Provenance:
Jan Porel, Göteborg (1920).
Dutch Private Collection, Amsterdam.
Prof. Kristian Fenzl, Linz.
Amercican Private Collection, New York.
Published:
1997: Duchâteau, Armand. Afrika. Klagenfurt: Bergbau-Museum. S. 58.
2002: Kerr, Reynold C. Mother Africa. New York: Kerr Museum & Institute of Ethnodesign. S. 47.
Exhibited:
1997: Museum Klagenfurt, Austria.
1998: Museum Kunsthalle Krems, Austria.
2002: The Schomburg Center, Harlem, New York.
2002: Centro Conde Duque, Madrid.
2004: Pinto-Cabrera, Tenerife.
2004: La Regenta, Las Palmas.
2007: Museo del Hombre Dominicano, Santo Domingo.
Radiocarbon dating, Swiss Federal Institute of Technology Zürich. AD 1679-1769 (34.9%) AD 1802-1939 (65.1%)
Charming Jo mooni or Gwan dusu Figure from the Jo Society
This mother-figure, impressive in its monumental size, sitting in the dignified pose of a saint and at the same time symbolizing a mother, is a feast for the eyes of an African art lover. The goal of the Jo was the harmonious continuation of the society, and thus they expressly defied infertility. Jo mooni figures represent the soul of the Jo. They were kept in sanctuaries and only taken out for very special occasions at which time they were set up, washed, rubbed with ointments, and worshipped. They were considered, inter alia, to be emblems of vitality, beauty and rationality.
The thin, elongated head, with three braids and an elegant headdress, rests harmoniously on the long, graceful neck. All this flows without transition into a gorgeous, elongated female body. Sitting gently, she holds her child with her very long, rounded arm as though it were the most valuable thing ever created.
The queen sits in an arm-chair. Her comparatively short legs make up only 1/5 of the total height of the sculpture. The intentional disproportion gives the whole figure a formally balanced rhythm and at the same time creates an effect that confuses the senses.
At a height of almost two meters, the viewer stands eye to eye to her, and her mysterious gaze gives a partial glimpse into the depths of Bamana mythology.
This sensitive figure, with its superlative provenance, can most probably be dated to the 19th century and can certainly be included in the masterworks of African art. It is thus not at all surprising that it has already been admired as a special highlight in numerous exhibits.
For further reading:
Colleyn, Jean-Paul (2001). Bamana. Afrikanische Kunst aus Mali. Zürich: Museum Rietberg
Price upon request.
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