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A RARE AND LARGE JUKUN WOOD VOODOO FIGURE OF A MALE SKELETON
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
A RARE AND LARGE JUKUN WOOD VOODOO FIGURE OF A MALE SKELETON This lot is from a single owner collection and is therefore offered without reserve Nigeria, circa 1970-1980. Carved in the round as a standing figure with stylized skeletal features, characterized by a prominent rib cage and stomach with deep incisions and an exposed and segmented spinal column extending to a skull with circular eye sockets and bared, gritted teeth. The arms are elongated and tubular, hanging straight at the sides, while the legs are slightly flexed and supported on a pair of pointed feet. 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 expected wear, signs of weathering and erosion, few age cracks, traces of insect activity, tiny nicks, few chips, the right arm with an old repair. Weight: 6.7 kg Dimensions: Height 116.5 cm Among the most arresting sculptural traditions of Nigeria’s Middle Benue region are the rare skeletal figures attributed to the Jukun, Tiv, and neighboring peoples, including the Chamba and Mumuye. The precise cultural attribution of individual examples is often difficult to determine, reflecting the longstanding proximity and artistic interchange among these communities. With their carved skulls, exposed rib cages, articulated vertebrae, and elongated limbs, these uncompromising sculptures reduce the human body to its bare structure, transforming the skeleton into a potent image of ancestry, mortality, and existence beyond physical death. Such figures are generally associated with funerary commemoration and the continuing relationship between the living and the dead. The skeleton was evidently not conceived merely as a macabre image, but as a durable representation of the deceased, stripped of transient flesh yet preserved within the ancestral and communal order. Related skeletal imagery also appears among other Nigerian peoples, including the Ibibio, although it is considerably rarer in freestanding sculpture, underscoring the broader circulation—and exceptional nature—of this form within the region. One Tiv oral account traces the origin of the tradition to a period of conflict with the neighboring Jukun, when displaced Tiv communities were unable to return to ancestral burial grounds and perform the customary rites for their dead. After drought and failed harvests were interpreted as manifestations of ancestral displeasure, diviners reportedly prescribed the making of miniature coffins and skeletal effigies, which were ritually treated as the deceased and buried near the homes of their descendants. According to the same tradition, the figures gradually increased in scale, with different sizes coming to signify successive stages of human life—from birth and maturity to the completion of a long life. Literature comparison: Compare a related Tiv wood skeleton Janus figure, 88 cm high, dated 1970-1980, illustrated by Bruno Mignot on his website. Compare a related wood sculpture of a skeleton in the Musée International d’Art d’Afrique du Golfe de Guinée, Lomé.

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拍品估价:1,500 - 3,000 欧元 起拍价格:1,500 欧元  买家佣金:

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