Bamana Female Antelope and Calf Headcrest "chiwara"
Superb and rare.
Ségou Region, Mali
Wood, metal
19th century
Height 32”
Provenance: Collected in situ by Monsieur de Saint-Pereuse, France, circa 1910
Joan Barist Primitive Art, New York
Private Collection, Los Angeles CA
Exhibited: High Museum, Atlanta, Georgia, Building the Collection, December 2002
Cf. LaGamma, Alisa, Genesis: Ideas of Origin in African Sculpture, Metropolitan Museum of Art, New York, Yale University Press, New Haven, 2002, fig. 46; and Colleyn, Jean-Paul (Ed.), Bamana: The Art of Existence in Mali, Museum of African Art, New York, 2001, cat. nos 196 (in the Rautenstrauch-Joest Museum für Völkerkunde, Cologne, Germany, inv. no. 43 953) and 197 (in the Musée du quai Branly, Paris, inv. no. 71.1908.7.2) for two similar examples, possibly by the same hand or atelier.
As noted by LaGamma (Ibid., p. 91) in her description of the Katherine White Female with Calf Headdress, "This design is formed by a multiplicity of pronounced angles. The headdress is constructed so that the diagonal line of the mother's neck intersects with her head to create a triangular negative space. The configuration is echoed below, where her lower body meets her neck to form a right angle. The fawn, standing on the incline of her back, completely fills the available space. Both mother and offspring are supported by long, tapered legs with subtly articulated joints."
Patrick McNaughton notes, 'The ci wara association began as a secret male initiation association that taught agricultural skills and sought to maintain the blessing of the supernatural being (also called ci wara) that first taught people to farm. Dances were held in the fields and, instead of masks, dancers put part of their boli [altar figure] in a basket and set it on top of their heads. Later the carved antelope headdresses were invented and danced in male-female pairs. Gradually the performances became less secret so that ultimately entire communities could attend, and the association became best known for its annual farming contests and accompanying performances.
The Mande often use animals in metaphors that comment upon social life and the human condition. Roan and dwarf antelopes are considered graceful and strong; aardvarks are determined and conscientious. These are values associated with farming where strength, stamina, patience and foresight are necessary to do a good job. In this regard another use of the phrase ci wara, which means "farming animal" or "farming beast", is important as praise for good farmers, for it likens the prowess of a person to the prowess of creatures that survive in the ultimate of difficult environments, the wilderness.' (Phillips, Tom (ed.), African Art: The Art of a Continent, Prestel, 2004, p. 501-2.)
Finely carved from one piece of wood with exquisite proportions, the proud mother stands on squared legs slightly bent at the knees, supporting her rounded torso with diminutive conical tail with ringed decoration, an elongated, slightly S-curved neck supports her head, broad from the sides yet narrow from the front, and highlighted with tacks as eyes and incised geometric designs; her long, elegant antlers reach up high and are skillfully carved with a spiral pattern; the leaf-shaped ears point up and slightly backwards; her child is skillfully carved with the same proportions, design and prowess; fine aged, dark brown patina with wear indicative of cultural use. A calf on the female's back is often interpreted as the embodiment of humanity and as a visual treatise on the relationship between the Sun (male) and Earth (female).
Superb and rare.
Ségou Region, Mali
Wood, metal
19th century
Height 32”
Provenance: Collected in situ by Monsieur de Saint-Pereuse, France, circa 1910
Joan Barist Primitive Art, New York
Private Collection, Los Angeles CA
Exhibited: High Museum, Atlanta, Georgia, Building the Collection, December 2002
Cf. LaGamma, Alisa, Genesis: Ideas of Origin in African Sculpture, Metropolitan Museum of Art, New York, Yale University Press, New Haven, 2002, fig. 46; and Colleyn, Jean-Paul (Ed.), Bamana: The Art of Existence in Mali, Museum of African Art, New York, 2001, cat. nos 196 (in the Rautenstrauch-Joest Museum für Völkerkunde, Cologne, Germany, inv. no. 43 953) and 197 (in the Musée du quai Branly, Paris, inv. no. 71.1908.7.2) for two similar examples, possibly by the same hand or atelier.
As noted by LaGamma (Ibid., p. 91) in her description of the Katherine White Female with Calf Headdress, "This design is formed by a multiplicity of pronounced angles. The headdress is constructed so that the diagonal line of the mother's neck intersects with her head to create a triangular negative space. The configuration is echoed below, where her lower body meets her neck to form a right angle. The fawn, standing on the incline of her back, completely fills the available space. Both mother and offspring are supported by long, tapered legs with subtly articulated joints."
Patrick McNaughton notes, 'The ci wara association began as a secret male initiation association that taught agricultural skills and sought to maintain the blessing of the supernatural being (also called ci wara) that first taught people to farm. Dances were held in the fields and, instead of masks, dancers put part of their boli [altar figure] in a basket and set it on top of their heads. Later the carved antelope headdresses were invented and danced in male-female pairs. Gradually the performances became less secret so that ultimately entire communities could attend, and the association became best known for its annual farming contests and accompanying performances.
The Mande often use animals in metaphors that comment upon social life and the human condition. Roan and dwarf antelopes are considered graceful and strong; aardvarks are determined and conscientious. These are values associated with farming where strength, stamina, patience and foresight are necessary to do a good job. In this regard another use of the phrase ci wara, which means "farming animal" or "farming beast", is important as praise for good farmers, for it likens the prowess of a person to the prowess of creatures that survive in the ultimate of difficult environments, the wilderness.' (Phillips, Tom (ed.), African Art: The Art of a Continent, Prestel, 2004, p. 501-2.)
Finely carved from one piece of wood with exquisite proportions, the proud mother stands on squared legs slightly bent at the knees, supporting her rounded torso with diminutive conical tail with ringed decoration, an elongated, slightly S-curved neck supports her head, broad from the sides yet narrow from the front, and highlighted with tacks as eyes and incised geometric designs; her long, elegant antlers reach up high and are skillfully carved with a spiral pattern; the leaf-shaped ears point up and slightly backwards; her child is skillfully carved with the same proportions, design and prowess; fine aged, dark brown patina with wear indicative of cultural use. A calf on the female's back is often interpreted as the embodiment of humanity and as a visual treatise on the relationship between the Sun (male) and Earth (female).
Superb and rare.
Ségou Region, Mali
Wood, metal
19th century
Height 32”
Provenance: Collected in situ by Monsieur de Saint-Pereuse, France, circa 1910
Joan Barist Primitive Art, New York
Private Collection, Los Angeles CA
Exhibited: High Museum, Atlanta, Georgia, Building the Collection, December 2002
Cf. LaGamma, Alisa, Genesis: Ideas of Origin in African Sculpture, Metropolitan Museum of Art, New York, Yale University Press, New Haven, 2002, fig. 46; and Colleyn, Jean-Paul (Ed.), Bamana: The Art of Existence in Mali, Museum of African Art, New York, 2001, cat. nos 196 (in the Rautenstrauch-Joest Museum für Völkerkunde, Cologne, Germany, inv. no. 43 953) and 197 (in the Musée du quai Branly, Paris, inv. no. 71.1908.7.2) for two similar examples, possibly by the same hand or atelier.
As noted by LaGamma (Ibid., p. 91) in her description of the Katherine White Female with Calf Headdress, "This design is formed by a multiplicity of pronounced angles. The headdress is constructed so that the diagonal line of the mother's neck intersects with her head to create a triangular negative space. The configuration is echoed below, where her lower body meets her neck to form a right angle. The fawn, standing on the incline of her back, completely fills the available space. Both mother and offspring are supported by long, tapered legs with subtly articulated joints."
Patrick McNaughton notes, 'The ci wara association began as a secret male initiation association that taught agricultural skills and sought to maintain the blessing of the supernatural being (also called ci wara) that first taught people to farm. Dances were held in the fields and, instead of masks, dancers put part of their boli [altar figure] in a basket and set it on top of their heads. Later the carved antelope headdresses were invented and danced in male-female pairs. Gradually the performances became less secret so that ultimately entire communities could attend, and the association became best known for its annual farming contests and accompanying performances.
The Mande often use animals in metaphors that comment upon social life and the human condition. Roan and dwarf antelopes are considered graceful and strong; aardvarks are determined and conscientious. These are values associated with farming where strength, stamina, patience and foresight are necessary to do a good job. In this regard another use of the phrase ci wara, which means "farming animal" or "farming beast", is important as praise for good farmers, for it likens the prowess of a person to the prowess of creatures that survive in the ultimate of difficult environments, the wilderness.' (Phillips, Tom (ed.), African Art: The Art of a Continent, Prestel, 2004, p. 501-2.)
Finely carved from one piece of wood with exquisite proportions, the proud mother stands on squared legs slightly bent at the knees, supporting her rounded torso with diminutive conical tail with ringed decoration, an elongated, slightly S-curved neck supports her head, broad from the sides yet narrow from the front, and highlighted with tacks as eyes and incised geometric designs; her long, elegant antlers reach up high and are skillfully carved with a spiral pattern; the leaf-shaped ears point up and slightly backwards; her child is skillfully carved with the same proportions, design and prowess; fine aged, dark brown patina with wear indicative of cultural use. A calf on the female's back is often interpreted as the embodiment of humanity and as a visual treatise on the relationship between the Sun (male) and Earth (female).