Djenne Bronze Anthropomorphic Sculpture, 14th Century CE - 16th Century CE
Bronze
4.75 x 8.375
PF.5145 (LSO)
This extraordinary representation of a warrior was cast by a skilled metallurgist of the Djenne culture. It is remarkable for its long, curved face and hunched back, both of which...
This extraordinary representation of a warrior was cast by a skilled metallurgist of the Djenne culture. It is remarkable for its long, curved face and hunched back, both of which recur in the Dogon, the cultural heirs of the Djenne/Djennenke polities. The rendering is startlingly good, with crisp, firm modeling and careful detailing down to the large sword in the right hand, the rattle (?) in the left and the loincloth. He is adorned with bracelets and armlets, and has acquired a variegated patina from long use and interment.
The Djenne culture is focused upon the historic city of Djenne-Djenno in the Niger Inland Delta of modern Mali. It is the oldest city in Sub-Saharan Africa, and the onetime hub of an enormous trading empire during the Middle Ages. It was founded by the Bozo (allied with the Bamana) people in about 800 AD, and gained its wealth by taking advantage of Trans-Saharan trade networks. The Djenne style is technically part of the Malian Empire – along with numerous other groups (i.e. the Tenenku, Bura and Bankoni [centred on the town of Bamako]) – but the city itself never was. Indeed, the Malian Empire is said to have tried to conquer the city-state 99 times before giving up.
Djenne culture – and that of the closely allied Bankoni group – is highly significant in the development of West African art styles. Their central preoccupation was seated, standing and kneeling human figures, in addition to equestrian and zoomorphic/anthropomorphic divertimenti. They are invariably highly expressionistic, with little regard for proportion and scale, but with phenomenal modelling to produce powerful and refined masterworks such as this example. Owing to the popularity of Djenne pieces, sites have been systematically plundered so we know almost nothing of their culture beyond its evident refinement. It was evidently highly socially stratified, with major markers of wealth including scarifications, jewellery, horses and prestige artefacts such as the sculptures themselves.
This piece could conceivably represent an ancestor, a specific personage, or a high-ranking chief. It is an impressive piece of ancient African art.
The Djenne culture is focused upon the historic city of Djenne-Djenno in the Niger Inland Delta of modern Mali. It is the oldest city in Sub-Saharan Africa, and the onetime hub of an enormous trading empire during the Middle Ages. It was founded by the Bozo (allied with the Bamana) people in about 800 AD, and gained its wealth by taking advantage of Trans-Saharan trade networks. The Djenne style is technically part of the Malian Empire – along with numerous other groups (i.e. the Tenenku, Bura and Bankoni [centred on the town of Bamako]) – but the city itself never was. Indeed, the Malian Empire is said to have tried to conquer the city-state 99 times before giving up.
Djenne culture – and that of the closely allied Bankoni group – is highly significant in the development of West African art styles. Their central preoccupation was seated, standing and kneeling human figures, in addition to equestrian and zoomorphic/anthropomorphic divertimenti. They are invariably highly expressionistic, with little regard for proportion and scale, but with phenomenal modelling to produce powerful and refined masterworks such as this example. Owing to the popularity of Djenne pieces, sites have been systematically plundered so we know almost nothing of their culture beyond its evident refinement. It was evidently highly socially stratified, with major markers of wealth including scarifications, jewellery, horses and prestige artefacts such as the sculptures themselves.
This piece could conceivably represent an ancestor, a specific personage, or a high-ranking chief. It is an impressive piece of ancient African art.