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拍品專文
Les éléments de ce masque idiok, original et hautement stylisé, forment une composition saisissante. Les yeux concaves en amande sont cernés par trois cercles concentriques aux traces de pigments rougeâtres. Le nez retroussé se confond avec la lèvre supérieure de la bouche ovale, au-dessus de grosses touffes de barbe. La présence puissante de ce masque est soulignée par les variations chromatiques de l’épaisse patine sur la surface et au dos du masque. L’artiste instille une expression imaginative et fantastique, caractéristique des masques idiok conçus pour inspirer la peur et le respect.
Voir Kerchache, J., Paudrat, J.-L. et Stephan, L., L’art africain, Paris, 1988, pp. 550-551 et Herreman, F., To Cure and Protect. Sickness and Health in African Art, New York, 1999, pp. 22-23, pour des masques comparables.
Each element of this unique idiok mask is highly stylized, creating a striking composition. The eyes are concave and delineated with repeated concentric almond-shaped circles, with remnants of reddish pigments. The upturned nose conjoins with the upper lip and the mouth, above the splayed tufts of a rough beard. The powerful presence of this mask is further emphasized by the tonal variation of the thick patina throughout the surface and on the back of the mask. The artist produced a fantastical and imaginative expression, typical of these idiok masks designed to inspire both fear and respect.
See Kerchache, J., Paudrat, J.-L. and Stephan, L., L’art africain, Paris, 1988, pp. 550-551 and Herreman, F., To Cure and Protect. Sickness and Health in African Art, New York, 1999, pp. 22-23, for comparable masks.
Voir Kerchache, J., Paudrat, J.-L. et Stephan, L., L’art africain, Paris, 1988, pp. 550-551 et Herreman, F., To Cure and Protect. Sickness and Health in African Art, New York, 1999, pp. 22-23, pour des masques comparables.
Each element of this unique idiok mask is highly stylized, creating a striking composition. The eyes are concave and delineated with repeated concentric almond-shaped circles, with remnants of reddish pigments. The upturned nose conjoins with the upper lip and the mouth, above the splayed tufts of a rough beard. The powerful presence of this mask is further emphasized by the tonal variation of the thick patina throughout the surface and on the back of the mask. The artist produced a fantastical and imaginative expression, typical of these idiok masks designed to inspire both fear and respect.
See Kerchache, J., Paudrat, J.-L. and Stephan, L., L’art africain, Paris, 1988, pp. 550-551 and Herreman, F., To Cure and Protect. Sickness and Health in African Art, New York, 1999, pp. 22-23, for comparable masks.