Lot Essay
Notre compréhension de ces statues provient principalement des recherches de terrain menées par Hans-Joachim Koloss. Il les identifia comme des figures de pouvoir appelées enok ateng, ce qui signifie « combattre seul », créées et ointes afin de se protéger contre les forces malveillantes ou la sorcellerie. Le guérisseur qui commandait une nouvelle statue à un artisan local donnait les instructions suivantes : « elle doit être droite et avoir des proportions naturelles, elle doit avoir des yeux et des oreilles pour voir et entendre. Elle n’a pas besoin d’être belle ; au contraire, elle doit être effrayante » (in Salmons, J., Expressions of Cameroon Art, Washington, D.C.,1986, p. 75).
Cette statue imposante incarne parfaitement la description de Koloss, illustrant avec force la brutalité et la puissance du style Keaka.
Our understanding of these figures primarily comes from the fieldwork of Hans-Joachim Koloss. He identified them as power figures called enok ateng, meaning “fighting alone”, which were created and anointed to protect against malevolent forces or witchcraft. The healer who commissioned a new figure from a local carver would instruct: “it must be straight and have natural proportions, and it must have eyes and ears to see and hear. It need not be beautiful; instead, it should be fearsome” (in Salmons, J., Expressions of Cameroon Art, Washington, D.C., 1986, p. 75).
This massive figure perfectly embodies Koloss's description, eloquently illustrating the rawness and power of the Keaka style.
Cette statue imposante incarne parfaitement la description de Koloss, illustrant avec force la brutalité et la puissance du style Keaka.
Our understanding of these figures primarily comes from the fieldwork of Hans-Joachim Koloss. He identified them as power figures called enok ateng, meaning “fighting alone”, which were created and anointed to protect against malevolent forces or witchcraft. The healer who commissioned a new figure from a local carver would instruct: “it must be straight and have natural proportions, and it must have eyes and ears to see and hear. It need not be beautiful; instead, it should be fearsome” (in Salmons, J., Expressions of Cameroon Art, Washington, D.C., 1986, p. 75).
This massive figure perfectly embodies Koloss's description, eloquently illustrating the rawness and power of the Keaka style.