A terracotta sculpture - Djenne - Mali (No reserve price)

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lote/a terracotta sculpture djenne mali no reserve price mnp2RS8 632980908

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A terracotta sculpture - Djenne - Mali (No reserve price)

A Terracotta sculpture Djeno (Djenné), Youwarou region, Mali. This terracotta figure from Djenné-Jeno, in Mali’s Inner Niger Delta, is distinguished by a deliberately frontal and compact depiction of the human body, in which the mass of the torso dominates a highly stylized anatomy: the head, almost spherical and tilted slightly backward, features a face whose features are reduced to a few essential forms—narrow, almond-shaped eyes, a short, triangular nose, and a horizontal mouth with thick lips—lending the expression a calm and distant inner reserve; the arms, exceptionally long and powerful, extend down on either side of the body before bending forward, while the modeling accentuates the shoulders and joints through numerous applied circular protrusions, evenly distributed across the torso, back, and limbs. These raised dots, sometimes featuring a central indentation, constitute one of the work’s most remarkable sculptural elements: their exact function cannot be determined by observation alone, but they may represent body ornaments, scarifications, amulets, or, more broadly, symbols contributing to the social and ritual construction of the depicted individual. The clearly defined female chest, combined with the large disc-shaped pendant placed at the center of the torso and the rows of V-shaped incised motifs evoking multiple necklaces, underscores the importance placed on adornment and bodily identity; this appears to relate less to an individual portrait than to a socially significant representation, likely evoking status, fertility, protection, or belonging. The clay, ranging in color from reddish ochre to orange, retains a matte, powdery, and irregularly eroded surface, with cracks, gaps, and chromatic variations that reveal both the modeling technique—likely supplemented by applied elements—and the material history of the object. From an anthropological perspective, this sculpture is thus part of a body of ancient clay-sculpture traditions from the Middle Niger region, where the human body serves as a primary medium for symbols—jewelry, reliefs, postures, and proportions—whose combination expresses not so much a naturalistic depiction as a genuine visual codification of the individual and their place within the social, ancestral, and ritual order. Djenné terracotta figures are sculptural works made in the Inner Niger Delta region of what is now Mali, largely in the span from about the 11th to the 16th centuries AD. They are associated with the archaeological site of Djenné‑Jeno (also Jenne‑Jeno), which was among the earliest urban centers in sub‑Saharan West Africa and is important in understanding the rise of social complexity in this region. The figures are often human, but also sometimes zoomorphic or mythological in subject. Their function remains not definitively settled, though ritual, ancestral, protective, or symbolic roles are commonly proposed by scholars. Structurally, Djenné terracottas are built of clay (terracotta) and fired, usually in open kilns or pits. The bodies are frequently elongated, with square or broadly flat shoulders, with limbs that are stylised rather than fully anatomically naturalistic. The faces often feature almond‑shaped eyes, pronounced noses and mouths, and large ears. Ornamentation such as scarification, raised pastilles (small nodules), incised decoration (linear patterns, geometric motifs), or punctuated marks may occur on the surface. Some figures are seated, kneeling, standing, or in genuflecting postures. Some are quite small (on the order of 10‑15 cm), others reach 30‑50 cm or more in height. A number of them exhibit raised bumps or excrescences on the skin surfaces, which have been interpreted variously (as decorative, ritual, or possibly in some cases reflecting physical illness or symbolic disease). In terms of style, there is both variation and certain recurring formal traits. For example, some figures display smooth surfaces, others are richly decorated. Some have minimal body detail, only suggesting fingers or toes, while others are more specifically modelled. The distribution of torsos, neck elongation, head size, and facial features shows both individual variation and shared conventions, suggesting both artisan freedom and cultural norms. Chronologically, thermoluminescence testing and stylistic comparison place many of the figures reliably in the 12th‑15th or 15th‑17th centuries AD. One example: a small figure (ca. 11.4 cm) was tested in Cambridge and dated to 1485‑1615 AD (±65 years). Others, by contrast, have earlier dates based on context in Djenné‑Jeno phases II and III. As to the social or ritual meaning of these figures, scholars have proposed that they might represent ancestors, spirits, or household deities; some may have served in shrines or private devotional contexts. Some figures are found associated with offerings or located on house floors, in contexts that suggest an interface between the domestic and sacred. The raised motifs or marks may identify status, affiliation, or experience (for example, signs of illness), but there is no scholarly consensus. The iconography of certain motifs such as snakes or serpents appears in some statues, especially in chest or torso areas, sometimes interwoven with human form, suggesting symbolic layers (healing, spiritual force, life/death thresholds). Also, bodily attitudes such as kneeling, crouching, or supplication, along with the lack of elaborate clothing and the prominence of bodily ornament, contribute to interpretability in terms of ritual posture, mourning, or communication with ancestors. Preservation and provenance are variable. Many figures were removed from their original contexts before systematic archaeological work, complicating dating and interpretation. Some have been thermoluminescence tested; many have lost limbs or appendages; pigment traces remain in few cases. The surface decoration (scarification, incisions, pastilles) is often the best preserved cue to original appearance. References: National Museum in Szczecin. “Figure MNS/AF/2902 – Terracotta items from the ancient city of Djenne‑Jeno …” Szczecin collection data. International Council of Museums (ICOM). “Terracotta statuette, Djenné (Niger River Valley), 12th‑15th c. AD, 37 cm.” Christie’s. “A Djenne terracotta figure seated with the arms free …” lot description. International Council of Museums (ICOM). “Terracotta statue, Djenné (Niger River Valley), 13th c. AD, 27 cm.” International Council of Museums (ICOM). “Terracotta statuette covered in pastilles, Djenné‑Djeno, 13th c. AD, 17 cm.” Sotheby’s. “Djenne Terracotta Figurine, Mali, ca. 15th‑17th century” with thermoluminescence analysis. Smarthistory. “Seated Figure (Djenné peoples), 13th century, Mali, Inland Niger Delta region …” including stylistic analysis. Sotheby’s / Hélène Leloup. Statue, Djennenké, detailed description of serpent motif and hairstyle. Some of the information is generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history. Inofrmant: Yoro Inv. No. MAZ21462 Legal Framework Under the 1970 UNESCO Convention in combination with the Kulturgutschutz Gesetz (KGSG) any claim for the restitution of cultural property becomes time-barred three years after the competent authorities of the State of origin obtain knowledge of the object’s location and the identity of its possessor. All bronzes and terracotta items offered have been publicly exhibited in Wolfgang Jaenicke Gallery since 2001. Organisations such as DIGITAL BENIN and academic institutions such as the Technical University of Berlin, which have been intensively involved in restitution-reseaches (translocation-project) over the past seven years, are aware of our work, have inspected large parts of our collection and have visited us in our dependance in Lomé, Togo, among other places, to learn about the international Art trade on site. Furthermore, the National Commission for Museums and Monuments (NCMM) in Abuja, Nigeria, has been informed about our collection. In no case in the past have there been restitution claims against private institutions such as the Wolfgang Jaenicke Gallery Our Gallery addresses these structural challenges through a policy of maximum transparency and documentation. Should any questions or uncertainties arise, we invite you to contact us. Each matter will be reviewed diligently using all available resources.

Estimación:€650

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