Sculpture: Fang - Part 2 - With data
Posted by Ricardo Marcenaro | Posted in Sculpture: Fang - Part 2 - With data | Posted on 18:12
Byeri Figure fixed on cylindrical Bark Reliquary Box with smaller figures
Wood, brass, bark, skulls, raffia bindings
Height: figure 48 cm.
overall 78 cm
Wood, brass, bark, skulls, raffia bindings
Height: figure 48 cm.
overall 78 cm
Byeri Figure fixed on cylindrical Bark Reliquary Box, holding Cup
Wood, brass, bark, raffia bindings
Height: figure 35 cm.
overall 57 cm.
Wood, brass, bark, raffia bindings
Height: figure 35 cm.
overall 57 cm.
Byeri Figure fixed on cylindrical Bark Reliquary Box, holding Cup
Wood, brass, bark, raffia bindings
Height: figure 35 cm.
overall 57 cm.
Wood, brass, bark, raffia bindings
Height: figure 35 cm.
overall 57 cm.
Female Byeri Figure in Reliquary Basket
Wood, horns, skull bone, giant snail shells, basketry
Heights: wood figure 34 cm,
overall 41 cm.
Wood, horns, skull bone, giant snail shells, basketry
Heights: wood figure 34 cm,
overall 41 cm.
Female Byeri Figure, three big braids in hair
Wood, bead eye, beads
Height: 52 cm
Wood, bead eye, beads
Height: 52 cm
Figure with Raised Hands, fixed on wrapped Fetish/Reliquary Bundle
Wood, brass, cloth, horns, bone, enclosed bones (?) and misc.
Height: 39 cm.
Wood, brass, cloth, horns, bone, enclosed bones (?) and misc.
Height: 39 cm.
Head fixed on cylindrical Bark Reliquary Box
Wood, bark, raffia bindings
Height: head 19 cm.
overall 55 cm
Wood, bark, raffia bindings
Height: head 19 cm.
overall 55 cm
Head on large double-tiered Reliquary Basket
Wood, raffia, brass, horns, bones, giant snail shells, basketry
Heights: wood head 23 cm,
overall 42 cm.
Wood, raffia, brass, horns, bones, giant snail shells, basketry
Heights: wood head 23 cm,
overall 42 cm.
Large Byeri Figure fixed on cylindrical Bark Reliquary Box, both hands raised
Wood, bark, sack-like cloth, large seeds, beads, raffia bindings
Height: figure 54 cm.
overall 89 cm.
Wood, bark, sack-like cloth, large seeds, beads, raffia bindings
Height: figure 54 cm.
overall 89 cm.
Long-neck Head on Reliquary Basket lid
Wood, brass, basketry, bone, raffia
Heights: wood head 34 cm,
overall 40 cm
Wood, brass, basketry, bone, raffia
Heights: wood head 34 cm,
overall 40 cm
Long-neck Head with woven neck cover
Wood, brass, basketryHeight: 37 cm.
Round-eyed Byeri Figure fixed on cylindrical Bark Reliquary Box, holding Item (? Cup)
Wood, bark, raffia bindings, pigmentHeight: figure 32 cm.
overall 66 cm.
For the antiquity or not of the pieces, I does not issue opinions.
Por la antigüedad o no de las piezas, yo no emito dictámenes.
Por la antigüedad o no de las piezas, yo no emito dictámenes.
Ricardo Marcenaro
Thanks To
www.worldartandantiques.com
For images and data
Fang sculpture
About Fang Sculpture
Fang sculpture - the heads and the figures - is associated with an ancestor cult referred to as byeri or bieri. The term "byeri" refers to both the solo heads or figures which guard the funerary relics - craniums and bones - of important ancestors. Byeri sculptures were mounted on the top of bark boxes, baskets or bundles containing human relics. They were "consulted" before undertaking any important action, such as an important journey, a battle, the placement of a village or house, finding a wife, choice of ground for agriculture, curing of sickness and before starting a hunt.
Several connoisseurs of West African art have attempted to categorize Fang sculpture. G. Tessman (1913) took the view that Fang reliquary heads predate the statues. J. Fernandez (1974) suggested that, when Fang tribes were displaced, they preferred to travel with reliquary heads rather than statues (which were not recorded prior to the 19th century).
The most thorough study of Fang art and culture was done by the French scholar Louis Perrois. Between 1965 and 1975 he lived in Gabon, researching and publishing on the Fang and related tribes. His thesis "La Statuaire Fang, Gabon" (Paris, 1972) is the definitive work on the subject. In 1992 he curated the definitive exhibition of Fang sculpture at the Marseille Museum, bringing together some 60 fine examples from museum and private collections in France, Germany, America, Switzerland, Spain, Portugal and Sweden, published in a lavish volume as "Byeri Fang: Sculptures d'Ancetres en Afrique" (Marseille, 1992).
One of the main collectors of West African art was Josef Mueller of Geneva. He was also a major collector of paintings by modern masters such as Cezanne, Miro, Ernst and many others. Between 1929 and 1942 he acquired a considerable number of fine items from Gabon, including many Fang sculptures and masks. The best, which are in the Barbier-Mueller Museum in Geneva, have been published by Perrois as "Art Ancestral du Gabon" (Geneva, 1985).
Perrois estimates between 500 and 600 genuine traditional Fang sculptures exist in collections and museums throughout the world. In his thesis he documents 272 of them, of which about 40 are solo heads. He says neither Tessman nor Fernandez are entirely correct about the relationship of the Fang reliquary heads to the statues, noting that between 1880 and 1920, many solo "byeri" heads have been found associated together with statues. Perrois believes the heads and statues "coexisted" together.
Perrois states "in general, the heads are the work of the Southern Fang", from the Betsí region (Okano valley). He categorizes them into three distinctive types, according to the hairstyle; the "helmet-wig" with multiple plaits (ekuma), the "helmet" with a central crest (nlo-o-ngo) and the "transverse chignon".
Perrois recognizes two principle Fang "byeri" statue styles: the Northern (in which the statues are elongated) and that of the South (in which they are foreshortened). He also defines several different sub-styles, categorizing the Northern style into:
Ngoumba (South Cameroon)
Mabéa (coast of S. Cameroon)
Ntoumou (extreme S. Cameroon, N. E. Guinea and North Gabon)
and the Southern style into the following types:
Betsí (Okano valley)
Nzaman-betsi ("Okano", Ogooué, Abanga)
Mvaï (Ntem valley)
Okak (Guinea)
Writing in the Fang section in the catalog of the major exhibition "Africa: The Art of a Continent", which opened at London's Royal Academy of Arts in October 1995 and at New York's Guggenheim Museum in June 1996, Perrois speculates:
"The delicacy of these carvings continues to surprise; they were produced in a village environment by people who had been constantly on the move since the beginning of the 19th century. This makes one wonder if the Fang statuary first discovered at the end of the 19th century is not the culmination of a long tradition, dating back to before the last migration of groups from the Eastern savannas of Cameroon and central Africa."
Fang wood sculptors commonly also worked with metal and came from long established lineage's of sacred object makers. Wood used for carving Fang reliquary statues was carefully selected and was only worked by artisans who were ceremonially "purified", who followed certain ritual procedures and who abstained from sex during the period of fabrication. Several different woods were used, categorized by Perrois as "light-colored" or "dark-colored".
Following the completion of the sculptural process, a byeri image was darkened and immersed in various medicinal or "magical" oils for several weeks, which "nourished" and "empowered" it. Palm oil, copal resins, black coloration (mevina) and other substances created the unique patina of Fang sculpture, which was further enhanced by sacrificial oblations. When a byeri was consulted, blood sacrifice was generally made over the cranial relics which it guarded.
Byeri were generally consulted after the use of narcotic plant products. "Alan", also known as "malan", is the main drug used by initiates into the byeri cult. According to J. Fernandez, "the root of the alan bush is ground up, powdered, dried and consumed while sitting exposed to the morning and midday sun". Fernandez says the purpose of this drug's use is to "break open the head (akwia nlo)", so as to connect with the spiritual realms. Alan reputedly has hallucinogenic, stimulating and aphrodisiac properties. Fernandez did an extensive study of drug use among the Fang and related tribes. He documents the use of four types of narcotics that "enter into their cult rituals". These are "alan" - Alchornea floribunda; "eboka" - Tabernanthe iboga, which has ibogaine as its main alkaloid; "ayan beyem" - Elaeophorbia drupifera; and "beyama" - Cannabis.
Fernandez writes that "the latex of ayan beyem was employed in the ancestral cult among the Fang when the ingestion of malan was slow in showing effect. A parrot's red tail feather dipped in the mixture was brushed across the eyeballs. The latex appears to affect the optical nerves, producing bizarre visual states." He also writes that cults in Southern Gabon mix malan with eboka. Fernandez gives a lot of data on the connected bwiti cult which primarily uses the drug eboka. Followed mainly by the interrelated Tsogo or "Mitsogho" tribe of Gabon, according to him this is "a night cult of the female principle of the universe".
Fang reliquary boxes were termed "nsekh byeri", solo head sculptures "nlo byeri", statues "eyema byeri" and the relic bones "ekokwe nlo". Very few Fang statues "intact" on reliquary containers are in Western collections. Only a few have been photographed in place. With rare exceptions, Fang heads have been removed from their relic caskets, bundles or baskets before finding their way to the West.
By 1966, when it was finally dispersed at a Sotheby's auction, the famous African art collection formed by Helena Rubinstein included thirteen Fang "byeri" reliquary guardian heads and figures. Several of these have since been resold at record-breaking prices.
About Fang Sculpture
Fang sculpture - the heads and the figures - is associated with an ancestor cult referred to as byeri or bieri. The term "byeri" refers to both the solo heads or figures which guard the funerary relics - craniums and bones - of important ancestors. Byeri sculptures were mounted on the top of bark boxes, baskets or bundles containing human relics. They were "consulted" before undertaking any important action, such as an important journey, a battle, the placement of a village or house, finding a wife, choice of ground for agriculture, curing of sickness and before starting a hunt.
Several connoisseurs of West African art have attempted to categorize Fang sculpture. G. Tessman (1913) took the view that Fang reliquary heads predate the statues. J. Fernandez (1974) suggested that, when Fang tribes were displaced, they preferred to travel with reliquary heads rather than statues (which were not recorded prior to the 19th century).
The most thorough study of Fang art and culture was done by the French scholar Louis Perrois. Between 1965 and 1975 he lived in Gabon, researching and publishing on the Fang and related tribes. His thesis "La Statuaire Fang, Gabon" (Paris, 1972) is the definitive work on the subject. In 1992 he curated the definitive exhibition of Fang sculpture at the Marseille Museum, bringing together some 60 fine examples from museum and private collections in France, Germany, America, Switzerland, Spain, Portugal and Sweden, published in a lavish volume as "Byeri Fang: Sculptures d'Ancetres en Afrique" (Marseille, 1992).
One of the main collectors of West African art was Josef Mueller of Geneva. He was also a major collector of paintings by modern masters such as Cezanne, Miro, Ernst and many others. Between 1929 and 1942 he acquired a considerable number of fine items from Gabon, including many Fang sculptures and masks. The best, which are in the Barbier-Mueller Museum in Geneva, have been published by Perrois as "Art Ancestral du Gabon" (Geneva, 1985).
Perrois estimates between 500 and 600 genuine traditional Fang sculptures exist in collections and museums throughout the world. In his thesis he documents 272 of them, of which about 40 are solo heads. He says neither Tessman nor Fernandez are entirely correct about the relationship of the Fang reliquary heads to the statues, noting that between 1880 and 1920, many solo "byeri" heads have been found associated together with statues. Perrois believes the heads and statues "coexisted" together.
Perrois states "in general, the heads are the work of the Southern Fang", from the Betsí region (Okano valley). He categorizes them into three distinctive types, according to the hairstyle; the "helmet-wig" with multiple plaits (ekuma), the "helmet" with a central crest (nlo-o-ngo) and the "transverse chignon".
Perrois recognizes two principle Fang "byeri" statue styles: the Northern (in which the statues are elongated) and that of the South (in which they are foreshortened). He also defines several different sub-styles, categorizing the Northern style into:
Ngoumba (South Cameroon)
Mabéa (coast of S. Cameroon)
Ntoumou (extreme S. Cameroon, N. E. Guinea and North Gabon)
and the Southern style into the following types:
Betsí (Okano valley)
Nzaman-betsi ("Okano", Ogooué, Abanga)
Mvaï (Ntem valley)
Okak (Guinea)
Writing in the Fang section in the catalog of the major exhibition "Africa: The Art of a Continent", which opened at London's Royal Academy of Arts in October 1995 and at New York's Guggenheim Museum in June 1996, Perrois speculates:
"The delicacy of these carvings continues to surprise; they were produced in a village environment by people who had been constantly on the move since the beginning of the 19th century. This makes one wonder if the Fang statuary first discovered at the end of the 19th century is not the culmination of a long tradition, dating back to before the last migration of groups from the Eastern savannas of Cameroon and central Africa."
Fang wood sculptors commonly also worked with metal and came from long established lineage's of sacred object makers. Wood used for carving Fang reliquary statues was carefully selected and was only worked by artisans who were ceremonially "purified", who followed certain ritual procedures and who abstained from sex during the period of fabrication. Several different woods were used, categorized by Perrois as "light-colored" or "dark-colored".
Following the completion of the sculptural process, a byeri image was darkened and immersed in various medicinal or "magical" oils for several weeks, which "nourished" and "empowered" it. Palm oil, copal resins, black coloration (mevina) and other substances created the unique patina of Fang sculpture, which was further enhanced by sacrificial oblations. When a byeri was consulted, blood sacrifice was generally made over the cranial relics which it guarded.
Byeri were generally consulted after the use of narcotic plant products. "Alan", also known as "malan", is the main drug used by initiates into the byeri cult. According to J. Fernandez, "the root of the alan bush is ground up, powdered, dried and consumed while sitting exposed to the morning and midday sun". Fernandez says the purpose of this drug's use is to "break open the head (akwia nlo)", so as to connect with the spiritual realms. Alan reputedly has hallucinogenic, stimulating and aphrodisiac properties. Fernandez did an extensive study of drug use among the Fang and related tribes. He documents the use of four types of narcotics that "enter into their cult rituals". These are "alan" - Alchornea floribunda; "eboka" - Tabernanthe iboga, which has ibogaine as its main alkaloid; "ayan beyem" - Elaeophorbia drupifera; and "beyama" - Cannabis.
Fernandez writes that "the latex of ayan beyem was employed in the ancestral cult among the Fang when the ingestion of malan was slow in showing effect. A parrot's red tail feather dipped in the mixture was brushed across the eyeballs. The latex appears to affect the optical nerves, producing bizarre visual states." He also writes that cults in Southern Gabon mix malan with eboka. Fernandez gives a lot of data on the connected bwiti cult which primarily uses the drug eboka. Followed mainly by the interrelated Tsogo or "Mitsogho" tribe of Gabon, according to him this is "a night cult of the female principle of the universe".
Fang reliquary boxes were termed "nsekh byeri", solo head sculptures "nlo byeri", statues "eyema byeri" and the relic bones "ekokwe nlo". Very few Fang statues "intact" on reliquary containers are in Western collections. Only a few have been photographed in place. With rare exceptions, Fang heads have been removed from their relic caskets, bundles or baskets before finding their way to the West.
By 1966, when it was finally dispersed at a Sotheby's auction, the famous African art collection formed by Helena Rubinstein included thirteen Fang "byeri" reliquary guardian heads and figures. Several of these have since been resold at record-breaking prices.
Ricardo Marcenaro
Sculptures – Esculturas
ricardomarcenaro.ning.com/
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Solitary Dog Sculptor:
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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect. Thanks :)
Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano. Gracias:)
ricardomarcenaro.ning.com/
Ricardo M Marcenaro - Facebook
Blogs in operation of The Solitary Dog:
Solitary Dog Sculptor:
byricardomarcenaro.blogspot.com
Solitary Dog Sculptor I:
byricardomarcenaroi.blogspot.com/
My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect. Thanks :)
Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano. Gracias:)
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