A Pair of Terracotta Figures, 1200 CE - 1600 CE
Terracotta
9.1 x 28.5
AM.148 (LSO)
These remarkable figures are believed to have been made in the Inland Niger delta in the early to mid second millennium AD. This apparent uncertainty is based upon the fact...
These remarkable figures are believed to have been made in the Inland Niger delta in the early to mid second millennium AD. This apparent uncertainty is based upon the fact that while the figures follow certain stylistic trends typical of the area at the time, they are actually unique. It therefore behoves us to examine what little we know of the context, and then assess the figures themselves.
The African phase that is contemporary with the European Middle Ages and is little understood. Some ancient African societies dating to around this period have been studied in detail: the large court circles of Benin and Ife have been documented both historically and archaeologically, while fragments of knowledge have also been forthcoming about the Bura, Djenne, Tellem and Dogon. The cultures that produces these figures, however, are almost totally obscure. They were clearly sedentary agriculturists, with quasi-urbanised village settlements that saw considerable social hierarchy and stratification. Judging from the quality of the artistry, the townships were sufficiently empowered to permit trade specialization, and they are likely to have had a complex ritual and religious heritage that they expressed artistically.
The figures express all of these sentiments and more. They are tall, complex forms of light-coloured clay depicting women (or perhaps hermaphrodites) standing with arms folded on their chests. They are ostensibly containers/vessels, but are based substantially upon the human form. The degree of abstraction increases from base to apex. The figures stand upon plain rounded feet that swell up the leg to the thighs and buttocks, which show signs of steatopygia (rounding of the buttocks caused by fat reserves, common in Bushmen and most Sub-Saharan Africans and African-Americans). The figures are both wearing loincloths that hint at a male form beneath. Their trunks are columnar and elongated, flowing into a very tall, straight neck. The shoulders are barely marked, except for the long, slender and curved arms that arch outwards towards the side of the body and back towards the chest. Both figures possess small, pointed breasts, which tends to support the notion of hermaphroditism.
The very apex of the spouts comprise three (the larger figure) and two (the smaller) flanges of hatched clay denoting hair, just as it seen in Luba and Hemba woodcarvings. However, their faces are their single most remarkable feature. They resemble the faces of owls, with an oval outline, a slightly dished profile and very large, round eyes made up of several successive concentric circles. The noses – which reach the top of the face where the outline is notched, are long and slender, and reach 2/3 of the way down the face. They have no mouths. The faces, which are very finely and delicately modelled, seem to ‘float’ on the neck of the vessels.
The role and function of these vessels is open to interpretation, although some general pointers may be mentioned. Ornate decoration of secular vessels is hardly unknown for African groups of all periods, although it might be argued that the structural essence of the pots is the primary concern, whereas these pieces seem more driven by aesthetics. The sexual ambiguity, impractical size/shape and extremely time-consuming modelling of the details (especially the faces) are other indicators that seem to suggest that a purely secular role is unlikely. Even the highly ornate and much later Mangbetu pots are easier to use than these must have been. It is, then, more likely that they represent mythical figures or expressionistic versions of ancestors, who were sufficiently powerful (in the minds of this society) to merit appeasing. We are of course at a disadvantage when trying to ascertain the ‘powers’ that such a figure might have; possibilities, judging from the pieces’ appearance, include maturation, sexuality and fertility, although some specific myth-linked potency might also be considered. They were thus represented in clay; as public objects, they were probably worshipped, appealed to and revered, using offerings and libations to encourage positive supernatural assistance. Whatever these enigmatic objects may have meant to the people what produced them, they are – in their own right – truly remarkable and visually stunning pieces of ancient art that would grace any collection.
The African phase that is contemporary with the European Middle Ages and is little understood. Some ancient African societies dating to around this period have been studied in detail: the large court circles of Benin and Ife have been documented both historically and archaeologically, while fragments of knowledge have also been forthcoming about the Bura, Djenne, Tellem and Dogon. The cultures that produces these figures, however, are almost totally obscure. They were clearly sedentary agriculturists, with quasi-urbanised village settlements that saw considerable social hierarchy and stratification. Judging from the quality of the artistry, the townships were sufficiently empowered to permit trade specialization, and they are likely to have had a complex ritual and religious heritage that they expressed artistically.
The figures express all of these sentiments and more. They are tall, complex forms of light-coloured clay depicting women (or perhaps hermaphrodites) standing with arms folded on their chests. They are ostensibly containers/vessels, but are based substantially upon the human form. The degree of abstraction increases from base to apex. The figures stand upon plain rounded feet that swell up the leg to the thighs and buttocks, which show signs of steatopygia (rounding of the buttocks caused by fat reserves, common in Bushmen and most Sub-Saharan Africans and African-Americans). The figures are both wearing loincloths that hint at a male form beneath. Their trunks are columnar and elongated, flowing into a very tall, straight neck. The shoulders are barely marked, except for the long, slender and curved arms that arch outwards towards the side of the body and back towards the chest. Both figures possess small, pointed breasts, which tends to support the notion of hermaphroditism.
The very apex of the spouts comprise three (the larger figure) and two (the smaller) flanges of hatched clay denoting hair, just as it seen in Luba and Hemba woodcarvings. However, their faces are their single most remarkable feature. They resemble the faces of owls, with an oval outline, a slightly dished profile and very large, round eyes made up of several successive concentric circles. The noses – which reach the top of the face where the outline is notched, are long and slender, and reach 2/3 of the way down the face. They have no mouths. The faces, which are very finely and delicately modelled, seem to ‘float’ on the neck of the vessels.
The role and function of these vessels is open to interpretation, although some general pointers may be mentioned. Ornate decoration of secular vessels is hardly unknown for African groups of all periods, although it might be argued that the structural essence of the pots is the primary concern, whereas these pieces seem more driven by aesthetics. The sexual ambiguity, impractical size/shape and extremely time-consuming modelling of the details (especially the faces) are other indicators that seem to suggest that a purely secular role is unlikely. Even the highly ornate and much later Mangbetu pots are easier to use than these must have been. It is, then, more likely that they represent mythical figures or expressionistic versions of ancestors, who were sufficiently powerful (in the minds of this society) to merit appeasing. We are of course at a disadvantage when trying to ascertain the ‘powers’ that such a figure might have; possibilities, judging from the pieces’ appearance, include maturation, sexuality and fertility, although some specific myth-linked potency might also be considered. They were thus represented in clay; as public objects, they were probably worshipped, appealed to and revered, using offerings and libations to encourage positive supernatural assistance. Whatever these enigmatic objects may have meant to the people what produced them, they are – in their own right – truly remarkable and visually stunning pieces of ancient art that would grace any collection.