{"id":8560,"date":"2010-04-05T15:55:22","date_gmt":"2010-04-05T13:55:22","guid":{"rendered":"https:\/\/www.daltonsomare.com\/?post_type=opera&p=8560"},"modified":"2026-10-08T13:53:07","modified_gmt":"2026-10-08T11:53:07","slug":"masque-facial-kpelye-senufo-cote-ivoire","status":"publish","type":"opera","link":"https:\/\/www.daltonsomare.com\/fr\/opere\/masque-facial-kpelye-senufo-cote-ivoire\/","title":{"rendered":"Masque Kpelye, Senufo, 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 sombre, pigments
\n34 cm<\/p>\n

Provenance<\/h2>\n

Maria & Paul Wyss, B\u00e2le
\nCollection E. Winizky, Zurich
\nChristine Valuet, Paris
\nDalton Somar\u00e9, Milan
\nCollection priv\u00e9e, Los Angeles
\nCollection Leinuo Zhang, Milan<\/p>\n

Expositions<\/h2>\n

Die Kunst der Senufo<\/em>, Rietberg Museum, Zurich, 1988<\/p>\n

Publications<\/h2>\n

T. F\u00f6ster et L. Homberger, Die Kunst der Senufo<\/em>, Rietberg Museum, Zurich, 1988, p. 37
\nV. Carini, A Hidden Heritage<\/a><\/em>, Dalton Somar\u00e9, Milan, 2004, p. 151
\nM. Riccomini et alii, Souls \u2013 Masks from the Leinuo Zhang African Art Collection<\/em>, 5 Continents Editions, Milan, pp. 48-53<\/p>\n

\n

Art Senufo et société Poro<\/h2>\n

La sculpture Senufo de Côte d’Ivoire représente l’une des expressions les plus articulées de l’Art Africain<\/strong><\/a>, étroitement liée au système initiatique du Poro<\/em>, l’une des institutions sociales et religieuses les plus complexes d’Afrique occidentale. Dans ce système, les masques jouent un rôle fondamental dans la transmission des valeurs morales, des connaissances symboliques et de l’identité communautaire.<\/p>\n

Les masques Kpelye, considérés comme de nature féminine, sont portés par des hommes lors de rituels de passage entre classes d’âge. Ils incarnent un esprit bienveillant, capable de protéger et d’assister la communauté, et se distinguent par une expression délicate, introspective et légèrement assertive.<\/p>\n

La symbolique des masques Kpelye est très complexe et pas entièrement déchiffrée. Dans cet exemplaire, la crête supérieure peut être interprétée comme une référence aux cultivateurs, tandis que la protubérance frontale est souvent associée à la noix de kola, élément central de la vie sociale et rituelle d’Afrique occidentale. Les appendices inférieurs, semblables à des jambes stylisées, sont généralement liés au calao, animal associé au monde spirituel et aux ancêtres.<\/p>\n

La composition repose sur un équilibre subtil entre abstraction et reconnaissance. Les surfaces lissées et la structure symétrique sont animées par des éléments dynamiques qui introduisent rythme et tension visuelle. L’importance de ces formes fut reconnue très tôt par les artistes et théoriciens européens ; le lien possible avec le maître de la célèbre œuvre publiée dans Neger Plastik<\/em> de Carl Einstein souligne le rôle de la sculpture africaine dans la définition de la modernité artistique.<\/p>\n

\n
\n
\n
\n

Approfondissements<\/h2>\n
\n

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

Highlights d’Art Africain<\/a><\/p>\n

Collection d’Art Africain<\/a><\/p>\n

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

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

\n

Sculptures associées<\/h2>\n
\n

Masque Deanglé, Dan, Côte d’Ivoire<\/a><\/p>\n

Masque, Dan, région Toura, Côte d’Ivoire<\/a><\/p>\n

Figure féminine, Dan Gio, Lib\u00e9ria\/Côte d’Ivoire<\/a><\/p>\n

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

Figure masculine, Baule, Côte d’Ivoire<\/a><\/p>\n

Figure masculine Blolo Bian, Baule, Côte d’Ivoire<\/a><\/p>\n<\/div>\n<\/div>\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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