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AN EWE POLYCHROME WOOD VOODOO SKULL MASK, TOGO, 20TH CENTURY
奥地利
09月11日 晚上8点 开拍 / 09月09日 下午3点 截止委托
拍品描述 翻译
AN EWE POLYCHROME WOOD VOODOO SKULL MASK, TOGO, 20TH CENTURY This lot is from a single owner collection and is therefore offered without reserve Carved from light wood to resemble a human skull with large eye sockets, a heart-shaped opening for the nose, and full set of teeth. The face covered in white pigments while the top of the head is painted in black over a fabric drapery and surmounted by a circular protrusion that suspends three strings with cowrie shells. Pierced to the lower rim for mounting. 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: Overall good condition with minor wear, few age cracks, minor chips, the left side of the mandible with a minor old repair. Weight: 1,091 g Dimensions: Length 26.5 cm Rooted in the Voodoo (or Vodun) traditions of Togo, the present mask emerges from a ritual world in which the living, the dead and spiritual forces remain in active communication. The ritual arts associated with these traditions encompass many forms, including bocio, carved figures empowered through binding and the application of ritually potent substances, and asen, iron memorial altars through which the living engage with the dead. Such objects are not conceived solely as aesthetic representations, but as active participants in systems of mediation and spiritual efficacy. With its hollow gaze, bared teeth and materially charged crown, the present mask occupies this threshold with remarkable intensity: at once an image of death, a possible vessel of presence and a powerful reminder that the boundary between the visible and invisible worlds is never absolute. The mask also gives striking form to one of humanity’s most enduring meditations: the certainty of death. In the European tradition, this idea is encapsulated by the phrase memento mori—“remember that you must die”—an artistic and philosophical reminder of mortality. Skulls, often accompanied by bones, hourglasses, coffins or fading flowers, signify the brevity of life and the vanity of worldly achievement. From Leonardo da Vinci’s anatomical studies to Jean-Michel Basquiat’s spectral heads, artists have repeatedly returned to the skull, drawn to its simultaneous universality and anonymity. A comparable meditation on mortality appears in Tibetan Buddhist mind training. Among the preliminary contemplations known as the “Four Thoughts that Turn the Mind,” one concerns impermanence and death. It may be summarized as follows: All compounded things are impermanent, The human body is a compounded thing, Therefore, death of the body is certain, The time of death is uncertain and beyond our control. There are a number of classic verse formulations of these contemplations meant for daily reflection to overcome our tendency to live as though we will not die today . Literature comparison: Compare a related voodoo human skull embellished with cowrie shells, 68 cm high, attributed to Benin or Togo and dated to the 20 th century, in the Chateau Musée Vodou, Strasbourg, inventory number 0830.

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