{"id":3725,"date":"2011-12-06T08:12:24","date_gmt":"2011-12-06T07:12:24","guid":{"rendered":"https:\/\/www.daltonsomare.com\/?post_type=opera&p=3725"},"modified":"2026-06-03T12:56:54","modified_gmt":"2026-06-03T10:56:54","slug":"mask-dan-ivory-coast","status":"publish","type":"opera","link":"https:\/\/www.daltonsomare.com\/en\/work-of-art\/mask-dan-ivory-coast\/","title":{"rendered":"Mask Deangl\u00e9, Dan, Ivory Coast"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=”.vc_custom_1777563454678{margin-top: 25px !important;}” el_class=”post-flat-h2″]<\/p>\n

19th century
\nWood with glossy black patina
\n25 cm<\/p>\n

Provenance<\/h2>\n

Robert Duperrier, Paris
\nPrivate Collection, Bergamo
\nDalton Somar\u00e9, Milan
\nSindika Dokolo Collection, Brussels<\/p>\n

Publications<\/h2>\n

V. Carini, A Hidden Heritage. African Sculptures in Italian Private Collections<\/a><\/em>, Dalton Somar\u00e9, Milan, 2004, p. 121
\nElena Martinez-Jaquet, Regards de Marchands<\/em>, Primedia, Brussels \u2013 Paris, 2009
\nMasks<\/a><\/em>, Dalton Somar\u00e9, Milan, 2012, pp. 30-31<\/p>\n

\n

Dan masks and the art of West Africa<\/strong><\/p>\n

In their original context, Dan masks were used both during public ceremonies and in the initiatory rituals of the secret Poro society. Traditionally kept by the elder women of the clan, they appeared in public as protective presences and manifestations of the supernatural. The impersonal nature of the mask was accentuated by the narrow eye slits, which concealed the identity of the bearer and reinforced the perception of a spiritual presence.<\/p>\n

Form, geometry and ritual presence<\/strong><\/p>\n

The fluid interaction of planes, the refined naturalism of the features and the sensitivity of the modelling make this mask an extraordinary example of the mastery of Dan artists and of their ability to elevate the traditional canon toward a form of perfection close to abstraction.<\/p>\n

The construction of the mask is based on a rigorous geometry organized around two perpendicular axes: one horizontal, crossing the face at eye level, and the other descending vertically from the forehead to the chin, defining the overall symmetry of the composition.<\/p>\n

The face is inscribed within a perfect oval and was originally framed by refined fibre braids forming the hairstyle, ending in two lateral plaits. The eyes, spaced apart and reduced to slits, give the expression an impersonal yet penetrating quality.<\/p>\n

The mouth suggests youthful sensuality through the volume of the slightly parted lips. At the same time, the gathered and almost suffering expression of the face helps reinforce the spiritual and protective character of the mask.<\/p>\n

Among the distinctive elements are the prominent forehead, the compact structure of the face, the half-closed eyes above swollen eyelids and the open mouth in a sudden gesture of admonition. The glossy black patina, often described as “sweated”, shows appropriate signs of use that testify to a long ritual life and constant devotional care.<\/p>\n

This soft and luminous surface accentuates the aura of detachment and sacredness of the work, contributing to make this Dan mask one of the most significant testimonies of ritual sculpture from West Africa.<\/p>\n