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拍品专文
Les cimiers ci wara, à la composition abstraite et zoomorphe, font partie des œuvres les plus connues de l’art Bamana. Ils étaient autrefois fixés sur des calottes de fibres tressées destinées à être portées sur la tête de danseurs. Ci wara signifie littéralement animal qui gratte (le sol) : ces représentations de l’hippotrague (antilope) renvoient aux temps mythiques, c’est-à-dire les temps primitifs, où l’animal aurait offert la première semence et aurait appris le travail de la terre aux Hommes Bamana. Ces cimiers ci wara étaient principalement dansés à l’occasion de cérémonies rituelles rattachées à la fertilité des champs et régies par le début et la fin du cycle agricole. Cette remarquable coiffe associe de manière abstractive le corps d’une antilope supporté par un fourmilier : la propension de ce dernier à fouiller la terre fait écho au bêchage des agriculteurs. La crinière épineuse de l'antilope contribue à l'unité plastique des deux animaux représentés, équilibre la composition et crée une merveilleuse unité formelle. Cette singularité stylistique a été attribuée à la région sud-est de Sikasso (cf. Colleyn, J.-P., Bamana: The Art of Existence in Mali, New York, 2001, pp. 231-233, fig. 226-230).
The most celebrated type of Bamana art are their abstract zoomorphic ci wara headdresses. Once attached to a woven fiber cap, they were worn on the heads of male dancers. Ci wara (literally ‘farm animal’) headdresses were modeled after the hippotragus antelope, invoking the mythical primeval era when this animal gave the first grain to mankind and taught the Bamana how to till the soil. Ci wara performances were primarily associated with ritual dances intended to ensure the fertility of the fields at the beginning and end of the agricultural cycle. This remarkable headdress combines an abstract body of an antelope on top of the body of an anteater (which burrows in the soil as farmers do when they cultivate the earth). Additional spines within the body of the antelope form the plastic unity between the two animals and balance the composition to create a wonderful unity of shapes. This specific style has been associated with the southeastern Sikasso region (cf. Colleyn, J.-P., Bamana: the art of existence in Mali, New York, 2001, pp. 231-233, figs. 226-230).
The most celebrated type of Bamana art are their abstract zoomorphic ci wara headdresses. Once attached to a woven fiber cap, they were worn on the heads of male dancers. Ci wara (literally ‘farm animal’) headdresses were modeled after the hippotragus antelope, invoking the mythical primeval era when this animal gave the first grain to mankind and taught the Bamana how to till the soil. Ci wara performances were primarily associated with ritual dances intended to ensure the fertility of the fields at the beginning and end of the agricultural cycle. This remarkable headdress combines an abstract body of an antelope on top of the body of an anteater (which burrows in the soil as farmers do when they cultivate the earth). Additional spines within the body of the antelope form the plastic unity between the two animals and balance the composition to create a wonderful unity of shapes. This specific style has been associated with the southeastern Sikasso region (cf. Colleyn, J.-P., Bamana: the art of existence in Mali, New York, 2001, pp. 231-233, figs. 226-230).