Hai bisogno di informazioni precise ? Trova il prezzo e altre valutazioni grazie alla nostra banca dati di opere d’arte africane. Bamun Fumban Chief'S Bust Clay Cameroon Africa, unknown

Descrizione : Additional Information: African terracotta (baked clay) figures are at once some of oldest recorded sculpture from Sub-Saharan Africa but equally some of the most problematical as well. They often are difficult to place among a people or culture and equally difficult to date. This impressive bust of an elder or chief with bold forms, facial details, and royal regalia and symbols such as the headdress, the neckring, and the bracelets , recall some traits of the Bamun or fumban sculpture of Cameroon. Among a number of smaller ethnic groupings of people in the remote northeastern region of Nigeria in the Benue Valley and close by the border of Cameroon, ceramic figures play important roles in religious and ritual ceremonies. , Figurative effigies worked in clay (baked clay- terracotta) have a number of different shapes that are in the main based upon pot-like forms. , They are given a human shape to varying degrees and are often embellished with patterns that replicate local scarification patterns and anatomic details. , That they share similar use patterns allows them to be discussed as nearly a generic form of ritual object. , This example from either the Bamun or the Fumban depicts a realistic human bust. , Clay effigies were placed in ritually significant locations in royal court , or in a shrine area where they would have offerings placed into the mouth or sprinkled over the head and body. Ceremonies celebrating ancestors or prominent members of the family or village sought the help of these religious and social elites through prayers, offerings and the simple act of making effigies such as this. , Clay figures were used as guardians and protective spirits. , ,Considering the rarity and uniqueness , of clay figures, this example , in excellent condition , would add a unique example of terracotta figurative sculpture to a collection. See M. Burns in, ‘Art, history, and gender: women and clay in West Africa’, African Archaeological Review, Vol. 11, No. 1 December, 1993. Pp. 129-148  ,
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