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A Stunning OLD Baule Baoule MBLO Portrait Mask, Extensive Age w/ Use Antique African Art - Tribal Masque - Cote d'Ivoire
Collected from the: Baule Baoule peoples of Cote d'Ivoire, West Africa Material: Carved wood, skin oil Period: Late 19th to very earliest 20th century Dimensions: 12.25" height, 8.5" width, 6" depth; weight is 3.60 pounds Condition: Exceptional museum quality, from a private Parisian collection, exquisite signs of age and wear from authentic tribal use, wear exposed wood displays significant patination. Make special note of the perfect symmetry, serene expression, superb surface condition and substantial hole wear on this splendid carving. Ritually oiled deep chocolate patina displays the anticipated accumulated debris of daily life and loving indigenous care throughout the smooth, worn interior, exterior, rim and high points with surface condition and skin oil residue suggestive of early ritual rubbing - a fine example of early Baule art !
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Baule Baoule Mask Traditions and Use The Baule used three major types of masks, the first of which was a animal shaped helmet known as Bonu Amwin. The second type belonged to a group known as Mblo, Blo, Ngblo, Gbo, Ajusu and/or Gbagba, depending on the region, which represented a human face with rounded, fairly realistic features. The third type included a family of four pairs of masks related to the Goli festival. One of the oldest Baule art forms, the second type of Baule face mask, known as Mblo or Blo, were usually a portrait of a known individual. Characterized by a rounded face with realistic features, pointed chin, T-shaped nose, semi-circular eyes, raised scarification typical of the Baule tribe, and an elaborate coiffure, the lustrous curved surfaces intentionally suggested clean, healthy, well-fed skin. The idealized faces were introspective, with the high foreheads of intellectual enlightenment and the large downcast eyes of respectful presence in the world. Ornaments above the face ~ birds, combs, horns, faces and other decorative motifs ~ were chosen for their beauty and held no iconographic significance; braided beards, fine scarifications and elaborate coiffures denoted personal beauty, refinement and a desire to give pleasure to others. The Baule believe that the Mblo masks have always existed; the Mamla claimed to have brought this mask type with them when their ancestors emerged from the earth or descended from the sky and in non-Mamla villages they were believed to be so old that their origins could not be uncovered. The Mblo embodied the core Baule style and sculptural traditions manifested in figures and decorated objects though they do not appear to have had any sacred function and were worn only in dances intended to entertain during festivities related to visits by important dignitaries. In the minds of the Baule, Mblo dances were always considered women's dances, so called because women could participate and because the style of the dance movement was thought to be feminine and very beautiful. The masks were thus associated with the village and with women, although it was, of course, men who wore them and danced in the performances. As "portraits" of a beautiful woman or man, Alain-Michel Boyer emphasized that a faithful likeness of the model was not the point, for, as one of his Baule contacts explained, "a sculptor is no photographer." To the Baule, the Mblo portrait masks were the summit of Baule sculpture, considered their most beautiful art form which provided a Baule artist their prime opportunity to demonstrate their skill and inventiveness publicly. No Mblo design was ever repeated exactly since each work represented an individual person, even twins were never the same when presented together on a single mask. Old Baule masks with figures are rare though an ever varied range of birds was a favored motif as artists and owners chose these for their beauty rather than for any symbolic value. Today Mblo is considered old-fashioned and though a few villages have modernized it, Mblo has more often fallen out of use. See African Masks of the Barbier-Mueller Collection, Africa: The Art of a Continent and African Art Western Eyes for further details.
History of the Baule Baoule Tribe "The Baule represent one of the most important tribes of the central Cote d'Ivoire region of West Africa. Their name is testimony to their birth - according to legend, Queen Aba Pokou led her people on an exodus towards the gold mining areas during the 18th century and had to cross a river where she was obliged to sacrifice her oldest son to the river god, thus giving her people the name Bauli, 'the son is dead'. During the 19th century, the queendom disintegrated due to internal conflicts and by the beginning of the 20th century, when the French colonials arrived, they found only a network of villages, headed by councils of venerated men.", according to Bacquart. The Baule are known for their figurative carvings of statues and masks, along with their figurative decoration of everyday objects such as doors, boxes, heddle pulleys, drum tappers, and gold and bronzes pendants and jewelry designs which clearly display a strong influence from their Akan ancestry.
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Please contact us immediately if ~ for any reason ~ you are not pleased with your selection. We will gladly refund the purchase price of any item returned in its original condition within 14 days of dated delivery. Our commitment to 5 Star customer service and satisfaction ensures that YOUR satisfaction is Unconditionally Guaranteed ~ NO questions asked!
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We're delighted to combine shipments and reduce your costs, simply email your Zip/Postal Code PRIOR to making payment. All major credit cards and PayPal are gladly accepted. Payment is expected within 7 days of your purchase. In consideration of discounts given, we respectfully request immediate payment on all Best Offers unless arrangements are made prior to acceptance. Please contact us directly if other payment arrangements are necessary - we're always happy to help!
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