ram. An ikenga typically received offerings as farm produce
(sacrifices for the yam deity, ifejioku), prayers to the
physical power (the power of the right hand and arm, the obo,
and the right hand cult, aka nri, literally « hand of the
food »), and stands for personal determination (ivri) in
warrior secret society. Origin : Nigeria (Area of the Niger Delta) Type : Statuary Ethnic group : Igbo (Ibo) Material : Wood with aged red-brownish patina, traces of sacrificial materials |
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Ikenga statuette Ikenga is the embodiment of traditional male leadership and
power among the Igbo. Men strived to achieve rank and a high title.
The shrine expressed their personal spirit or chi, a source of
strength and courage. Ikenga visualizes the authority of
leadership : the ability to sit in judgment and be a
warrior-chief. The representation of a carved wooden stool strongly
resembles that associated with title-taking by elite men. These are
often portrayed in representations of seated figures owned by lineage
segments in respect of the ikenga cult. The horns refer to the
powerful and aggressive nature of the ram. An ikenga typically
received offerings as farm produce (sacrifices for the yam deity,
ifejioku), prayers to the physical power (the power of the
right hand and arm, the obo, and the right hand cult, aka
nri, literally « hand of the food »), and stands for
personal determination (ivri) in warrior secret society. Origin : Nigeria Type : Statuary Ethnic group : Igbo (Ibo) Material : Dense wood with crusty patina, sacrificial materials |
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Ikenga shrine figure Ikenga is the embodiment of traditional male leadership and
power among the Isoko, Ijo, Igbo and Urhobo peoples. Men strived to
achieve rank and a high title. The shrine expressed their personal
spirit or chi, a source of strength and courage. Ikenga
visualizes the authority of leadership : the ability to sit in
judgment and be a warrior-chief. The representation of a carved
wooden stool strongly resembles that associated with title-taking by
elite men. These are often portrayed in representations of seated
figures owned by lineage segments in respect of the ikenga
cult. The horns refer to the powerful and aggressive nature of the
ram. An ikenga typically received offerings as farm produce
(sacrifices for the yam deity, ifejioku), prayers to the
physical power (the power of the right hand and arm, the obo,
and the right hand cult, aka nri, literally « hand of the
food »), and stands for personal determination (ivri) in
warrior secret society. Origin : Nigeria (Area of the Niger Delta) Type : Statuary Ethnic group : Isoko Material : Wood with red-brownish patina, traces of sacrificial materials |
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Keaka protective figure This anthropomorphic figure probably depicts a protective spirit of
the village. It was formerly used to protect the houses, and to chase
away the ghostly spirits of the deceased. Origin : Nigeria (Southern Cross River area, bordering on Cameroon) Type : Statuary Ethnic group : Keaka Material : Wood, very old and thick crusty sacrificial patina, vegetal fibers |
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Lobi figure This very old figure was used for the worship of the ancestors' spirits, on an altar located in every Lobi house in a small room called thil du. Here are also placed an assortment of clay sculptures, iron staffs, pots and bottles, and frequent sacrifices are made at this altar to ensure the goodwill of the ancestors and to avoid illness. Origin : Burkina Faso Type : Statuary Ethnic group : Lobi Material : Wood, traces of sacrificial blood patina and chicken feathers |
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Lobi figure This little sculpture, crouching and pensive, is a rare
representation of a great ancestor of the lineage. This figure had
the function to protect against wizards and to keep the curses away.
It was placed on the family altar of the protective ancestors. It had
also a role of receptacle to communicate with the invisible and
protective spirits (thil), and with ancestors of the familial
lineage. Origin : Burkina Faso Type : Statuary Ethnic group : Lobi Material : Wood with red-brownish patina, traces of sacrificial materials |
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Lobi figure This little sculpture is certainly the representation of a great female ancestor of the lineage. This figure, drawing attention to the details, had the function to protect against wizards and to keep the curses away. It was placed on the family altar of the protective ancestors. It had also a role of receptacle to communicate with the invisible and protective spirits (thil), and with ancestors of the familial lineage. Origin : Burkina Faso Type : Statuary Ethnic group : Lobi Material : Wood with bright brownish patina, traces of sacrificial materials |
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Lobi figure with container This little sculpture, carrying a heavy container, is certainly the representation of a great female ancestor of the lineage. This figure, carried out with great care, drawing attention to the details, had the function to protect against wizards and to keep the curses away. It was placed on the family altar of the protective ancestors. It had also a role of receptacle to communicate with the invisible and protective spirits (thil), and with ancestors of the familial lineage. Origin : Burkina Faso Type : Statuary Ethnic group : Lobi Material : Wood with red-brownish patina, traces of sacrificial materials |
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Luba two-faced figure This figurine, called kabeja, was the privilege of chiefs,
diviners and high-ranking members of the esoteric societies (mainly
the secret society bagabo). Used for the veneration of
ancestors, an important feature of life in Hemba society, this
two-headed statuette was connected with primordial twins' cult. Origin : D. R. Congo Type : Statuary Ethnic group : Luba / Hemba Material : Beautiful deep black patinated wood, ancient fracture on one of the arms |
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Montol figure Located on the northern bank of the Benue River, the few Montol
population is enough unrecognized. This sculpture, whose simplified
face with flat headdress, was probably used in divination and healing
rites by a secret men's society called komtin. Origin : Nigeria (Located on the northern area of the Benue River) Type : Statuary Ethnic group : Montol Material : Wood, deep natural and sacrificial patina |
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Montol figure Located on the northern bank of the Benue River, the few Montol
population is enough unrecognized. This male healing figure, whose
ape-like face is projected forward, was probably used in divination
and healing rites by a secret men's society called komtin.
Present data indicates that such statues have a variety of essential
communal roles and function in divination, in healing
ceremonies, and as vessels to facilitate communication with the
lineage ancestors or spirit beings. Montol art is an integral
component in the maintenance of communal health. Origin : Nigeria (Located on the northern area of the Benue River) Type : Statuary Ethnic group : Montol Material : Wood, deep natural and sacrificial patina |
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Montol healer figure This statuette, probably of therapeutic use, represents a female
figure in very stylized geometrical forms. The arms are truncated,
and legs are flared. Origin : Nigeria Type : Statuary Ethnic group : Montol (or Ngas) Material : Wood with beautiful deep encrusted gray patina |
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Mumuye ancestor figure While little information is available on the Mumuye, present data
indicates that such statues have a variety of essential communal
roles and function in many ways : in divination, in healing
rites, in lineage to affirm status, and as vessels to facilitate
communication with the ancestors or spirit beings. Mumuye art is an
integral component in the maintenance of communal health. Origin : Nigeria (Southern area of the Benue River, bordering on Cameroon) Type : Statuary Ethnic group : Mumuye Material : Wood with brownish patina, traces of sacrificial materials |
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Senufo diviner's figure This female statuette, of which the bust serves as a lid for a bowl,
itself laid on a four-legged Senufo stool, is a representation of a
bush spirit (called mandeo, tugu or ndeo). The
hands become part of the mass, plunged into the bowl like through the
lid. Such object constitutes the essential equipment of the
healer-soothsayer (called sando). The statuette both
represents and serves as the abode for the bush spirits who are
believed to be in contact with the diviner. Origin : Ivory Coast (Korhogo area) Type : Statuary Ethnic group : Senufo Material : Dark-dripping patinated wood |
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Senufo diviner's figure This female statuette is a representation of a bush spirit (called
mandeo, tugu or ndeo). Such object constitutes
the essential equipment of the healer-soothsayer (called
sando). The statuette both represents and serves as the abode
for the bush spirits who are believed to be in contact with the
diviner. Origin : Ivory Coast (Korhogo area) Type : Statuary Ethnic group : Senufo Material : Wood, dark sacrificial patina |
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Senufo fertility figure This fertility figure depicts a woman with very harmonious
proportions. The headdress is characteristic of the Senufo, and the
construction is the expression of a very old and pure style. This
statuette was intended to favor a birth. Usually it was also
associated with divination done by the men's poro and the
women's sandogo secret societies. Origin : Ivory Coast (Mankono area) Type : Statuary Ethnic group : Senufo Material : Bright brownish wood, aged patina |
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Senufo fertility figure This figure depicts a woman with very harmonious proportions. The
headdress is characteristic of those used by the Senufo during the
funeral ceremonies, and the construction is the expression of a very
old and pure style. This statuette was probably intended to honor the
deceased. Usually it was also associated with divination done by the
men's poro and the women's sandogo secret societies. Origin : Ivory Coast Type : Statuary Ethnic group : Senufo Material : Wood, aged patina and traces of sacrificial materials |
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Senufo figure with offering This female figure with an offering bowl is the representation of a
bush spirit (called mandeo, tugu or ndeo). Such
object constitutes the essential equipment of the healer-soothsayer
(called sando). The statuette both represents and serves as
the abode for the bush spirits who are believed to be in contact with
the diviner. Origin : Ivory Coast (Korhogo area) Type : Statuary Ethnic group : Senufo Material : Dark patinated wood, brown at the angles, black coating and kaolin |
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Senufo figures These fertility figures depict a couple with very harmonious
proportions. The headdress is characteristic of the Senufo, and the
construction is the expression of a pure and stocky style. These
statuettes were intended to favor a birth, and also to honor the
memory of the lineage ancestors. Usually, these figures were
associated with divination done by the men's poro and the
women's sandogo secret societies. Origin : Ivory Coast Type : Statuary Ethnic group : Senufo Material : Wood, very fine aged patina |
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Senufo figures These fertility figures depict a couple with very harmonious
proportions. The headdress is characteristic of the Senufo, and the
construction is the expression of a pure and stocky style. These
statuettes were intended to favor a birth, and also to honor the
memory of the lineage ancestors. Usually, these figures were
associated with divination done by the men's poro and the
women's sandogo secret societies. Origin : Ivory Coast Type : Statuary Ethnic group : Senufo Material : Wood, very fine aged patina, glossy in places |
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Senufo seated figure This female statue, seated on a four-legged Senufo stool, is a
representation of a bush spirit (called mandeo, tugu or
ndeo). Such object constitutes the essential equipment of the
healer-soothsayer (called sando). The statue both represents
and serves as the abode for the bush spirits who are believed to be
in contact with the diviner. Origin : Ivory Coast Type : Statuary Ethnic group : Senufo Material : Wood, grayish encrusted patina, sacrificial materials |
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Songye figure Songye figures were used by the diviner-healer (nganga) to
protect the village, contribute to fertility and well-being and to
chase away enemies and bush spirits. Small figures were owned by
families. Most important are the many different types of substance
and paraphernalia applied to the figures. They were empowered by the
addition of materials with magical properties, including horns,
skins, beads, tacks, shells, cloth and small figures. As a result of
the individual treatments the object receives, each figure is seen as
imbued with its own identity and even its individual name. Origin : D. R. Congo Type : Statuary Ethnic group : Songye (Eki, Sanga and Kalebwe area) Material : Wood, metal, ritual agglomerate |
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Songye figure Songye figures were used by the diviner-healer (nganga) to
protect the village, contribute to fertility and well-being and to
chase away enemies and bush spirits. Small figures were owned by
families. Most important are the many different types of substance
and paraphernalia applied to the figures. They were empowered by the
addition of materials with magical properties, including horns,
skins, beads, tacks, shells, cloth and small figures. As a result of
the individual treatments the object receives, each figure is seen as
imbued with its own identity and even its individual name. Origin : D. R. Congo Type : Statuary Ethnic group : Songye Material : Wood, metal, oily patina and ritual agglomerate |
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Tellem votive figure This very old figure undoubtedly depicts a nommo, with hands
on both sides of the face. The arms are U-shaped, and the artist used
this gesture to create a simplification of the forms to represent a
figure with raised arms. Origin : Mali (Tireli area, Bandiagara cliffs) Type : Statuary Ethnic group : Tellem / Dogon Material : Wood very eroded and micro fissured, dry patina |
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Tusyan divination figure This figure was used by the diviner to consult the spirits, both
ancestral and supernatural, and to bring fertility and prosperity.
This female sculpture represents a standing figure, the legs anchored
on a cylindrical ringed base. The elongated torso has a generous
breast, the arms are held open and the hands lie on the hips. The
round shoulders are supporting a head wearing an expression of
serenity and gracious features, the eyes are in the form of coffee
grains, the small open mouth indicated by a simple oval with patina.
The coiffure which crowns the statuette is in the form of a shell
with parallel and regular linear striations. Origin : Burkina Faso (Orodara area, southwestern Burkina Faso) Type : Statuary Ethnic group : Tusyan Material : Wood with a very old crusty patina and granitic surface with gray tonality |
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Eshu figure
Origin : Nigeria Type : Statuary Ethnic group : Yoruba (Igbomina) Material : Wood, aged and glossy patina |