- 174
STATUE, LOBI, BURKINA FASO |
Estimate
70,000 - 100,000 EUR
bidding is closed
Description
- haut. 76 cm ; 30 in
Statue, Lobi, Burkina Faso
Provenance
Collection Jacques Viault, Paris / Lyon
Collection privée, Paris
Collection privée, Paris
Catalogue Note
La « grande statuaire » Lobi, celle où s’exprime au plus haut degré le génie des sculpteurs, s’incarne dans les effigies d’ancêtres, thilkotina. Seuls les Maîtres sculpteurs étaient autorisés à les réaliser, aussi reflètent-elles tant le style archétypal de chaque groupe culturel Lobi que le talent individuel de leurs auteurs. A l’apogée de ces styles archétypaux s’érige celui des Teésè, premiers occupants du territoire où migrèrent, à partir du XVIIIe siècle, les différents groupes Lobi. Dans Les Maitres de la sculpture de Côte d’Ivoire (in Fischer et Homberger, 2015, p. 180 – 182), Daniela Bognolo distingua le style teèbo des Teésè de Thìmì, installés aux confins du Burkina Faso et de la Côte d’Ivoire, et en particulier l’œuvre de Kpépélé Palé (v. 1850 – v. 1930). C’est à ce maître que fût attribuée, par les anciens des villages de Yulawo et de Galgouli après sa première publication en 1976, la célèbre statue de la Collection Maurice Bonnefoy (aujourd’hui dans la collection de François et Marie Christians). Notre œuvre lui est si étroitement apparentée qu’elle peut, selon toute vraisemblance, être considérée comme le pendant féminin de la statue Bonnefoy, formant autrefois ensemble un couple de thilkotina, supports cultuels du lignage.
La main du célèbre Kpépélé Palé, Maitre du style teébò dit « de Thìmì », s’y exprime à travers la dynamique de la posture, le rythme et la sensualité des masses musculaires, le génie à « modeler de puissants volumes à partir de rondeurs douces, aux lignes presque caressantes, en phase avec l’expression fermée mais toujours sereine des visages » (Bognolo, idem). Sa prégnance redouble dans la surface parcheminée du bois dur, signes conjugués de sa grande ancienneté.
The "great Lobi statuary", where the genius of the sculptors is expressed to the highest degree, is embodied in the thilkotina effigies of ancestors. Only Master sculptors were allowed to produce them, meaning that they reflect both the archetypal style of each Lobi cultural group and the individual talent of their authors.
At the peak of these archetypal styles arises that of the Teésè, the first occupants of the territory where the various Lobi groups migrated from the eighteenth century onwards. In Les Maitres de la sculpture de Côte d’Ivoire (in Fischer and Homberger, 2015, p.180 – 182), Daniela Bognolo particularly highlighted the teèbo style of the Teésè from Thìmì, located on the border between Burkina Faso and Côte d'Ivoire, and especially the work of Kpépélé Palé (c. 1850 – c. 1930). It is to this master that the elders of the villages of Yulawo and Galgouli attributed the famous statue from the Maurice Bonnefoy Collection (today in the collection of François and Marie Christians) after its first publication in 1976. The piece at hand is so closely related to it that it can, in all likelihood, be considered as the feminine counterpart of the Bonnefoy statue, thus forming a thilkotina couple that would have been the cultual base for the lineage.
The hand of the famous Kpépélé Palé, Master of the teébò style known as "Thìmì", shows itself through the dynamics of the stance, the rhythm and sensuality of the muscular masses, the unparalleled virtuosity in "modelling powerful volumes from soft curves, with their almost caressing lines, in tune with the closed yet always serene expression of the faces" (Bognolo, ibid) Its ascendancy is heightened in the wizened surface of the hard wood, both elements combining to show its great antiquity.
La main du célèbre Kpépélé Palé, Maitre du style teébò dit « de Thìmì », s’y exprime à travers la dynamique de la posture, le rythme et la sensualité des masses musculaires, le génie à « modeler de puissants volumes à partir de rondeurs douces, aux lignes presque caressantes, en phase avec l’expression fermée mais toujours sereine des visages » (Bognolo, idem). Sa prégnance redouble dans la surface parcheminée du bois dur, signes conjugués de sa grande ancienneté.
The "great Lobi statuary", where the genius of the sculptors is expressed to the highest degree, is embodied in the thilkotina effigies of ancestors. Only Master sculptors were allowed to produce them, meaning that they reflect both the archetypal style of each Lobi cultural group and the individual talent of their authors.
At the peak of these archetypal styles arises that of the Teésè, the first occupants of the territory where the various Lobi groups migrated from the eighteenth century onwards. In Les Maitres de la sculpture de Côte d’Ivoire (in Fischer and Homberger, 2015, p.180 – 182), Daniela Bognolo particularly highlighted the teèbo style of the Teésè from Thìmì, located on the border between Burkina Faso and Côte d'Ivoire, and especially the work of Kpépélé Palé (c. 1850 – c. 1930). It is to this master that the elders of the villages of Yulawo and Galgouli attributed the famous statue from the Maurice Bonnefoy Collection (today in the collection of François and Marie Christians) after its first publication in 1976. The piece at hand is so closely related to it that it can, in all likelihood, be considered as the feminine counterpart of the Bonnefoy statue, thus forming a thilkotina couple that would have been the cultual base for the lineage.
The hand of the famous Kpépélé Palé, Master of the teébò style known as "Thìmì", shows itself through the dynamics of the stance, the rhythm and sensuality of the muscular masses, the unparalleled virtuosity in "modelling powerful volumes from soft curves, with their almost caressing lines, in tune with the closed yet always serene expression of the faces" (Bognolo, ibid) Its ascendancy is heightened in the wizened surface of the hard wood, both elements combining to show its great antiquity.