| For additional detail, click on any photo below to see the higher resolution version of the image. |
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Bamana Tji-wara pair, Mali
male (left) 37" tall, female (right) 34" tall
wood, animal hide, hair, pigment
ex German collection
SOLD
male (left) 37" tall, female (right) 34" tall
wood, animal hide, hair, pigment
ex German collection
SOLD
| For additional detail, click on any photo below to see the higher resolution version of the image. |
This is a nice matched pair that is stylistically excellent in my opinion; I fell in love with them right away. What is unique about this pair is the
representation of the face. A lot of tji-wara will have the nose and mouth continue the line of the forehead, making the mouth extend out
away from the body. What really drew me to this pair was that they were carved in a unique way with the nose of each figure taking a
downward turn keeping the nose and mouth flush with the front of the body. If you Google tji-wara, or look at examples that are on Rand
African Art (linked below), you will see what I'm talking about.
Chi-wara (also Chiwara, Ci Wara, Tji wara or Tyi Wara) are ritual objects representing an antelope and used by the Bamana ethnic group in
Mali. They are danced in pairs, male and female, worn on top of the head in dances and rituals associated primarily with agriculture.
"The tji wara society members use a headdress representing, in the form of an antelope, the mythical being who taught men how to farm.
The word tji means “work” and wara means “animal,” thus “working animal.” There are antelopes with vertical or horizontal direction of the
horns. In the past the purpose of the tji wara association was to encourage cooperation among all members of the community to ensure a
successful crop. In recent time, however, the Bamana concept of tji wara has become associated with the notion of good farmer, and the tji
wara masqueraders are regarded as a farming beast. The Bamana sponsor farming contests where the tji wara masqueraders perform.
Always performing together in a male and female pair, the coupling of the antelope masqueraders speaks of fertility and agricultural
abundance." Source: A History of Art in Africa, Publisher: Prentice Hall/Harry N. Abrams
Additional information and examples can be found on the vertical Chi wara page on Rand African Art.
Recommended reading: BAMANA: The Art of Existence in Mali, Museum for African Art, New York.
This pair does not show signs of much age or use, and it is my opinion that they were definitely carved by a Bamana carver, possibly for use
within the culture, but have seen very little to no actual ritual use. They are often carved and danced for tourists and then sold afterwards,
which could be the case with this pair.
representation of the face. A lot of tji-wara will have the nose and mouth continue the line of the forehead, making the mouth extend out
away from the body. What really drew me to this pair was that they were carved in a unique way with the nose of each figure taking a
downward turn keeping the nose and mouth flush with the front of the body. If you Google tji-wara, or look at examples that are on Rand
African Art (linked below), you will see what I'm talking about.
Chi-wara (also Chiwara, Ci Wara, Tji wara or Tyi Wara) are ritual objects representing an antelope and used by the Bamana ethnic group in
Mali. They are danced in pairs, male and female, worn on top of the head in dances and rituals associated primarily with agriculture.
"The tji wara society members use a headdress representing, in the form of an antelope, the mythical being who taught men how to farm.
The word tji means “work” and wara means “animal,” thus “working animal.” There are antelopes with vertical or horizontal direction of the
horns. In the past the purpose of the tji wara association was to encourage cooperation among all members of the community to ensure a
successful crop. In recent time, however, the Bamana concept of tji wara has become associated with the notion of good farmer, and the tji
wara masqueraders are regarded as a farming beast. The Bamana sponsor farming contests where the tji wara masqueraders perform.
Always performing together in a male and female pair, the coupling of the antelope masqueraders speaks of fertility and agricultural
abundance." Source: A History of Art in Africa, Publisher: Prentice Hall/Harry N. Abrams
Additional information and examples can be found on the vertical Chi wara page on Rand African Art.
Recommended reading: BAMANA: The Art of Existence in Mali, Museum for African Art, New York.
This pair does not show signs of much age or use, and it is my opinion that they were definitely carved by a Bamana carver, possibly for use
within the culture, but have seen very little to no actual ritual use. They are often carved and danced for tourists and then sold afterwards,
which could be the case with this pair.