{"id":8551,"date":"2011-07-05T15:43:19","date_gmt":"2011-07-05T13:43:19","guid":{"rendered":"https:\/\/www.daltonsomare.com\/?post_type=opera&p=8551"},"modified":"2026-06-03T20:28:48","modified_gmt":"2026-06-03T18:28:48","slug":"figure-gardienne-kota-gabon","status":"publish","type":"opera","link":"https:\/\/www.daltonsomare.com\/fr\/opere\/figure-gardienne-kota-gabon\/","title":{"rendered":"Figure gardienne, Kota, Gabon"},"content":{"rendered":"

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

Milieu du XIXe si\u00e8cle
\nBois, cuivre, laiton et fer
\n32 cm<\/p>\n

Provenance<\/h2>\n

Henri Kamer (1937\u20131992), New York
\nGuy Piazzini, Paris
\nDaniel Hourd\u00e9, Paris, 1992
\nCollection John Dintenfass, New York, 1998
\nDalton Somar\u00e9, Milan
\nCollection Anna Demina, Helsinki<\/p>\n

Publications<\/h2>\n

Bruneaf XXII<\/em>, Catalogue, Bruxelles, 2012, pp. 44\u201345
\nHearts and Diamonds. Art of Gabon from the Anna Demina Collection<\/em>, P. Mollfulleda, Gruppo Editoriale, Milan, 2021, pp. 66-69, p. 102
\nOrigins: a vision on African Art, Anna Demina & Leinuo Zhang Collection, Dalton Somar\u00e9, Milan, 2019, pp. 30-33<\/p>\n

Expositions<\/h2>\n

Parcours des Mondes, Paris, 2013
\nCULTURES, Bruxelles, 2018
\nAMART, Milan, 2018<\/p>\n

\n

Provenance<\/h2>\n

Henri Kamer (1937–1992), New York
\nGuy Piazzini, Paris
\nDaniel Hourdé, Paris, 1992
\nCollection John Dintenfass, New York, 1998
\nDalton Somar\u00e9, Milan
\nCollection Anna Demina, Helsinki<\/p>\n

Publications<\/h2>\n

Bruneaf XXII, Catalogue<\/em>, Bruxelles, 2012, pp. 44–45
\nHearts and Diamonds. Art of Gabon from the Anna Demina Collection<\/em>, P. Mollfulleda, Gruppo Editoriale, Milan, 2021, pp. 66-69, p. 102
\nOrigins: a vision on African Art, Anna Demina & Leinuo Zhang Collection<\/em>, Dalton Somaré, Milan, 2019, pp. 30-33<\/p>\n

Expositions<\/h2>\n

Parcours des Mondes, Paris, 2013
\nCULTURES, Bruxelles, 2018
\nAMART, Milan, 2018<\/p>\n

Figures gardiennes Kota<\/h2>\n

Les premières figures gardiennes Kota arrivèrent en Europe à la suite de l’expédition de Savorgnan de Brazza le long du fleuve Ivindo en 1887. Ces œuvres attirèrent immédiatement l’attention des artistes et des collectionneurs, frappés par leur dynamisme, leur force expressive et leurs formes abstraites et bidimensionnelles.<\/p>\n

Des artistes comme André Derain, Pablo Picasso, Juan Gris, Fernand Léger et Constantin Brancusi, ainsi que les avant-gardes européennes du début du XXe siècle, reconnurent dans ces sculptures une synthèse expressive extraordinaire, un rigoureux équilibre architectural et une essentialité dépourvue de décoration superflue.<\/p>\n

La découverte de l’art Kota joua un rôle important dans la transformation du regard européen sur les formes artistiques extra-occidentales et contribua à la naissance de la sensibilité esthétique moderne. La rareté et la valeur formelle de ces sculptures les portèrent rapidement au sommet du collectionnisme international. Aujourd’hui encore, les figures gardiennes Kota sont fréquemment exposées aux côtés des chefs-d’œuvre de certains des plus grands artistes du XXe siècle.<\/p>\n

Du point de vue morphologique, les figures gardiennes Kota se caractérisent par un visage surmonté d’une coiffure en demi-lune, soutenu par un cou long et mince qui en accentue la monumentalité et pouvait également servir de poignée. Sous le cou, la figure se développe en une forme losangée qui représente une extrême schématisation du corps humain. Au revers apparaît souvent un élément en losange dont la signification reste aujourd’hui énigmatique.<\/p>\n

Le culte des figures gardiennes Kota, resté actif jusqu’à la fin du XIXe siècle, connut un rapide déclin au début du XXe siècle. Ce changement fut dû en grande partie à l’influence des missionnaires chrétiens, qui entraînèrent l’abandon progressif du culte des ancêtres. Cette transformation culturelle rendit commercialisables et accessibles les figures gardiennes, jusque-là considérées comme sacrées et inaliénables.<\/p>\n

Auparavant, ces sculptures constituaient un élément fondamental d’identité et de cohésion du clan, garantissant sa continuité et sa perpétuation. Les figures gardiennes Kota du Gabon recevaient périodiquement des offrandes et des tributs pendant des cérémonies organisées avant les expéditions de chasse, les fêtes de la récolte ou toute entreprise importante nécessitant la sagesse et la force immortelle des ancêtres vénérés.<\/p>\n

Leur importance rituelle ressort également du choix attentif des matériaux employés dans leur réalisation. Les figures étaient constituées d’une âme en bois revêtue de fines lamelles de métaux différents. L’usage du laiton ou du cuivre possédait une forte valeur symbolique, car ces métaux étaient particulièrement précieux auprès des populations du Gabon. Extrêmement rares dans la région, ils étaient obtenus au moyen d’échanges coûteux avec les marchands portugais.<\/p>\n

\n
\n

Approfondissements<\/h2>\n
\n

Highlights d’Art Africain<\/a><\/p>\n

Archives de la Collection d’Art Africain<\/a><\/p>\n

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

Publications sur l’Art Africain<\/a><\/p>\n

Expositions et salons<\/a><\/p>\n<\/div>\n<\/div>\n

\n

Sculptures associées<\/h2>\n
\n

Figure gardienne, Kota, Gabon<\/a><\/p>\n

Masque Mukuyi, Lumbu, Gabon<\/a><\/p>\n

Masque, Punu, Gabon<\/a><\/p>\n

Masque antilope, Kwele, Gabon ou R.D. du Congo<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/2″][vc_column_text css=\u00a0\u00bb\u00a0\u00bb el_class=\u00a0\u00bbpost-flat-h2″]<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/2″][vc_column_text css=\u00a0\u00bb\u00a0\u00bb el_class=\u00a0\u00bbpost-flat-h2″]<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

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

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