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MOBA TCHITCHERI FIGURE

  • Togo
  • Moba culture
  • 18th - 19th century or older
  • Hardwood
  • H. 66 cm
  • Provenance :

• Collected personally in situ by Pierre Amrouche, Paris, towards the end of the 1980ies.

• Collection Halpen, Paris

  • Publication :

• Le Journal des Arts, July 2005

Moba diviners influence and direct the planning, design and ritual use of tchitcheri figures for family or clan shrines. They are protective and promote health and prosperity. Representing no particular person or ancestor, they are an individual’s direct link with God. The figure is reduced to an elemental, symbolic form. Details such as facial features, hands, feet and indications of gender are rare.

Photo credit : Studio Asselberghs – Frédéric Dehaen

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A LUBA KIFWEBE MASK

  • Democratic Republic of the Congo
  • Luba people
  • 19th century
  • H. 24,5 cm
  • Provenance :

• Mathias Komor (1909 – 1984), New York

• Adrian Schlag, Brussels

• The Amy & Elliot Lawrence collection, since May 2018.

Photo credit : Studio Asselberghs – Frédéric Dehaen

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A MONUMENTAL ANCESTRAL FEMALE FIGURE

  • Madagascar
  • Sakalava people
  • ‘Hazomalanie’, a kind of camphor wood, also called ‘faux camphrier’
  • H. 169 cm

Photo credit : Studio Asselberghs – Frédéric Dehaen

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RELIEF OF SHIVA AND PARVATI UMA-MAHESHVARA

  • Northeast India: Bengal or Bihar
  • Hindu culture
  • 11th - 12th century
  • Black stone
  • H. 64 cm x W. 34,5 cm

The slender stela is shaped like a rounded top. At its center, there is a deeply molded relief depicting the four-armed Shiva. He is seated in the lalitasana pose on a low double lotus. In his side hands, he holds the trident and the skull bowl. His drooping leg rests on the bull Nandi, and his left arm drapes around his spouse Uma. Uma sits on his thigh, holding a lotus flower in her hand and resting her drooping leg on a lion. The prabha is adorned with two celestial beings known as vidyadhara. 

Photo credit : Studio Asselberghs – Frédéric Dehaen

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A FUNERAL PLANK-POST

  • Madagascar, southern region
  • 19th century
  • Hardwood, iron
  • H. 182 cm

A crocodile carrying a baby crocodile on its back and a quadruped ascend towards an ancestral couple.

Photo credit : Studio Asselberghs – Frédéric Dehaen

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LINGA

  • Java, Indonesia
  • Hindu culture
  • 10th - 12th century
  • Gray volcanic stone
  • H. 99 cm
  • Provenance :

• Private German collection, W. R.

Photo credit : Studio Asselberghs – Frédéric Dehaen

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NANDI, THE BULL VAHANA OF THE HINDU GOD SHIVA

  • Cambodia
  • Pre-Angkor (Pre-Khmer)
  • 8th century
  • Sandstone
  • Width 45 x height 28 cm

Nandi is the vehicle of Shiva. In Pre-Angkorian times, Shiva was a popular deity and was quite often represented in his non-human manifestations, such the linga and Nandi.

  • Provenance :

• Private German collection, W. R.

  • Publication :

• Marcel NIES, The Sacred Breath, 2005, pp. 16-17

  • External certificates or test reports :

• C14 – CT scan report by Scantix, Marc Ghysels – Réf. 090610-1

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Photo credit : Studio Asselberghs – Frédéric Dehaen

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A SOARING MIJOA BIRD

  • Madagascar
  • Sakalava people
  • Early 20th century or older
  • ‘Hazomalanie’, a kind of camphor wood, also called ‘faux camphrier’
  • H. 112 cm
  • Provenance :

• Ex Claude Meyer collection, Paris

Exceptional size and “Brancusi” styled profiles

Photo credit : Studio Asselberghs – Frédéric Dehaen

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A PAIR OF WHIRLING GUARDIAN LIONS

  • China
  • Mid Qing dynasty (1644 - 1911)
  • 18th - 19th century
  • Marble
  • Length 120 cm x Width 33 cm

An architectural ornamental relief depicting a scene of two confronting lions (石獅 shíshī) symbolizing cosmic forces. The lions guard a ball which represents ‘material matter’ (versus ‘spiritual matter’, not depicted in this scene).

Photo credit : Studio Asselberghs – Frédéric Dehaen

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A FUNERAL POST DEPICTING AN ASCENDING CROCODILE

  • Madagascar, Southern region
  • 19th century
  • Hardwood
  • H. 243 cm

The post was topped by possibly a figurative element since two broken struts (legs?) remain.

Photo credit : Studio Asselberghs – Frédéric Dehaen

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