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Descrizione : . Lot consisting of box with Tuareg trousseau and Ehel sceptre. Amazigh-speaking Tuareg people. West Africa, Sahel Region, Mauritania, late 19th century - early 20th century.. Ehel, Wedding Ceremonial Sign for Curtain. Carved wood, metal inserts (bronze, copper, silver). Although a functional object, the ehel offered here differs from other examples held in international museum collections in the exquisite refinement of the carving, rendered by an abstract geometric pattern with a cadenced modular rhythm. The object, functional in nature but also a demarcator of status, consists of two parts: the shaft, which was inserted into the sand to support and delimit the space of the marriage chamber, and the richly decorated upper part, which served as a support for refined leather panels and/or decorative mats given to the bride and groom, or to hold the couple's travel bags. The geometric lattice was embellished by the application of thin decorative flakes of silver, copper and brass, fixed with studs, in turn engraved with geometric motifs of Berber heritage, also found in the jewellery used by women. The presence of precious material is indicative of the object's dual function: when the tent was dismantled during travel, the Tuareg chief of the group distinguished himself through the use of the ehel which, from being a ceremonial object, acquired the role of an insignia of power, thus doubling its significance. Moreover, the dark patina observable on the surface of the object suggests a prolonged use over time, probably placing it between the late 19th and early 20th century. Jewellery box. Carved wood, metal inserts (bronze, copper, silver, brass), pigments. A splendid rectangular jewellery box made of ebony embellished externally with delicate metal plates in white and silver brass, red copper and yellow copper, two of which also serve as hinges for opening the object. While the outer perimeter of the casket features a simple metal decoration punctuated by small spheres that continues on the short sides and back, the front and top are filled with combinations of intricate geometric motifs that feature refined engravings. The Tuareg aesthetic favours triangles, rectangles and squares, as they are imbued with symbolism. Triangular shapes, for instance, are used and worn as protection against evil spirits. In addition, silver is also considered to have a beneficial value, attracting bakara, or blessings, happiness and good luck. The casket, made entirely by hand by one or more Tuareg artists, was used by a new bride to keep inside her dowry, consisting of precious jewellery and talismans inherited from her mother and given to her by her husband after the wedding. Generally, the quantity and type of jewellery used demarcates the social status of the woman, indicating whether she was single, married or widowed. The rarity of the object is found inside, as the wood is lined with leather and richly painted with natural pigments recreating protective and auspicious symbols for the bride. Among the talismans to be found is a hand of Fatima, a symbol of protection, good luck and joy. The case features a padlock with a fully functional original key decorated in finely worked metal. Telek, wrist dagger. Wood, metal inserts, leather, pigments. At local festivals and weddings where camel-riding competitions are organised, Tuareg men use to adorn their robes with a telek, a short-bladed wrist dagger, and a sword (takoba). The refined telek in question, complete with its original case made of wood, metal and green-dyed leather, has a pointed blade forged in iron, and a wood and metal hilt worked with delicate geometric engravings recalling the rich Tuareg symbolism. The telek was inserted into the inside of the forearm and fastened to the robe by means of leather strips knotted to the two rings attached to the sides of the case. Generally, the hilt of the telek was positioned towards the wrist to facilitate its removal. Flask. Coconut, cork, rope, metal inserts (bronze, copper, silver). Rare example of a dried coconut reused by Tuareg men as a flask for carrying liquids, probably water, distilled water or alcoholic substances. The uniqueness of the object lies in its metal cover with bronze and silver lozenge inserts, engraved with geometric motifs favoured by the aesthetic taste of the Tuareg artists. The flask is fitted with a removable cork stopper, decorated in bronze and copper. The ring attached to the top of the stopper still has the double cord with which the Tuareg men fastened the flask to their belt. Provenienza: Collezione privata, Vicenza. Bibliografia: - Loughran, K. 2003. Gioielli, moda e identità. L'esempio dei Tuareg. African Arts pp. 52-95. - Seligman, K. T. 2006. L'arte di essere nomadi tuareg del Sahara in un mondo moderno. African Arts 39(3): 56-79. - Hagan, E., Meters, L. 2006. Gioielli tuareg: Modelli e simboli tradizionali. Xlibris. - Bickford Berzock, K. 2019. Caravans of Gold, Fragments in Time: Art, Culture, and Exchange across Medieval Saharan Africa. Princeton University of Press. Crediti: Dott.ssa Deborah Dainese"..
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