- 67
MASQUE, BWA, BURKINA FASO |
估價
70,000 - 100,000 EUR
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招標截止
描述
- haut. 188 cm ; 74 in
來源
Collection Josef Mueller (1884-1977), Solothurn, acquis en 1952-1953
Christie's, Londres, "African Art from the Collection of the late Josef Mueller", 13 juin 1978, n° 49
Pierre Dartevelle, Bruxelles
Collection Marceau Rivière, Paris, acquis en 2014
Christie's, Londres, "African Art from the Collection of the late Josef Mueller", 13 juin 1978, n° 49
Pierre Dartevelle, Bruxelles
Collection Marceau Rivière, Paris, acquis en 2014
展覽
Paris, Musée Dapper, Formes et Couleurs. Sculptures de l'Afrique Noire, 1er avril - 15 septembre 1993
Paris, Musée Dapper, Animal, 11 octobre 2007 - 20 juillet 2008
Tervuren, Musée Royal de l'Afrique Centrale, Persona. Masks of Africa - Identities Hidden and Revealed, 24 avril 2009 - 3 juillet 2010
Paris, Musée Dapper, Animal, 11 octobre 2007 - 20 juillet 2008
Tervuren, Musée Royal de l'Afrique Centrale, Persona. Masks of Africa - Identities Hidden and Revealed, 24 avril 2009 - 3 juillet 2010
出版
Du, août 1978, p. 71
Falgayrettes-Leveau et Stéphan, Formes et Couleurs. Sculptures de l'Afrique Noire, 1993, p. 141 et 187
Falgayrettes-Leveau, Animal, 2007, p. 199
Bouttiaux, "Persona. Masks of Africa - Identities Hidden and Revealed", African Arts, 2009, vol. 42, n° 3, p. 68, n° 12
Falgayrettes-Leveau et Stéphan, Formes et Couleurs. Sculptures de l'Afrique Noire, 1993, p. 141 et 187
Falgayrettes-Leveau, Animal, 2007, p. 199
Bouttiaux, "Persona. Masks of Africa - Identities Hidden and Revealed", African Arts, 2009, vol. 42, n° 3, p. 68, n° 12
拍品資料及來源
Sur le cliché qui immortalise, vers 1960, une partie de la prodigieuse collection d’arts lointains réunie par Josef Mueller, s’impose, habillant la poutre faîtière de sa maison de Soleure, cet archaïque « masque à lame » Bwa, célébré comme l’un des chefs-d’œuvre de ce peuple voltaïque. C’est à leurs voisins Gurunsi que les Bwa du sud, ou Nyaynegay, auraient emprunté la tradition des masques en bois. Contrairement aux masques en feuilles liés au culte du dieu supême Do, ces derniers sont associés aux mythes relatant, lors des danses, la genèse des clans et des lignages qui structurent les communautés. Leur corpus se partage entre représentations zoomorphes - symbolisant les pouvoirs des ancêtres fondateurs -, et une iconographie d’apparence abstraite, caractérisant les prodigieux masques à lame nwantantay. Selon Daniela Bognolo (in Falgayrettes-Leveau, Animal, 2007, p. 199), le nwantantay aurait été l’archétype des masques en bois. Son élaboration associe donc certains éléments clés du mythe de la création, puisés du Do, et des signes individualisant chaque masque à l’histoire personnelle de l’ancêtre clanique dont il est l’emblème.
L’art monumental et polychrome des peuples voltaïques entra tardivement dans les collections occidentales. Parmi les rares masques nwantantay répertoriés avant la fin des années 1950 figurent les exemplaires collectés vers 1930 par Henri Labouret, aujourd’hui conservés au musée du quai Branly-Jacques Chirac, et celui des collections Barbier-Mueller (inv. n° 1005-10), acquis comme celui-ci en 1953 auprès d’Emile Storrer. Ici, la finesse de la structure et de son ornementation, l’élégance des motifs et de leur combinaison ainsi que les marques de son long usage avant son acquisition confirment la grande ancienneté de cette œuvre, gardée entre ses performances près d’un autel incarnant la puissance spirituelle des masques (Roy, Art of the Upper Volta Rivers, 1987, p. 292).
In a photograph taken circa 1960, which immortalizes a part of the Josef Mueller collection, one sculpture particularly stands out, adorning the ridge beam of his house in Solothurn: the archaic Bwa "knife mask", celebrated as one of the masterpieces of the Voltaic people.
The southern Bwa, or Nyaynegay, borrowed the tradition of wooden masks from their Gurunsi neighbours. Unlike the leaf masks related to the cult of the supreme god Do, the latter are associated with myths that recount the genesis of the clans and lineages that structure the communities among as expressive in dance. The corpus is divided between zoomorphic representations - symbolizing the powers of the founding ancestors - and an iconography that is abstract in appearance and is present in the prodigious knife masks. According to Daniela Bognolo (in Falgayrettes-Leveau, Animal, 2007, p. 199), the nwantantay were the archetype of wooden masks. Their elaboration thus associates certain key elements of the myth of creation, drawn from the Do, and signs tailoring each mask to the personal history of the clan ancestor, whose emblem it is.
The monumental and polychromatic art of the Voltaic peoples came relatively late into Western collections. Amongst the rare nwantantay on record before the late 1950s are those collected circa 1930 by Henri Labouret, now kept in the musée du quai Branly-Jacques Chirac, and that of the Barbier-Mueller collections (inv.no. 1005-10), acquired, like this one, from Emile Storrer in 1953. Here, the refinement of the structure and its ornamentation, the elegance of the motifs and their combination, as well as the marks of its long use before acquisition confirm the great antiquity of this piece. These archaic masks were kept between performances near an altar embodying the spiritual power of masks (Roy, Art of the Upper Volta Rivers, 1987, p. 292).
L’art monumental et polychrome des peuples voltaïques entra tardivement dans les collections occidentales. Parmi les rares masques nwantantay répertoriés avant la fin des années 1950 figurent les exemplaires collectés vers 1930 par Henri Labouret, aujourd’hui conservés au musée du quai Branly-Jacques Chirac, et celui des collections Barbier-Mueller (inv. n° 1005-10), acquis comme celui-ci en 1953 auprès d’Emile Storrer. Ici, la finesse de la structure et de son ornementation, l’élégance des motifs et de leur combinaison ainsi que les marques de son long usage avant son acquisition confirment la grande ancienneté de cette œuvre, gardée entre ses performances près d’un autel incarnant la puissance spirituelle des masques (Roy, Art of the Upper Volta Rivers, 1987, p. 292).
In a photograph taken circa 1960, which immortalizes a part of the Josef Mueller collection, one sculpture particularly stands out, adorning the ridge beam of his house in Solothurn: the archaic Bwa "knife mask", celebrated as one of the masterpieces of the Voltaic people.
The southern Bwa, or Nyaynegay, borrowed the tradition of wooden masks from their Gurunsi neighbours. Unlike the leaf masks related to the cult of the supreme god Do, the latter are associated with myths that recount the genesis of the clans and lineages that structure the communities among as expressive in dance. The corpus is divided between zoomorphic representations - symbolizing the powers of the founding ancestors - and an iconography that is abstract in appearance and is present in the prodigious knife masks. According to Daniela Bognolo (in Falgayrettes-Leveau, Animal, 2007, p. 199), the nwantantay were the archetype of wooden masks. Their elaboration thus associates certain key elements of the myth of creation, drawn from the Do, and signs tailoring each mask to the personal history of the clan ancestor, whose emblem it is.
The monumental and polychromatic art of the Voltaic peoples came relatively late into Western collections. Amongst the rare nwantantay on record before the late 1950s are those collected circa 1930 by Henri Labouret, now kept in the musée du quai Branly-Jacques Chirac, and that of the Barbier-Mueller collections (inv.no. 1005-10), acquired, like this one, from Emile Storrer in 1953. Here, the refinement of the structure and its ornamentation, the elegance of the motifs and their combination, as well as the marks of its long use before acquisition confirm the great antiquity of this piece. These archaic masks were kept between performances near an altar embodying the spiritual power of masks (Roy, Art of the Upper Volta Rivers, 1987, p. 292).