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Descrizione : Additional Information: Carved from a heavy and strong wood, this interesting mask from the Bamana represents a bull or a buffalo.  ,It's possible that it's a variation on the Misi Koun cow mask, although the appearance is significantly different.  ,The dominating feature of this mask is the metal sheeting around the eyes, giving the mask a hollow and mechanical appearance.  ,The mouth is well carved with defined teeth and the surface exhibits a rich patina indicative of significant age.  , The artistic diversity of the Bamana is without doubt one of the most astounding, and confounding, of all West African groups. It is interesting that perhaps their closest rivals in complexity are their neighbors to the north and east, the Dogon, with whom they share certain stylistic similarities. Complex religious, funerary, initiation, and agricultural rites have resulted in an enormous pantheon of ritual objects. When collectors think of Bamana, the image of a chi wara often leaps to mind. These stunning, zoomorphic headdresses, danced during the planting of crops, employ the carved head and horns of antelopes, as well as zig-zag, open-work designs, reportedly representing the path of the sun. A basketry, cap-like structure is attached to the bottom so that it can be worn. Other recognizable masks are not as well understood, and their use reflects the mind-boggling complexity of the predominantly animist Bamana religion. Among these are the animal-form masks such as this, often quite abstract, used in the kono and kore societies. One will see horses, hyenas, bush antelopes, and other animals depicted in these fascinating masks. Some masks are more naturalistic, though still highly-stylized, and are similar to Dogon masks of similar construction. Also well-known are the ntomo masks, with their numerous vertical projections on the top of the head. These masks are often decorated with colored string and cowries, and are danced for young boys prior to their initiation. ,See a similar example , but with its horns and the figure on top in Warren M. Robbins &, Nancy Ingram Nooter. 2004. African Art in American Collection: fig. 69, p. 77Recommended Reading: , See Brett-Smith's THE MAKING OF BAMANA SCULPTURE-CREATIVITY AND GENDER,BAMANA-THE ART OF EXISTENCE IN MALI, edited by Colleyn.
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