{"id":8550,"date":"2011-02-05T15:42:19","date_gmt":"2011-02-05T14:42:19","guid":{"rendered":"https:\/\/www.daltonsomare.com\/?post_type=opera&p=8550"},"modified":"2026-10-08T13:59:12","modified_gmt":"2026-10-08T11:59:12","slug":"figure-feminine-dogon-bombou-toro-mali","status":"publish","type":"opera","link":"https:\/\/www.daltonsomare.com\/fr\/opere\/figure-feminine-dogon-bombou-toro-mali\/","title":{"rendered":"Figure f\u00e9minine, Bombou Toro Dogon, Mali"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=\u00a0\u00bb\u00a0\u00bb el_class=\u00a0\u00bbpost-flat-h2″]<\/p>\n

XIXe si\u00e8cle
\nBois
\n53,5 cm<\/p>\n

Provenance<\/h2>\n

John J. Klejman, New York
\nCollection Mozes S. Schulz, \u00c9tats-Unis
\nCollection priv\u00e9e, Los Angeles
\nCollection priv\u00e9e, Bruxelles
\nPace Primitive, New York
\nDalton Somar\u00e9, Milan
\nCollection priv\u00e9e, Milan<\/p>\n

\n

Art Dogon et libert\u00e9 cr\u00e9ative<\/h2>\n

La sculpture Dogon du Mali repr\u00e9sente l\u2019une des expressions les plus complexes et conceptuellement articul\u00e9es de l\u2019Art Africain<\/strong><\/a>. Cet exemplaire exceptionnel provenant de la r\u00e9gion de Bombou Toro se distingue par une modernit\u00e9 surprenante, capable de d\u00e9passer les canons traditionnels tout en demeurant profond\u00e9ment enracin\u00e9e dans l\u2019iconographie Dogon.<\/p>\n

Le corps de la figure f\u00e9minine est enti\u00e8rement d\u00e9construit et recompos\u00e9 selon une logique intellectuelle qui privil\u00e9gie la construction des volumes plut\u00f4t que la repr\u00e9sentation naturaliste. L\u2019anatomie devient une suite de formes abstraites et autonomes, organis\u00e9es selon un rythme rigoureux et coh\u00e9rent.<\/p>\n

Les lignes g\u00e9om\u00e9triques qui parcourent la surface \u00e9voquent les scarifications rituelles, mais elles sont r\u00e9interpr\u00e9t\u00e9es comme des \u00e9l\u00e9ments structurants du langage plastique. Cette approche profond\u00e9ment non naturaliste transforme la figure en un syst\u00e8me de signes et de volumes.<\/p>\n

L\u2019un des aspects les plus remarquables de la sculpture est la coexistence de plusieurs mouvements dans la m\u00eame figure. Les bras sont doubl\u00e9s : deux, avec les mains en \u00e9ventail, sont lev\u00e9s vers le haut, tandis que les autres \u00e9mergent des m\u00eames coudes pour soutenir l\u2019objet plac\u00e9 devant l\u2019abdomen. Ce d\u00e9doublement introduit une complexit\u00e9 dynamique qui rompt la frontalit\u00e9 traditionnelle de la sculpture africaine.<\/p>\n

La construction de la figure rappelle, par sa complexit\u00e9 conceptuelle, le langage du cubisme synth\u00e9tique, tout en se d\u00e9veloppant de mani\u00e8re autonome au sein de la tradition africaine. Un seul autre exemplaire f\u00e9minin de style analogue est connu, ce qui accro\u00eet l\u2019importance historique et collectionniste de cette \u0153uvre.<\/p>\n

L\u2019ensemble de la surface de la figure est recouvert d\u2019une \u00e9paisse patine de mati\u00e8res sacrificielles, t\u00e9moignage de la longue vie rituelle de l\u2019\u0153uvre. L\u2019usage d\u2019asperger les figures humaines et les objets sacr\u00e9s \u00e9tait courant dans les rituels pratiqu\u00e9s sur les autels personnels et ancestraux, dans les sanctuaires binu<\/em>, sur les autels consacr\u00e9s aux Nommo et sur les yaupilu<\/em>, r\u00e9serv\u00e9s aux femmes mortes pendant la grossesse ou l\u2019accouchement.<\/p>\n

Lors des c\u00e9r\u00e9monies, diff\u00e9rentes substances rituelles \u00e9taient r\u00e9pandues sur les sculptures, parmi lesquelles le sang de poulet, de brebis ou de mouton sacrifi\u00e9s, la soupe de mil, des m\u00e9langes obtenus \u00e0 partir de fruits et de graines de baobab et de Parkia biglobosa<\/em>, des herbes br\u00fbl\u00e9es, du charbon et de l\u2019huile de Lannea acida<\/em>.<\/p>\n

Ces mati\u00e8res constituaient le v\u00e9hicule du nyama<\/em>, la force vitale dont d\u00e9pendaient le bien-\u00eatre physique, l\u2019\u00e9quilibre mental et l\u2019ordre social. Selon la conception Dogon, le nyama<\/em>, pr\u00e9sent dans tous les \u00eatres vivants, pouvait \u00eatre lib\u00e9r\u00e9 et transmis par le sacrifice, passant d\u2019un \u00eatre \u00e0 l\u2019autre.<\/p>\n

Le sens profond de ces rituels appara\u00eet aussi dans l\u2019\u00e9tymologie du terme Dogon d\u00e9signant le sacrifice, bulu<\/em>, d\u00e9riv\u00e9 de la racine bulo<\/em>, \u00ab faire revivre \u00bb ou \u00ab ressusciter \u00bb. Par les rituels d\u2019aspersion, l\u2019objet sacr\u00e9 comme celui qui accomplissait le sacrifice \u00e9taient plac\u00e9s dans un \u00e9tat de puret\u00e9, de vitalit\u00e9 et de r\u00e9g\u00e9n\u00e9ration.<\/p>\n

Un seul autre exemplaire caract\u00e9ris\u00e9 par un style analogue est connu. L\u2019extr\u00eame raret\u00e9 de ce corpus accro\u00eet encore l\u2019importance historique, artistique et collectionniste de cette exceptionnelle sculpture Dogon du Mali.<\/p>\n

\n
\n

Approfondissements<\/h2>\n

La sculpture Dogon : figures humaines et construction de la forme au Mali<\/a><\/p>\n

\n

Art Africain<\/a><\/p>\n

Highlights d\u2019Art Africain<\/a><\/p>\n

Collection d\u2019Art Africain<\/a><\/p>\n

Publications sur l\u2019Art Africain<\/a><\/p>\n

Expositions internationales<\/a><\/p>\n<\/div>\n<\/div>\n

\n

Sculptures associ\u00e9es<\/h2>\n
\n

Figure androgyne, Niongom, Mali<\/a><\/p>\n

Figure zoomorphe, Tellem Dogon, Mali<\/a><\/p>\n

Figure zoomorphe janiforme, Tellem Dogon, Mali<\/a><\/p>\n

Masque Ntomo, Bamana, Mali<\/a><\/p>\n

Sommet de cimier, Bamana Chi Wara, Mali<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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