Das ist der Preis für die folgende Bewertung: Bamileke Elephant Mask, late 20th century

Beschreibung : Additional Information: An  ,elephant mask  ,coming from the  ,Bali people who live in the Western Grasslands region of Cameroon. It could as well come from the Bamileke one of the largest groups in Cameroon and the most important one in terms of art production, especially. ,In addition to their anthropomorphic masks, the Bali are known for their animal masks such as those representing the bird, the buffalo, and the Elephant. , Besides being precise and dramatic, Bali elephant masks are , unusually large, and would have been the sole property of the king, or fon. , Elephant, a large game animals with massive bodies, were associated with power of the king. Its a lineage mask and a , second leader mask. The first category is represented by human masks nkang. Elephant , masks were worn on the top of the head and were the last to appear during the masquerade.See a similar example and photo of an elephant mask dancer in Tamara Northern, The art of Cameroon, fig. 89, p. 157. The art of the grasslands area of Cameroon is a royal art, devoted to the veneration of ancestors and the enrichment of the Fon, or main chief. The large statuary, carved for and presented to the Fon, falls into several forms: representation of the Fon himself, carvings of individual ancestors, and impressive and sometimes enormous masks, some human in form and some in animal form. These are stored in shrines and guarded by individuals appointed by the Fon. They are a representation of his power, and brought out only on special occasions. The Cameroon Grasslands is a large and extremely diverse cultural area, inhabited by a large number of related peoples. The main groups are the Bamileke, Bamum, and Bamenda Tikar. There are also numerous, still-smaller groups, which are loosely affiliated with one another and share many historical and political similarities. All of these groups originally came from an area to the north, scattering in complex patterns during the last several centuries. Fulani traders moving steadily southwards into Cameroon during the 17th century forced the southern movement of most of the current residents. The dense forests, though now disappearing, and the scattered nature of the many tiny villages, have made the study of this area a daunting task for ethnologists, and has prevented the development of a school of thought concerning their artistic output. Thus, the many fascinating rituals from the Grasslands will, for now, remain elusive. ,For more info, see Tamara Northern's EXPRESSIONS OF CAMEROON ART.
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