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Descripción : Monumental Igbo Male Shrine Figure, NigeriaWood, natural pigments Overall height 70in (178cm)Height of figure 51 1/in (131cm) Provenance Carlo Monzino Collection, Lugano-Castagnola, SwitzerlandThence by descentSotheby's, Paris, 20 September 2002, Lot 67Private CollectionChristie's, Paris, 19 June 2014, Lot 182Important European Private Collection Published Vogel, Susan, African Aesthetics: The Carlo Monzino Collection, New York, The Center for African Art, 1986, p. 99, fig. 84Kenji Yoshida (ed.), African Aesthetics, The Carlo Monzino Collection - Japan 1993, Tokyo, Japan, The Japan Association of Art Museums, The Yomiuri Shimbun, 1993, p. 127, pl. 69Fogel, Jonathan, #OBSESSED: Javier Peres et l'art africain, 'Tribal Art' no. 79, 2016, p. 121, fig.2 Exhibited New York: African Aesthetics: The Carlo Monzino Collection, The Center for African Art, 7 May-7 September 1986Japan: African Aesthetics. The Carlo Monzino Collection, 1993:- Miyagi Museum of Art, 3 April-9 May- Fukui Fine Arts Museum, 14 May-6 June- Gunma, The Museum of Modern Art, 12 June-11 July- Sogo Museum of Art, 28 July-22 August- Yamanashi Prefectural Museum of Art, 28 August-26 September- Hokkaido Hakodate Museum of Art, 2 October-6 November- Kurashiki City Art Museum, 13 November-19 December As noted by Susan Vogel, 'Twenty-two male and female figures, many life-sized and over, once stood around the walls and across the front veranda of a major temple in Asaga town (Ohafia village group) on the eastern edge of the Ibo area. This male figure and one representing his wife are two of the six figures that lined the veranda, flanking the two doors. They represent servants of the powerful god of the sanctuary. Inside, at the center of the spacious, high-roofed building, towered the massive figure of the male god, flanked by large male and female attendants and carrying on his broad shoulders the full-sized figure of his wife. Posts beneath the figures were planted in the earthen floor or platform that surrounded the temple walls and enabled them to stand securely. The sensitive, naturalistic face of this figure contrasts with its stiff body and the nonnaturalistic paint, which takes no account of the underlying sculptural forms. The figure, and especially its bright asymmetrical paint, must be imagined against the polished clay walls of the temple, which were wildly painted and patterned all over with whirling abstract designs and figures of lizards, leopards, and other animals. Everything was boldly outlined, the contours echoed by rows of white dots like those on the chest of this figure. The effect of patterned sculpture against patterned wall dazzled and baffled the viewer, transporting him into another world. The many statues and the painted decoration were all produced after the first decade of this [20th] century, when a disastrous fire gutted the town. The sculptures are the work of a single young artist who was forbidden by tradition to carve figures for any other use.The Temple of Omo Ukwu began, like others in the region, as a shrine to a family god, the repository of ancestral shrines and family treasures, and a meeting place for men. This particular shrine gained local importance because it was dedicated to a famous ancestor, the founder of the village and progenitor of the region. The increased popularity of the shrine drew worshipers from far away, whose gifts to the gods brought wealth to the temple and its priests. Surely the spectacular decoration of the building, one of only two in the area with large statues, played a part in attracting so vast a number of pilgrims.' (Vogel, Susan, African Aesthetics: The Carlo Monzino Collection, New York, The Center for African Art, 1986, p. 99)...
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