Senufo. Mask (Kponyugu), late 20th century. Wood, paint, 14 3/16 x 13 x 33 7/16 in. (36 x 33 x 85 cm). Brooklyn Museum, Gift of Susan Vogel, 2012.94. Creative Commons-BY (Photo: Brooklyn Museum, 2012.94_threequarter_PS9.jpg)
Senufo. Mask (Kponyugu), late 20th century. Wood, paint, 14 3/16 x 13 x 33 7/16 in. (36 x 33 x 85 cm). Brooklyn Museum, Gift of Susan Vogel, 2012.94. Creative Commons-BY (Photo: Brooklyn Museum, 2012.94_profile_PS9.jpg)
Mask (Kponyugu)
Arts of Africa
Becoming Again
Masquerade is a moment for play—a chance to invent and experiment, even within established social needs and existing mask genres. These two pairs of related works demonstrate artistic innovation in existing masquerade genres over time.
The two Bobo works share a basic form—a domed helmet with an extended vertical face, close-set eyes, and ridged horns—typical of Bobo mask style. The archaic features, weathered surface, and evidence of local repairs suggest that the nineteenth-century mask (far left) was a work of considerable local importance. It may represent an intellectual and visual predecessor of the twentieth-century version.
The Senufo kponyugu masks are both horizontal composite animal forms with long, projecting horns, a large, gaping mouth, and fearsome accoutrements such as sharp teeth and claws. Such details relate to Senufo cosmology, legends, and beliefs about the connections between certain animals and the ancestral and nature spirits that connect the living. The bright paint and overexaggerated features of the late twentieth-century version demonstrate how Senufo artists have updated this mask form over time.
Masquerade is a moment for play—a chance to invent and experiment, even within established social needs and existing mask genres. These two pairs of related works demonstrate artistic innovation in existing masquerade genres over time.
The two Bobo works share a basic form—a domed helmet with an extended vertical face, close-set eyes, and ridged horns—typical of Bobo mask style. The archaic features, weathered surface, and evidence of local repairs suggest that the nineteenth-century mask (far left) was a work of considerable local importance. It may represent an intellectual and visual predecessor of the twentieth-century version.
The Senufo kponyugu masks are both horizontal composite animal forms with long, projecting horns, a large, gaping mouth, and fearsome accoutrements such as sharp teeth and claws. Such details relate to Senufo cosmology, legends, and beliefs about the connections between certain animals and the ancestral and nature spirits that connect the living. The bright paint and overexaggerated features of the late twentieth-century version demonstrate how Senufo artists have updated this mask form over time.
CULTURE
Senufo
MEDIUM
Wood, paint
GEOGRAPHICAL LOCATIONS
- Possible place made: Sikasso Region, Mali
- Possible place made: Vallée du Bandama Region, Côte d'Ivoire
- Possible place made: Savanes Region, Côte d'Ivoire
DATES
late 20th century
DIMENSIONS
14 3/16 x 13 x 33 7/16 in. (36 x 33 x 85 cm)
mount (display dimensions): 35 x 25 x 13 in. (88.9 x 63.5 x 33 cm) (show scale)
COLLECTIONS
Arts of Africa
ACCESSION NUMBER
2012.94
CREDIT LINE
Gift of Susan Vogel
EXHIBITIONS
MUSEUM LOCATION
This item is not on view
CAPTION
Senufo. Mask (Kponyugu), late 20th century. Wood, paint, 14 3/16 x 13 x 33 7/16 in. (36 x 33 x 85 cm). Brooklyn Museum, Gift of Susan Vogel, 2012.94. Creative Commons-BY (Photo: Brooklyn Museum, 2012.94_threequarter_PS9.jpg)
IMAGE
threequarter, 2012.94_threequarter_PS9.jpg. Brooklyn Museum photograph, 2016
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RIGHTS STATEMENT
Creative Commons-BY
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