This truncated full-length terracotta sculpture of a man is an exceptionally rare figure, and was made by one of the most inscrutable groups in pre-colonial Africa: the Bura. The vast...
This truncated full-length terracotta sculpture of a man is an exceptionally rare figure, and was made by one of the most inscrutable groups in pre-colonial Africa: the Bura. The vast majority of Bura pieces are cephalomorphic or phallomorphic, and are additionally deconstructed to the point of abstraction. Fuller length figures, especially those with any detail below the neck, are vanishingly rare. Most of the few published examples that exist are believed to be the remains of equestrian statues that once decorated the apexes of large ceramic vessels (hence the truncated base). This piece is exceptionally ornate, with a comparatively short body and a large head, with extensive scarifications and jewellery. The figure ends just below the umbilicus, which, with the breasts (or perhaps nipples, if male) is the only surface anatomy below the neck. The centre of the chest/stomach is decorated with a vertical stripe of raised, stippled clay, flanked on each side by a line of eight horizontal bars, and another line of four dashes. The arms hang down by the sides, and are both truncated at the wrist, although the left one retains a ring which probably denotes a bangle or bracelet. The neck is encircled with a necklace that appears to be comprised of numerous small strands of beads all twisted together. The face is exquisite, rendered with coffee-bean eyes and mouth, keloid scarifications in groups by the mouth (nine per side), eyes (three per side) and forehead (six per side). The apex of the nose is obscured behind what would seem to be a unique form of decoration – a conical eminence of what appears to be a beaded texture, perhaps an unusually ambitious scarification, or maybe an unorthodox extension of the coiffure. In balance, the figure is most likely to be female, while the jewellery would indicate that she occupied a high social rank. The position of the piece’s arms resembles those of the riders of equestrian statues. As funerary markers, these are believed to mark out high-ranking members of society in the Malian Kingdoms as only social elites could afford horses. However, the full range of Bura stylistic variants is not yet understood and other – similar – characteristics may encourage a similar pose. This could therefore be a unique piece.
The Bura are a true paradox: almost nothing is known of this shadowy Nigerian/Malian group. They appear to have originated in the first half of the first millennium AD, although the only archaeologically-excavated site (Nyamey) dates between the 14th and 16th centuries. They are contemporary with – and probably related to – the Djenne Kingdom, the Koma, the Teneku and a satellite culture known as the Inland Niger Delta. Insofar as can be ascertained, the Bura share certain characteristics with these groups; for our purposes, these include extensive ceramic and stone sculptural traditions. The Bura appear to have been sedentary agriculturists who buried their dead in tall, conical urns, often surmounted by small figures. Their utilitarian vessels are usually plain, while other “containers” – the function of which is not understood – are often decorated with incised and stamped patterns. Their best-known art form is radically reductivist anthropomorphic stone statues, with heads rendered as squares, triangles and ovals, with the body suggested by a columnar, monolithic shape beneath. Phallic objects are also known; some phallomorphic objects may have been staffs, perhaps regalia pertaining to leaders of Bura groups. Ceramic heads are usually more complex than their stone counterparts, with incised decoration and variable treatment of facial proportions and features. There are a few very rare equestrian figures, which bear some resemblance to Djenne pieces; almost no intact human or equestrian figures are known. The range of figures is so large that it presumably indicates differing geographical and temporal trends in aesthetics within the Bura polity. Equally, similar figures with different scarifications of coiffures could imply production by a range of different workshops or areas. However, without more complete contextual information it is impossible to explore this possibility, and it is necessary to glean what we can from the art itself.
The role of these figures is almost totally obscure. Equestrian figures probably represent high status individuals, and the very few full-body representations of humans may be portraits or ancestor figures. Intuitively – as with so many other groups both inside and beyond Africa – figures with exaggerated sexual characteristics would tend to be associated with fertility and fecundity, as would any artefact modelled in the shape of pudenda (although the sceptre-like qualities of some such pieces should be noted – see above). The distribution of decoration on some ceramic pieces (notably phalluses) may suggest that they were designed to be viewed from one angle only – perhaps as adorational pieces. Many pieces are believed to have been found in burials, perhaps implying an importance that would have been linked to social standing and status.
This is an exceptionally rare and desirable Bura sculpture, and a striking and attractive piece of ancient art from one of Africa’s lost civilisations.