{"id":8558,"date":"2010-06-20T15:54:21","date_gmt":"2010-06-20T13:54:21","guid":{"rendered":"https:\/\/www.daltonsomare.com\/?post_type=opera&p=8558"},"modified":"2026-10-08T13:51:49","modified_gmt":"2026-10-08T11:51:49","slug":"masque-dan-region-toura-cote-ivoire","status":"publish","type":"opera","link":"https:\/\/www.daltonsomare.com\/fr\/opere\/masque-dan-region-toura-cote-ivoire\/","title":{"rendered":"Masque, Dan, r\u00e9gion Toura, C\u00f4te d\u2019Ivoire"},"content":{"rendered":"

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

D\u00e9but du XXe si\u00e8cle
\nBois, patine noire, fer
\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

\n

Art Dan et r\u00e9gion Toura<\/h2>\n

La sculpture Dan de C\u00f4te d\u2019Ivoire et du Lib\u00e9ria repr\u00e9sente l\u2019une des expressions les plus intenses et sophistiqu\u00e9es de l\u2019Art Africain<\/strong><\/a>, caract\u00e9ris\u00e9e par une capacit\u00e9 remarquable \u00e0 unir force expressive et rigueur formelle. Les populations Toura, culturellement et linguistiquement proches des Dan et des Mano, ont d\u00e9velopp\u00e9 un langage plastique autonome, reconnaissable \u00e0 la puissance des formes et \u00e0 la tension dynamique des surfaces.<\/p>\n

Cet ancien masque anthropomorphe peut \u00eatre associ\u00e9e \u00e0 la figure de Yina<\/em>, g\u00e9nie guerrier de la tradition Toura, entit\u00e9 li\u00e9e \u00e0 la force, \u00e0 la protection et \u00e0 la d\u00e9fense de la communaut\u00e9. Dans le contexte rituel, ces masques ne repr\u00e9sentent pas simplement un visage : ils incarnent une pr\u00e9sence active, capable de se manifester pendant les c\u00e9r\u00e9monies par la danse et la performance.<\/p>\n

La morphologie du masque repose sur une tension entre deux principes apparemment oppos\u00e9s. D\u2019un c\u00f4t\u00e9, la structure du visage est organis\u00e9e selon une stricte sym\u00e9trie axiale, qui conf\u00e8re stabilit\u00e9 et solennit\u00e9 \u00e0 l\u2019image. De l\u2019autre, les protub\u00e9rances frontales introduisent une dimension dynamique et puissante, comme si l\u2019\u00e9nergie interne de la figure se projetait vers l\u2019ext\u00e9rieur.<\/p>\n

L\u2019architecture du visage est construite autour d\u2019un axe central qui, du front \u00e0 la pointe du nez, divise la composition en deux moiti\u00e9s \u00e9quilibr\u00e9es. Les traits sont volontairement massifs et compacts, cr\u00e9ant une image d\u2019autorit\u00e9 et de myst\u00e8re. La fine fente des yeux emp\u00eache de reconna\u00eetre le danseur, transformant celui-ci en pr\u00e9sence surnaturelle. La patine noire, profonde et compacte, accentue la puissance plastique de l\u2019\u0153uvre et t\u00e9moigne de son usage rituel.<\/p>\n

Cet \u00e9l\u00e9ment est fondamental dans la fonction rituelle du masque, qui ne r\u00e9v\u00e8le pas mais dissimule, cr\u00e9ant une distance entre le monde humain et le monde spirituel.<\/p>\n

La patine noire, profonde et compacte, accentue la force plastique de l\u2019\u0153uvre et t\u00e9moigne de son utilisation rituelle. L\u2019insertion d\u2019\u00e9l\u00e9ments m\u00e9talliques contribue \u00e0 renforcer le caract\u00e8re agressif et puissant de la figure.<\/p>\n

\n
\n

Approfondissements<\/h2>\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

Masque Deangl\u00e9, Dan, C\u00f4te d\u2019Ivoire<\/a><\/p>\n

Figure f\u00e9minine, Dan Gio, Lib\u00e9ria\/C\u00f4te d\u2019Ivoire<\/a><\/p>\n

Masque, Dan Mano, Lib\u00e9ria<\/a><\/p>\n

Figure masculine, Baule, C\u00f4te d\u2019Ivoire<\/a><\/p>\n

Figure masculine Blolo Bian, Baule, C\u00f4te d\u2019Ivoire<\/a><\/p>\n

Figure f\u00e9minine, Baule, C\u00f4te d\u2019Ivoire<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n

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

[vc_row][vc_column][vc_column_text css=\u00a0\u00bb\u00a0\u00bb el_class=\u00a0\u00bbpost-flat-h2″] D\u00e9but du XXe si\u00e8cle Bois, patine noire, fer 53 cm Provenance Philippe Larue, Paris Publications Masks, Dalton Somar\u00e9, Milan, 2012, pp. 14-15 Art [\u2026]<\/span><\/p>\n","protected":false},"featured_media":9590,"template":"","tipo-di-arte":[156,158],"class_list":["post-8558","opera","type-opera","status-publish","has-post-thumbnail","hentry","tipo-di-arte-art-africain","tipo-di-arte-collection-art-africain"],"acf":[],"yoast_head":"\nMasque Dan, r\u00e9gion Toura, C\u00f4te d\u2019Ivoire | Dalton Somar\u00e9<\/title>\n<meta name=\"description\" content=\"Fiche d\u2019\u0153uvre Dalton Somar\u00e9: Masque Dan, r\u00e9gion Toura, C\u00f4te d\u2019Ivoire. 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