{"id":3760,"date":"2010-06-06T08:22:44","date_gmt":"2010-06-06T06:22:44","guid":{"rendered":"https:\/\/www.daltonsomare.com\/?post_type=opera&p=3760"},"modified":"2026-10-08T13:52:25","modified_gmt":"2026-10-08T11:52:25","slug":"mask-dan-toura-ivory-coast-wood","status":"publish","type":"opera","link":"https:\/\/www.daltonsomare.com\/en\/work-of-art\/mask-dan-toura-ivory-coast-wood\/","title":{"rendered":"Mask, Dan, Toura Area, Ivory Coast"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=”.vc_custom_1777563692325{margin-top: 25px !important;}” el_class=”post-flat-h2″]<\/p>\n

Early 20th century
\nWood, black patina, iron
\n53 cm<\/p>\n

Provenance<\/h2>\n

Philippe Larue, Paris<\/p>\n

Publications<\/h2>\n

Masks<\/a><\/em>, Dalton Somar\u00e9, Milan, 2012, pp. 14-15<\/p>\n

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Dan art and the Toura area<\/h2>\n

Dan sculpture from Ivory Coast and Liberia is characterized by an extraordinary ability to combine expressive force and formal rigor. The Toura peoples, culturally and linguistically related to the Dan and Mano, developed an autonomous plastic language, recognizable for the power of the forms and for the dynamic tension of the surfaces.<\/p>\n

This anthropomorphic mask can be associated with the figure of Yina<\/em>, a warrior spirit in the Toura tradition, an entity connected with strength, protection and the defence of the community. In the ritual context, these masks do not simply represent a face, but embody an active presence, capable of manifesting during ceremonies through dance and performance.<\/p>\n

The morphology of the mask is based on a tension between two apparently opposed principles. On one side, the structure of the face is organized according to rigorous axial symmetry, which gives stability and solemnity to the image. On the other, the frontal protrusions introduce a dynamic and powerful dimension, as if the internal energy of the figure were projected outward. The architecture of the face is built around a central axis that, from the forehead to the tip of the nose, divides the mask into two perfectly balanced halves. The features are deliberately massive and compact, helping create an image of great authority and mystery, while the narrow slit of the eyes prevents recognition of the dancer’s face, transforming him into a superhuman presence. This element is fundamental to the ritual function of the mask, which does not reveal but conceals, creating distance between the human world and the spiritual one.<\/p>\n

The deep and compact black patina accentuates the plastic force of the work and testifies to its ritual use. The insertion of metal elements helps strengthen the aggressive and powerful character of the figure.<\/p>\n