“Seated Baule figures of this type were, for the most part, carved in order to assist komien trance diviners during ritual ceremonies. Stored on the shelves of private shrine rooms, they were also found amidst paraphernalia during public performances (Vogel, S., Baule African Arts Western Eyes, London, 1997, p. 121). The sense of mystery that emanates from these objects and their aesthetic finesse play a major role in determining the power and fame of their owner. According to Baule divinatory lore, as a rule, the more beautiful an object, the most potent will be the divinatory intervention performed by the komien. The correlation existing between the piece’s ‘beauty’ and its potency, as confirmed during rituals, represents one of the unique features of Baule divination. As noted by Vogel ‘to approach art from a Baule perspective entails speaking of experiences that are not primarily visual, and of art objects that are animate presences undistinguishable from persons, spirits, and certain prosaic things’ (ibid, 1997, p. 83).
Asie usu figures representing bush spirits are easily confused with blolo blan (otherworld mates) as they show great morphological similarities. Nonetheless, they are not meant to create a ‘matrimonial bond’ between a human being and a mate from another world but rather, its role lies in providing an abode for a powerful spirit under the care of the komien. Baule art follows certain easily identifiable canons and yet, asie usu sculptures show a great variety of iconic and aesthetic variations.
Susan Vogel has pointed out that the main characteristics of the works produced by the 20th century’s most celebrated sculptors is the extreme care in carving minute anatomical details. These sculptors have thus created - as is the case of this piece - some of the finest works in Art History. This Baule work stands out on the basis of the great elegance of the pose as well as the convincing gesture of this seated representation. Perfect harmony emanates from the deep meditative gaze. The Laliberté figure is worthy of notice with respect to one particular detail, namely the outstanding carving of the collarbone as well as of adjoining cavities. This feat suggests the work of a true master carver who shines amongst Baule artists.
This sculpture is, no doubt, one of the masterpieces of Baule art. Amongst other closely related works, let us mention the seated figure in the former Paolo Morigi collection, (cf. Sotheby’s, Paris, 6 June 2005, lot 114), or the figure in the permanent collection of the Barbier-Mueller Museum - both of which are attributed to the ‘Ascher Master’ or workshop. We know of at least twelve sculptures currently attributed to this carver who is believed to have been active between 1870 and 1920. They all share similar stylistic features such as overall naturalism, the diversity of arm gestures, the intricately carved coiffure, the deep reddish patina which greatly enhances the surfaces and lastly, the intensity of the gaze (de Grunne, B., ‘Sur le style des Baoulé et leurs maîtres’ in Les maîtres de la sculpture de Côte d’Ivoire, Paris, 2015, p. 94).”
-via Christies
#Baoule #Baule #Akan #sculpture #wood #carving #art #Ascher #Master #IvoryCoast #CoteDIvoir #Africa #history
No comments:
Post a Comment