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A RARE PAIR OF IGBO PAINTED TERRACOTTA ‘MBARI’ FIGURES, MID-20TH CENTURY
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09月11日 晚上8点 开拍 / 09月09日 下午3点 截止委托
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A RARE PAIR OF IGBO PAINTED TERRACOTTA ‘MBARI’ FIGURES, MID-20TH CENTURY This lot is from a single owner collection and is therefore offered without reserve Nigeria. Each boldly modeled, the male figure standing firmly with legs slightly apart, exposing the genitalia, arms extended alongside the body, with the left hand holding a horn-shaped vessel. The female figure appears seated upon an intricately shaped stool, with hands resting upon the knees. Both figures display a projecting navel, while the female figure also features prominent breasts, all decorated with dark scrolling and geometric motifs that extend into their respective faces. An elaborate necklace lavishly inlaid with mineral beads adorns the neck of the female figure, while similarly inlaid bead ornaments encircle her waist and the wrists of the male figure. Their powerfully defined faces, hieratic in expression, are defined by bulging eyes, broad noses, and oval mouths, each surmounted by a distinctive headdress. (2) Provenance: Professor Gert Chesi, acquired circa 1990-2015 for the Museum der V?lker (formerly Haus der V?lker, Museum für Kunst und Ethnographie), Schwaz, Tyrol, Austria, and subsequently de-accessed. Gert Chesi (b. 1940) is an Austrian photographer, author, and art collector. In 1995, Chesi founded the Museum der V?lker (formerly Haus der V?lker, Museum für Kunst und Ethnographie), Schwaz, Tyrol, Austria, a museum of art and ethnography whose collection consists mainly of objects acquired during Chesi’s travels through Africa and Asia, most of which were assembled in the 1990s and early 2000s. He also authored several books on African voodoo and magic rituals, including ‘Voodoo. Afrikas geheime Macht’ (1987) and ‘Die letzten Afrikaner’ (1977). Condition: Good condition with expected wear, few minor losses, flaking and rubbing to pigments, the female figure with minor cracks, encrustations. Weight: 20.1 and 29.7 kg Dimensions: Height 108.5 and 110.5 cm Mbari is among the most ambitious ritual and sculptural traditions of the Igbo people of southeastern Nigeria. Practiced particularly among the Owerri-Igbo, it takes the form of a sacred, open-sided shrine house, often of substantial scale, constructed as a propitiatory offering to the alusi, and above all to Ala, the earth goddess. Fashioned from termite earth and brightly painted, these structures housed complex ensembles of life-size figures representing deities of earth, thunder, and water, as well as ancestors, officials, craftsmen, animals, and legendary beings. Conceived as a gift to Ala in acknowledgement of her generative and protective presence, the mbari house was both an act of devotion and a visual expression of abundance, harmony, and social order. Its construction could take years and was itself regarded as sacred. Upon completion, a ceremony was held for the community and its leaders; thereafter the shrine was customarily subject to ritual restrictions and left to decay naturally. As public shrine galleries, mbari houses gave sculptural form to the layered world of Igbo mythology, cosmology, folklore, and society. Chinua Achebe, renowned Nigerian novelist and literary theorist said, in his essay on Mbari, "Mbari was a celebration through art of the world and of life lived in it. It was performed by the community on command by its presiding deity, usually the Earth goddess, Ala, who combined two formidable roles in the Igbo pantheon as fountain of creativity in the world and custodian of the moral order in human society." Literature comparison: Compare a closely related pair of Igbo painted terracotta Mbari figures, dated circa 1950, illustrated by Bruno Mignot on his website. Compare a closely related pair of Igbo painted terracotta figures, formerly in the collection of Gert Chesi and now in the Museum der V?lker, Schwaz.

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