Ivory coast, Baule, circa 1900
wood - height: 47.5cm
This exceptional standing Baule female figure most likely depicts a nature spirit, also referred to as asie usu. The Baule people created this type of statuette for two types of spirits – the aforementioned and spouse spirits.[1] Although it is challenging to determine which spirit is depicted here, as it no longer stands in its original setting, it is most likely that an asie usu is represented, due to its elegant slender shapes and many well-defined decorations. Asie usu spirits are present in the natural elements; trees, rocks, rivers, and so on.[2] They are vindictive in nature, but by portraying them by means of sculpture, which can accept sacrifices on their behalf, the spirit is believed to bring success instead of misfortune. Although nature spirits are considered as inhuman and unattractive, their portrayals are beautiful and in human form.[3]
As mentioned above, the present sculpture is elaborately adorned and shows elegant volumes, such as the elongated neck, broad shoulders, slender arms and legs. The intricately carved coiffure and raised scarification patterns along the back, left arm, stomach, chest and neck are noteworthy, demonstrating the carver’s technical and creative skill. The hairdo is compartmentalised into three parts by dotted lines and includes three hair tresses – each element very detailed. Furthermore, the high forehead, small mouth, long nose, protruding eyes, and large eye sockets are typical Baule features. In comparison to similar statuettes, the present is classically executed and can be considered amongst the more elegant and finely worked examples. In addition, the sculpture has a deep and naturally textured patina, lighter around the eye area, which often seen in asie usu sculptures. This spiritual sculpture is striking from all angles, demonstrating the aesthetic sophistication of Baule devotional objects.
PROVENANCE
Collection Léon Degand, France
Collection Jacqueline Loudmer, France
Collection Jacqueline Millodot, France
Collection Jacobus Bakker, The Netherlands
AHDRC INVENTORY NUMBER
0132995
RELATED LITERATURE
Ravenhill, Philip L. “Likeness and Nearness: The Intentionality of the Head in Baule Art.” in African Arts, Vol.33, No.2, 2000: pp.60-71+92.
Vogel, Susan M. “People of Wood: Baule Figure Sculpture.” in Art Journal, Vol. 33, No.1, 1973: p.23-26.
Vogel, Susan M. Baule: African Art, Western Eyes. New Haven: Yale University Press, 1997.
[1] Stuart Cary Welch and Douglas Newton, The Pacific Islands, Africa, and the Americas, (New York: The Metropolitan museum of Art, 1987), p.78
[2] Susan Mullin Vogel, “People of Wood: Baule Figure Sculpture,” in Art Journal, Vol. 33, No.1 (1973): p.23-24
[3] Ibid.
Ivory coast, Baule, circa 1900
wood - height: 47.5cm
This exceptional standing Baule female figure most likely depicts a nature spirit, also referred to as asie usu. The Baule people created this type of statuette for two types of spirits – the aforementioned and spouse spirits.[1] Although it is challenging to determine which spirit is depicted here, as it no longer stands in its original setting, it is most likely that an asie usu is represented, due to its elegant slender shapes and many well-defined decorations. Asie usu spirits are present in the natural elements; trees, rocks, rivers, and so on.[2] They are vindictive in nature, but by portraying them by means of sculpture, which can accept sacrifices on their behalf, the spirit is believed to bring success instead of misfortune. Although nature spirits are considered as inhuman and unattractive, their portrayals are beautiful and in human form.[3]
As mentioned above, the present sculpture is elaborately adorned and shows elegant volumes, such as the elongated neck, broad shoulders, slender arms and legs. The intricately carved coiffure and raised scarification patterns along the back, left arm, stomach, chest and neck are noteworthy, demonstrating the carver’s technical and creative skill. The hairdo is compartmentalised into three parts by dotted lines and includes three hair tresses – each element very detailed. Furthermore, the high forehead, small mouth, long nose, protruding eyes, and large eye sockets are typical Baule features. In comparison to similar statuettes, the present is classically executed and can be considered amongst the more elegant and finely worked examples. In addition, the sculpture has a deep and naturally textured patina, lighter around the eye area, which often seen in asie usu sculptures. This spiritual sculpture is striking from all angles, demonstrating the aesthetic sophistication of Baule devotional objects.
PROVENANCE
Collection Léon Degand, France
Collection Jacqueline Loudmer, France
Collection Jacqueline Millodot, France
Collection Jacobus Bakker, The Netherlands
AHDRC INVENTORY NUMBER
0132995
RELATED LITERATURE
Ravenhill, Philip L. “Likeness and Nearness: The Intentionality of the Head in Baule Art.” in African Arts, Vol.33, No.2, 2000: pp.60-71+92.
Vogel, Susan M. “People of Wood: Baule Figure Sculpture.” in Art Journal, Vol. 33, No.1, 1973: p.23-26.
Vogel, Susan M. Baule: African Art, Western Eyes. New Haven: Yale University Press, 1997.
[1] Stuart Cary Welch and Douglas Newton, The Pacific Islands, Africa, and the Americas, (New York: The Metropolitan museum of Art, 1987), p.78
[2] Susan Mullin Vogel, “People of Wood: Baule Figure Sculpture,” in Art Journal, Vol. 33, No.1 (1973): p.23-24
[3] Ibid.
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