tag:blogger.com,1999:blog-65386116122706693572024-03-27T07:37:02.322+01:00Statuary-in-Contextstatuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.comBlogger150125tag:blogger.com,1999:blog-6538611612270669357.post-9344885893045293712024-02-18T11:15:00.005+01:002024-02-18T21:19:20.545+01:00Research outcome: Seven years of ‘’statuary-in-context.ch’’<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br /></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The seventh year of my research
work on statuary-in-context was, as already anticipated in the last annual
report, affected by my high workload in my main profession – only eight
blogposts could therefore be published. However, the topics varied
significantly and covered all three areas of interest: (i) the center of
the Volta River Basin in West Africa, i.e. the ‘’arch’’ from Burkina Faso to
northern Ghana and Togo, or the area from the Lobi people in the west to the
Moba people and their southern neighbors in the east (five posts), (ii) the Fon
and Ewe people from southeastern Ghana to southern Benin (one post), and (iii)
Madagascar and Indonesia (two posts). Post hoc fact checking was performed in
five cases, and own research findings were reported in three cases.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT4_714KxmJBo6ByYpYsTzgfbq6mQizPp5kpoTuQy0jZLPLWx_oczuzHYOFEgJldEjg6KaHdbliROJL8wcQt5cp4fI1kAqCWlh7DQnGgggUpc4vIuey6EAyI4APDFNSui6Almq8odpjtI-RTPuwAk94WLzaFPY1VOGMsySlZy5OdEBfY3yBe6tnv0ZwNHi/s2392/Fig.%201.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1465" data-original-width="2392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT4_714KxmJBo6ByYpYsTzgfbq6mQizPp5kpoTuQy0jZLPLWx_oczuzHYOFEgJldEjg6KaHdbliROJL8wcQt5cp4fI1kAqCWlh7DQnGgggUpc4vIuey6EAyI4APDFNSui6Almq8odpjtI-RTPuwAk94WLzaFPY1VOGMsySlZy5OdEBfY3yBe6tnv0ZwNHi/s16000/Fig.%201.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Fig. 1. Number of published blogposts during last seven years
according to areas of research</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The development of the published blogposts
according to these areas of research, during the last seven years, is shown in
Fig. 1. The focus was on Lobi and Northern Togo</span><span lang="EN-US"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">in the
first two years, while the cemeteries of the Sakalava and their artists in
Madagascar gained significant interest in the following years. The topics of
the last two years varied, but the number of posts significantly decreased due
to the above-mentioned reason. However, it merits to be mentioned that this
post is the 150th post, which bears witness to the research work
performed so far.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLoI2LbxIRdL0_05Hi0Uf_q5kEplRHB3Qh5eMOQT2yftICAZ8kPjsScRWHoMG9gH3gHRWvg768yeJ2TXDOiixZYW8hoJfOaq_RjMP0JYVP_zXL5eCLj3nSbbwwQnHObU4I3dniY4X6K84W5BiA7RGOcmFIVFAVfEmz-VFOeJ3r42lFTpAeKC2rlZVJYV4Q/s2408/Fig.%202.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1457" data-original-width="2408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLoI2LbxIRdL0_05Hi0Uf_q5kEplRHB3Qh5eMOQT2yftICAZ8kPjsScRWHoMG9gH3gHRWvg768yeJ2TXDOiixZYW8hoJfOaq_RjMP0JYVP_zXL5eCLj3nSbbwwQnHObU4I3dniY4X6K84W5BiA7RGOcmFIVFAVfEmz-VFOeJ3r42lFTpAeKC2rlZVJYV4Q/s16000/Fig.%202.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Fig. 2. Number of blogpost views per month over last seven years</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The number of blogpost views per
month during these years – about 700 on average – did not decrease, however, as
depicted in Fig. 2, which demonstrates that the contents of previous posts are
still of interest and relevant.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1VkhPbIDY6ZUIq6FYegMjYyUnj_bFG6hPW-QYGsfPowdNVTxR-WzUBGokQCpUxWL042qYsy81F2cNvaDNAz9kVdH_Kszfazpb0cs1MpEaxa5Zdt80zw2Regh8TJLXyRwfnLpO5a8hvMK69b_2ENxRRLDUr6CyFqvpDZ0Va8gtHhvGlkwryJarOTOOAnM3/s2397/Fig.%203.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1458" data-original-width="2397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1VkhPbIDY6ZUIq6FYegMjYyUnj_bFG6hPW-QYGsfPowdNVTxR-WzUBGokQCpUxWL042qYsy81F2cNvaDNAz9kVdH_Kszfazpb0cs1MpEaxa5Zdt80zw2Regh8TJLXyRwfnLpO5a8hvMK69b_2ENxRRLDUr6CyFqvpDZ0Va8gtHhvGlkwryJarOTOOAnM3/s16000/Fig.%203.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Fig. 3. Cumulative sum of blogpost views over last seven years according to
countries</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The cumulated sum of these views,
according to countries, is shown in Fig. 3. The composition and ranking of the
top group did not change over all these years, with the highest numbers still belonging
to the USA and France, followed by a group comprising Germany, Belgium, Italy, Netherlands,
and Spain. The data also demonstrate that the cumulated sum of views is still
almost linearly increasing.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9EZ4dGxGStn5Snd6FMx6kPCzf2iLverenXQ6HNQV-SRw22Lt_2QK0E6tS91A1nnlq7UpMNy1VKL8cxsxMnotclf3YFWKNQYUUNdtk-p0__ULKMB3M5M2Xh58J58wQ2dJxq4UC_lPAPBYQb7TaNRSK_h15juMlsh0sg_EjyWfRWicfHUCEarr-iM2l9uTh/s2367/Fig.%204.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1485" data-original-width="2367" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9EZ4dGxGStn5Snd6FMx6kPCzf2iLverenXQ6HNQV-SRw22Lt_2QK0E6tS91A1nnlq7UpMNy1VKL8cxsxMnotclf3YFWKNQYUUNdtk-p0__ULKMB3M5M2Xh58J58wQ2dJxq4UC_lPAPBYQb7TaNRSK_h15juMlsh0sg_EjyWfRWicfHUCEarr-iM2l9uTh/s16000/Fig.%204.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Fig. 4. Number of publication downloads per month over last seven years </span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Coming to my publications, which
can be downloaded free of charge on <a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"> – their number of downloads per month, during the
last years, is depicted in Fig. 4. Although the seven publications, shown in
Fig. 5, already date from 2011-2018, their number of downloads is still
significant and exhibits only a small decreasing trend. The next publication is
planned to summarise the work performed about the Sakalava cemeteries of
Madagascar, but is still lagging behind, unfortunately.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg61M3tJCHxItq-kyDNOqeOCribkw7pWvp2Szwv7hB2DX8ErbokNa6PvoXlXSI1qMjBvRhu69rlMotaRmpzM7HOGS3I4aPC2UIUFsS7Zko_mtT4IkCCQcZBCgMgTEmlJHyGX_lvEBy0oOA27-WNWthlZB1C9APvVok52fkPHYRyUi3k3SOpUHRlkTdqeYrd/s2640/Fig.%205.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1381" data-original-width="2640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg61M3tJCHxItq-kyDNOqeOCribkw7pWvp2Szwv7hB2DX8ErbokNa6PvoXlXSI1qMjBvRhu69rlMotaRmpzM7HOGS3I4aPC2UIUFsS7Zko_mtT4IkCCQcZBCgMgTEmlJHyGX_lvEBy0oOA27-WNWthlZB1C9APvVok52fkPHYRyUi3k3SOpUHRlkTdqeYrd/s16000/Fig.%205.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Fig. 5. Statuary-in-context.ch publications, <a href="https://www.statuary-in-context.ch/index.html" target="_blank">free download here</a></span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Although a change of my professional
workload is currently not foreseeable, I hope that the frequency of my blog
publications can increase again in 2024.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 12pt; text-align: left;">With my best wishes</span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">
Thomas Keller<br />
info@statuary-in-context.ch<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><o:p> </o:p></span></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-65691451472892446022023-12-24T15:36:00.007+01:002023-12-24T23:57:40.523+01:00Research outcome: Pande Paho Mayasa – Documentary movie<p></p><div style="text-align: left;"><br /></div><span style="text-align: justify;"><div style="text-align: justify;"><span style="font-size: 12pt;">Mayasa are wooden tomb poles on
Buton Island of Sulawesi, which were first documented by Elbert in 1911, an example is shown in Fig. 1. The sculptures are representations of the complex cosmology and
animistic beliefs of the local Laporo population. According to [2, 3], the
three part composition of the poles represents the under-, middle- and
upperworld, but also approaches the Mayasa to anthropomorphic sculptures, expressing
head, body and legs, see Fig. 1. The middleworld is represented by a pile
dwelling, which is inhabited by the soul of the deceased. More details about
the composition and spiritual background of these extraordinary poles can be
found in [2, 3].<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi55fApQaTlV3Cob73gIcLMP1dJLGjJ8MRn3uKpz1A3kOBC5G8csDYkH3hc-J9VCWlqV1W2csl-vOgo3epI1HvEkXQcJHoP1fu0fVHsaWz7KNFN3wBUxtEdc85hxSnM_Y8iUVkaqxHXBtWi0l7c-4MonHyeFC6-H50zQbdhvN4cKtAtUptnZ2LwP5WmfbL/s1181/Mayasa%20slides-1.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="717" data-original-width="1181" height="389" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi55fApQaTlV3Cob73gIcLMP1dJLGjJ8MRn3uKpz1A3kOBC5G8csDYkH3hc-J9VCWlqV1W2csl-vOgo3epI1HvEkXQcJHoP1fu0fVHsaWz7KNFN3wBUxtEdc85hxSnM_Y8iUVkaqxHXBtWi0l7c-4MonHyeFC6-H50zQbdhvN4cKtAtUptnZ2LwP5WmfbL/w640-h389/Mayasa%20slides-1.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 1. Pande Paho Mayasa – Documentary movie (movie frame)</span></td></tr></tbody></table></span></div></span><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">According to Schneider, the tradition
of the Mayasa disappeared since the 1970s. In 1992, he could only find some
remaining tombs with deteriorated poles in the Hendeya (Hendea) village [2,
3]. However, according to Arif Relano Oba, whose father lived in that village, the
tradition is still alive at this specific location. As a photographer and
filmmaker, he produced a documentary movie about the Pande Paho Mayasa (wooden
tombstone makers). The movie was released in July 2023 in the local Cia-Cia
language [4]; the trailer, with English subtitles, can be seen on YouTube [1].</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIrfJ5n-LL9escRAxx-5rvY2Qyd4XqikS_JzbWw9HC0ppp6G1S1Y9r-TttgPKx4pq0iODiXOs_A-3R5-tziIjSwXQ33YU9l9FWkt2PxNQZW-FRTI-0BfTxPRpf6j4Gbw7PWEdZ8d8hVNT4c8in3d8Ehu5LiPVetW87vHDeuDBihHj6iKfT1icf3Q0GsC7N/s886/Mayasa%20slides-2.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="527" data-original-width="886" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIrfJ5n-LL9escRAxx-5rvY2Qyd4XqikS_JzbWw9HC0ppp6G1S1Y9r-TttgPKx4pq0iODiXOs_A-3R5-tziIjSwXQ33YU9l9FWkt2PxNQZW-FRTI-0BfTxPRpf6j4Gbw7PWEdZ8d8hVNT4c8in3d8Ehu5LiPVetW87vHDeuDBihHj6iKfT1icf3Q0GsC7N/w400-h238/Mayasa%20slides-2.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 10pt; line-height: 107%;">Fig. 2. Carving of Mayasa in Hende(y)a, in 2022 (movie frame) </span></td></tr></tbody></table><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br /><o:p></o:p></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA32_wqLUZEQDUxPu8YN1BzOGkU9qXWQOj8Oz9S0sdS3FRjYCy5Uv3UFz07DZMdMBtWyhGwDi2aXfhc7JUWNqG4V1ydUgfXHWGrKV9eGuv1nD7MQt37u22vdOCSkSoQBeW0AtIWSSIHHS749TfskuMBdPT_Ag0e7bDzMARMaQ1S1ZByISpK7AyBCg4vC8r/s886/Mayasa%20slides-3.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="536" data-original-width="886" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA32_wqLUZEQDUxPu8YN1BzOGkU9qXWQOj8Oz9S0sdS3FRjYCy5Uv3UFz07DZMdMBtWyhGwDi2aXfhc7JUWNqG4V1ydUgfXHWGrKV9eGuv1nD7MQt37u22vdOCSkSoQBeW0AtIWSSIHHS749TfskuMBdPT_Ag0e7bDzMARMaQ1S1ZByISpK7AyBCg4vC8r/w400-h242/Mayasa%20slides-3.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 3. Application of black painting and red, white and yellow dots (movie frame) </span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The movie demonstrates how the
tradition survived and developed since the early 1910s, and also adds new
elements, which were not yet mentioned in literature. The carving of the today’s
poles is much less deep (compare Fig. 1 with Figs. 2 and 3), since, due to economic
reasons, they are produced in only one day, while four days were spent</span><span lang="EN-US" style="mso-ansi-language: EN-GB;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">per pole in the past. The poles were painted white in
the past [2, 3], while they are black today - the reason for this different color
is not clear. The red, white, and yellow dots, which are added today (Fig. 3),
cannot be seen on old poles.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj592HxEdmMp4g6qGnJqQTnhcIjLt1yoMaTvKh1TOLKwt4DoB3GLGtEQhT9DZSctu1sJJFHHyhIKqaZHwU8_UbICAhMNecpOTMOvYcseGgpVGtRbR9sP24mD0EPqAFFMP-hHoMMFlqY9eaO-CZT_U3EG6wMQrHFd4DJxh1H4XwQez_RFFr8DEaGS6lpVN4P/s886/Mayasa%20slides-4.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="562" data-original-width="886" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj592HxEdmMp4g6qGnJqQTnhcIjLt1yoMaTvKh1TOLKwt4DoB3GLGtEQhT9DZSctu1sJJFHHyhIKqaZHwU8_UbICAhMNecpOTMOvYcseGgpVGtRbR9sP24mD0EPqAFFMP-hHoMMFlqY9eaO-CZT_U3EG6wMQrHFd4DJxh1H4XwQez_RFFr8DEaGS6lpVN4P/w400-h254/Mayasa%20slides-4.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 10pt; line-height: 107%;">Fig. 4. Adding temporary arms and dressing of Mayasa (movie frame)</span></td></tr></tbody></table><p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 12pt; text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWDbWpgZqFKhj12V_WT14xKxOv1FvV3mk27V-pfkI6SKvZVieZlzCIvGKk1m9Mz1EALTIHVrVR4zYV-EDvjHG8cU-pkRqjgBns52xUZBVjRdAE_OlgrUXnCOd0imeFrQPFcl69isrvdinOh7-vQrYDIZVj3m7gnDUeUclu5KIMiD0PP4w7AGwirSamiUEK/s886/Mayasa%20slides-5.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="550" data-original-width="886" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWDbWpgZqFKhj12V_WT14xKxOv1FvV3mk27V-pfkI6SKvZVieZlzCIvGKk1m9Mz1EALTIHVrVR4zYV-EDvjHG8cU-pkRqjgBns52xUZBVjRdAE_OlgrUXnCOd0imeFrQPFcl69isrvdinOh7-vQrYDIZVj3m7gnDUeUclu5KIMiD0PP4w7AGwirSamiUEK/w400-h248/Mayasa%20slides-5.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 10pt; line-height: 107%;">Fig. 5. Carrying dressed Mayasa to tomb in woods (movie frame) </span></td></tr></tbody></table></span></div><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">A new element, not documented in
literature, is that poles are dressed until they are planted on the tombs, see
Figs. 4 and 5. It is not clear, however, whether this element is more recent or
already existed in the past. The fact that always two Mayasa are installed on
one tomb is maintained, the tomb composition, however, changed. While tombs
were simply covered with stone blocks in the past, they are composed of tiled
walls today, see Fig. 6. Older poles can also be seen in Fig. 6; however, their
carving is very simple and cannot be compared with the artistic quality of traditional
poles (Fig. 1).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhapkY5_FBkIo5k9QmpQUq7f_W__K1wfYwsvutLSicLQoC1kWtnxb2lAgWRYhLLJlBWiuw5W60mULfI3H8AZZ79S-PU-lCQXkTgMLXDi5CkHNMWkRMxWPBMYJzbxAzYq0wjWen6S2TKsF2LIjqTVDhhuFZLrjmdLQG5y5YuZiLVgaQZYSDcCqA2rzSRb31M/s886/Mayasa%20slides-6.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="523" data-original-width="886" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhapkY5_FBkIo5k9QmpQUq7f_W__K1wfYwsvutLSicLQoC1kWtnxb2lAgWRYhLLJlBWiuw5W60mULfI3H8AZZ79S-PU-lCQXkTgMLXDi5CkHNMWkRMxWPBMYJzbxAzYq0wjWen6S2TKsF2LIjqTVDhhuFZLrjmdLQG5y5YuZiLVgaQZYSDcCqA2rzSRb31M/w400-h236/Mayasa%20slides-6.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 10pt; line-height: 107%;">Fig. 6. Old tombs with (very simple) Mayasa planted in stone block
accumulations, and new tombs with Mayasa inside tiled tomb walls (movie frame) </span></td></tr></tbody></table><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><o:p></o:p></span><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The movie thus impressively demonstrates
how a cultural tradition can survive by making compromises and adaptations to
the changing social and economic life conditions.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-GB" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-GB;">References<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-GB" style="font-size: 10pt; line-height: 120%; mso-ansi-language: EN-GB;">[1] Pande Paho Mayasa - Documentary movie by Arif
Relano Oba, 2023. <a href="https://www.youtube.com/watch?v=tmyL9M28npU" target="_blank">Trailer on YouTube</a>. </span><span face=""Arial",sans-serif" lang="EN-GB" style="font-size: 10pt; line-height: 120%; mso-ansi-language: EN-GB;"><br />
[2] Keller, Thomas. Mayasa Statuary. Keller Tribal Art, Lully, Switzerland,
2012. <a href="https://www.statuary-in-context.ch/indonesian-art.html" target="_blank">Free download here</a>. </span><span face=""Arial",sans-serif" lang="EN-GB" style="font-size: 10pt; line-height: 120%; mso-ansi-language: EN-GB;"><br />
[3] Keller, Thomas. Mayasa grave sculptures on Buton Island in Sulawesi. Tribal
Art, no. 70, 2013, 110-115.<br />
[4] Arif Relano Oba on <a href="https://www.instagram.com/arif_relano_oba/?hl=de" target="_blank">Instagram</a>. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Keller, Thomas. Research outcome: Pande Paho Mayasa – Documentary movie.
<br />
https://statuary-in-context.blogspot.ch, 24.12.2023.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-GB" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-GB;">Homepage:
www.statuary-in-context.ch<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 9pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled according to the ‘’fair
practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US;"><o:p> </o:p></span></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-43363029556222304752023-10-08T21:05:00.002+02:002023-10-08T21:13:41.905+02:00Fact check: Tchamba sculptures at Parcours 2023?<p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face="Arial, sans-serif" style="font-size: 12pt; text-align: justify;"><br /></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The attribution of two sculptures, shown
at the 2023 ‘’Parcours des mondes’’ exhibition, to the Tchamba people of Northern
Togo is discussed in the following. The sculptures in question, S1 and S2, are depicted
in Fig. 1. The factual statements made on the labelling in the exhibition rooms
are first cited and subsequently discussed.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Sculpture
S1<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Factual
statement:</span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"> Tchamba, fetish
figure, late 19th to 20th century, Togo. This is an
exceptionally strong Tchamba figure with a small opening in the belly to hold
magical substances. The Tchamba are known as indigenous people of northern
Ghana, Dagbon. Many migrated early 20th century to neighboring
countries as Togo (Galerie Jo De Buck).</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvuah83lzvLF_83Iw14odLGuu73p4R6H2DikR_bNzXDK7zVP0o7oBT6jgS2yzHrP8To7zKg4NkS3qJagvqA5Uq1Nx9VKH9LtLMfMoKVpyXezBGPaJqmhSwx_G3nhPxo0TeAJu23QRK7hiW5XGWsfNHwiBUPbzjLFw0VC8rJ1XCaZx6YnAwH1JsFXDShYSQ/s2096/Tchamba-1.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1533" data-original-width="2096" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvuah83lzvLF_83Iw14odLGuu73p4R6H2DikR_bNzXDK7zVP0o7oBT6jgS2yzHrP8To7zKg4NkS3qJagvqA5Uq1Nx9VKH9LtLMfMoKVpyXezBGPaJqmhSwx_G3nhPxo0TeAJu23QRK7hiW5XGWsfNHwiBUPbzjLFw0VC8rJ1XCaZx6YnAwH1JsFXDShYSQ/w640-h468/Tchamba-1.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 1. Sculptures S1 and S2 attributed to the Tchamba at the ‘’Parcours
des mondes’’, 2023 in Paris<br />(own photos taken between September 5-7)</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Discussion:</span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"> The sculpture in question, S1, is copied into a
series of sculptures attributed to the Tchamba of similar or larger size in
Fig. 2, they were published since 1992 [1, 2]. As can be seen, sculpture S1 is
much less detailed than the comparable works - it appears somehow bulky and
like not carve to the end. The crest and bent arms, typical for Tchamba
sculptures, are only indicated, and contrast with the massive head and upper
body. It is not clear what is meant with an ‘’exceptionally strong’’ figure –
is it considered exceptionally powerful or as a masterpiece? The sculpture,
with the bent back, seems introverted and defensive, and not more expressive or
of higher artistic quality than the other works. Openings containing magic
substances are not inserted in any of the other sculptures.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKRdI1IPA2joo7D6aLjp4jUIdgbPtd2ajQXXmNF59B-mIocwTIIMiY4Vh-m_ljRKwPzcKiSn1i1PyeFu2K08zgi91F3FkplMQloDVV-N8lGss3C8p6PbYQnhp6qLzPapEuatmf9y8W_9fiMEhNK4zJrE3pw-5HZgd1G3w3bcsDSMYl76jad8fjtXza5GRh/s3452/Tchamba-2.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1587" data-original-width="3452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKRdI1IPA2joo7D6aLjp4jUIdgbPtd2ajQXXmNF59B-mIocwTIIMiY4Vh-m_ljRKwPzcKiSn1i1PyeFu2K08zgi91F3FkplMQloDVV-N8lGss3C8p6PbYQnhp6qLzPapEuatmf9y8W_9fiMEhNK4zJrE3pw-5HZgd1G3w3bcsDSMYl76jad8fjtXza5GRh/s16000/Tchamba-2.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 2. Sculpture S1 compared to other sculptures attributed to the
Tchamba since 1992 [1, 2]</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The origin of the Tchamba, as
disclosed in the factual statement, cannot be confirmed. According to [1, 2],
the Tchamba, already mentioned in 1898, are a complex and heterogeneous ethnic
group composed of an autochthonous core (originally Lama, in Northern Togo),
and Bi-Tchambe, Temba, Bariba, Ana, Anago, Ewe, etc., who have gradually
immigrated into the Tchamba canton of the Nyala prefecture of the Centrale
region in Northern Togo. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Sculpture
S2<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Factual
statement:</span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"> Tchamba figure, Togo (Galerie
Alain Bovis).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Discussion:
</span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Figure S2 fits into a
series of figures also attributed to the Tchamba, as shown in Fig. 3. However,
similar figures were also related to the Losso, Lemba, Dagomba or Keaka [3-4].</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI0lkudWZGkJh_Gvk6KtXMFL7NQ2IdfhdHXqvCW1JiBdGffzB5MoAkdTrhmSb9aq7xBOqfJTcwmFL7FOMeJ92qn2OpvUQfTWEkOmUoeLSsB5q9yBx_eC33uKFTZ8KZVPwIQwqD0ND93JYENG8Mo1JPQJZQD-epVk77eimP4ZHsFgLoOmfI4Yyid5LZ8Hhz/s2922/Tchamba-3.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1175" data-original-width="2922" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI0lkudWZGkJh_Gvk6KtXMFL7NQ2IdfhdHXqvCW1JiBdGffzB5MoAkdTrhmSb9aq7xBOqfJTcwmFL7FOMeJ92qn2OpvUQfTWEkOmUoeLSsB5q9yBx_eC33uKFTZ8KZVPwIQwqD0ND93JYENG8Mo1JPQJZQD-epVk77eimP4ZHsFgLoOmfI4Yyid5LZ8Hhz/s16000/Tchamba-3.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 14.6667px; text-align: justify;">Fig. 3. Sculpture S2 compared to other similar sculptures attributed to the Tchamba [1, 2]</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Conclusions<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">As concluded in [1], a differentiation
between the works of the Kara and Centrale regions in Northern Togo, i.e.
between Lamba/Losso and Tchamba/Temba-Kotokoli, respectively, is normally
difficult. The presence of a crest and the larger size of sculpture S1 may
support, however, an attribution to the Tchamba or Temba-Kotokoli of the
Centrale region. Concerning figure S2, five (including a couple) out of nine
figures, so a majority, have been attributed to the Tchamba so far. Nevertheless,
this does not yet allow a definitive attribution.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">References<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[1] Keller Thomas.
Northern Togo Statuary. Keller Arts Premiers, Lully VD, 2018. <a href="https://www.statuary-in-context.ch/moba.html" target="_blank">Free download here</a>.<br />
[2] Keller, Thomas. Research outcome: Statuary from the Tchamba region,
Northern Togo. <a href="https://statuary-in-context.blogspot.com/2017/05/research-outcome-statuary-from-tchamba.html" target="_blank">Blogpost</a>, 20.05.2017<br /></span><span face=""Arial",sans-serif" lang="EN-GB" style="background: rgb(250, 250, 250); color: #333333; font-size: 10pt; mso-ansi-language: EN-GB;">[3] Keller, Thomas. Fact check:
Losso fetish, Togo? <a href="https://statuary-in-context.blogspot.com/2018/06/fact-check-losso-fetish-togo.html" name="_Hlk147690277" target="_blank">Blogpost, </a>10.06.2018.</span><span face=""Arial",sans-serif" lang="EN-GB" style="font-size: 10pt; mso-ansi-language: EN-GB;"><br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[4] Keller, Thomas. Fact check: Keaka figure from Nigeria? <a href="https://statuary-in-context.blogspot.com/2018/08/fact-check-keaka-figure-from-nigeria.html" target="_blank">Blogpost</a>, 23.08.2018.</span><br /></p>
<span style="mso-bookmark: _Hlk85115036;"></span>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Fact check: Tchamba sculptures at Parcours 2023? https://statuary-in-context.blogspot.ch,
08.10.2023.<u><o:p></o:p></u></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 8pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled according to the ‘’fair
practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p>
<p style="margin: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p><br /><p></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-69891387228893508752023-09-10T18:09:00.000+02:002023-09-10T18:09:22.056+02:00Fact check: Sakalava sculptures at Parcours 2023 ?<p></p><div style="text-align: left;"><br /></div><span style="text-align: justify;"><div style="text-align: left;"><div style="text-align: justify;"><span style="font-size: 12pt;">The attribution of five sculptures of the 2023 ‘’Parcours des mondes’’ exhibition
to the Sakalava people of Madagascar is discussed in the following. The
sculptures in question, S1-S5, are shown in Fig. 1. The factual statements made
in the exhibition catalogue [1], or on the labelling in the exhibition rooms,
are first cited and subsequently discussed.</span></div><span style="font-size: 12pt;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5pjAThEXcfItQP6sFC3a8drFNewXTwVxHBXIZrSCPocabHE5miVudCiA3_rLdu7ZXQyb0FVQUi34AAgI00f0JEiXrzuuJgSB6BCCT_8n0nEixJxDbj2wfJaDZLC6dPT-K-vhpf_8BtGFBPyvFM3M5Zn_z87qoenKMBqb4WL194wx26qrPoQqrLbWLJ6C0/s3951/Fig.-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1716" data-original-width="3951" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5pjAThEXcfItQP6sFC3a8drFNewXTwVxHBXIZrSCPocabHE5miVudCiA3_rLdu7ZXQyb0FVQUi34AAgI00f0JEiXrzuuJgSB6BCCT_8n0nEixJxDbj2wfJaDZLC6dPT-K-vhpf_8BtGFBPyvFM3M5Zn_z87qoenKMBqb4WL194wx26qrPoQqrLbWLJ6C0/s16000/Fig.-1.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Fig. 1. Sculptures in question, S1-S5, attributed to the Sakalava at the
‘’Parcours des mondes’’, 2023 in Paris<br />(own photos taken between September 5-7,
except S1)<o:p></o:p></span></p></td></tr></tbody></table></span></div></span><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Sculpture
S1<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Factual statement in [1]:</span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"> Figurine féminine, Sakalava, Madagascar, bois, H.:
110cm (Galerie Monbrison – the sculpture was, based on the exhibition catalogue,
sold prior to the exhibition and thus not on display, photos from [1, 2]).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Discussion:</span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"> The sculptural design and patina of this sculpture do not fit into the iconography and appearance of Madagascar sculptures, as it is
also acknowledged in [3]. The sculpture cannot have been exposed to outdoor
conditions for a long time, as Sakalava tomb sculptures are, since the
characteristic washouts of the wood cellulose and hemicellulose on horizontal
surfaces are missing. The significant crack formation along the wood grain
points, nevertheless, to an exposure to numerous temperature and moisture
cycles. The shiny covering on the heavily eroded wood surface is apparently uniform
and even penetrates into the crack flanks – it does not seem natural, as it is
also assumed in [4]. Based on a C14 radiocarbon dating, an age of around 350
years is attributed to the sculpture [3, 5]. This dating should however be
taken with caution since a similar age was attributed to another Madagascar sculpture
(PL. 180 in [2]), see [5, 6], which however exhibits clear sings of outdoor exposure
(washouts and lichen growth) – it is impossible that a wooden sculpture could
resist 350 years to such an exposure (as the deterioration of numerous tomb
sculptures proofs). The attribution of the sculpture in question is ‘’Vezo
(?)’’</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">in [4] (1995, 2.32), ‘’Sakalava (?)’’</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">later in [3] (2015, PL. 138), and ‘’Sakalava’’</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">now in [1] (2023). The question marks thus disappeared
– this precise attribution, based on the above discussion, therefore seems
inappropriate.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Sculpture S2<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Factual statement, on labelling:</span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"> Sakalava, …, wood, 190cm (Woerner Oriental Art).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Discussion: </span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The sculpture exhibits a plank-like element on top of
the head, which is unusual in Sakalava sculptures, but may be interpreted as a fragment
of the typical superstructures seen in Mahafaly sculptures. Examples are shown
in [3]; several of them also exhibit a similar position of one arm directed to
the head (e.g. PL. 123). The Sakalava attribution seems inappropriate.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Sculpture S3<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Factual statement, on labelling:</span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"> Sakalava, …, wood, 90cm (Montagut Gallery).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Discussion: </span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The female sculpture exhibits all the features of
early Sakalava tomb sculptures, as they have been manufactured by Horatsy, for
instance, see [7]. The Sakalava attribution can be confirmed. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Sculpture S4<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Factual statement, on labelling:</span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"> Sakalave, 94cm (Galerie Afrique).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Discussion: </span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The male sculpture shows many similarities with
sculpture S3, and could have been manufactured by the same hand as part of a
couple, positioned on the diagonally opposed tomb corners. The Sakalava
attribution is appropriate. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Sculpture S5<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Factual statement, on labelling:</span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"> Maternity figure, Madagascar, wood, 90cm (Galerie Serge
Schoffel).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Discussion: </span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Although not specifically labelled, the sculpture can
be attributed to the Sakalava, if compared to similar works in [3]. The style, which
is already under colonial influence, is more recent than in Sculptures S3 and
S4, however. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Conclusions<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">It is surprising,
for a high-quality exhibition, as the Parcours is,</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">that
two out of five sculptures were misattributed. Problematic (and personally disappointing)
also is that key works, announced in the official exhibition catalogue, had previously been sold and are not on display during the exhibition. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><b>References</b></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face="Arial, sans-serif" style="font-size: 10pt;">[1] Parcours des Mondes, 2023, catalogue with
exhibitors.<br /></span><span face="Arial, sans-serif" style="font-size: 10pt;">[2]
African Heritage Documentation & Research Centre, ao-0076402-002.<br /></span><span face="Arial, sans-serif" style="font-size: 10pt;">[3]
Goy, Bertrand. Arts anciens de Madagascar. 5 Continents, 2015.<br /></span><span face="Arial, sans-serif" lang="DE-CH" style="font-size: 10pt;">[4] Phillips, Tom (Hrsg.). Afrika – die Kunst eines Kontinents. </span><span face="Arial, sans-serif" lang="EN-US" style="font-size: 10pt;">Prestel, 1995/1996.<br /><span style="font-size: 10pt;">[5] De Grunne, Bernard. Sakalava. Catalogue TEFAF Maastricht, 2018.<br /></span><span style="font-size: 10pt;">[6] Sotheby’s, Paris, 2 December 2015, lot 84.<br /></span><span style="font-size: 10pt;">[7] Keller, Thomas. </span><a href="https://statuary-in-context.blogspot.com/2021/04/fact-check-sakalava-sculptures.html?q=Horatsy" style="font-size: 10pt;" target="_blank">Fact check: Sakalava sculptures attributed to Horatsy</a><span style="font-size: 10pt;">.
https://statuary-in-context.blogspot.ch, 18.04.2021.<br /></span><b style="font-size: 10pt;"><span lang="EN-US" style="font-size: 12pt; line-height: 120%;"><br /></span></b></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face="Arial, sans-serif" lang="EN-US" style="font-size: 10pt;"><b style="font-size: 10pt;"><span lang="EN-US" style="font-size: 12pt; line-height: 120%;">Citation
format</span></b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Fact check: Sakalava sculptures at Parcours 2023? https://statuary-in-context.blogspot.ch, 10.09.2023.<u><o:p></o:p></u></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 8pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="color: red; font-size: 8pt; line-height: 120%; mso-ansi-language: EN-US;"><br /></span></p>
<p style="margin-bottom: .0001pt; margin: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-68020469127709399952023-07-30T19:29:00.000+02:002023-07-30T19:29:01.681+02:00Research outcome: Sculptural assemblies in Fon iconography – Part 2<p></p><div style="text-align: left;"><br /></div><span style="text-align: justify;"><div style="text-align: left;"><div style="text-align: justify;"><a href="https://statuary-in-context.blogspot.com/2022/10/research-outcome-sculptural-assemblies.html" style="font-size: 12pt;" target="_blank">A former blogpost</a><span style="font-size: 12pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 12pt;">discussed two bound
assemblies of small and almost identical kneeling and lying figures, which were
attributed to the Fon. A third such assembly recently appeared at the Civilisations
Art Fair in Brussels, see Fig. 1 [1]. Six small kneeling and two only slightly
larger (standing?) figures are bound together with chords, and sitting on a longer
multi-material base. This assembly is however attributed to the Yoruba-Anago.</span></div></div></span><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;"><o:p></o:p></span></p><p><span style="text-align: justify;"></span></p><div style="text-align: left;"><span style="font-size: 12pt;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNLYYhPDFTMUtvHYqnqhI0UACZCGp3D-JLNxFzsLPk8C4KsGMzQmfNfKGnKs8fbtaH7fL9k6t5iaHHr7spSmPsM7GOdVYP96NtgT7EfilhCwOaKBklGyXgK9mmXgRGYfS3eAGWatJszIfE2BpnxrKTWSyxrJnALGvfqwm6255Z397KkFzUnXrzCdc4VSi9/s2792/Fig.%201.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2002" data-original-width="2792" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNLYYhPDFTMUtvHYqnqhI0UACZCGp3D-JLNxFzsLPk8C4KsGMzQmfNfKGnKs8fbtaH7fL9k6t5iaHHr7spSmPsM7GOdVYP96NtgT7EfilhCwOaKBklGyXgK9mmXgRGYfS3eAGWatJszIfE2BpnxrKTWSyxrJnALGvfqwm6255Z397KkFzUnXrzCdc4VSi9/w640-h458/Fig.%201.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 1. Bound assembly of 8 small-size figures (6 kneeling and 2 probably
standing), attributed to the Anago</span></td></tr></tbody></table></span></div><p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">In contrast to
many other similar bound assemblies, the figures in these three cases are similar
and of small size (around 10cm or smaller), i.e., there is not a dominating
taller figure in the center, as also shown in Fig. 2, where the assemblies discussed
in the former blogpost are depicted. A comparison of the assemblies in Figs. 1
and 2 also shows that the style of the figures is very similar, although two of
them are attributed to the Fon and one to the Anago. In fact, Fon and Anago are
neighbors, which may explain this discrepancy.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij4WFlN1Y1BR9tFmwm8-fEl2Ul5T-1nVs2S9L9cHxGbyDVXXHfx3xlB5sG1kmVjH-1EbBm4YuEx3fejhLCjQo9OlXu3ayyYt39zNPHCaGciwDLrcF5xW-oQdlYDPvq1zroukhkiHXdpbjz_HP5qG-wPNI7D3bKyu_0as04NVGcO50VKJxkB6o4_UAYt93-/s2895/Fig.%202.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1731" data-original-width="2895" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij4WFlN1Y1BR9tFmwm8-fEl2Ul5T-1nVs2S9L9cHxGbyDVXXHfx3xlB5sG1kmVjH-1EbBm4YuEx3fejhLCjQo9OlXu3ayyYt39zNPHCaGciwDLrcF5xW-oQdlYDPvq1zroukhkiHXdpbjz_HP5qG-wPNI7D3bKyu_0as04NVGcO50VKJxkB6o4_UAYt93-/w640-h382/Fig.%202.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 10pt; line-height: 107%;">Fig. 2. Bound assemblies of around 20 kneeling and lying (S2) and six
standing and lying (S3) almost identical small-size figures, attributed to the
Fon</span></td></tr></tbody></table></span></p><div class="separator" style="clear: both; text-align: center;"></div><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">Since an already
third such assembly exists, the hypothesis suggested in the former blogpost,
i.e., that such assemblies may represent a specific category in the iconography
of Fon/Anago works, is further supported. However, also in this third case, no
information about the purpose of such assemblies is available.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%;">References<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Arial",sans-serif; font-size: 10.0pt;">[1] Civilisations
Art Fair, 7-11 June 2023, Brussels, Zubek Gallery.<br />
[2] Parcours des Mondes 2022, Paris, Abla and Alain Lecomte Gallery.<br /></span><span style="font-family: Arial, sans-serif; font-size: 10pt;">[3] Tribalspace, St Albans, Hertfordshire, United
Kingdom, sold in 2012..</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><b><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Blogposts related to Fon sculptures
and neighbors</span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Research outcome: A Fon sculptural oeuvre from southern Benin. <a href="https://statuary-in-context.blogspot.com/2017/08/research-outcome-fon-sculptural-oeuvre.html" target="_blank">Blogpost 01.08.2017</a>.<br /></span><span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Fact check: Fon from Benin or Ouatchi from Togo? <a href="https://statuary-in-context.blogspot.com/2018/06/fact-check-fon-from-benin-or-ouatchi.html" target="_blank">Blogpost 11.06.2018</a>.<br /></span><span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Fact check: Adja statues from Benin? <a href="https://statuary-in-context.blogspot.com/2018/07/fact-check-adja-statues-from-benin.html" target="_blank">Blogpost 18.07.2018</a>.<br /></span><span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Fact check: Two terracotta Adja couples from Benin?</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;"><a href="https://statuary-in-context.blogspot.com/2019/04/fact-check-two-terracotta-adja-couples.html" target="_blank">Blogpost 25.04.2019</a>.<br /></span><span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Fact check: An Adja terracotta couple from Benin? <a href="https://statuary-in-context.blogspot.com/2021/02/fact-check-adja-terracotta-couple-from.html" target="_blank">Blogpost 07.02.2021</a>.<br /></span><span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Fact check: Three-horned Fon object? <a href="https://statuary-in-context.blogspot.com/2021/06/fact-check-three-horned-fon-object.html" target="_blank">Blogpost 12.06.2021</a>.<br /></span><span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Research outcome: Sculptural assemblies in Fon
iconography. <a href="https://statuary-in-context.blogspot.com/2022/10/research-outcome-sculptural-assemblies.html" target="_blank">Blogpost 09.10.2022</a>.<br /><br />
</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">Citation format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Keller, Thomas. Research outcome: Sculptural assemblies in Fon
iconography – Part 2. <br />
https://statuary-in-context.blogspot.ch, 30.07.2023.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 9.0pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-76601277078567101992023-06-24T21:59:00.000+02:002023-06-24T21:59:53.673+02:00Fact check: Tchamba and Bassari sculptures?<p></p><div style="text-align: left;"><span style="font-size: 12pt;"><br /></span></div><div style="text-align: left;"><span style="font-size: 12pt;">The attribution of
two sculptures to the Tchamba and Bassari of Northern Togo is discussed in the
following.</span></div><p></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">1) Factual statements<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">According to [1]
and sculpture S1 in Fig. 1 (citation): <br /><i><span style="font-size: 12pt; line-height: 120%;">Ancienne
statuette-fétiche peuple Tchamba, Togo, bois raviné à patine sacrificielle, fer,
H. 59 cm.</span></i></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;"><span style="font-size: 12pt;">According to [1]
and sculpture S2 in Fig. 1 (citation):<br /></span><i><span style="font-size: 12pt; line-height: 120%;">Statuette
féminine peuple Bassari, Togo, bois à patine sacrificielle, H. 40 cm<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfBZTfDzwG13gRkiWH4FOetaQQh9LUSmQsB8oLe6EBaeTr-Wflhs7bfK6ftQ-vVPG1CuzJnwCWmH7YfqDkrV-A7-OCabQmSl2Co2H17skpsR5WEdPm_h7wOO7Efk48pAMeVL128euUC8cPQqbbyhtkjzUK_F5vVnD6MrXUV6IU_2jvcVxFhU9Iz9C2PztI/s2313/Togo-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1932" data-original-width="2313" height="534" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfBZTfDzwG13gRkiWH4FOetaQQh9LUSmQsB8oLe6EBaeTr-Wflhs7bfK6ftQ-vVPG1CuzJnwCWmH7YfqDkrV-A7-OCabQmSl2Co2H17skpsR5WEdPm_h7wOO7Efk48pAMeVL128euUC8cPQqbbyhtkjzUK_F5vVnD6MrXUV6IU_2jvcVxFhU9Iz9C2PztI/w640-h534/Togo-1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 1. Sculptures in question attributed to the Tchamba (S1) and
Bassari (S2) </span></td></tr></tbody></table></span></i></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">2) Discussion<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">The following
discussion is based on a research conducted about Northern Togo Statuary</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">and published in 2018. The findings there are briefly
summarized, more details and further references can be found in [2]. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">Beginning with the
sculpture attributed to the Tchamba, the latter are a complex and heterogeneous
ethnic group composed of an autochthonous core (originally Lama), and former Bi-Tchambe
(i.e. Bassari), Temba, Bariba, Ana, Anago, Ewe, etc., who have gradually
immigrated into the Tchamba canton of the Centrale region in Northern Togo. Although
animistic beliefs similar to those of the neighbors in the north and northwest
still exist, islamization is well advanced. In addition, there also exists a
strong Vodun complex, called Tchamba Vodun, which is based on former slavery.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidLCcZoIotFdgfEXC-XaB9ixFPAG4wGwKGiCVvAZUeWNierIMoiCa4AYZ7GdH6hhukBR1uGJiSKGukS28DhMG9gL2c-IOwiKgAtFevsaA2BV9rdVKpgFrwOe0hE-smywfR9e5x3wS6mjf6vD_TG4BVkchmk8qbAX-6B2i3gJJo4lSoNt41BZzDuQ3BhDM1/s4000/Togo-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1824" data-original-width="4000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidLCcZoIotFdgfEXC-XaB9ixFPAG4wGwKGiCVvAZUeWNierIMoiCa4AYZ7GdH6hhukBR1uGJiSKGukS28DhMG9gL2c-IOwiKgAtFevsaA2BV9rdVKpgFrwOe0hE-smywfR9e5x3wS6mjf6vD_TG4BVkchmk8qbAX-6B2i3gJJo4lSoNt41BZzDuQ3BhDM1/s16000/Togo-2.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 2. Sculptures attributed to the Tchamba, published since 1992 (references
see [2])</span></td></tr></tbody></table></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">No references or
images/photos of sculptural works attributed to the Tchamba can be found in the
ethnological literature. In tribal art-related publications, however, sculptures
attributed to the Tchamba appear and were first published in the early 1990s,
see Fig. 2. They are often of larger scale and their iconography is similar to
that of the neighboring southern Temba, whose statuary is much better documented,
since 1899, see Fig. 3. The Tchamba sculptures are more complex if compared to those
in Fig. 3. The volumes of the body parts are more differentiated, a cylindrical
overall shape can no longer be recognized, the legs are often more flexed and
many more details are shown. Typical elements however are retained, e.g. the
angulated arms or the frequent more or less high crest. Scarifications can be
seen in some cases, but they are not frequent.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglstlAPo9jZAeeQyYuS-RJNJcCZXLcWWpEaS9n9d1PjL_aIlHExCVKIaQDLMD7QqUDqQ9b3ycy3KekKuAhrjq1b2HnJfo4ay68ih6qQNL1144vauJVR4AP_dOJyjUzZhybS9dwDdl1RuzFtFRaaBmpFgwzRsZrwPcE-ubCH5UEjB38BEpP2kU1CG3Z-oiZ/s3777/Togo-3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1797" data-original-width="3777" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglstlAPo9jZAeeQyYuS-RJNJcCZXLcWWpEaS9n9d1PjL_aIlHExCVKIaQDLMD7QqUDqQ9b3ycy3KekKuAhrjq1b2HnJfo4ay68ih6qQNL1144vauJVR4AP_dOJyjUzZhybS9dwDdl1RuzFtFRaaBmpFgwzRsZrwPcE-ubCH5UEjB38BEpP2kU1CG3Z-oiZ/s16000/Togo-3.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 3. Sculptures attributed to the Temba since 1899 (references see
[2])</span></td></tr></tbody></table></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">Against this
background, the sculpture in question, S1 in Fig. 1, well fits into the iconography
and style as described above and depicted in Fig. 2. An unusual element is the
short iron stick driven into the head, which is a typical Vodun element of the
southern Fon and Ewe people. As however discussed above, Vodun believes also
exist among the Tchamba people and the iron stick thus even supports the Tchamba
attribution. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">Coming to the
sculpture attributed to the Bassari (or Bi-Tchambe), this people lives in the
northwest of the Tchamba and should not be confused with the Bassari from
Senegal. The Togolese Bassari are composed of some autochthonous clans and former
Konkomba, Gangan, Tem-Kabre, Mossi and Dagomba. Concerning sculptural works,
the early ethnologists Zech, Cornevin, Froelich did not mentioned such works
and Frobenius even wrote in 1913 that wooden figures, like those found in the
neighboring Tim (Temba), were completely absent among the Bassari. Similarly, Hahn,
who studied the material culture of the Bassari, explicitly wrote in 1991 that
he did not see any wooden figures. In current online archives, no sculptures
can be found attributed to the Bassari, with one exception of a small doll made
of twisted raffia fibers, shown in Fig. 4, representing the body of a deceased
woman during the second funeral, where the doll was carried on a bamboo stretcher.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjLeSIliHedWnR2WUvlw2hAlxV3ioF7U_yU8dvf0Orenj_qgSGHcjqaUSB0LSDJtJ84eCi-XGkxHvao5F93TxeTh-kkF8zbxkDA9BBXMawaNvNg3Jsfgd45lTI9hFkBOiO8XIkdBCg3XjlT3EQSOIyvCPxxGlc-DqEQsk28BySEqae9rxRWUMWYn3gVz9I/s1371/Togo-4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1371" data-original-width="897" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjLeSIliHedWnR2WUvlw2hAlxV3ioF7U_yU8dvf0Orenj_qgSGHcjqaUSB0LSDJtJ84eCi-XGkxHvao5F93TxeTh-kkF8zbxkDA9BBXMawaNvNg3Jsfgd45lTI9hFkBOiO8XIkdBCg3XjlT3EQSOIyvCPxxGlc-DqEQsk28BySEqae9rxRWUMWYn3gVz9I/w209-h320/Togo-4.jpg" width="209" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 4. Funeral doll, raffia fibers, attributed to the Bassari (reference
see [2])</span></td></tr></tbody></table></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">3) Conclusions<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">Based on the above
discussion, the attribution of sculpture S1 in Fig. 1 to the Tchamba is
plausible, while the attribution of sculpture S2 to the Bassari seems not consistent
with available information.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">4)
References<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US;">[1] Giquello auction, Paris, 19 June 2023, lot 17
(Tchamba) and lot 8 (Bassari).<br />
[2] Keller, Thomas. Northern Togo Statuary. Keller Arts Premiers, Lully, 2018.
<a href="https://www.statuary-in-context.ch/moba.html" target="_blank">Free download here</a>.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US;">Keller, Thomas.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US;">Fact check: Tchamba and
Bassari sculptures? https://statuary-in-context.blogspot.ch, 24.06.2023. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 8.0pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="https://www.keionline.org/sites/default/files/1971_revision_of_Berne.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-82230211001852221032023-05-14T16:47:00.002+02:002023-05-14T16:54:24.557+02:00Fact check: A Lobi slingshot ?<p></p><div style="text-align: left;"><br /></div><span style="text-align: justify;"><div style="text-align: left;"><span style="font-size: 12pt;">The designation of
a Lobi sculpture as ‘’slingshot’’ is discussed in the following.</span></div></span><p></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">1) Factual statement<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">According to [1]
and sculpture S1 in Fig. 1 (citation): <br /><i><span lang="EN-US" style="font-size: 12pt; line-height: 120%;">Lobi Figural Slingshot, Burkina Faso, wood with dark
brown shiny patina, height 20.3 cm.</span></i></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEqzxHTv9kRyy6xsKeYU_DSppCZGt2vSRTKpBpWjWei3BBgSyQSJ4sjIeJTyGKtFr_VtcIb35VOxKj11z4QijF_oy4sAsBb3Vl97aIXTbf5z3Hlmxs9c9JWnaBJxDSAsiDUrllnUYm86HzRpvafsAeGHv3PUa-8NEUm7K--rd0wFAoq3mRiAqbkUML_g/s2410/slingshot-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1718" data-original-width="2410" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEqzxHTv9kRyy6xsKeYU_DSppCZGt2vSRTKpBpWjWei3BBgSyQSJ4sjIeJTyGKtFr_VtcIb35VOxKj11z4QijF_oy4sAsBb3Vl97aIXTbf5z3Hlmxs9c9JWnaBJxDSAsiDUrllnUYm86HzRpvafsAeGHv3PUa-8NEUm7K--rd0wFAoq3mRiAqbkUML_g/w400-h285/slingshot-1.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 1. Lobi slingshot in question</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">2) Discussion and conclusion<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Lobi slingshots (also
referred as ‘’catapults’’) do not appear in reference publications about Lobi
statuary [2-4],</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">before 1987, i.e. the year when Delcourt and Scanzi
published their book about Baule slingshots, which also depicts some Lobi examples
[5]. Similarly, known Lobi collections of the 1970s and 80s do not show this
type of sculpture [6, 7]. Later in 1993, a next book by Scanzi, on Lobi sculptures
now, again depicts slingshots, which are denominated ‘’banda thir’’ [8].
Nevertheless, Lobi slingshots remain ignored in many of the subsequent works
about Lobi statuary [9-11], with few exceptions, e.g. [12].<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The reasons for
this unclear situation might be twofold, i.e. 1) that the authenticity of these
sculptures is questioned, or 2) they are considered as purely functional or
ethnological items for hunting of smaller animals, and not as art works [5, 13].
The first argument can be understood if looking at the overflowing market of low-quality
slingshots (e.g. on eBay), which has developed since the publication of
Scanzi’s books. On the other hand, it has been made plausible in [5] already that
such objects might have pre-dated the colonial area, or appeared at the
beginning of the 20<sup>th</sup> century at least [13].</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSTtEHDYfzeugkQVoOHIdwWNJccA9wiwYj2X7QaS0GTIprqx_FFKabZomqZ4-JSAgx2PPPPezEfq44EImHhAElIkTKv4uzeqUxSf7Qz5fgGJ0SnPRSqEoFUK0RqRtZ6p-OJ6REP3hy-aZJRMoPe1Ov-pdqoFTQICRe7Ii2mmTCdP0GnOT_4KqY0pkorw/s3784/slingshot-2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1710" data-original-width="3784" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSTtEHDYfzeugkQVoOHIdwWNJccA9wiwYj2X7QaS0GTIprqx_FFKabZomqZ4-JSAgx2PPPPezEfq44EImHhAElIkTKv4uzeqUxSf7Qz5fgGJ0SnPRSqEoFUK0RqRtZ6p-OJ6REP3hy-aZJRMoPe1Ov-pdqoFTQICRe7Ii2mmTCdP0GnOT_4KqY0pkorw/s16000/slingshot-2.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 2. Slingshots attributed to the Lobi and an example of their use to
hunt rats</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Concerning the
second argument, these slingshots may also have spiritual functions according
to [13, 14], and are thus not only utilitarian items. They are often commissioned
by fathers for their sons to first master these slingshots before becoming
‘’warriors’’, see Fig. 2, and subsequently they remain protective amulets. Furthermore,
such slingshots may keep up with the artistic quality of the remaining statuary,</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">if looking at examples shown in [5, 8] and Fig. 2.
This closer look on the background of Lobi slingshots thus demonstrates that
the ignorance of these sculptures, as possible authentic art works, is not
justified.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Coming back to the
slingshot in question (Fig. 1), and if also looking at its patina, doubts about
authenticity and artistic quality do not seem to be justified. One point is
however disturbing, i.e., the legs do not exhibit clear signs of the rubber
band, which must have been fixed there and left traces from a potentially frequent
and long-lasting use. </span><span style="font-family: Arial, sans-serif; font-size: 12pt; text-align: left;">The shiny and almost uniform patina continues up to the leg ends.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmInCumF1tmND3WdeW6_04YKNOguF-hw52huvWt_bNbqGLu2XLc1V2e3bxluWfgFsSIYahlJqvDHB4OoxBIvPQBrC8BuL22O57lqXiIPm_VwoEAP6gI0QNkwcqMkSJ83n7lFgTgcbtB_jbcZTmvqE8cx4l_a3hZLbBMarWziFriK6xgLQ6uxbbvPD1Pw/s2910/slingshot-3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1414" data-original-width="2910" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmInCumF1tmND3WdeW6_04YKNOguF-hw52huvWt_bNbqGLu2XLc1V2e3bxluWfgFsSIYahlJqvDHB4OoxBIvPQBrC8BuL22O57lqXiIPm_VwoEAP6gI0QNkwcqMkSJ83n7lFgTgcbtB_jbcZTmvqE8cx4l_a3hZLbBMarWziFriK6xgLQ6uxbbvPD1Pw/s16000/slingshot-3.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 3. Sculptures of the Dagari with spread legs</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">An explanation for
this ‘’contradiction’’ may result from looking at a similar sculpture in Fig. 3
(S5). The shape is that of a slingshot, but the legs are certainly too thin to
fix a rubber band and take the corresponding forces. The figure is attributed
to the Lobi-Dagari in [7]. The sculptures of the Dagari have often spread legs of
a similar shape as slingshots have, as also shown in Fig. 3. The attribution of
the sculpture in question to the Lobi-Dagari, and not to the slingshot
category, may thus offer an explanation of the missing traces of the rubber
band. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">3)
References<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[1] Bonhams auction, New York, 27 April 2023, lot 76.<br />
</span><span face=""Arial",sans-serif" style="font-size: 10pt;">[2] Rey,
Dominique. Les Lobi. Exh. cat., Galerie Jacques Kerchache, Paris, 1974. <br />
</span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[3] Hersey, Irwin. Lobi Sculpture. Exh. cat., Craft
Caravan Inc., New York, 1980. <br />
</span><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;">[4] Meyer, Piet. Kunst und Religionen der Lobi,
Ausstellungskatalog, Museum Rietberg, Zürich, 1981. <br />
</span><span face=""Arial",sans-serif" style="font-size: 10pt;">[5]
Delcourt Jean Paul, Scanzi Giovanni Franco. Potomo Waka. Milanos, 1987.<br />
[6] Katsouros, Floros. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">The Lobi collection
Peter Loebarth. </span><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;">Verlag Ethnographika, Hannover,
2007. <br />
[7] Förster, Till. Skulpturen in Westafrika, Masken und Figuren aus Burkina
Faso. Morat-Institut für Kunst und Kunstwissenschaft, Freiburg im Breisgau,
1995. <br />
</span><span face=""Arial",sans-serif" style="font-size: 10pt;">[8]
Scanzi, Giovanni Franco. L’art traditionnel Lobi - Lobi traditional art. Ed.
Milanos, Bergamo, 1993.<br />
[9] Warin, François. La statuaire Lobi, question de style. Arts d’Afrique
Noire, 69: 11-21, 1989. <br />
[10] Pirat, Claude-Henri. Lobi Statuary. Tribal Arts, 1(1): 22-32, 1994. <br />
[11] Bognolo, Daniela. Lobi. 5 Continents Editions, Milan, 2007.<br />
[12] Katsouros Floros and Sigrid. Lobi Skulpturen. Verlag Ethnographika,
Hannover, 2002.<br />
</span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[13] <a href="https://hypaap2020.blogspot.com/2022/06/lobi-art-africa-lance-pierre-slingshot.html#" target="_blank">Lobi Art Africa - Lance-pierres - Banda Thir</a>. HYP
African Art Project, 2023. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><br />
[14] Imagawa, Misaki. <a href="https://www.beprimitive.com/blog/covering-your-back-baule-slingshots" target="_blank">Covering your back! – Baule slingshots</a>. Primitive,
October 09, 2015.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[15] Lobi boy hunting a rat with slingshot. Photographer Kevin O'Hara, license
from Alamy, UK.<br />
<span class="MsoHyperlink"><span color="windowtext" style="text-decoration: none; text-underline: none;">[16] Goody, Jack. Death property and the ancestors: A
study of the mortuary customs of the Lodagaa of West Africa. Stanford
University Press, 1962. <br />
[17] Kirbach Gallery, Düsseldorf, 2008.<o:p></o:p></span></span></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Keller, Thomas.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Fact check: A Lobi
slingshot? https://statuary-in-context.blogspot.ch, 14.05.2023. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 8pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="https://www.keionline.org/sites/default/files/1971_revision_of_Berne.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-59015624252481420612023-04-09T20:36:00.007+02:002023-04-09T20:55:21.492+02:00Research outcome: Lobi staffs from Sikire Kambire<p></p><div style="text-align: left;"><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br />An interesting
Lobi dancing staff (or ceremonial axe) - undoubtedly originating from Sikire
Kambire [1] - recently appeared on the tribal art market, see Fig. 1 (staff S1
[2]), and was the trigger for a small research about Lobi staffs originating
from Sikire, as presented in this blogpost.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgApLPVzMX53QYbZomYnraKLEwkkaxClgZyb85CFIP1qkMdJfsPlqbzFg2ZQISvSvVfgsf-83AoFCYXm-XiKHkvyObgvjJUmXDqlGKtybpM2UFzl6Vnpo4sfShNSWBR-YTy-QNapOD1YOyTxiwCwt931ytsFocdQyKrpptARB_Ntj3woWnGFvHWqEnBGg/s2914/Sikire%20staffs-1.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1772" data-original-width="2914" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgApLPVzMX53QYbZomYnraKLEwkkaxClgZyb85CFIP1qkMdJfsPlqbzFg2ZQISvSvVfgsf-83AoFCYXm-XiKHkvyObgvjJUmXDqlGKtybpM2UFzl6Vnpo4sfShNSWBR-YTy-QNapOD1YOyTxiwCwt931ytsFocdQyKrpptARB_Ntj3woWnGFvHWqEnBGg/w640-h390/Sikire%20staffs-1.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 1. Lobi staff from Sikire Kambire with unusual female arm gesture</span></td></tr></tbody></table></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">According to Meyer
[3], two types of staffs exist, which are ornamented with figures on top of the
curved handle, and carved for men (and not for thila spirits, as the figural
sculptures are). The two types mainly differ in length and the fact that the
shorter type carries a dull blade on its shorter end (which in today’s examples,
however, is lost in most cases). <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The shorter staff
is denominated "khuluor", generally carved no longer than 70 cm, and is
carried on the shoulder during walking, or in the hand during dancing, as also shown
in Fig. 1 [4-6]. The depicted diviner, dressed for ceremonial dancing, undoubtedly
has a Sikire staff on his shoulder [1]. The longer staff, denominated "bober",
has a length of 80 cm or more, and is also used as walking stick [3].<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsq787Rrbdt0FbbETd3m2SuaVFx2NbdIFMYGDU4cUM8cRgrhaeqmTzEC9l3jf2VjGxDJBOigCAKzjkSv85w_zjYCrkBJWd7xVj1ioguaPXQ75Htvqr-mtVK6BjzbsNQaEXcYR0H8PX4sOg6KysD4Zd8HRo1u9ULY8tDXRULZgAHYVepNzErhb-RePLHg/s3492/Sikire%20staffs-2.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1930" data-original-width="3492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsq787Rrbdt0FbbETd3m2SuaVFx2NbdIFMYGDU4cUM8cRgrhaeqmTzEC9l3jf2VjGxDJBOigCAKzjkSv85w_zjYCrkBJWd7xVj1ioguaPXQ75Htvqr-mtVK6BjzbsNQaEXcYR0H8PX4sOg6KysD4Zd8HRo1u9ULY8tDXRULZgAHYVepNzErhb-RePLHg/s16000/Sikire%20staffs-2.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 2. Lobi staffs from Sikire Kambire, types "Khuluor-1&2"
and "Bober-1&2" <br />(views scaled to same distance between nose root
and male feet tip to visualize proportions)</span></td></tr></tbody></table></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Sikire carved both
types of staffs, "khuluor" and "bober", see Figs. 2 and 3,
whereas several sub-types can be differentiated. In the "khuluor-1" and
"bober-1" sub-types, a couple of male and female figures, sharing a
Janus head, is sitting on the handle, with the female figure being always on
the blade or shorter pointed end side (Fig. 2). In the ‘’khuluor-2’’ and
‘’bober-2’’ sub-types, the female figure is missing, while the Janus head is
still present (S4 and S10 in Fig. 2). The "khuluor-3" corresponds to
the ‘’khuluor-1’’ sub-type, but a spherical element is added below the merged
buttocks (Fig. 3). Additional decoration elements or ornaments may be added,
such as upholstery nails (staffs S6, 7, 15), or additional incision lines (S8,
19, 20). Furthermore, snakes are arranged on the longer side in some cases
(heads can be seen in S2, S17).</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicvDhNAhl3ncS3AR67ef4EvYGOtcvkaDJbNEQtVlhI4_-8K40x7aYlJbvdqAB6UzfH3T7vi7ApYdU92wIIDoPqk50iT0jIvT5epI_IgjmkyRrKl78Zk3DrVeqPRgJbREOOy6uIYahrR_3hTYhcmGY9wpGzsM2kQTIOiHnkx1tbg0s7jIefseU-0jII8g/s3672/Sikire%20staffs-3.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1858" data-original-width="3672" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicvDhNAhl3ncS3AR67ef4EvYGOtcvkaDJbNEQtVlhI4_-8K40x7aYlJbvdqAB6UzfH3T7vi7ApYdU92wIIDoPqk50iT0jIvT5epI_IgjmkyRrKl78Zk3DrVeqPRgJbREOOy6uIYahrR_3hTYhcmGY9wpGzsM2kQTIOiHnkx1tbg0s7jIefseU-0jII8g/s16000/Sikire%20staffs-3.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Fig. 3. Lobi staffs from Sikire Kambire, type "Khuluor-3"</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The side views in
Figs. 2 and 3 are scaled to the same distances between nose roots and feet tips
of the male figures, indicated by orange lines. Blue lines are added
furthermore, crossing, on average, the hairlines, shoulders and buttocks. As
can be concluded from this analysis, all staffs, independently of type, exhibit
similar proportions of the sitting figures. Only one clear exception exists,
staff S19, where the shoulders and buttocks are too low. The staff,
however, nevertheless seems to originate from Sikire. The differences may be
caused by the rich decoration with upholstery nails, which has thus been anticipated
already in the carving process. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Coming back to
staff S1 and why it is found interesting - the reason lies in the gesture of
the arms of the female figure. They are bent upwards and thus seem to form, at
the same time, the female breasts, see Fig. 1 - no other staff was found
exhibiting this detail.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">References<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; line-height: 120%; mso-ansi-language: EN-US;">[1] Keller, Thomas. Lobi Statuary –
Sikire Kambire. Keller Arts Premiers, Switzerland, 2015. <a href="https://www.statuary-in-context.ch/lobi.html" target="_blank">Free download here</a>.<br />
</span><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; line-height: 120%; mso-ansi-language: DE-CH;">[2] Native Auction, Brussels, 28
March 2023, lot 036<br />
[3] Meyer, Piet. Kunst und Religionen der Lobi, Ausstellungskatalog, Museum
Rietberg, Zürich 1981.<br />
</span><span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 120%;">[4]
Robillard, Albert. Visite au pays Lobi. Sciences et Voyages, no. 72, décembre 1951.<br />
[5] Brossard, Charles. Géographie pittoresque et monumentale de la France et de
ses colonies. V6, Colonies françaises: Figure 13 (left), 1906.<br />
</span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; line-height: 120%; mso-ansi-language: EN-US;">[6] Keller, Thomas. Lobi statuary -
in motion. Keller Arts Premiers, Switzerland, 2019. <a href="https://www.statuary-in-context.ch/lobi2.html" target="_blank">Free download here</a>.<br />
[7] <a href="http://www.ahdrc.eu/" target="_blank">African Heritage Documentation & Research Centre AHDRC</a>, ao-0005731-001<br />[8] AHDRC, ao-0150450-002<br />
[9] AHDRC, ao-0134127-001<br />
[10] AHDRC, ao-0146972-001<br />
[11] AHDRC, ao-0005726-001<br />
[12] AHDRC, ao-0185929-001<br />
[13] AHDRC, ao-0005722-001 <br />
[14], AHDRC, ao-0005724-001<br />
[15] AHDRC, ao-0005733-002<br />
[16] AHDRC, ao-0128900-001<br />
[17] AHDRC, ao-0005729-001<br />
[18] Katsouros, Floros. The Lobi collection Peter Loebarth. Verlag
Ethnographika, Hannover, 2007.<br />
[19] AHDRC, ao-0005725-001<br />
[20] AHDRC, ao-0130267-001<br />
[21] AHDRC, ao-0185928-001<br />
[22] AHDRC, ao-0199195-001<br />
[23] Sainsbury Centre Museum, Norwich, UK. <a href="https://www.sainsburycentre.ac.uk/art-and-objects/199-ceremonial-axe-with-janiform-figure/" target="_blank">Ceremonial axe with janiform figure</a>.<br />[24] Bognolo, Daniela. Lobi. 5 Continents Editions, Milan 2007. <br />
[25] AHDRC, ao-0005728-001</span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; line-height: 120%; mso-ansi-language: EN-US;"><br />
</span><b><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Keller, Thomas. Research outcome: Lobi staffs from Sikire Kambire. <br />
https://statuary-in-context.blogspot.ch, 09.04.2023.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 9pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p></div><span style="text-align: justify;"><div style="text-align: left;"><br /></div></span>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-49705263692695108522023-03-12T12:35:00.001+01:002023-03-12T12:38:41.164+01:00Fact check: Two Lobi sculptures ‘’with glasses’’ ?<p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br />The attribution of
two Lobi sculptures to the style denominated ‘’with glasses’’ is discussed in
the following. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">1) Factual statements<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">According to [1]
and sculpture S1 in Figs. 1 and 2 (citation): <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 120%;">Personnage
masculin aux volumes généreux, la poitrine marquée par deux petits cônes, les
jambes épaisses et puissantes répondant aux petits bras articulés dans une
succession de lignes brisées. La tête généreuse est parée d’une belle coiffure
à triple crêtes. Le visage en cœur se déploie sous <u>d’épaisses arcades
sourcilières évoquant</u> <u>le style dit « à lunettes »</u>. Très belle
matière croûteuse et profonde, 40 cm.<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 120%;">According to [1] and sculpture S2 in Figs. 1
and 2 (citation):<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 120%;">Importante
sculpture anthropomorphe représentant un esprit ou une figure d'ancêtre
clanique. Le personnage masculin se tient debout, les jambes extrêmement
élancées, les bras détachés du corps, le bras gauche aujourd’hui amputé mais
qui devait autrefois remonter jusqu’au menton. La tête ronde supporte un petit
visage expressif rassemblé sous <u>de puissantes arcades sourcilières</u>. Un
subtil jeu de déséquilibres entre les différentes parties du corps imprègne à
la statue tension et mouvement. </span></i><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Erosions et manques anciens visibles, 78 cm.</span></i></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieayykMfZ--puHaCkpBn1jDM06HfPrTfXP7UoBE5teut0eaKTp7yNLPEl2VCeZSUCkC1IBofWQ09mqLsToqk7f77WhSYCJVIXGO_k2nQrv30uvttmNDsvI_7IoQnGS6ViWadJZHz2_uxLPJ5u8QjsCSdP5vQ9DGshAvJritAzcChjPXbHzD3QO8E4zog/s3316/Fig.%201.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1787" data-original-width="3316" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieayykMfZ--puHaCkpBn1jDM06HfPrTfXP7UoBE5teut0eaKTp7yNLPEl2VCeZSUCkC1IBofWQ09mqLsToqk7f77WhSYCJVIXGO_k2nQrv30uvttmNDsvI_7IoQnGS6ViWadJZHz2_uxLPJ5u8QjsCSdP5vQ9DGshAvJritAzcChjPXbHzD3QO8E4zog/w640-h344/Fig.%201.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 1. Heads and face details of the two sculptures in question and
three styles of ‘’Lobi with glasses’’ sculptures according to [2]</span></td></tr></tbody></table><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br /><o:p></o:p></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbmcT1LjGvIXn0PAKIY-w6kP7l158BtXHb41soNSDxyD8AHLl9V3rC1PxxZfTx5-9GlabqY-xCLjVnD_h7xLEeAogsymsvTLmkcdHVKANIrGAcyNNEzKrYK49LUb2fb7gdILHjBOT1149Z3GltwhKjY7OirC_qow7N4E2i1wTRtxTfHs_jQ19Rw_KF9w/s3212/Fig.%202.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1884" data-original-width="3212" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbmcT1LjGvIXn0PAKIY-w6kP7l158BtXHb41soNSDxyD8AHLl9V3rC1PxxZfTx5-9GlabqY-xCLjVnD_h7xLEeAogsymsvTLmkcdHVKANIrGAcyNNEzKrYK49LUb2fb7gdILHjBOT1149Z3GltwhKjY7OirC_qow7N4E2i1wTRtxTfHs_jQ19Rw_KF9w/w640-h376/Fig.%202.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 2. The two sculptures in question</span></td></tr></tbody></table></i><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">2) Discussion<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The Lobi
sculptures ‘’with glasses’’ constitute icons of the statuary of this people in
the border triangle of Burkina Faso, Ghana and Ivory Coast. The designation ‘’with
glasses’’ originates from the shape of the eyebrows, which encircle the eyes
like glasses. Together with the characteristic posture - shoulders pulled back
and arms and legs slightly bent - these works of art express a strong presence
and power. The sculptures and their origin are discussed in detail in [2].
Three characteristic styles of these sculptures were derived, which can already
be differentiated in the design of the face details, see Fig. 1.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglEJenOhUmdpge4TBl7xL0SVkD-trUfRX33Q2rcibmtQcUdYzeq2awbdesELjtdKH429Vm7fllnnrZZ9Uy-lwu9JYcz9auItow91Y4uJ1-oh3rp0YXeszmUuGkW1oohKcjxqrA1ZsNtQvVwJqs3d3aYhI04IcwJs_tEd_gB_TKeR2VaLTl2f3pH4kjxg/s3008/Fig.%203.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1808" data-original-width="3008" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglEJenOhUmdpge4TBl7xL0SVkD-trUfRX33Q2rcibmtQcUdYzeq2awbdesELjtdKH429Vm7fllnnrZZ9Uy-lwu9JYcz9auItow91Y4uJ1-oh3rp0YXeszmUuGkW1oohKcjxqrA1ZsNtQvVwJqs3d3aYhI04IcwJs_tEd_gB_TKeR2VaLTl2f3pH4kjxg/s16000/Fig.%203.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 3. Comparison of heads and face details of the two sculptures in
question and Style-3 sculptures according to [2] (numbers indicate height in
[cm])</span></td></tr></tbody></table><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br /> <o:p></o:p></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCjUDpf5gCIieHNSl7ojMHS1yig1rfcsKHlIKUionQo9lKID9wjlrgWbBXau7O1RWmmpBAqvrgb9PqD_lKZBJ9NI4NBQRnqpHOld6hbqEelvR-1_AgZc4a76F-bmY0sW2K3OY5w2c9YSKbNJh4n521KumhGtzmUefXR6y_NLP6-SPKaVj_BrcBCRQZWA/s2648/Fig.%204.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1583" data-original-width="2648" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCjUDpf5gCIieHNSl7ojMHS1yig1rfcsKHlIKUionQo9lKID9wjlrgWbBXau7O1RWmmpBAqvrgb9PqD_lKZBJ9NI4NBQRnqpHOld6hbqEelvR-1_AgZc4a76F-bmY0sW2K3OY5w2c9YSKbNJh4n521KumhGtzmUefXR6y_NLP6-SPKaVj_BrcBCRQZWA/s16000/Fig.%204.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 4. Comparison of the two sculptures in question and Style-3
sculptures according to [2] (numbers indicate height in [cm])</span></td></tr></tbody></table><br /><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQI9JLB9j3cp1L7vrjIl2fadPvq8MNeuK6MGVZrxzG-dHf_FkRQAgpKp0envB8F582O4xS940ZGWKrPTgrcd19Dtb0f9S0B1A-JSm4QGSW3sn1kUqiO3u0h0MmsLDgqdWdCW2ODqskBVNNkCszhG8b0mKz1QTFBSYX-ohX5_pOAzzkMxE3fxg7AUs-ng/s2652/Fig.%205.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1535" data-original-width="2652" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQI9JLB9j3cp1L7vrjIl2fadPvq8MNeuK6MGVZrxzG-dHf_FkRQAgpKp0envB8F582O4xS940ZGWKrPTgrcd19Dtb0f9S0B1A-JSm4QGSW3sn1kUqiO3u0h0MmsLDgqdWdCW2ODqskBVNNkCszhG8b0mKz1QTFBSYX-ohX5_pOAzzkMxE3fxg7AUs-ng/w640-h370/Fig.%205.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 5. Fit of the two sculptures in question into the height-dependent
proportions of Style-3 sculptures according to [2]</span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">(numbers indicate height in [cm])</span></td></tr></tbody></table><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Both sculptures in
question also exhibit this type of eyebrows, and, as it has been done in the
factual statement of sculpture S1, can thus be attributed to the ‘’sculptures
with glasses’’ (or ‘’à lunettes’’ in French). Furthermore, comparing the face
details in Fig. 1, and putting them into connection with Style-3, as specified
in [2] and done in Figs. 3 and 4, allows to conclude that both sculptures are
in line with the characteristics of Style-3. Typical are the small noses and
protruding chins and the fact that the larger a sculpture is, the more slender
it is designed. Even the height-dependent proportions meet those of Style-3, as
derived in [2] and demonstrated in Fig. 5.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQbkpA3l_SKYR3iIKj5i40dD_Fd5_VVAX1Q5VAnzBqfSjgcw7RLEYVNKkbwF__KAdiytpUSZQn1QWk0rhsXLM0dN1mMkkOqvHUFJzVfJHdtI6WIh0OxcjjuG7nc-RabGa0v9AIk45bRKFrGIRCT0n69X7fDxTLCEUkxs6GZ-fWjpkUfYUeZ_L2KNs_2A/s2244/Fig.%206.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1663" data-original-width="2244" height="474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQbkpA3l_SKYR3iIKj5i40dD_Fd5_VVAX1Q5VAnzBqfSjgcw7RLEYVNKkbwF__KAdiytpUSZQn1QWk0rhsXLM0dN1mMkkOqvHUFJzVfJHdtI6WIh0OxcjjuG7nc-RabGa0v9AIk45bRKFrGIRCT0n69X7fDxTLCEUkxs6GZ-fWjpkUfYUeZ_L2KNs_2A/w640-h474/Fig.%206.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 6. Sculptures with pipes of Styles-1 to -3 and a related style
according to [2]</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The factual
statement of sculpture S2, furthermore, emphasizes the left arm, as being
amputated and originally having reached up to the chin. However, it is know
that these sculptures, in some cases, carry a long pipe, from the level of the
belly up to the chin, as shown in Fig. 6 (which also shows a Style-1 and
Staly-2 sculpture). The remnants of the ‘’left arm’’, on the level of the belly
and the chin, thus seem rather to represent the remnants of a pipe.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">3)
Conclusions<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The attribution of
sculpture S1 to the Lobi ‘’sculptures with glasses’’ can be confirmed. Both
sculptures can be further attributed to the same style, i.e., Style-3,
according to [2]. The remnants of the ‘’amputated arm’’ of sculpture S2 seem to
be rather those of a former pipe.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">4)
References<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[1] Giquello&Associés auction, Paris, 09-16.02.2023
(online), lots 30 and 32.<br />
[2] Keller, Thomas; Katsouros Floros (2014). Lobi Statuary:
Brillen-glasses-lunettes. Keller Arts Premiers, Lully VD, Switzerland. <a href="https://www.statuary-in-context.ch/lobi.html" target="_blank">Free download here</a>.<span class="MsoHyperlink"><span color="windowtext" style="text-decoration: none; text-underline: none;"><o:p></o:p></span></span></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Blogposts related to Lobi sculptures
‘’with glasses’’<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Fact check: Standing male shrine
figure, Lobi, Puguli? <a href="https://statuary-in-context.blogspot.com/2020/11/fact-check-standing-male-shrine-figure.html" target="_blank">Blogpost 01.11.2020</a>.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Fact check: A male ancestral shrine figure, Lobi people, Burkina Faso. <a href="https://statuary-in-context.blogspot.com/2018/12/fact-check-male-ancestral-shrine-figure.html" target="_blank">Blogpost02.12.2018</a>.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Research outcome: Lobi – Statuary in motion, Part 1/3. <a href="https://statuary-in-context.blogspot.com/2017/09/research-outcome-lobi-statuary-in.html" target="_blank">Blogpost 30.09.2017</a>.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Fact check: The Lobi Kelkoa Style – the first Lobi style.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><a href="https://statuary-in-context.blogspot.com/2017/08/fact-check-lobi-kelkoa-style-first-lobi.html" target="_blank">Blogpost 21.08.2017</a>.</span><br /></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Keller, Thomas.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Fact check: Two Lobi
sculptures ‘’with glasses’’ ? https://statuary-in-context.blogspot.ch, 12.03.2023.
<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 8pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="https://www.keionline.org/sites/default/files/1971_revision_of_Berne.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p><br /><p></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-15366569841290633382023-01-15T18:00:00.011+01:002023-04-02T21:37:48.094+02:00Research outcome: Six years of ‘’statuary-in-context.ch’’ - and Outlook 2023<p></p><div style="text-align: left;"><br /></div><span style="text-align: justify;"><div style="text-align: left;"><div style="text-align: justify;"><span style="font-size: 12pt;">My research work
on statuary-in-context, as initiated six years ago, also continued in 2022. The
areas of interest did not change and still comprise 1) the center of the Volta
River Basin in West Africa, i.e. the ‘’arch’’ from Burkina Faso to northern
Ghana and Togo, or the area from the Lobi people in the west to the Moba people
and their neighbors in the east, 2) the Fon and Ewe people from southeastern
Ghana to southern Benin, and 3) Madagascar and Indonesia. Post hoc fact
checking is still performed in order to determine the correctness of factual
statements in publications, and my own research findings are reported, both in
blogpost contributions that are complementary to my own publications.</span></div><span style="font-size: 12pt;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiykKRK4_UgoZz3WCLqA3-Ik9_cy00l0bW_-W_6WRdA7tJMw6Vk-g1WhvNl8eZB7GWo8yklBIW9CYjqbKWQnB7LzG24UZzSXHPnq9SWeMkRZj95acX3ReoA5AyvcgDkk27FMqMx0fozmgYSLgZ7mDgyi5ms2IPqkIGwX65OpLqnQtGYeIFFmgNV42voPA/s2692/NumberOfBlogposts_red-size.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2123" data-original-width="2692" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiykKRK4_UgoZz3WCLqA3-Ik9_cy00l0bW_-W_6WRdA7tJMw6Vk-g1WhvNl8eZB7GWo8yklBIW9CYjqbKWQnB7LzG24UZzSXHPnq9SWeMkRZj95acX3ReoA5AyvcgDkk27FMqMx0fozmgYSLgZ7mDgyi5ms2IPqkIGwX65OpLqnQtGYeIFFmgNV42voPA/w640-h504/NumberOfBlogposts_red-size.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 1. Number of published blogposts during the last six years
according to the areas of research</span></td></tr></tbody></table></span></div></span><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The development of
the number of blogposts according to these areas of research, over the last
years, is shown in Fig. 1. While the focus was on Lobi and Northern Togo</span><span lang="EN-US"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">in the first two years, the cemeteries of the Sakalava
and their artists in Madagascar gained significant interest in the following
years. The number of blogpost views per month during these years is depicted in
Fig. 2. An average of approximately 700 views per month can be recognized, with
slightly higher numbers during the Covid-19 pandemic (2020/21). </span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQN_ff13libOUQ3T7kOxoznbpQOmEP0v1lp_TlX88JU3Kip8N4ReikaIr2ft4I7K8CC0wYkBpVvm1PebvdvT_KY_zxnifRQV6K_vKMU0owHELK6-AE9a4zZ1KgjrEN-4nxOmHr1lqPaZ70PsgCTw2_AzkgZl2KpiTUiO6eNQnLl2d8tBvOKncwrRIVdg/s2698/BlogspotViews_red-size.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2138" data-original-width="2698" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQN_ff13libOUQ3T7kOxoznbpQOmEP0v1lp_TlX88JU3Kip8N4ReikaIr2ft4I7K8CC0wYkBpVvm1PebvdvT_KY_zxnifRQV6K_vKMU0owHELK6-AE9a4zZ1KgjrEN-4nxOmHr1lqPaZ70PsgCTw2_AzkgZl2KpiTUiO6eNQnLl2d8tBvOKncwrRIVdg/w640-h508/BlogspotViews_red-size.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 16px;">Fig. 2. Number of blogpost views per month over the last six years</span></td></tr></tbody></table><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br /><o:p></o:p></span><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2_WhN7Ofu7zkuxsPFWDkSqBoHzexRkSAw1vybyjtJMJLi149i-8VV9_9w_C--wynSiomOK9L9iYoIoOLcG4jOJeVhn1Hd6AxDrLnmaKH91ANKP5C-AyoGelDV2guLCl3y4m-WPqZuw8icGJPoGR-jMRo-Wf3eN0IHb3h33kJI8JMWG6159ofzrqx_jQ/s2700/SumOfBlogpostViews_red-size.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2115" data-original-width="2700" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2_WhN7Ofu7zkuxsPFWDkSqBoHzexRkSAw1vybyjtJMJLi149i-8VV9_9w_C--wynSiomOK9L9iYoIoOLcG4jOJeVhn1Hd6AxDrLnmaKH91ANKP5C-AyoGelDV2guLCl3y4m-WPqZuw8icGJPoGR-jMRo-Wf3eN0IHb3h33kJI8JMWG6159ofzrqx_jQ/w640-h502/SumOfBlogpostViews_red-size.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 3. Sum of blogpost views over the last six years according to
countries</span><span lang="EN-US" style="background: black; border: 1pt none black; font-family: "Times New Roman", serif; font-size: 0pt; line-height: 107%; padding: 0cm;"> </span><span lang="EN-US" style="background: black; border: 1pt none black; font-family: "Times New Roman", serif; font-size: 0pt; line-height: 107%; padding: 0cm;">Fig</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The distribution
of these views according to countries is shown in Fig. 3. The highest numbers
belong to the USA and France, followed by a group comprising Germany, Belgium,
Italy, the Netherlands and Spain. The sum of views of all the other countries,
however, exhibits the overall highest values. The diagram also demonstrates
that the sum of views is still almost linearly increasing.<o:p></o:p></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmHq0A7cQQy5orlM07hHA6ksKBcTueDpkua8fttozrnrEP5GGM--u5u012PWpizxfLu4vBqR6MFxFsKUwhVQkDVygR4VmHWYcYGkUHrLdVCbBVPT45FyoWh7zG8-4hnCwhMndLLJBW03-OsXRnFyJaIkGK9hNBCkxeY9QnfB6LGGQPeOlKtDzDbbPFjg/s2666/PublicationDownloads_red-size.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2127" data-original-width="2666" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmHq0A7cQQy5orlM07hHA6ksKBcTueDpkua8fttozrnrEP5GGM--u5u012PWpizxfLu4vBqR6MFxFsKUwhVQkDVygR4VmHWYcYGkUHrLdVCbBVPT45FyoWh7zG8-4hnCwhMndLLJBW03-OsXRnFyJaIkGK9hNBCkxeY9QnfB6LGGQPeOlKtDzDbbPFjg/w640-h510/PublicationDownloads_red-size.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Fig. 4. Number of publication downloads per month over the last six years</span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5wBmprjXE5igD0ujXU80TjMyohbrIf1yUb9H0W5pinJW631kqW1bzDR27BHP_q_hXFOk5PkBEAlp4ngjCxWc92AkK1eWeR9I66fywIsp7j9JhxItOe8NzhmNyrZ0vr_GkMlPtmiglloSoXDT8alDuJx8teZjWucBGy2VEsI3Kou4BYwOQrjIbasjqjA/s2643/Publications-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1375" data-original-width="2643" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5wBmprjXE5igD0ujXU80TjMyohbrIf1yUb9H0W5pinJW631kqW1bzDR27BHP_q_hXFOk5PkBEAlp4ngjCxWc92AkK1eWeR9I66fywIsp7j9JhxItOe8NzhmNyrZ0vr_GkMlPtmiglloSoXDT8alDuJx8teZjWucBGy2VEsI3Kou4BYwOQrjIbasjqjA/w640-h332/Publications-1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 5. Statuary-in-context.ch publications, <a href="http://www.statuary-in-context.ch/index.html" target="_blank">free download here</a></span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Coming finally to my
publications, which can be downloaded free of charge on </span><span color="windowtext" face="Arial, sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; text-decoration-line: none;"><a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a> -</span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"> their number of downloads per month during the last
years is depicted in Fig. 4. The seven publications, shown in Fig. 5, date from
2011-2018, where the highest peaks are in the curve of Fig. 4. A next
publication is planned about the Sakalava cemeteries of Madagascar, which is
supposed to summarize the research findings published in the blogposts depicted
in Fig. 1. </span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Due to a currently large work load in my main profession, it is
however not yet clear when this publication can be accomplished. <o:p></o:p></span><span style="font-family: Arial, sans-serif; font-size: 12pt; text-align: left;">Also, the frequency of blog publications will decrease in 2023, unfortunately,
due to the same reason.</span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">With my best
wishes for a happy and healthy New Year<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Thomas Keller<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><a href="mailto:info@statuary-in-context.ch">info@statuary-in-context.ch<o:p></o:p></a></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br /></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><o:p> </o:p></span></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-60443204803672752502022-12-25T20:47:00.005+01:002022-12-25T21:04:17.158+01:00Fact check: Lobi sculptures of Poyo and Teése styles ?<p></p><div style="text-align: left;"><br /></div><span style="text-align: justify;"><div style="text-align: left;"><span style="font-size: 12pt;">The attribution of
two Lobi sculptures, a head and a female figure, to Lobi styles denominated
Poyo and Teése, respectively, are discussed in the following.</span></div></span><p></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">1) Factual statements<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">According to [1]
and sculpture S1 in Fig. 1 (citation):<br /></span><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 120%;">Les
têtes-piquets d’ancêtre Baathil sont parmi les œuvres les plus caractéristiques
et les plus importantes dans le corpus de la sculpture Lobi. Fichées sur un monticule
de terre formant autel (Les Maitres de la sculpture de Côte d’Ivoire, Musée du
Quai Branly, 2015: fig. 253, p. 187), elles expriment avec intensité les canons
des différents styles Lobi. Cette tête appartient au style du Poyo, qui se
développe au Nord-Ouest du Burkina Faso dans la région de Malba. Elles figurent
parmi les têtes les plus connues attribuées à des maîtres du style Poyo, ici le
Maître du style de Birifor dit « de Poyo » selon Daniela Bognolo (dans Les
Maitres de la sculpture de Côte d’Ivoire, Musée du Quai Branly, 2015: pp. 184 -
185), héritiers de deux sculpteurs fondateurs du style : Wibrika Palé et Kipume
Youl.</span></i></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">According to [1]
and sculpture S2 in Fig. 1 (citation):<br /><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 120%;">Cette
statue Lobi se distingue par la puissance de sa qualité sculpturale.
L'influence du style archétypal teése se retrouve également dans l'élégance de
la silhouette élancée, dans le dynamisme de la posture, et par le soin accordé
au rendu des détails anatomiques. La très belle patine nuancée et lisse
confirme cette ancienneté.</span></i></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU_yLzycQ7hBaKGhGrZLDNJRivmdZCHleMmDwuq8QEt9TYxmqU_clleaZyXj-FoRsNOobaVpt4g8I-4Wr4meYwPvkOd_jhrv4hOHu7GFAYDso1xEGhx4B09vwVMWPiPXgePiGBlLhe4olnqoP-WwCn1eAmsEQ1p48UkAti81tNNbbWIb_2rOtgIh4ihw/s2286/Fig%201.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1326" data-original-width="2286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU_yLzycQ7hBaKGhGrZLDNJRivmdZCHleMmDwuq8QEt9TYxmqU_clleaZyXj-FoRsNOobaVpt4g8I-4Wr4meYwPvkOd_jhrv4hOHu7GFAYDso1xEGhx4B09vwVMWPiPXgePiGBlLhe4olnqoP-WwCn1eAmsEQ1p48UkAti81tNNbbWIb_2rOtgIh4ihw/s16000/Fig%201.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 1. Lobi sculptures in question with Poyo style (left) and Teése
style (right) attributions</span></td></tr></tbody></table><br />2) Discussion<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The style
attributions of Lobi sculptures made by Danial Bognolo in [2] were discussed in
several former blogposts, including the Poyo and Teése (or Teebo) styles.
Sculptures attributed by Bognolo to both styles are summarized in Figs. 2
(Poyo) and 3 (Teése).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><a href="https://statuary-in-context.blogspot.com/2017/09/fact-check-lobi-poyo-style.html" target="_blank">Concerning the Poyo style, the conclusions in the former blogpost were (citation)</a>: “Taking
into account 1) the uncertainties regarding the permissible range of variations
subsumed under this style and 2) the untraceable claims concerning carver
attribution, their life periods, age and place of creation of the sculptures,
the factual statements above, i.e. the derivation and characterization of this
style, cannot be verified and validated at this stage.”</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDcwZH4caJPKt4C9SttYvgzbhnf_uMe--FnaufXjJaQKsPKoCv7XWyNnyTmphZ8-TniNNRuKbbNx5dtLt5tTp_GJQgLvBdy46ZE0GiN4d4nssnaYVxy3I-suDneuFg8KkbSmM9VHdWqcUSs2Y57rJ-9zW0vx322iy6SNxw-vgHwLfwLP7xOGkiAeaKZQ/s2652/Fig.%202.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1249" data-original-width="2652" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDcwZH4caJPKt4C9SttYvgzbhnf_uMe--FnaufXjJaQKsPKoCv7XWyNnyTmphZ8-TniNNRuKbbNx5dtLt5tTp_GJQgLvBdy46ZE0GiN4d4nssnaYVxy3I-suDneuFg8KkbSmM9VHdWqcUSs2Y57rJ-9zW0vx322iy6SNxw-vgHwLfwLP7xOGkiAeaKZQ/s16000/Fig.%202.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 2. Lobi sculptures attributed to the Poyo style in [2]</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_HA7vRnrP1he_LkSaUNQtfCe4JWaQlut6n_lMi3lGx9hv_EMs4OXoOAnFtMcAw5htZXuppHNR5BAVcDIkw7AUjwMvSxjiUNMwhRx10jB0eIz_AZSFftD3mSaB75pdDC_GaGqq4Fc9vDIEBocUHFaWx4uFbsSX7GzZgmPBAAXj_4rVcj9pQmOZAEq4CA/s3755/Fig.%203.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1467" data-original-width="3755" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_HA7vRnrP1he_LkSaUNQtfCe4JWaQlut6n_lMi3lGx9hv_EMs4OXoOAnFtMcAw5htZXuppHNR5BAVcDIkw7AUjwMvSxjiUNMwhRx10jB0eIz_AZSFftD3mSaB75pdDC_GaGqq4Fc9vDIEBocUHFaWx4uFbsSX7GzZgmPBAAXj_4rVcj9pQmOZAEq4CA/s16000/Fig.%203.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 3. Lobi sculptures attributed to the Teése style in [2, 4]</span></td></tr></tbody></table><br /><a href="https://statuary-in-context.blogspot.com/2017/03/fact-check-lobi-head-stake-baathil.html" target="_blank">Regarding the Baathil denomination of the head and placement on altars of such heads, it was concluded in another previous blogpost (citation)</a>: “The factual statement, in its
generalized form, as presented by Bognolo, cannot be validated. Labouret and
Père clearly demonstrated how the cults and rituals are heterogeneous in the
Lobi country … a generalization to the whole Lobi country does not seem
admissible. Too many contradictions exist to other works.”<o:p></o:p></span><p></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><a href="https://statuary-in-context.blogspot.com/2018/03/research-outcome-lobi-teebo-styles.html" target="_blank">The conclusions in the former blogpost about the Teése-Teebo style were (citation)</a>: “A comparison
of all the sculptures (in Fig. 3 here) makes it difficult to support the
hypothesis of the existence of a common style, i.e. a specific ‘’Teebo style’’
… The main characteristics defined in [2], e.g. protruding abdomen and buttocks
and slightly bent legs, also apply to many other Lobi works. The hypothesis
that the “Teebo style” formed the basis of the Lobi styles cannot be supported
either. It might be true that the Teebo were the first to migrate into the
current Lobi settlement area. But previously, in their former Ghanaian home
area, they certainly already used figural works in their culture, as did their
(same) neighbors there (Lobi, Birifor, etc.), again before their migration. It
thus seems impossible to claim which style is the first or oldest. To imagine
that the use of figural works started only after the crossing of the Black
Volta River seems improbable. It seems much more probable however, in
accordance with Meyer [5], that, rather than a specific or archetypal ‘’Teebo
style‘’, numerous individual and thus different styles, created by Teebo
carvers/ateliers spread along the whole migration path, already existed from
the beginning.”</span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl0TBoC0QMtaCjJ8-1XgN_yFHhPjf39R5m09gF3NK0TNIPYLSfYRjAHkNzcXPmAmGXnd0uyp-3226nHkt8EkqsJtRwCa32rgJ7RCaHAlAPF0Hm-FiwlKen6rb54B3HZPRd-I3SiyhHSYOwK0Lj4f50NIYV4DT_zzbk_qRm9KUUMI48YLgy3-rRtbASQw/s2850/Fig.%204.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1644" data-original-width="2850" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl0TBoC0QMtaCjJ8-1XgN_yFHhPjf39R5m09gF3NK0TNIPYLSfYRjAHkNzcXPmAmGXnd0uyp-3226nHkt8EkqsJtRwCa32rgJ7RCaHAlAPF0Hm-FiwlKen6rb54B3HZPRd-I3SiyhHSYOwK0Lj4f50NIYV4DT_zzbk_qRm9KUUMI48YLgy3-rRtbASQw/s16000/Fig.%204.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 4. Lobi sculptures of the presumably same carver as the figure in
question</span></td></tr></tbody></table><br />Several sculptures
of the carver of the figure in question are known, as shown in Fig. 4. What is
remarkable are the different sizes of the sculptures, ranging from 10cm to
130cm. The proportions in the height direction, however, do not change, see
Fig. 5. Similarly, the details do not change and remain consistent across this
wide range of scales.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtzeWkFpdG4QokiDH4giT7PID2PLFNkaFH5orhWsgsNEOIp0iAhyPfpKMXmwcRAq3QVZecJQCB-eYsG8-GHbQOqT78hA4pwm1J0-WsK4qUfbFRJDBalYxhKFt9OqvkykgJ5IeJVCYNfc7vnLeZE-YN5WSV51zoA9INt_pgc4TDIJdtRk3xip8eegKqZw/s2670/Fig.%205.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1725" data-original-width="2670" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtzeWkFpdG4QokiDH4giT7PID2PLFNkaFH5orhWsgsNEOIp0iAhyPfpKMXmwcRAq3QVZecJQCB-eYsG8-GHbQOqT78hA4pwm1J0-WsK4qUfbFRJDBalYxhKFt9OqvkykgJ5IeJVCYNfc7vnLeZE-YN5WSV51zoA9INt_pgc4TDIJdtRk3xip8eegKqZw/s16000/Fig.%205.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 5. Proportions in height direction of the sculptures shown in Fig.
4 (sculptures scaled to same nose root-instep distance)</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">3)
Conclusions<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Based on the above
discussion, it seems difficult to support the factual statements made in [1]
concerning the style of the head in question and its use, and the style
influence on the figure in question.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">4)
References<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[1] Sotheby’s auction, Paris,16.12.2022, lots 84 and
85.<br />
</span><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;">[2] Bognolo, Daniela. Die Kunst der Lobi: Afrikanische
Meister und ihre Ausdrucksformen / Art Lobi: les styles et ses maîtres / De
Lobi en hun subgroepen,<br />
in/en Fischer Eberhard; Homberger Lorenz. Afrikanische Meister, Kunst der
Elfenbeinküste / Les maîtres de la sculpture de Côte d’Ivoire / Maskers en
beelden uit Ivoorkust de kunstenaars ontdekt. <br />
</span><span face=""Arial",sans-serif" style="font-size: 10pt;">Zürich/Paris/Amsterdam,
179-208/179-208/144-169, 2014. <br />
[3] <a href="https://sanzabl01b.wordpress.com/2015/08/22/musee-du-quai-branly-les-maitres-de-la-sculpture-de-cote-divoire-3-3/" target="_blank">Sanza blogpost, 22.08.2015</a>: Musée du Quai Branly – Les Maîtres de la
sculpture de Côte d’Ivoire 3/3.<br />
[4] Bognolo, Daniela: Lobi. 5 Continents Editions, Milan, 2007.<br />
</span><span class="MsoHyperlink"><span color="windowtext" face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH; text-decoration: none; text-underline: none;">[5] Meyer, Piet. Kunst und Religionen
der Lobi. Exh. cat., Museum Rietberg, Zürich, 1981.<br />
[6]</span></span><span lang="DE-CH" style="mso-ansi-language: DE-CH;"> </span><span class="MsoHyperlink"><span color="windowtext" face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH; text-decoration: none; text-underline: none;">Förster, Till (1995). Skulpturen in Westafrika, Masken und Figuren aus
Burkina Faso. Morat-Institut für Kunst und Kunstwissenschaft, Freiburg im
Breisgau.<br />
[7]</span></span><span lang="DE-CH" style="mso-ansi-language: DE-CH;"> </span><span class="MsoHyperlink"><span color="windowtext" face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH; text-decoration: none; text-underline: none;">Goodall, Donald (1976). </span></span><span class="MsoHyperlink"><span color="windowtext" face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Art of the
Upper Volta – from the collection of Maurice Bonnefoy. The University of Texas
Art Museum, Austin.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Blogposts related to Lobi styles<o:p></o:p></span></b></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;">Fact check: The Lobi Tinkhiero Style and carver attributions. <a href="https://statuary-in-context.blogspot.com/2018/06/fact-check-lobi-tinkhiero-style-and.html">Blogpost 24.06.2018</a>.</p><div class="MsoNormal" style="line-height: 19.2px; margin-bottom: 0cm;"><div class="MsoNormal" style="line-height: 19.2px; margin-bottom: 0cm;"><span face=""arial" , sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Research outcome: The Lobi Teebo Style(s). <a href="https://statuary-in-context.blogspot.com/2018/03/research-outcome-lobi-teebo-styles.html">Blogpost 29.03.2018</a>.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 19.2px; margin-bottom: 0cm;"><div class="MsoNormal" style="line-height: 19.2px; margin-bottom: 0cm;"><span face=""arial" , sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Fact check: The Holly Keko Style – Part 2. <a href="https://statuary-in-context.blogspot.ch/2017/12/fact-check-holly-keko-style-part-2.html">Blogpost 11.12.2017</a>.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 19.2px; margin-bottom: 0cm;"><span face=""arial" , sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Fact check: The Holly Keko Style – Part 1. <a href="https://statuary-in-context.blogspot.ch/2017/11/fact-check-lobi-holly-keko-style-part-1.html">Blogpost 21.11.2017</a>.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 19.2px; margin-bottom: 0cm;"><span face=""arial" , sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Fact check: The Lobi Poyo Style. <a href="https://statuary-in-context.blogspot.ch/2017/09/fact-check-lobi-poyo-style.html">Blogpost 10.09.2017</a>.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 19.2px; margin-bottom: 0cm;"><span face=""arial" , sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Fact check: The Lobi Kubeo or Koyoo Style. <a href="https://statuary-in-context.blogspot.ch/2017/08/fact-check-lobi-kubeo-or-koyoo-style.html">Blogpost 28.08.2017</a>.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 19.2px; margin-bottom: 0cm;"><span face=""arial" , sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Fact check: The Lobi Kelkoa Style – the first Lobi style. <a href="https://statuary-in-context.blogspot.ch/2017/08/fact-check-lobi-kelkoa-style-first-lobi.html">Blogpost 21.08.2017</a>.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 19.2px; margin-bottom: 0cm;"><span face=""arial" , sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Fact check: The Lobi Gbokho Style. <a href="https://statuary-in-context.blogspot.ch/2017/07/fact-check-lobi-gbhoko-style.html">Blogpost 09.07.2017</a>.</span></div><div class="MsoNormal" style="line-height: 19.2px; margin-bottom: 0cm;">Fact check: Lobi head stake: ‘’baathil – khele – milkuur’’ attribution.
<a href="https://statuary-in-context.blogspot.com/2017/03/fact-check-lobi-head-stake-baathil.html" target="_blank">Blogpost 25.03.2017</a>.</div></div></div>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Keller, Thomas. Fact check: Lobi sculptures of Poyo
and Teése styles? </span><a href="https://statuary-in-context.blogspot.ch/"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">https://statuary-in-context.blogspot.ch</span></a><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">, 25.12.2022.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 8pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="https://www.keionline.org/sites/default/files/1971_revision_of_Berne.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-31061512057156962632022-12-04T15:35:00.001+01:002022-12-04T15:35:17.726+01:00Research outcome: Lobi figure with attachments<p><span style="font-family: Arial, sans-serif; font-size: 12pt; text-align: justify;"><br />An interesting
Lobi figure was on display at the Olivier Castellano Gallery of the Parcours
des Mondes 2022. The mother-child representation exhibits numerous attachments,
consisting of plant remnants, feathers and a metallic piece, wrapped with cords.
They are attached to both necks and one arm with cords too, which are embedded
in a crust of sacrificial material, as shown in Fig. 1. The question arises
what the purpose or function of these attachments is.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8pysw4cJF1zl8BaF0uzSxkXRKOaQD8KZDEqrhgrDbPi9Hx1L2oYP7mZnMf085f53lrqqjnkUjjVZ2w1mUs9IDKLG-2_T1QR80DjTFC0owBAfCOW-Lf91GCiJkgs6Jq1iAs_iPUA9D5NpF11dLT5SzB_1oBySrezYXCXXiBj8Y-LPBAbCAmYvLzBbiNg/s3372/Presentation1-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1371" data-original-width="3372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8pysw4cJF1zl8BaF0uzSxkXRKOaQD8KZDEqrhgrDbPi9Hx1L2oYP7mZnMf085f53lrqqjnkUjjVZ2w1mUs9IDKLG-2_T1QR80DjTFC0owBAfCOW-Lf91GCiJkgs6Jq1iAs_iPUA9D5NpF11dLT5SzB_1oBySrezYXCXXiBj8Y-LPBAbCAmYvLzBbiNg/s16000/Presentation1-1.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Fig. 1. Lobi figure with complex attachments (approx. 23cm)</span></td></tr></tbody></table></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">As it has already
been discussed in <a href="https://statuary-in-context.blogspot.com/2018/02/research-outcome-tied-lobi-figures.html" target="_blank">a previous blogpost</a>, functions of Lobi figures are normally
expressed by their body postures and gestures and not by attachments. The
latter concept can be found in Ewe and Fon statuary,</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">for
instance, where functions are attributed by numerous surface additions, such as
vegetation residues, cloths, metallic pieces, bones or skulls, and cords, see <a href="https://statuary-in-context.blogspot.com/2017/08/research-outcome-fon-sculptural-oeuvre.html" target="_blank">another blogpost</a> regarding a Fon sculptural oeuvre from southern Benin. In those cases,
the body of the core wooden figure is often carved in a very simplistic way
since it is completely covered by the additions.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">In the
above-mentioned blogpost, Lobi figures with cord and cowry shell additions are discussed,
and it was concluded that such additions do not seem to indicate specific
functions, but rather represent fixations or jewelry. Looking at the figure in
question, however, which exhibits much more complex attachments, suggests that
a function is also attributed. What type of function is involved is, however, unknown and remains the secret of the diviner and his client. No references
about such complex attachments could be found in literature since they seem to
be very rare in Lobi statuary.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">Blogposts
related to functions of Lobi Statuary</span></b><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US;">:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Research outcome: Lobi – Statuary in motion, Part 3/3. <a href="https://statuary-in-context.blogspot.com/2017/09/research-outcome-lobi-statuary-in.html" target="_blank">Blogpost 05.10.2017</a>.<br />Research outcome: Lobi – Statuary in motion, Part 2/3. <a href="https://statuary-in-context.blogspot.com/2017/09/research-outcome-lobi-statuary-in_30.html" target="_blank">Blogpost 30.09.2017</a>.<br />Research outcome: Lobi – Statuary in motion, Part 1/3. <a href="https://statuary-in-context.blogspot.com/2017/10/research-outcome-lobi-statuary-in.html" target="_blank">Blogpost 20.09.2017</a>.</span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Keller, Thomas. Research outcome: Lobi figure with attachments. <br />
https://statuary-in-context.blogspot.ch, 04.12.2022.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 120%; mso-ansi-language: EN-US;">Homepage:
www.statuary-in-context.ch<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 9.0pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: .0001pt; margin-bottom: 0cm;"><br /></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-43064279198562704452022-10-30T14:37:00.008+01:002022-11-13T09:29:18.310+01:00Research outcome: About Lobi Bateba restitution and new abode<p><span face="Arial, sans-serif" style="font-size: 12pt; text-align: justify;"><br />An interesting contribution
to the current controversial debate about the restitution of African cultural
heritage, initiated by the Sarr/Savoy report in France in 2018 [1], was
recently published by Richard Adetokunbo Aina (*). In contrast to the rather
imperial and neo-colonial approach to impose art museums in African countries
for the restituted artworks, as basically proposed in [1], Aina’s approach,
which focuses on the restitution of Lobi Bateba sculptures, is embedded in the
historical and socio-cultural context of Lobi statuary.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYYOPhu3bXZfqPl9kmcLWv1Ef3h4gfgZRuJHR_BBlT6rPfBaUsu12uBUTmkT18P3tfbA4gqSj_sYaJiHwoTovWEpqKFVGScPzuMmEV_n2VSPFPuqKpehD4Uty19EZzpv7wHzaFTpj9iJH61-hIjuTLlNCPyT-GTri2RvZqWc6umoSrmw3_gqaf8hlBPA/s3003/Fig.%201.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1069" data-original-width="3003" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYYOPhu3bXZfqPl9kmcLWv1Ef3h4gfgZRuJHR_BBlT6rPfBaUsu12uBUTmkT18P3tfbA4gqSj_sYaJiHwoTovWEpqKFVGScPzuMmEV_n2VSPFPuqKpehD4Uty19EZzpv7wHzaFTpj9iJH61-hIjuTLlNCPyT-GTri2RvZqWc6umoSrmw3_gqaf8hlBPA/s16000/Fig.%201.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 1. ‘’Vessel’’ design proposal where restituted Lobi Bateba will be
reshrined, redomesticated or buried (left), community-based collaborative
planning and intervention (right)</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><span style="font-size: 12pt; text-align: left;">In his thesis [2, 3], he describes, in a first part, this context and
the associated development of the tribal art market. In the second part, based
on a hypothetical tripartite restitution agreement of Lobi heritage on the
international, national and provincial levels, which is derived from [1], he
develops an architectural design proposal, denominated ‘’Vessel’’, for the new abode of restituted Lobi Bateba sculptures, see Figs. 1 and 2.</span> <o:p></o:p></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5l_8MnzHkTZXeQaMiA_2ZftI6HIUQCNznBGKBxwmnIkSD3iuW-kZSNx9n6J5SDAnz9VUwx0uEvZdQmRKF6wFIY71HZkyfsET99hHEkBqmv7rFZUhaZove4ZyyPrEcQt-vHzYjYaScASCKWl5FjfSyictX_n5CEDcJimyZWE6N7q5LlJNCArmoWud7BA/s1920/Fig.%202.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="832" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5l_8MnzHkTZXeQaMiA_2ZftI6HIUQCNznBGKBxwmnIkSD3iuW-kZSNx9n6J5SDAnz9VUwx0uEvZdQmRKF6wFIY71HZkyfsET99hHEkBqmv7rFZUhaZove4ZyyPrEcQt-vHzYjYaScASCKWl5FjfSyictX_n5CEDcJimyZWE6N7q5LlJNCArmoWud7BA/s16000/Fig.%202.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 2. ‘’Vessel’’ ground plan</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The proposal is
based on improved traditional Lobi vernacular techniques, the involvement of
the land chief, master masons, diviners, and craftsmen. Land chief and masons
prepare the ground and build the long linear building, which is extendable at
the two ends. Diviners recontextualize and reinvigorate the arriving sculptures,
which are either reshrined according to their function, i.e., gesture, and/or redomesticated
in domestic shrines, or buried. Skillful craftsmen carve new Bateba for local
use and further develop the iconography for an export economy. The architecture
could finally serve to not only house the Bateba sculptures, but the complete diversity
of Lobi artefacts.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The first part of
the thesis about socio-cultural context and art market is informative and gives
an excellent overview about these topics. In the second part, there seems no criterion
to decide regarding which Bateba are received in the Vessel, against the
background that hundreds of thousands most likely exist. Another point that
might be criticized is the intended categorization of the incoming sculptures
according to ritual functions, which are associated with gestures. As has been
shown in [4], general relationships between functions and gestures rarely
exist. However, the community-based collaborative planning is a rather convincing
approach, in comparison to the neo-colonial one. While the latter is top-down
and does not consider today’s context in these countries, i.e. authoritarian
regimes and a potential lack of interest due to the presence of Islam (which
rejects any type of portrait), the former approach,</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">which
involves land chiefs, diviners and craftsmen, seems able to assure the
existence and development of the project in the long term. <o:p></o:p></span><span style="font-family: Arial, sans-serif; font-size: 12pt; text-align: left;">Finally, it is recommended to accompany the project scientifically
to also further elucidate and consider historical aspects.</span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: x-small;">(*) <a href="https://www.richard-aina.com/curriculum-vitae-bio" target="_blank">Richard Adetokunbo Aina</a> is a multidisciplinary
designer and researcher with particular strengths in architectural/spatial
design, architectural writing, furniture craft and conceptual filmmaking. His
work is recognized by numerous honors and awards.</span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">References<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[1] Sarr, Felwine; Savoy, Bénédicte. The Restitution
of African Cultural Heritage. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Toward a New Relational Ethics. Ministère de la culture,
Paris, 2018.<br /></span><span face="Arial, sans-serif" style="font-size: 10pt;">[2] Aina, Richard Adetokunbo. A Culture of Craft: West
Africa (UN)Objectified. Architectural Association School of Architecture, 2021/2022. <a href="https://www.richard-aina.com/post/a-culture-of-craft-west-africa-un-objectified-2021" target="_blank">Free download here</a>.</span><br /><span face="Arial, sans-serif" style="font-size: 10pt;">[3] Aina, Richard Adetokunbo. (DE)FALSIFIED IDOLs. Architectural Association
School of Architecture, 2021. <a href="https://www.richard-aina.com/post/defalsified-idols" target="_blank">Free download here</a>.<br /></span><span face="Arial, sans-serif" style="font-size: 10pt;">[4] Keller, Thomas. Lobi Statuary. Keller Arts Premiers, Lully VD, Switzerland,
2011. <a href="https://www.statuary-in-context.ch/lobi.html" target="_blank">Free download here</a>.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Keller, Thomas. Research outcome: About Lobi Bateba restitution. <br />
</span><span face=""Arial",sans-serif">https://statuary-in-context.blogspot.ch,
xx.10.2022.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 120%;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 9pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.</span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 9pt; line-height: 120%; mso-ansi-language: EN-US;"><br /></span></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-28745544858341667322022-10-09T11:23:00.004+02:002023-07-30T19:29:22.260+02:00Research outcome: Sculptural assemblies in Fon iconography<p><span face="Arial, sans-serif" style="font-size: 12pt; text-align: justify;"><br /></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><span style="font-size: 12pt;">An interesting
assembly of small sculptures, attributed to the Fon, appeared this year on the
market - first in an auction [1] and subsequently at the Parcours des Mondes,
both in France [2]. The assembly is composed of around 20 almost identical small
kneeling sculptures, standing on a thin wooden grid and arranged along the
perimeter, and four additional sculptures lying on the top, together with a funnel
element. The whole assembly is compact and bound together with cords, see Fig.
1.</span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi0FF-qoRdXuVrSjlaCv_J3ogcplSAEZhv3UtGwK1ghMRP9SPAfoHiUcrfV761euOETCiQCoDto2N66xdqGvQpIszkyhBiVBLwrutgfmVfsW4ig63euXg3WLNfaa_I7QxioG6xrHXPbkheeU4Q0MupME3wmg7YZIo1s0fZtBF_uW61w5yLLGsrPQKwGw/s2289/Fon-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1854" data-original-width="2289" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi0FF-qoRdXuVrSjlaCv_J3ogcplSAEZhv3UtGwK1ghMRP9SPAfoHiUcrfV761euOETCiQCoDto2N66xdqGvQpIszkyhBiVBLwrutgfmVfsW4ig63euXg3WLNfaa_I7QxioG6xrHXPbkheeU4Q0MupME3wmg7YZIo1s0fZtBF_uW61w5yLLGsrPQKwGw/w400-h324/Fon-1.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 10pt; line-height: 107%;">Fig. 1. Fon assembly of around 20 almost identical small kneeling sculptures</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 12pt;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpEn4_Dmf-2wxUqi_50bOa7TE4pVnSCLVYSAMpDMLSUcr3NBhntAtY9W34IwNe4F7L_03-Lav1jBjy976MbOKGEmaqEuT8H8OG3_TUjztaV6xOXhaktgpyeHDKfOuyxSVJTrdHP1g9KuAvIE223r7HMHIM-O0cffXSOJ2bLZvYyz39kFDN4tqPG2sUjQ/s3240/Fon-2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1770" data-original-width="3240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpEn4_Dmf-2wxUqi_50bOa7TE4pVnSCLVYSAMpDMLSUcr3NBhntAtY9W34IwNe4F7L_03-Lav1jBjy976MbOKGEmaqEuT8H8OG3_TUjztaV6xOXhaktgpyeHDKfOuyxSVJTrdHP1g9KuAvIE223r7HMHIM-O0cffXSOJ2bLZvYyz39kFDN4tqPG2sUjQ/s16000/Fon-2.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 10pt; line-height: 107%;">Fig. 2. Fon assembly of six almost identical small sculptures on the
front of a foldable cardboard piece, back partially wrapped with cloth and a
pocket closed with a zipper</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">If looking at the
available databases and references about Fon sculptures and their iconography [3-9],
assemblies of two smaller sculptures or couples, bound together, can frequently
be found, or assemblies of sculptures of different sizes and styles, often with
a much taller sculpture in the middle surrounded by smaller figures of
different styles, bound to the former. Assemblies of numerous almost identical smaller
sculptures do not appear however, with only one exception, an assembly of six almost
identical sculptures; four of them are arranged in a row and one lying on top
of their heads and one below their feet, see Fig 2 [10]. The sculptures are
fixed with strips of cloth on the front side of a foldable three-part cardboard
piece, which is also partially wrapped with cloths. The middle part has two
pockets on each side, between the central cardboard and the exterior cloths,
which can be opened by zippers.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">No information
about the function of the two objects is available. The first one may be
related to imprisonment in the context of slavery, as are also the bound Bla
Bochio sculptures in some cases [3-4]. The function of the second object is
less obvious, but maybe the task of the sculptures is to protect or hide the
content of the inner pockets?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Since at least two
such assemblies of almost identical small-scale sculptures exist, such objects
may also represent relevant elements in the Fon sculpture iconography. To
confirm this hypothesis, the existence of further similar objects is however
required. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 120%;">References<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" style="font-size: 10pt;">[1]
Lombrail & Teucquam auction, Saint-Maur-des-Fossés, France, Lot 91, 3 April
2022.<br />
[2] Parcours des Mondes 2022, Paris, Abla and Alain Lecomte Gallery.<br />
</span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[3] Blier, Suzanne Preston. African Vodun – art,
psychology and power. The University of Chicago Press, Chicago and London,
1995.<br />
</span><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;">[4] Hübner, Irene. Geestenkracht, vodun uit
West-Afrika. Afrika Museum, Berg en Dal, 1996. <br />
</span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[5] Brosthaus, Karl-Heinz. </span><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;">Skulpturen
und Objekte aus der Region des Königreiches Dahomey – Sammlung Birgit
Schlothauer und Gustav Wilhelm. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Exh. cat. Skulpturenmuseum Glaskasten, Marl,
2008.<br />
[6] Exhibition catalogue, "Vaudou", Fondation Cartier pour l'art contemporain,
Paris, 2011.<br />
</span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[7] <a href="https://www.artkhade.com/en/database" target="_blank">Artkhade database</a>. <br />
[8] <a href=" http://www.guyvanrijn.com/" target="_blank">African Heritage Documentation & Research Centre database</a>.<br />
[10] Tribalspace,</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">St Albans, Hertfordshire, United Kingdom, sold in 2012.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Blogposts related to Fon sculptures
and neighbors<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Research outcome: A Fon sculptural oeuvre from southern Benin. <a href="https://statuary-in-context.blogspot.com/2017/08/research-outcome-fon-sculptural-oeuvre.html" target="_blank">Blogpost 01.08.2017</a>.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Fact check: Fon from Benin or Ouatchi from Togo? <a href="https://statuary-in-context.blogspot.com/2018/06/fact-check-fon-from-benin-or-ouatchi.html" target="_blank">Blogpost 11.06.2018</a>.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Fact check: Adja statues from Benin? <a href="https://statuary-in-context.blogspot.com/2018/07/fact-check-adja-statues-from-benin.html" target="_blank">Blogpost 18.07.2018</a>.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Fact check: Two terracotta Adja couples from Benin?</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;"><a href="https://statuary-in-context.blogspot.com/2019/04/fact-check-two-terracotta-adja-couples.html" target="_blank">Blogpost 25.04.2019</a>.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Fact check: An Adja terracotta couple from Benin? <a href="https://statuary-in-context.blogspot.com/2021/02/fact-check-adja-terracotta-couple-from.html" target="_blank">Blogpost 07.02.2021</a>.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Fact check: Three-horned Fon object? <a href="https://statuary-in-context.blogspot.com/2021/06/fact-check-three-horned-fon-object.html" target="_blank">Blogpost 12.06.2021</a>.<br /></span><span face=""Arial",sans-serif"><br />
</span><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Keller, Thomas. Research outcome: Sculptural assemblies in Fon
iconography. <br />
</span><span face=""Arial",sans-serif">https://statuary-in-context.blogspot.ch,
09.10.2022.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 120%;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 9pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-28674808242105431102022-09-19T20:33:00.001+02:002022-09-24T07:25:08.176+02:00Research outcome: Sakalava sculpted cemeteries - Part 18: Ankirondro<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/blog/post/edit/6538611612270669357/5549547453079012664" target="_blank">Read Part 17 first</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">3.12 Sculpted cemetery of Ankirondro<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">A cemetery located
in Ankirondro was first mentioned by Molet in 1958 [12, 13], he also published
photos of the cemetery. Lavondès referred later, in 1961, to this cemetery [14],
in relation to the Antanosy sculptor Tsivolosa (see a <a href="https://statuary-in-context.blogspot.com/2019/07/fact-check-sakalava-sculptures.html" target="_blank">previous blogpost</a>). The captions
of photos taken by Mallet [43] in 1961 further refer to a cemetery of
Ankirondro. All these photos with direct Ankirondro attribution are shown in
Fig. 126. Neither Goedefroit in [1] nor Oberle in [3] addressed this cemetery
in their reference works however.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbydODJ1jYsRwVTFlvkt6hsveFuNFXBI5LzcrMVRn1rLZH-Kx1NEmUBEL25_ttWW-rL2je3Ga2AOGH3Ev6CiAfKPMZ6rnYHbAyp11nklpIqdg6XgoB7G4usCJH-ReZToRfmtODque6yW6eSt8WP1QUA28xO8vMozsLRP73fv50FvvzJuDLoepvmgv1kw/s3786/Fig%20126.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1890" data-original-width="3786" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbydODJ1jYsRwVTFlvkt6hsveFuNFXBI5LzcrMVRn1rLZH-Kx1NEmUBEL25_ttWW-rL2je3Ga2AOGH3Ev6CiAfKPMZ6rnYHbAyp11nklpIqdg6XgoB7G4usCJH-ReZToRfmtODque6yW6eSt8WP1QUA28xO8vMozsLRP73fv50FvvzJuDLoepvmgv1kw/s16000/Fig%20126.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 126. Cemetery, tomb and sculpture photos, direct Ankirondro
attributions in references, see Table 21 </span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Around Ankirondro,
which is situated on the southeast banks of Lake Bemarivo, see Fig. 127, six
cemeteries could be identified on today’s satellite photos, within a distance
of less than 1km from the village; they are denominated 24C1-24C6 (see <a href="https://statuary-in-context.blogspot.com/2019/12/research-outcome-sakalava-sculpted.html" target="_blank">Part 3</a>),
and shown in detail in Fig. 128. Two of them (24C2 and 24C3) are located within
the village itself and separated only by some houses; it seems likely that they
once formed one continuous cemetery. Cemetery 24C1 is the largest while 24C4-C6
are much smaller. To which of these cemeteries Mallet, Molet and Lavondès referred
is unknown, it might even be a cemetery that no longer exists today.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhipkxt-V9VuPy8KjEtksMtAKeuNIsaO8hRvrs7IPWvWJziAIF8HYOZJQGKA4kkWn1P7PGGrMJy13fCzQtQX7EY7aZRusTwWwD-PpzzHCFhn4p49sqiHLhOg87A5vCUEFnK0xz3KjhJGyOsr89MgfUQnFVRSOOxGwbF5bQSa6tDbzbC8ipHlmmCAvwR5w/s2610/Fig%20127.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1462" data-original-width="2610" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhipkxt-V9VuPy8KjEtksMtAKeuNIsaO8hRvrs7IPWvWJziAIF8HYOZJQGKA4kkWn1P7PGGrMJy13fCzQtQX7EY7aZRusTwWwD-PpzzHCFhn4p49sqiHLhOg87A5vCUEFnK0xz3KjhJGyOsr89MgfUQnFVRSOOxGwbF5bQSa6tDbzbC8ipHlmmCAvwR5w/w640-h358/Fig%20127.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 127. Cemeteries 24C1-6 around Ankirondro (coordinates see Table 3
in Part 3)</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-Qh0-WwlFNw_JOST687mm59p7QVcXhMbQDQhl-J_0uth4o1wIsBfnP34Z5NwyahUHEBBbA-vlNBjyDTBwMPodwHlKm4GCzj57_-GQLWgbFcK0nuFCDszrol1g5VJPhwKBllO6ZIxx7tfVQwCYGzHfi_pILE6PkiD2JtZDZm2Ylpm4Bb77m9bVDTmyng/s2100/Fig%20128.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1426" data-original-width="2100" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-Qh0-WwlFNw_JOST687mm59p7QVcXhMbQDQhl-J_0uth4o1wIsBfnP34Z5NwyahUHEBBbA-vlNBjyDTBwMPodwHlKm4GCzj57_-GQLWgbFcK0nuFCDszrol1g5VJPhwKBllO6ZIxx7tfVQwCYGzHfi_pILE6PkiD2JtZDZm2Ylpm4Bb77m9bVDTmyng/w640-h434/Fig%20128.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 128. Cemeteries of/around Ankirondro (north-south dimension
30-230m), satellite photos 10.2019 [6]</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Based on the eight
photos with direct Ankirondro attribution shown in Fig. 126, eight further
photos could also be attributed to this cemetery. They are shown in Fig. 129,
and the justifications for these derived attributions are given in Table 21 and
Figs. 130 and 131. The photo comparisons made in the latter two figures
demonstrate that the same bundle of dry branches and the same overhanging tree
branches are shown. It was also concluded that photo 24C-S-Ma-61-2+ must have
been flipped. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGC2h6ErW_czoeropUaKsuanP8sDk-MROtuVj_NsmIOKu8HogJ6NPuJMBMvxGRrlSnifIOEzOBCLLwukJnAdMQDJuhZCyow_ZNAjTRmDIuHkfUC2eE-ePtlShu4E08UTMp_sgreOoLXdtBw-MrMFJQ6-1jmKf8ykoSZBAELvR7SqUr08L6Sp_9q_DJYA/s2918/Fig%20129.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1980" data-original-width="2918" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGC2h6ErW_czoeropUaKsuanP8sDk-MROtuVj_NsmIOKu8HogJ6NPuJMBMvxGRrlSnifIOEzOBCLLwukJnAdMQDJuhZCyow_ZNAjTRmDIuHkfUC2eE-ePtlShu4E08UTMp_sgreOoLXdtBw-MrMFJQ6-1jmKf8ykoSZBAELvR7SqUr08L6Sp_9q_DJYA/s16000/Fig%20129.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 129. Tomb and sculpture photos, Ankirondro attributions derived
from own comparative analyses, see Table 21</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHudakbN6QNAXEglL2NDKuEWbI2xVcjKsuq_uYDxdOzVSE3YySruu_Px7Semv3_oY5TaJCClkNWGL4EAn0CswSEHpDzXDxpfJSnCSUSSPp6x4ZiqjNa5kBS8ox5XznoWD6DCqz9rVoGRrnPMEbBeEtFaarRISHHjBEhAaHvq66Hhy5b4IuMw8x-iuong/s1835/Table%2021.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1335" data-original-width="1835" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHudakbN6QNAXEglL2NDKuEWbI2xVcjKsuq_uYDxdOzVSE3YySruu_Px7Semv3_oY5TaJCClkNWGL4EAn0CswSEHpDzXDxpfJSnCSUSSPp6x4ZiqjNa5kBS8ox5XznoWD6DCqz9rVoGRrnPMEbBeEtFaarRISHHjBEhAaHvq66Hhy5b4IuMw8x-iuong/s16000/Table%2021.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Table 21. Cemetery of Ankirondro – photo references and derivation of
attributions</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The type of tombs
shown in all these photos is different from those of the more southern
Morondava region. Fences do not exist, only posts in the corners and middle of
the longer sides and connecting cross-beams enclose large piles of stones.
Interesting is a note written by Mallet on the back of photo 24C-S-Ma-61-2
(Fig. 126): “Tombeaux des princes Sakalava près d’Ankirondro”, which suggests
that at least parts of the cemetery were related to royal families, which could
be supported by the two “guardian” sculptures in front of the tomb shown in photo
24C-C-Mo-58-1 (Fig. 126), which are not integrated into a fence.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMtu4VW8gYQB9bRvzuJhyuSs5rSFnUy8m_ongdfvR1eRTPg1X856OsqwCCKISgWg5fikVoQpdJ-gLFalZ9Aj6DOmPXIDXhbKFDxvfYF5yn3BhuH6UpipJ6TeZb4dF9u_JL6QGubzRU4EAdg2u3DZ6Va8AUF3hVRMgY-oelv2PQMHFqX6fwAZKYM-h27Q/s2872/Fig%20130.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1604" data-original-width="2872" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMtu4VW8gYQB9bRvzuJhyuSs5rSFnUy8m_ongdfvR1eRTPg1X856OsqwCCKISgWg5fikVoQpdJ-gLFalZ9Aj6DOmPXIDXhbKFDxvfYF5yn3BhuH6UpipJ6TeZb4dF9u_JL6QGubzRU4EAdg2u3DZ6Va8AUF3hVRMgY-oelv2PQMHFqX6fwAZKYM-h27Q/w640-h358/Fig%20130.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 130. Verification of identity of dry branches in different photos,
see Table 21</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWWg5pvT6vWAp2SVD4JiLnhSv98arIWQ1z2Vj8c0ZwOU5vBiXp5gucyruVe4v6Hui9Vf1W6DfBwK0003pxxqVquv_YoKa28kKLwdrGRYUa8tKoc-TLI16Xusaa8LdKnGP5fhKCsa-kFKFg68-urQi5Ie0Z3qF22p-JVPz-zf5RlCGGk5ZpCgVQWvOa1g/s3248/Fig%20131.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1322" data-original-width="3248" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWWg5pvT6vWAp2SVD4JiLnhSv98arIWQ1z2Vj8c0ZwOU5vBiXp5gucyruVe4v6Hui9Vf1W6DfBwK0003pxxqVquv_YoKa28kKLwdrGRYUa8tKoc-TLI16Xusaa8LdKnGP5fhKCsa-kFKFg68-urQi5Ie0Z3qF22p-JVPz-zf5RlCGGk5ZpCgVQWvOa1g/w640-h260/Fig%20131.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 131. Verification of identity of tree branches in different photos,
see Table 21</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The sculptures
shown in Fig. 129 were attributed in literature to the sculptor Tsivolosa
(except the birds), as discussed in a <a href="https://statuary-in-context.blogspot.com/2019/07/fact-check-sakalava-sculptures.html" target="_blank">previous blogpost</a>. These attributions
were analyzed in that blogpost and found to be plausible. The sculptures
attributed to Tsivolosa are of much greater artistic quality than the far more simply
carved sculptures shown in photo 24C-C-Mo-58-3 (Fig. 126); at least two
different sculptors may thus have worked for this cemetery. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIiG7gnV6hgGWJCEBc4YHD2dBg_1Pzwgp2b4yWnmnt8zWS_mtC2LQByD8sQbq8Kj3VPnlC339B02GRFh7stLB7xuzI8jWzcNYZtEhu9uvbpwXELB71LfLXeCs8jvzJdGxHwRk21H01SkU9BsfxNys2Fsr1zB2u8gvy1lh9kSv-Jw2J5kAMRvBNrxMaUA/s2366/Fig%20132.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2234" data-original-width="2366" height="604" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIiG7gnV6hgGWJCEBc4YHD2dBg_1Pzwgp2b4yWnmnt8zWS_mtC2LQByD8sQbq8Kj3VPnlC339B02GRFh7stLB7xuzI8jWzcNYZtEhu9uvbpwXELB71LfLXeCs8jvzJdGxHwRk21H01SkU9BsfxNys2Fsr1zB2u8gvy1lh9kSv-Jw2J5kAMRvBNrxMaUA/w640-h604/Fig%20132.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 132. Hypothesis about arrangement of Tsivolosa sculptures on two
tombs of Ankirondro cemetery, derived from available photo views and their view
angles</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Based on the photos
shown in Figs. 129-131 and their view directions, including their wide or
narrow angles, a hypothesis was derived of how the sculptures originating from
Tsivolosa and shown in Fig. 129 must have been arranged on tombs. Elements that
guided this reconstruction were the visible bundle of dry branches and the
overhanging tree branches, the wide or narrow angles of the views, the viewing
direction of the sculpture shown in photo 24C-S-Ma-61-1+ (assumed to be
directed to the inside of the tomb), and the fact that tombstones are visible behind
that sculpture; another tomb must thus have been located there. Only one
plausible solution could be found which matched all the requirements, as shown
in Fig. 132, i.e., the sculptures were arranged on two tombs, in an offset
position from north to south.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Continued in Part 19<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">References
(Parts 1-18)<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><span face=""Arial",sans-serif" style="font-size: 10pt;">[1] </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><span face=""Arial",sans-serif" style="font-size: 10pt;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><span face=""Arial",sans-serif" style="font-size: 10pt;"> Goedefroit, Sophie. <a href="https://core.ac.uk/download/pdf/39851654.pdf" target="_blank">La société Sakalava du Menabe</a>: Approche anthropologique d'un ensemble régional de Madagascar. Paris: Université de la Sorbonne Panthéon Paris 1, 1997.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[2] Goedefroit, Sophie; Lombard, Jacques. Andolo – l’art funéraire Sakalava à Madagascar. Biro éditeur, 2007. <a href="https://www.researchgate.net/publication/277307257_Andolo_L'art_funeraire_sakalava_a_Madagascar" target="_blank">PDF version</a>.<br />[3] Oberle, Philippe. Provinces malgaches. Art, histoire, tourisme. Edition Kintana, 1979.<br />[4] Malgache, qui es-tu? Cat. d’exp., Musée d’Ethnographie de Neuchâtel, 1973.<br />[5] Urbain-Faublée, Marcelle. L’art malgache. Pays d’outre-mer, 5ème série: arts et littérature, 2. Presses Universitaires de France, 1963.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[6] Satellite photos from </span><a href="https://satellites.pro/" style="font-size: medium;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">https://satellites.pro</span></a><span class="MsoHyperlink" style="font-size: medium;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 10pt; mso-ansi-language: EN-US; mso-themecolor: text1; text-underline: none;"> or Google Earth</span></span><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 10pt; mso-ansi-language: EN-US; mso-themecolor: text1;">.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[7] Postcard entitled ‘’5.-Tombeaux Vezo à Ankivalo-Morondava’’ (no other information on the back).<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[8] Musée du Quai Branly, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online archive</a>, no. PP0139090, approx.1950.</span><span style="font-size: medium;"> </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[9] Astuti, Rita. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">People of the sea, identity and descent among the Vezo of Madagascar. Cambridge University Press, 1995.<br />[10] Smith, George Herbert.<a href="https://archive.org/details/amongmenabeorth00commgoog/page/n8" target="_blank"> Among the Menabe</a>; or, thirteen months on the west coast of Madagascar. E. & J. B. Young and Co., New York, 1896.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; text-underline: none;">[11] Poirier, Charles. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">Sculptures funéraires des Sakalava de Morondava. Mémoires de L’académie malgache - Notes d’ethnographie et d’histoire malgache, XXVIII: 19-20, 1939.<br /></span></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[12] Molet, Louis. Bulletin de Madagascar, No. 144, 1958.<br />[13] Molet Louis. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>, no. PF0176385-88. </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[14] Lavondès, Anne. Art traditionnel malgache: Introduction à une exposition. Institut de recherche scientifique de Madagascar, Tananarive, 1961.<br />[15] Marchal, Jean-Yves. <a href="http://horizon.documentation.ird.fr/exl-doc/pleins_textes/divers18-08/22256.pdf">Etude géographique de la plaine de Bemarivo (Belo/Tsiribihina)</a>. Office de la recherche scinetifique et technique outre-mer, Tananarive, 1968.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[16] Chazan, Suzanne. </span></span><span face=""Arial",sans-serif" style="font-size: 10pt;"><a href="http://horizon.documentation.ird.fr/exl-doc/pleins_textes/divers18-08/23765.pdf" target="_blank">Echanges, pouvoir, représentations</a>: côte Ouest de Madagascar / 2: Itinéraires: région de Belo-sur-Tsirihihina et vallée du Manambolo. ORSTOM, Paris,1986.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[17] Goy, Bertrand. Arts anciens de Madagascar. Milan: 5 continents, 2015.<br />[18] Anonymous. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/">Online Archive</a>.</span></span><span face=""Arial",sans-serif" style="font-size: 10pt;"> </span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;"><br /></span></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[19] Astuti, Rita. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Invisible objects: Mortuary rituals among the Vezo of Western Madagascar. RES: Anthropology and Aestetics, no. 25, 1994, p111-112.<br />[20] Boulfroy, Nicole. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><br />[21] Boulfroy, Nicole. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Madagascar - arts de la vie et de la survie. Cahiers de l’ADEIAO, 8, Paris, 1989.<br />[22] Gabus, Jean. Archive of the Musée d’Ethnographie de Neuchâtel, Switzerland.<br /><span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 14.2667px; mso-ansi-language: FR-CH; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[22a] Martin, Christian. <a href="http://foto.christianmartin.pagesperso-orange.fr/tombeaux_malgaches.htm" target="_blank">Dessins et Photographies</a> - Platine Palladium & Argentique, accessed 30.01.2021.</span><br />[23] Postcard entitled ‘’5.-Un tombeau Vezo à Ankivalo-Morondava’’. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Courtesy of the Trustees of the British Museum, London, UK, photographer Pastor Jorgen Ruud, 1934-1954.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[24] Holas, Bohumil. Musée du Quai Branly, Paris, <a href=" http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>.</span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[25] Kouwenhoven, Arlette. L’art funéraire de Madagascar. Tribal Arts, no. 19, 1998, 72-82.<br />[26] Goedefroit, Sophie; Lombard, Jacques. <a href="https://www.franceculture.fr/emissions/le-salon-noir/lart-funeraire-sakalava-madagascar" target="_blank">L'art funéraire sakalava à Madagascar</a>. Emission France culture, 23/01/2008.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[27] <a href="https://www.ird.fr/content/download/7140/75019/version/1/file/DP_Andolo.pdf" target="_blank">Andolo book presentation</a>. Institut de recherche pour le développement, IRD, Paris, 2007.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[28] Lombard, Jacques. <a href="https://www.researchgate.net/publication/280945916_Ethnocentrisme_et_creation" target="_blank">Des « images intérieures » à la création plastique</a>. Ethnocentrisme et création, 2013: 195-219.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[29] Goedefroit, Sophie; Lombard, Jacques. <a href="https://www.researchgate.net/profile/Jacques_Lombard2/publication/281064930_Regard_sur_l'art_funeraire_sakalava/links/55d32ff808ae7fb244f5819c/Regard-sur-lart-funeraire-sakalava.pdf" target="_blank">Regard sur l'art funéraire sakalava</a>. Arts & Cultures, Barbier-Mueller Museum, Geneva, 2008: 136-153.<br />[30] Lombard, Jacques. <a href="http://journals.openedition.org/oceanindien/571" target="_blank">Images et imaginaire</a> - quelles images au fondement de la culture malgache? </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Études océan Indien, 44, 2010.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[31] Lempertz Auction, Brussels, 26 January 2016, lot 103. Fist publication in 1994, further details and references in: <a href="http://www.ahdrc.eu/" target="_blank">African Heritage Documentation & Research Center</a>, no. ao-0076255-001.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[32] Molet Louis. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>, no. PF0176389. </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[33] Vérin, Pierre. <a href="https://unesdoc.unesco.org/ark:/48223/pf0000042687_fre?posInSet=5&queryId=50dc60e2-26c8-4bad-9d04-b1783b7d5fb8" target="_blank">Madagascar</a>. In Histoire générale de l'Afrique, II: Afrique ancienne, 2. Editions Unesco 1980, 753-779.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[34] Lombard, Jacques. <a href="https://www.researchgate.net/publication/32993735_Le_royaume_Sakalave-Menabe_resultat_d'une_enquete_et_presentation_d'un_corpus_de_traditions_et_de_litterature_orales" target="_blank">Le royaume Sakalave-Menabe</a>: résultat d'une enquête et présentation d'un corpus de traditions et de littérature orales. Cahiers O.R.S.T.O.M., série Sciences Humaines, vol. XIII, no. 2, 1976: 173-202.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[35] <span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 14.2667px; mso-ansi-language: FR-CH; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Goedefroit, Sophie. <a href="https://horizon.documentation.ird.fr/exl-doc/pleins_textes/pleins_textes_7/b_fdi_03_03/010012955.pdf" target="_blank">A l’ouest de Madagascar</a> – les Sakalava du Menabe. Karthala-IRD, Paris, 1998.</span><br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[36] Musée d’ethnographie de Genève. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH; text-underline: none;">Photographie: <a href="https://www.ville-ge.ch/meg/musinfo_photo.php?what=409774&collection=Jacques+Faubl%C3%A9e&debut=0&bool=AND" target="_blank">Fonds Jacques Faublée</a> (1912-2003).</span></span><span class="MsoHyperlink" style="font-size: medium;"><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;"><br /></span></span><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;">[37] Berechnung <a href="https://www.sonnenverlauf.de/#/-20.2932,44.2777,9/2020.07.01/11:29/1/3" target="_blank">Sonnenverlauf</a>. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Assessed 21 October 2020.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[38] Mallet, Robert. L’art funéraire Sakalava. La Revue Française, 171, 21-26, 1964.<br />[39] Mallet, Robert. Art Sakalava: Statues, objets, photographies, documents, sonores. Catalogue d’exposition, Université de Madagascar, Tananarive, février-mars 1963.<br />[40] Garlinski, Majan; Hopkins, Eve. À Madagascar - Photographies de Jacques Faublée, 1938-1941. Catalogue d'exposition. Infolio éditions, Musée d'ethnographie de Genève, 2010.<br />[41] Mack, John. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; text-underline: none;">Madagascar: Island of the ancestors. British Museum Publications Ltd., London, 1986.<br />[42] Vérin, Pierre. <a href="https://www.jstor.org/stable/42928993?seq=1" target="_blank">Madagascar</a>. Asian Perspectives, vol. 7, no. 1/2, 1963: 41-44.<br /><span class="MsoHyperlink"><span face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;">[43] <a href="http://www.calames.abes.fr/pub/#details?id=FileId-1327" target="_blank">Fonds Robert Mallet</a>.</span></span><span face="Calibri, sans-serif" style="font-size: 11pt; line-height: 15.6933px;"> </span><span class="MsoHyperlink"><span face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;">Archives et manuscrits du SCD de l'Université de Picardie Jules Verne, Amiens, France.</span></span></span></span><br />[44]</span><span lang="EN-US" style="font-size: medium; mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">African Heritage Documentation & Research Centre, ao-0076358-001: 82 cm, Marovoay style, collected by Pierre Langlois in 1966, accessed on 25.10.2021.<br />[45]</span><span lang="EN-US" style="font-size: medium; mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">African Heritage Documentation & Research Centre, ao-0076287-001/002/003: 106 cm, accessed on 03.12.2021.</span><br />[46] Battistini, René; Vérin, Pierre; Rason, René. Le site archéologique de Talaky. Annales de l’Université de Madagascar - Lettres, vol. 1, 1963, pp.111-153.<br />[47] Gautier, Emile-F.<a href="https://doi.org/10.3406/geo.1897.5616" target="_blank"> Lettre de Madagascar</a>. In: Annales de Géographie, t.6, no. 27, 1897, pp. 263-268.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 14.2667px; mso-ansi-language: FR-CH; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[48] De Grunne, Bernard. <a href="https://issuu.com/artsolution/docs/sakalava_hd">Sakalava</a>. Exhibition catalogue TEFAF, Maastricht, 2018.<br /><span class="MsoHyperlink"><span face=""Calibri",sans-serif" style="font-size: 11pt; line-height: 15.6933px; mso-ansi-language: FR-CH; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[49] <span class="MsoHyperlink"><span color="windowtext" face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;"><a href="https://spectacles-selection.com/archives/expositions/fiche_expo_M/madagascar-V/madagascar-cimetiere-P.html" target="_blank">Madagascar, dernières demeures</a> - images de la vidéo. Exposition MADAGASCAR - Arts de la Grande Île, Muséee du quai Branly, 2018.<br /></span></span></span></span></span>[50] Bonhams auction, 12 Feb 2010, lot 4264, 89.5cm (also in AHDRC, no. ao-00 0076251-001).<br />[51] African Heritage Documentation & Research Centre, ao-0076298-001: 82cm, Sothebys NY, 1980, accessed on 13.03.2022.<br />[52] Photo found on Overblog.com on 29.01.2021, could not be found anymore on 27.03.3022 to provide exact reference.</span><br />
</span><span face=""Arial",sans-serif" style="font-size: 10pt;">[53] Godin,
Claude. L’art à Madagascar. La Revue de Madagascar, no. 36: 49-60, 1966.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Blogposts related to Madagascar
sculpted cemeteries<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Research outcome: Sakalava sculpted cemeteries – Part 17: Ankevo.
<a href="https://www.blogger.com/blog/post/edit/6538611612270669357/5549547453079012664" target="_blank">Blogpost 08.05.2022</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 16: Amboaniatoka. <a href="https://statuary-in-context.blogspot.com/2022/03/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 14.03.2022</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 15: Antevamena/Mangily. <a href="https://statuary-in-context.blogspot.com/2022/02/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 05.02.2022</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 14: Marofotse. <a href="https://statuary-in-context.blogspot.com/2022/01/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 09.01.2022</a>. <br />Research outcome: Sakalava sculpted cemeteries – Part 13: Manometinay. <a href="http://statuary-in-context.blogspot.com/2021/12/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 12.12.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 12: Bosy-Andraingy-2. <a href="http://statuary-in-context.blogspot.com/2021/09/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 19.09.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 11: Bosy-Andraingy-1. <a href="http://statuary-in-context.blogspot.com/2021/03/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 28.03.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 10: Avaradrova (Anosy Lava).<a href="http://statuary-in-context.blogspot.com/2021/01/research-outcome-sakalava-sculpted.html" target="_blank"> Blogpost 11.10.2020</a><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 15.6933px; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">.</span><br />Research outcome: Sakalava sculpted cemeteries – Part 9: Marovoay. <a href="http://statuary-in-context.blogspot.com/2020/10/research-outcome-sakalava-sculpted_24.html" target="_blank">Blogpost 24.10.2020</a><a href="http://statuary-in-context.blogspot.com/2020/09/research-outcome-sakalava-sculpted.html" target="_blank">.</a><br />Research outcome: Sakalava sculpted cemeteries – Part 8: Ambato. <a href="http://statuary-in-context.blogspot.com/2020/09/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 20.09.2020.</a><br /><span face="Arial, sans-serif">Research outcome: Sakalava sculpted cemeteries – Part 7: Kivalo. <a href="http://statuary-in-context.blogspot.com/2020/08/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 26.06.2020</a>.<br /></span><span face="Arial, sans-serif"><span face="">Research outcome: Sakalava sculpted cemeteries – Part 6: Antakitoka-2. <a href="http://statuary-in-context.blogspot.com/2020/06/research-outcome-sakalava-sculpted.html">Blogpost 26.06.2020</a>.<br /></span><span face="" lang="">Research outcome: Sakalava sculpted cemeteries – Part 5: Antakitoka-1. <a href="http://statuary-in-context.blogspot.com/2020/02/research-outcome-sakalava-sculpted.html">Blogpost 13.01.2020</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 4. <a href="http://statuary-in-context.blogspot.com/2020/01/research-outcome-sakalava-sculpted.html">Blogpost 13.01.2020</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 3. <a href="http://statuary-in-context.blogspot.com/2019/12/research-outcome-sakalava-sculpted.html">Blogpost 15.12.2019</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 2. <a href="http://statuary-in-context.blogspot.com/2019/11/research-outcome-sakalava-sculpted.html">Blogpost 02.11.2019</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 1. <a href="http://statuary-in-context.blogspot.com/2019/10/research-outcome-sakalava-sculpted.html">Blogpost 20.10.2019</a></span></span>.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Keller, Thomas. Research outcome: Sakalava sculpted cemeteries – Part 18:
Ankirondro. <br />
</span><span face=""Arial",sans-serif">https://statuary-in-context.blogspot.ch,
19.09.2022.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 120%;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 9pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-47898325392146726372022-07-31T17:01:00.002+02:002022-07-31T17:08:32.285+02:00Fact check: Double-headed Lobi sculpture originating from Palé Kalfala? (Part 2)<p></p><div style="text-align: left;"><br /></div><span style="text-align: justify;"><div style="text-align: left;"><b><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><a href="https://statuary-in-context.blogspot.com/2022/06/fact-check-double-headed-lobi-sculpture.html" target="_blank">Read Part 1 first</a></span></b></div><div style="text-align: left;"><b><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br /></span></b></div><div style="text-align: left;"><b><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">5) Part 1 discussion - continued</span></b></div></span><p></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">In <a href="https://statuary-in-context.blogspot.com/2022/06/fact-check-double-headed-lobi-sculpture.html" target="_blank">Part 1</a> of this
two-part blogpost, doubts were formulated concerning the statement in [2] that
the sculpture S1 shown in Fig. 3 (below), and those shown in [2], originated
from one single carver, named Palé Kalfala, and were rather recent. In the
following, the styles of 25 sculptures (S1-S25), attributed to Kalfala in [2]
or [4], are compared to shed more light on the question as to whether this
oeuvre originates from one or several carvers. Only sculptures with
double-heads on a body (including arms and legs), or with one or two heads
without body, i.e., positioned on only one or two legs, were considered, these are
shown in Figs. 3-5.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf8doDT2vN3ujkooR1BR0B8cQL1CWeyEc7d3Jja8KoQvBH2vIGXB2c46Q70f6TBbVRK2KUfxugM5HZeTHwfYNU2HSCRAnSgxNyBfr2QOOFtoHZihy0P7thgM5-CctTPV8KgeQUerSM7k_OMcoBUNwS7JugewK4JYqCcj4ZfABCItV1bN0ts-DQJYufBg/s3886/Fig-3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1444" data-original-width="3886" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf8doDT2vN3ujkooR1BR0B8cQL1CWeyEc7d3Jja8KoQvBH2vIGXB2c46Q70f6TBbVRK2KUfxugM5HZeTHwfYNU2HSCRAnSgxNyBfr2QOOFtoHZihy0P7thgM5-CctTPV8KgeQUerSM7k_OMcoBUNwS7JugewK4JYqCcj4ZfABCItV1bN0ts-DQJYufBg/s16000/Fig-3.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 10pt; line-height: 107%;">Fig. 3. Styles of double-headed sculptures on a body, S1-S11, (height in [mm], indicated where available)</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Eleven sculptures,
S1-S11, were found which exhibited double-heads with body, they are reproduced
in Fig. 3 and one of their double-heads is depicted in Fig. 6 (first line). The
sculptures were scaled to the same nose root-instep distance (blue lines) in
Fig. 3, and orange fitting lines were added on the levels of the mouth, shoulders,
navel, and knees. Similarly, the heads in Fig. 6 were scaled to the same nose
root-mouth distance and an orange fitting line, on the level of the nose tip,
was added. Based on this analysis, it could be concluded that the vertical proportions
of all these sculptures were similar.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-RmASfetuFAiCceT6-efRrw8myH682E0-MZCAdQMmcZJTDpYXeLC6CEq4CeJpgXcxc5WWiYfKA-NUZbsQQwPXwmOJi0saiLgCeTuQ0eXbkzNZOQmJwDmgtgPxb2-z_zGbHH2KvEPdBNdRzE2jahB85WzIMDhQGIcK4vLKDr7Tqd5coOztvfFVbAMAQQ/s1931/Table-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="531" data-original-width="1931" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-RmASfetuFAiCceT6-efRrw8myH682E0-MZCAdQMmcZJTDpYXeLC6CEq4CeJpgXcxc5WWiYfKA-NUZbsQQwPXwmOJi0saiLgCeTuQ0eXbkzNZOQmJwDmgtgPxb2-z_zGbHH2KvEPdBNdRzE2jahB85WzIMDhQGIcK4vLKDr7Tqd5coOztvfFVbAMAQQ/s16000/Table-1.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 9pt; line-height: 107%;">Table 1. Main style differences of double-headed figures with body, S1-S11</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The main consistent
and meaningful style differences, i.e., those that allowed these eleven
sculptures to be grouped according to style, are summarized in Table 1. They
concern differences in head shape and distance, forehead and neck shapes, existence
of hands, and carving quality. Other differences were not consistent, e.g.,
whether the arms are attached to the body or not, or the type of hairstyle, or
the shape of the breasts. As can be seen in Figs. 3 and 6, three different
styles could be identified, Styles 1-3; the meaningful differences in the body
features are listed in Table 1. Low, medium, and high foreheads mean foreheads
with height smaller, equal, or larger than 1/3 of the head height,
respectively. Differences in carving quality were also considered; they range
from rough to fine and precise, and subdivide the styles where applicable, e.g.,
Sub-styles 2a-2c.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO5IOfqYaScDx814ysWIeAaZnHv1sEnfiDphzkmXAS4XzcIyOfM2mWXFewGkNOOPqLUefiyQddaVmSaj4MwFLyrt7ixJTKEjndpoJfmi1TUCoP5f77F29CGq9GOXKFU-qOuPsq2YwTlvSizTdTw7gzuup9bsdVfp7jvoDSSLEIXnAK2gAAsPltn0EZHw/s3266/Fig-4.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1740" data-original-width="3266" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO5IOfqYaScDx814ysWIeAaZnHv1sEnfiDphzkmXAS4XzcIyOfM2mWXFewGkNOOPqLUefiyQddaVmSaj4MwFLyrt7ixJTKEjndpoJfmi1TUCoP5f77F29CGq9GOXKFU-qOuPsq2YwTlvSizTdTw7gzuup9bsdVfp7jvoDSSLEIXnAK2gAAsPltn0EZHw/w640-h340/Fig-4.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 10pt; line-height: 107%;">Fig. 4. Styles of one- or two-headed sculptures on two legs without
body, S12-S17</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Five sculptures,
S12-S16, were found where one head is directly positioned on two legs, thus without
body in between; a further sculpture, S17, has two heads on top of each other
and also on two legs, see Fig. 4. Furthermore, three sculptures have one head
on one leg, S18-S20, and five others exhibit unusual compositions, S21-S25, see
Fig. 5; i.e., no other sculpture of the same composition could be found in
these latter cases. The heads of sculptures S12-S25 are also shown in Fig. 6
(lines 2-3) - only the styles of the heads could be compared in these cases.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr8T-ZHcVKdfs9wCadTc0zOskwXyeXgQuHlVU7I7XgL3zNYYuDvOwknK-w58isukuzDf6TJn4_iBzcjeoi5tPAC4gDVvTIqXiyLuXR6VnM8lRom6viDx0irDqmQHQoTa7koT_B1FDnToLcHzNWgsuepJAdsd4axN-0N5X7wbTiSKzB3h2oi195TNs_6Q/s3834/Fig-5.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1664" data-original-width="3834" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr8T-ZHcVKdfs9wCadTc0zOskwXyeXgQuHlVU7I7XgL3zNYYuDvOwknK-w58isukuzDf6TJn4_iBzcjeoi5tPAC4gDVvTIqXiyLuXR6VnM8lRom6viDx0irDqmQHQoTa7koT_B1FDnToLcHzNWgsuepJAdsd4axN-0N5X7wbTiSKzB3h2oi195TNs_6Q/s16000/Fig-5.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 10pt; line-height: 107%;">Fig. 5. Styles of one-headed sculptures on one leg (S18-S20) and unusual
compositions (S21-S25)</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The consistent and
meaningful physical features of all heads, S1-S25 (except S11 and S22), are
listed in Table 2 and comprise the shapes of the head, forehead, ears,
eyebrows, nose bridge, lips, and carving quality. Three additional different
styles, Styles 4-6, could be derived from the comparisons in Table 2; in some
feature groups, however, some few exceptions exist. Sculpture S22 was not listed
in Table 2 since it is too different from all other compositions. The small and
full spherical ears and the eyes with horizontal symmetry axis do not fit into
the shapes found in all the other styles, Style 7 was thus attributed to this
sculpture.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCnTxz3iUa6Sea-ZwW0GTPn1qYrQCdNq-bVxd0Erryx3yOjStefDTjmMw7Kcmf97D1eLeeNMeehyIpxSnaMom41hTDaJQOxTmppZ_lD-1EHGDnYfKc48b87unIbDlJAcLhwr8Q8_izWuoZjh7QEt0hMUgArmeGv5jihWvofM8tjEpOvcB074_7TS58IQ/s3778/Fig-6.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2030" data-original-width="3778" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCnTxz3iUa6Sea-ZwW0GTPn1qYrQCdNq-bVxd0Erryx3yOjStefDTjmMw7Kcmf97D1eLeeNMeehyIpxSnaMom41hTDaJQOxTmppZ_lD-1EHGDnYfKc48b87unIbDlJAcLhwr8Q8_izWuoZjh7QEt0hMUgArmeGv5jihWvofM8tjEpOvcB074_7TS58IQ/s16000/Fig-6.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 10pt; line-height: 107%;">Fig. 6. Styles of all compositions</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSpf2dug4h5GjRgmKcvORtdgpSYAEbVg_NhbozQBLMweJvtFd0di2kjdKMkeOeBloulbGdR3YQWtl5QZLL0a3OceItpu3oJZeISmjZpikuMYriN4cymWuZHTHTcK2SrgKT7YMg0-XOYfjTuXI17vnoYd5Eq951VsAbpTah6LwyQi-185Cm5vemTpUU0Q/s1923/Table-2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="818" data-original-width="1923" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSpf2dug4h5GjRgmKcvORtdgpSYAEbVg_NhbozQBLMweJvtFd0di2kjdKMkeOeBloulbGdR3YQWtl5QZLL0a3OceItpu3oJZeISmjZpikuMYriN4cymWuZHTHTcK2SrgKT7YMg0-XOYfjTuXI17vnoYd5Eq951VsAbpTah6LwyQi-185Cm5vemTpUU0Q/s16000/Table-2.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 9pt; line-height: 107%;">Table 2. Main style differences of all compositions</span></td></tr></tbody></table><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br />The comparisons in
Fig. 6 and Tables 1 and 2 finally reveal that seven styles can be
differentiated in the sculptures attributed to Palé Kalfala. This classification
brings us back to the question concerning the number of carvers involved in these
works, i.e., only one carver, as claimed in [2], or several carvers. To answer
this question, two assumptions were made, i.e., 1) one carver may continuously
develop his style during his normally decades-long creative period, and 2) one
carver cannot work in two different styles during the same period. <o:p></o:p></span><p></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Looking at Table 2
and Fig. 6, two groups of somewhat similar styles can be discerned, i.e., Group
1 of Styles 1&2 and Group 2 of Styles 4&5, where the differences within
the groups are smaller than between the groups. Group 1 comprises the
two-headed sculptures with body, while Group 2 is composed of the sculptures
with one or two heads without body. It seems possible that each of the two groups
originated from one carver and the smaller differences within the group can be
attributed to different phases in the long-lasting creative period, as the
first assumption above claims. Since the styles of these two groups are however
different, at least two carvers must have been at work,</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">according
to the second assumption above - unless one carver had produced only two-headed
sculptures with body in one creative phase, and, in another phase, only
sculptures with one or two heads without body; this scenario does not seem very
realistic however. Since the proportions of all sculptures are similar, across
the styles, the (at least) two carvers most probably belonged to the same
workshop, as is the case, for instance, for the Bonko carvers or the carvers of
the sculptures with glasses [5].<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">6) Conclusions - continued<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">According to these
considerations, at least two carvers were thus at work and the whole oeuvre
does not originate from one single carver. The double-headed sculptures with
body would thus originate from a different carver than the one- or
double-headed sculptures without body. The statements made in [2] about a
single carver, named Palé Kalfala, and the associated recent origin of this
oeuvre, can thus not be confirmed and seems inappropriate. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">7)
References - continued<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[1] Bonhams, NY, 27 April 2022, lot 24.<br />
</span><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;">[2] Schütz, Petra; Linse, Detlef. Der Lobi-Bildhauer
Palé Kalfala (um 1915-1990). <a href="http://www.kunst-und-kontext.de/texte/kk12.pdf" target="_blank">Kunst&Kontext, 2/2016</a>, 50-57. <br />
[3] Meyer, Piet. Kunst und Religion der Lobi. Exhibition catalogue, Museum
Rietberg, Zürich, 1981.<br />
</span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[4] <a href="http://www.guyvanrijn.com/" target="_blank">African Heritage Documentation & Research
Centre</a>, search for Objects_Kalfala. S4: ao-0129504, S5: ao-0004253, S12:
ao-0005234, S13: ao-0156211, S15: ao-0156539, S20: ao-0156538, S25: ao-0123570. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><br />
[5] Keller, Thomas. Lobi Statuary – Sikire Kambire. Keller Arts Premiers,
Switzerland, 2015. <a href="https://www.statuary-in-context.ch/lobi.html" target="_blank">Free download here</a>. <br />
[6] E-mail communication of January 5-6, 2013, between the author of this
blogpost and the first author of [2]. The communication (in German) can be
disclosed on demand.<br /><span style="font-size: 10pt;">[7] Dupont auction, Paris, 09.03.2021, lot 303.<br /></span><span style="font-size: 10pt;">[8] Scanzi,
Giovanni Franco. L’art traditionnel Lobi – Lobi traditional art. Ed. Milanos,
Bergamo, 1993.<br /></span><span style="font-size: 10pt;">[9] Own photos.<br /></span><span style="font-size: 10pt;">[10] Katsouros Floros. Die Lobi-Sammlung Peter Loebarth. Verlag Ethnographika,
Hannover, 2007.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Keller, Thomas. Fact check: Double-headed Lobi
sculpture originating from Palé Kalfala? (Part 2). https://statuary-in-context.blogspot.ch,
31.07.2022.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Homepage:
www.statuary-in-context.ch<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 8pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="https://www.keionline.org/sites/default/files/1971_revision_of_Berne.pdf " target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-75957892942439276172022-06-25T23:09:00.001+02:002022-06-25T23:12:15.882+02:00Fact check: A Lobi sculpture originating from Sona Pale - or Sikire Kambire?<p><span face="Arial, sans-serif" style="font-size: 12pt; text-align: justify;"><br />The attribution of
a Lobi sculpture to the Lobi carver Sona Pale, who worked in around the year 1860,
is discussed in the following. (This attribution was deduced from the factual statement
cited below, i.e. that this sculpture is an example of the first generation of
this workshop and that a certain Sona Pale - who represents this first
generation - was at the origin of this style. The statement is however somehow ambiguous
in this respect since a second representative of the workshop, Sikire Kambire,
is also mentioned.)</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT7MNKB_XpQQlB5QEQyE3mCB5NlwBZu4y0qiTeDzCtLkhNbTFihXw4mLLMqAzls2KiCzDLsWTS9yqJm2ATEjT--B85f25icSbwa7yIg4H2g7gdp9wV89BPOymz4TbnpQaV9tn1No3uMez7rYZ3IJ0OjuB4JzgSHmUkmxAC4n_f34Gvvzwcmf0SBNU3ZA/s2446/Sona-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1718" data-original-width="2446" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT7MNKB_XpQQlB5QEQyE3mCB5NlwBZu4y0qiTeDzCtLkhNbTFihXw4mLLMqAzls2KiCzDLsWTS9yqJm2ATEjT--B85f25icSbwa7yIg4H2g7gdp9wV89BPOymz4TbnpQaV9tn1No3uMez7rYZ3IJ0OjuB4JzgSHmUkmxAC4n_f34Gvvzwcmf0SBNU3ZA/w640-h450/Sona-1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 1. Lobi sculpture in question</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">1) Factual statement<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">According to [1]
and sculptures S1 in Fig. 1 (citation): <br /><i><span style="font-size: 12pt; line-height: 120%;">Rare
et ancienne statuette assise tenant une coupe de la main gauche. Cette très
belle sculpture batéba à l'épure et au mouvement subtil, dans une position et
une gestuelle rares, est aussi un des rares témoignages des oeuvres de la
première génération arrivées jusqu'à nous d'un style ayant "fait
école" au sein des arts Lobi et dont l'artiste le plus connu pour le
représenter est le fameux Sikiri Kambiré. D'après une enquête de terrain de
Daniela Bognolo il s'agirait d'un artiste prénommé Sona Pale qui serait à
l'origine de ce style, ayant oeuvré autour de 1860 dans le village de Gboko
Gbalathi. Dans tous les cas notre sculpture est, avec une autre sculpture
connue dans l'ancienne collection Maine Durieu, le plus ancien témoignage aux
origines de ce style si caractéristique ayant fait école. Ces deux oeuvres
d'ailleurs, bien que dans des postures différentes, comportent des archaïsmes
identiques tels que le port d'un labret et d'une coiffure yuù- bilami, et
témoignent au-delà de leur grande ancienneté de la même main très sûre d'un
sculpteur qui maîtrisait son art.<br /></span></i><i><span style="font-size: 12pt; line-height: 120%;">Lobi,
Burkina Faso, bois, ceintures de perles, manque du bras droit (casse ancienne),
superbe patine d'usage. </span></i><i><span lang="EN-US" style="font-size: 12pt; line-height: 120%;">H.: 38 cm.</span></i></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRJnWc6bfZeNuYcxXl9iZuYxVM2HSegeiz0CzgsufoNJM8Ge7n7vFEsxyIOc7scOn6PYJSYufO-a3k7uW7oKjh7fu5f9PuMHfAx_est48wIewOUUAjeuGHyPGpxFC05ArtSVEM9SgPvvzvLtNELkFAt7xfajDx-jqziWWeUx6zINcZoW4cgb8t9BLbGg/s2870/Sona-2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1582" data-original-width="2870" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRJnWc6bfZeNuYcxXl9iZuYxVM2HSegeiz0CzgsufoNJM8Ge7n7vFEsxyIOc7scOn6PYJSYufO-a3k7uW7oKjh7fu5f9PuMHfAx_est48wIewOUUAjeuGHyPGpxFC05ArtSVEM9SgPvvzvLtNELkFAt7xfajDx-jqziWWeUx6zINcZoW4cgb8t9BLbGg/w640-h352/Sona-2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 2. Lobi sculptures attributed to Sona Pale (S2 and S3) and
sculpture in question (S1)</span></td></tr></tbody></table><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">2) Discussion and conclusions<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">A <a href="https://statuary-in-context.blogspot.com/2017/07/fact-check-lobi-gbhoko-style.html" target="_blank">former post</a> in
this blog discussed the above-mentioned Gboko (or Gbokho/Bonko) workshop,
which, according to Bognolo, consisted of a four-generation family of five Lobi
carvers, whose carver names and life periods were specified in [2], including those
of Sona Pale (</span><span lang="EN-US" style="font-family: Symbol; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-char-type: symbol; mso-hansi-font-family: Arial; mso-symbol-font-family: Symbol;"><span style="mso-char-type: symbol; mso-symbol-font-family: Symbol;">~</span></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">1830-1905), the
founder of the workshop. Sikire Kambire (1896-1963) was a disciple of the
second-generation carver Okuena Palenfo (</span><span lang="EN-US" style="font-family: Symbol; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-char-type: symbol; mso-hansi-font-family: Arial; mso-symbol-font-family: Symbol;"><span style="mso-char-type: symbol; mso-symbol-font-family: Symbol;">~</span></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">1865-1930). Two sculptures were attributed to Sona
Pale in [2] and they are shown in Fig. 2 (sculptures S2 and S3). The
conclusions in that blogpost were that the statements made by Bognolo in [2] could
not be crosschecked and were not substantiated. It was furthermore not excluded
that sculpture S2, attributed to Sona Pale, was less old and may have
originated from Dikote Dah (</span><span lang="EN-US" style="font-family: Symbol; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-char-type: symbol; mso-hansi-font-family: Arial; mso-symbol-font-family: Symbol;"><span style="mso-char-type: symbol; mso-symbol-font-family: Symbol;">~</span></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">1928-2009), a
contemporary of Sikire Kambire.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFowPMwaJr5OOiMRkQHrZzjisasaggyKMt_PhHU7Sgb7RosTN-pMTrnNsYQz9IKBkWZPRdM3vnsU9j_xKX8fMTAxz_3TiRSLotaz5j2i0ZzbYhj_FdiHaYW_WyVfZyvopw7GcLNaoZOIMWHv6F8gWxgLqiXKtrkk8D47DA33y6ZjAKURhu7MOTRHKKHw/s3316/Sona-3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1646" data-original-width="3316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFowPMwaJr5OOiMRkQHrZzjisasaggyKMt_PhHU7Sgb7RosTN-pMTrnNsYQz9IKBkWZPRdM3vnsU9j_xKX8fMTAxz_3TiRSLotaz5j2i0ZzbYhj_FdiHaYW_WyVfZyvopw7GcLNaoZOIMWHv6F8gWxgLqiXKtrkk8D47DA33y6ZjAKURhu7MOTRHKKHw/s16000/Sona-3.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 11pt; line-height: 107%;">Fig. 3. Seated Lobi sculptures attributed to Sikire Kambire (S4-S7) and
sculpture in question (S1)</span></td></tr></tbody></table><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><span lang="EN-US" style="font-size: 12pt; line-height: 120%;">Comparing the
styles of the two sculptures S1 and S2 in Fig. 2, although both can be clearly
attributed to the Gboko style and the overall proportions of the faces are similar,
it seems clear that they cannot originate from the same carver.</span><span lang="EN-US"> </span><span lang="EN-US" style="font-size: 12pt; line-height: 120%;">Knowing the style of Sikire Kambire [3], it seems obvious
that the sculpture in question, S1, was carved by Sikire Kambire. The
attribution to Sikire becomes even clearer if S1 is compared with other seated
sculptures attributed to Sikire, as shown in Fig. 3 (S4-S7). This collection
also demonstrates that this seated posture is not rare, indeed it can generally
be found quite frequently in the Lobi oeuvre, as also shown in [4].</span></span><p></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The factual
statement made above can thus not be confirmed. The sculpture in question seems
to clearly originate from Sikire Kambire, is thus less old than stated, and of
a posture that is not rare.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">3)
References<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[1] Ader Auction, Paris, France, 10.06.2022, lot 59.<br />[2] Bognolo, Daniela. Die Kunst der Lobi: Afrikanische Meister und ihre
Ausdrucksformen / Art Lobi: les styles et ses maîtres / De Lobi en hun
subgroepen,<br /><span style="font-size: 10pt;">in/en Fischer Eberhard; Homberger Lorenz. Afrikanische
Meister, Kunst der Elfenbeinküste / Les maîtres de la sculpture de Côte
d’Ivoire / Maskers en beelden uit Ivoorkust de kunstenaars ontdekt.<br /></span><span style="font-size: 10pt;">Zürich/Paris/Amsterdam, 179-208/179-208/144-169, 2014.<br /></span><span style="font-size: 10pt;">[3] Keller, Thomas. Lobi Statuary - Sikire Kambire.
Keller Arts Premiers, Switzerland, 2015.<a href="https://www.statuary-in-context.ch/lobi.html" target="_blank"> Free download here</a>.<br /></span><span style="font-size: 10pt;">[4] Keller, Thomas. Lobi Statuary - in Motion. Keller Arts Premiers,
Switzerland, 2019. </span></span><span face="Arial, sans-serif" style="font-size: 13.3333px;"><a href="https://www.statuary-in-context.ch/lobi2.html" target="_blank">Free download here</a>.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Blogposts related to Lobi (or Gbokho/Bonko)
style <o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Fact check: The Lobi Gbokho Style.
<a href="https://statuary-in-context.blogspot.com/2017/07/fact-check-lobi-gbhoko-style.html" target="_blank">Blogpost 09.07.2017</a>.<br />Fact check: Lobi pair sculpted by
Kpalangothé Dá? <a href="https://statuary-in-context.blogspot.com/2020/12/fact-check-lobi-pair-sculpted-by.html" target="_blank">Blogpost 04.12.2020</a>.</span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Keller, Thomas. Fact check: A Lobi sculpture
originating from Sona Pale - or Sikire Kambire?<br /></span><span lang="EN-US" style="mso-ansi-language: EN-US;"><a href="https://statuary-in-context.blogspot.ch/"><span face=""Arial",sans-serif" lang="FR-CH" style="font-size: 10pt; mso-ansi-language: FR-CH;">https://statuary-in-context.blogspot.ch</span></a></span><span face=""Arial",sans-serif" style="font-size: 10pt;">, 25.06.2022 <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 120%;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 8pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="https://www.keionline.org/sites/default/files/1971_revision_of_Berne.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-70256724462151887082022-06-04T20:33:00.008+02:002022-07-31T17:04:18.726+02:00Fact check: Double-headed Lobi sculpture originating from Palé Kalfala? (Part 1)<p><span face="Arial, sans-serif" style="font-size: 12pt; text-align: justify;"><br />The attribution of
a Lobi sculpture exhibiting two heads to a Lobi carver named Palé Kalfala is discussed
in the following.</span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">1) Factual statement<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">According to [1] and sculpture in Fig.
1 (citation):<i style="mso-bidi-font-style: normal;"><br />
Lobi double-headed figure, Burkina Faso, attributed to Kalé Kalfala (ca.
1915-1990), bateba ti puo, wood with light brown patina, height 15.8cm. </i>(Kalé
should read Palé.)</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh1XdxEcaS16VE6Ea5DU7X5ei2jKWMM49VtfyXJ-rcoamlZ32m-1OdNv6yjkFTcFrYfnWfSyyuursK-ZKOH3Rzyow9oqIVRvArDrXqVLbiozevVwsquGRMQ-y_TZbaM2xj4ef7wcTFiMiNNLF--1rZ8dZg866IgmTiXzjBTp3YQw-W_fGzlv1ajI49Dg/s2092/Kalfala-133-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1528" data-original-width="2092" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh1XdxEcaS16VE6Ea5DU7X5ei2jKWMM49VtfyXJ-rcoamlZ32m-1OdNv6yjkFTcFrYfnWfSyyuursK-ZKOH3Rzyow9oqIVRvArDrXqVLbiozevVwsquGRMQ-y_TZbaM2xj4ef7wcTFiMiNNLF--1rZ8dZg866IgmTiXzjBTp3YQw-W_fGzlv1ajI49Dg/w640-h468/Kalfala-133-1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Fig. 1. Lobi sculpture attributed to a carver named Palé Kalfala (height 15.8cm)</td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><b style="mso-bidi-font-weight: normal;">2) State of knowledge and discussion<o:p></o:p></b></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">A Lobi carver
named Palé Kalfala was introduced in 2016 [2]; he was said to be born in approximately
1915 and died on January 1st, 1990; no evidence for these dates is provided. Based on the year
of birth, the authors in [2] then concluded that Kalfala’s ‘’head-footer’’
sculptures, shown in Meyer’s Rietberg catalogue [3] (p103), cannot be very old,
although they look ‘’antique’’ (citation). Based on several examples, they then
described the style attributed to Kalfala’s sculptures. These are characterized
by the fact that among ordinary standing figures, numerous examples exhibit two
heads or one head directly connected to only one or two legs (i.e., the
above-mentioned ‘’head-footers’’). In addition to this abundance of gestures,
they also reported differences in the shape of details, e.g., the ears, and
that the sculptures do not have hands, the forearms exhibiting only blunt
ends. The authors then concluded, based on the sculptural diversity, that an
outstanding artist was at work, whose ‘’quickly matured pieces found at an
early age already - still anonymous - acceptance in European collections and
even at the Rietberg Museum’’ (citation, translated from German). Referring to
[2], 12 sculptures have been attributed to Kalfala in the archive of the African
Heritage Documentation & Research Centre [4], amongst others, the sculpture
in question (Fig. 1).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">While abundance in
gesture is typical of Lobi carvers, changes in proportions and characteristic
details are untypical [5]. The latter rather point to the fact that more than
one carver was at work, who most likely however belonged to the same workshop.
The possibility that more than one carver was involved, and is the reason for
the sculptural diversity, is neither considered nor discussed in the article,
although Kalfala had numerous children and relatives, and his father was also a
carver according to [2].<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">In this respect, in
a communication in 2013 [6], the first author of [2] attributed the sculpture
shown in Fig. 2 (left) to a carver named Palé Yao, a nephew of Kalfala, and not
to Kalfala himself, while the second author tended more to attribute the
sculpture to Kalfala (who died between 1995 and 1997, according to what was written
at that time on the authors’ homepage). The first author added photos of a
sculpture of Palé Yao to the communication, see Fig. 2 (middle and right) - heads and
bodies of the sculptures seem almost identical. Later, on their homepage,
the left sculpture in Fig. 2 was attributed to Kalfala. This demonstrates that
the question regarding another carver, who worked in a very similar style, is
justified.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE-widN0wyKp5CaTIKBMeG7zweDFYqV81zuiOdfWOnGylqDmUObA5ltJjuLMOkngDZ7--tW1cDNJq5fIfPbKT_91mBZT68P4nwV2-dsf4GJ40d4WygjLcjRjuy9LKWaNKiuLy5sav18uZSTurdbiovWSvNIH6zOx2y0OCp1YKjOLGck9N0PTKfPpraFQ/s2583/Kalfala-133-2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1671" data-original-width="2583" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE-widN0wyKp5CaTIKBMeG7zweDFYqV81zuiOdfWOnGylqDmUObA5ltJjuLMOkngDZ7--tW1cDNJq5fIfPbKT_91mBZT68P4nwV2-dsf4GJ40d4WygjLcjRjuy9LKWaNKiuLy5sav18uZSTurdbiovWSvNIH6zOx2y0OCp1YKjOLGck9N0PTKfPpraFQ/w640-h414/Kalfala-133-2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 13.3333px;">Fig. 2. Two sculptures of partially varying and finally different attributions</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Coming back to the
two-headed sculpture in question, shown in Fig. 1, whose attribution to Kalfala
is most likely based on [4] (see above), - the first thing to notice is that
this sculpture has hands, as should not be the case in Kalfala sculptures (also
see above). </span><span face="Arial, sans-serif" style="font-size: 12pt; text-align: left;">Moreover, the hands play an essential role </span><span face="Arial, sans-serif" style="font-size: 12pt; text-align: left;">here and contribute greatly to </span><span face="Arial, sans-serif" style="font-size: 12pt; text-align: left;">the whole charming expression of this sculpture. </span><span face="Arial, sans-serif" style="font-size: 12pt;">In addition to the experience described above, another fact thus appeared,
which spoiled the picture drawn of these sculptures and their carver in [2].</span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">3) Conclusions<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The question
finally arises as to what remains from the statements made in [2]. As derived
above, they seem to exhibit several deficiencies and contradictions, i.e., 1) on
the one hand, the sculptures look antique, but on the other hand they aren’t,
2) they should originate from one single carver, although another carver exists,
who worked in a style so similar that it was difficult to clearly attribute a
sculpture to one of them, 3) the carver once died in 1990, and in another case between 1995 and 1997, 4) the sculptures should
not exhibit hands, but at least one example exists which does. In addition, and
most importantly, none of the claims made in [2] could be cross-checked; no
other independent reference could be found that would confirm what is written
in [2]. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Based on such - as
it seems - unsubstantiated and contradictory statements, the question arises
whether it is sufficiently proven and not premature to claim that these
extraordinary sculptures shown in [2] are rather recent and originate from only one single
carver, named Palé Kalfala.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">To not consider
that a second carver might have been involved is an omission in this article. In
one of the next blogposts (Part 2), a detailed analysis of this sculptural
oeuvre will demonstrate that at least two different carvers might have been at
work.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">4)
References<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[1] Bonhams, NY, 27 April 2022, lot 24.<br /><span lang="DE-CH" style="font-size: 10pt;">[2] Schütz, Petra; Linse, Detlef. <a href="http://www.kunst-und-kontext.de/texte/kk12.pdf" target="_blank">Der Lobi-Bildhauer Palé Kalfala (um 1915-1990)</a>. Kunst&Kontext, 2/2016, pages 50-57. <br /><span lang="DE-CH" style="font-size: 10pt;">[3] Meyer, Piet. Kunst und Religion der Lobi. </span><span lang="EN-US" style="font-size: 10pt;">Exhibition catalogue, Museum Rietberg, Zürich, 1981.<br /><span lang="EN-US" style="font-size: 10pt;">[4]<a href="http://www.guyvanrijn.com/" target="_blank"> Search for Objects</a>_Kalfala. <br /><span style="font-size: 10pt;">[5] Keller, Thomas. Lobi Statuary – Sikire Kambire.
Keller Arts Premiers, Switzerland, 2015. <a href="https://www.statuary-in-context.ch/lobi.html" target="_blank">Free download here</a>. <br /></span><span style="font-size: 10pt;">[6] E-mail communication of January 5-6, 2013, between
the author of this blogpost and the first author of [2]. The communication (in
German) can be disclosed on demand.</span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US;"><a href="https://statuary-in-context.blogspot.com/2022/07/fact-check-double-headed-lobi-sculpture.html" target="_blank">Continued in Part 2</a></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Keller, Thomas. Fact check: Double-headed Lobi sculpture
originating from Palé Kalfala? (Part 1). https://statuary-in-context.blogspot.ch,
04.06.2022.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Homepage:
www.statuary-in-context.ch<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 8pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="https://www.keionline.org/sites/default/files/1971_revision_of_Berne.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-55495474530790126642022-05-08T20:15:00.002+02:002022-09-19T20:34:11.583+02:00Research outcome: Sakalava sculpted cemeteries - Part 17: Ankevo<p><b><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br /><a href="https://statuary-in-context.blogspot.com/2022/03/research-outcome-sakalava-sculpted.html" target="_blank">Read Part 16 first</a></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">3.11 Sculpted cemetery of Ankevo<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">A cemetery located
in Ankevo was mentioned by Oberle only, in [3], where he published eight photos
attributed to that cemetery, see Figs. 122 and 123. The information provided about
this cemetery is sparse, i.e., that the cemetery is located in the south of
Morondava and is interesting.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQe5theU0CUs1VjnYmG2e4AISX7LobJmUrlRyJRKcVYkpgfgR89hbrjiS_4vAamqWVrZJeCJWMlYpGDGUmDLVAw3I-9sP0qQ7gCi84vVndlcpFzjv12bDnB-WTTXUHk3qv5sEXvUjD2AexZNLNz7BcgUOEVK6my-Dvx7pOQoCeMREuMjsXHAUkGAbBFw/s2661/Ankevo-Fig-122.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1893" data-original-width="2661" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQe5theU0CUs1VjnYmG2e4AISX7LobJmUrlRyJRKcVYkpgfgR89hbrjiS_4vAamqWVrZJeCJWMlYpGDGUmDLVAw3I-9sP0qQ7gCi84vVndlcpFzjv12bDnB-WTTXUHk3qv5sEXvUjD2AexZNLNz7BcgUOEVK6my-Dvx7pOQoCeMREuMjsXHAUkGAbBFw/w640-h456/Ankevo-Fig-122.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 122. Cemetery photos, direct Ankevo attributions in reference and
own attribution (+), see Table 20</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8wbhBGAXEVaTqis6aA6bcnjrrcGbY5LUeJpbXOdSI-WSMQEz3EfOMafqjpcS-NTyEDZF4nMgw1Y7om75s6S9Of0cwzkDCNBVFpRLVKjzeOisMRaZWQTmgHIb3KOWm9i_aMR4M1_zHLYHFDBn9ia3c-LaJE3ULivNTlAkqAegzYBoUC0lNfwKjo4i9Hg/s2568/Ankevo-Fig-123.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1953" data-original-width="2568" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8wbhBGAXEVaTqis6aA6bcnjrrcGbY5LUeJpbXOdSI-WSMQEz3EfOMafqjpcS-NTyEDZF4nMgw1Y7om75s6S9Of0cwzkDCNBVFpRLVKjzeOisMRaZWQTmgHIb3KOWm9i_aMR4M1_zHLYHFDBn9ia3c-LaJE3ULivNTlAkqAegzYBoUC0lNfwKjo4i9Hg/w640-h486/Ankevo-Fig-123.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 123. Tomb and sculpture photos, Ankevo attributions in references,
see Table 20</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">In fact, two
villages denominated Ankevo exist – one around 38 km to the southwest of
Morondava, i.e., Ankevo-sur-mer on the coast, and the other, Ankevo-sur-terre,
around 3 km to the east of the latter in the interior, see Fig. 124. Two
cemeteries could be identified in the surroundings of these two villages, 15C1
and 15C2, also shown in Fig. 124, and both are located at the coast, the former
around 600 m to the south and the latter 1.8 km to the north of Ankevo-sur-mer.
The tombs of both cemeteries are arranged in one row from north to south, while
15C1 is much larger than 15C2. The large size of the tombs suggests that they
are made of concrete and thus have already replaced any earlier wooden tombs.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKFiIdoWWfeiQ5mn27Rr2nPw4YfrAV5Tj_sgSXs82B5RfXcSqIofbxAQF82Av-1ekj0jFmvAs62vTz2peZWFr4acO6lLv0OX4MLfMZiYD6FDdGleT7JUodvxlZJCrEbQBXzQJD0srA5axWTBEusiXntyuOYSGYH-uW0EwkEpV_7QwPxwo_RglX1I_tmA/s3357/Ankevo-Fig-124.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1662" data-original-width="3357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKFiIdoWWfeiQ5mn27Rr2nPw4YfrAV5Tj_sgSXs82B5RfXcSqIofbxAQF82Av-1ekj0jFmvAs62vTz2peZWFr4acO6lLv0OX4MLfMZiYD6FDdGleT7JUodvxlZJCrEbQBXzQJD0srA5axWTBEusiXntyuOYSGYH-uW0EwkEpV_7QwPxwo_RglX1I_tmA/s16000/Ankevo-Fig-124.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 124. Locations of Ankevo village(s) and today’s surrounding
cemeteries</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The photos taken
by Oberle originate from the late 1960s (1968 is assumed in the photo code, see
<a href="https://statuary-in-context.blogspot.com/2020/02/research-outcome-sakalava-sculpted.html" target="_blank">Part 5</a>); only one additional photo could be found which shows this cemetery,
see Fig. 123 (15C-C-An-x-1+), but at a much later stage; one cross-beam of the
fence of the middle tomb was already broken and was now supported by an additional
post. Furthermore, about half of the stone blocks on that tomb have been removed,
if compared to photo 15C-C-Ob-68-2. This additional photo has no attribution; Oberle’s
attribution of this cemetery to Ankevo could thus not be cross-checked.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">All the available photos and their details and
captions (derived according to the previous cemetery reconstructions) are also
listed in Table 20.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNUm35Rd-3ZtWZ6lO7SW5h2oqmMrx7LYeQiOB4wWhDnNSOoOYRl3807YcYlqtGQ9yid7F_N07jrwJexm4ZC24b_pg4qUt7HOxEJze_xR_ULfhbinSt1S9KbkbaamqoylIqYTjGVFtQBGDLQkWZAfE66ev_DhLmnsU1DZ6ueXv2HvypQfqwO_bSyDSDLw/s1455/Table-20.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="663" data-original-width="1455" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNUm35Rd-3ZtWZ6lO7SW5h2oqmMrx7LYeQiOB4wWhDnNSOoOYRl3807YcYlqtGQ9yid7F_N07jrwJexm4ZC24b_pg4qUt7HOxEJze_xR_ULfhbinSt1S9KbkbaamqoylIqYTjGVFtQBGDLQkWZAfE66ev_DhLmnsU1DZ6ueXv2HvypQfqwO_bSyDSDLw/s16000/Table-20.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Table 20. Cemetery of Ankevo – photo references and derivation of
attributions</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Generally speaking,
the type of tombs shown in these photos is unusual compared to the tombs of
other cemeteries in the Morondava region. The fences are open, i.e., the posts
in the corners are only linked by cross-beams. The shape also is more
quadratic, i.e., the west-east fences have almost the same length as the north-south
fences, although additional sculptures are placed in their center. Similar
tombs were found much more to the north, in the Belo-sur-Tsiribihina region,
e.g., in Ankirondro (as will be shown in one of the next blogposts). <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Based on the total
nine photos, a small segment of the cemetery could be reconstructed, as shown
in Fig. 125. Since the season when the photos were taken could not be clearly
identified, the orientation of the cemetery could not be derived from the sun’s
position, which could be in the north or south. It was thus assumed that the woods
in the background are in the east, thus further assuming that the cemetery was
located close to the coast. Three of the nine photos could not be integrated
into the reconstruction of the segment.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzbzY1VgJ5aKjE8IHKvdX7eynv_2dW7hxJNDlvvZln6Q2jJwq_3stWKxpOek6ope8qSnOEvOp70FgwtrHGfca39KoPeBApiU9m1XzyUiZ_dMyfKAmHXqZBcB1wx-LgUMC1pLJf8GuOEjusRYn4WUswTbDNKG007hhdC-hw0QVNKXDhSzFGJIu5urkK4g/s3171/Ankevo-Fig-125.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1443" data-original-width="3171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzbzY1VgJ5aKjE8IHKvdX7eynv_2dW7hxJNDlvvZln6Q2jJwq_3stWKxpOek6ope8qSnOEvOp70FgwtrHGfca39KoPeBApiU9m1XzyUiZ_dMyfKAmHXqZBcB1wx-LgUMC1pLJf8GuOEjusRYn4WUswTbDNKG007hhdC-hw0QVNKXDhSzFGJIu5urkK4g/s16000/Ankevo-Fig-125.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 125. Ankevo sculpted cemetery, reconstruction of a segment</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Several photos
show two prominent trees, which exhibit very characteristic shapes and are
marked in green colors. Based on the photos’ perspectives and the location of
these trees, on photos 15C-C-Ob-68-1 and -2</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">in
particular, it was concluded that the tombs must have been arranged in two
rows, as shown in Fig. 125. The eastern row exhibits the usual sculptural
configuration in the southern part, i.e., male and female sculptures across one
diagonal and birds on the remaining posts. The western row, however, is
composed very differently. The tombs comprise tseke sculptures on each post,
combined with two long natural branches. Pointed posts denominated ‘’tseke’’ were
already found in the Avaradrova cemetery (<a href="https://statuary-in-context.blogspot.com/2021/01/research-outcome-sakalava-sculpted.html" target="_blank">Part 10</a>) and are discussed there. The
combination with two natural branches has however not yet been seen before and
no information about the meaning of these branches could be found. The northern
part of the eastern row also shows such tombs with some tseke sculptures
(although not very clearly) and natural branches, the decorative sculptures
also shown there seem however more recent, which might be the reason why the
long branches cannot be seen on the photos depicting the western row. Another
interesting element, not yet noticed so far, is an accumulation of pots in
front of some tombs, see photos 15C-C-An-x-1+ and 15C-T-Ob-68-1. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">No indications
about the carvers of the sculptures shown in the eastern row could be derived;
they don’t seem to originate from Rasidany, as was the case in many of the
other cemeteries previously analyzed.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><a href="https://statuary-in-context.blogspot.com/2022/09/research-outcome-sakalava-sculpted.html" target="_blank">Continued in Part 18</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">References
(Parts 1-17)<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" style="font-size: 10pt;">[1] </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><span face=""Arial",sans-serif" style="font-size: 10pt;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><span face=""Arial",sans-serif" style="font-size: 10pt;"> Goedefroit, Sophie. <a href="https://core.ac.uk/download/pdf/39851654.pdf" target="_blank">La société Sakalava du Menabe</a>: Approche anthropologique d'un ensemble régional de Madagascar. Paris: Université de la Sorbonne Panthéon Paris 1, 1997.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[2] Goedefroit, Sophie; Lombard, Jacques. Andolo – l’art funéraire Sakalava à Madagascar. Biro éditeur, 2007. <a href="https://www.researchgate.net/publication/277307257_Andolo_L'art_funeraire_sakalava_a_Madagascar" target="_blank">PDF version</a>.<br />[3] Oberle, Philippe. Provinces malgaches. Art, histoire, tourisme. Edition Kintana, 1979.<br />[4] Malgache, qui es-tu? Cat. d’exp., Musée d’Ethnographie de Neuchâtel, 1973.<br />[5] Urbain-Faublée, Marcelle. L’art malgache. Pays d’outre-mer, 5ème série: arts et littérature, 2. Presses Universitaires de France, 1963.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[6] Satellite photos from </span><a href="https://satellites.pro/" style="font-size: medium;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">https://satellites.pro</span></a><span class="MsoHyperlink" style="font-size: medium;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 10pt; mso-ansi-language: EN-US; mso-themecolor: text1; text-underline: none;"> or Google Earth</span></span><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 10pt; mso-ansi-language: EN-US; mso-themecolor: text1;">.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[7] Postcard entitled ‘’5.-Tombeaux Vezo à Ankivalo-Morondava’’ (no other information on the back).<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[8] Musée du Quai Branly, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online archive</a>, no. PP0139090, approx.1950.</span><span style="font-size: medium;"> </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[9] Astuti, Rita. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">People of the sea, identity and descent among the Vezo of Madagascar. Cambridge University Press, 1995.<br />[10] Smith, George Herbert.<a href="https://archive.org/details/amongmenabeorth00commgoog/page/n8" target="_blank"> Among the Menabe</a>; or, thirteen months on the west coast of Madagascar. E. & J. B. Young and Co., New York, 1896.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; text-underline: none;">[11] Poirier, Charles. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">Sculptures funéraires des Sakalava de Morondava. Mémoires de L’académie malgache - Notes d’ethnographie et d’histoire malgache, XXVIII: 19-20, 1939.<br /></span></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[12] Molet, Louis. Bulletin de Madagascar, No. 144, 1958.<br />[13] Molet Louis. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>, no. PF0176385-88. </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[14] Lavondès, Anne. Art traditionnel malgache: Introduction à une exposition. Institut de recherche scientifique de Madagascar, Tananarive, 1961.<br />[15] Marchal, Jean-Yves. <a href="http://horizon.documentation.ird.fr/exl-doc/pleins_textes/divers18-08/22256.pdf">Etude géographique de la plaine de Bemarivo (Belo/Tsiribihina)</a>. Office de la recherche scinetifique et technique outre-mer, Tananarive, 1968.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[16] Chazan, Suzanne. </span></span><span face=""Arial",sans-serif" style="font-size: 10pt;"><a href="http://horizon.documentation.ird.fr/exl-doc/pleins_textes/divers18-08/23765.pdf" target="_blank">Echanges, pouvoir, représentations</a>: côte Ouest de Madagascar / 2: Itinéraires: région de Belo-sur-Tsirihihina et vallée du Manambolo. ORSTOM, Paris,1986.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[17] Goy, Bertrand. Arts anciens de Madagascar. Milan: 5 continents, 2015.<br />[18] Anonymous. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/">Online Archive</a>.</span></span><span face=""Arial",sans-serif" style="font-size: 10pt;"> </span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;"><br /></span></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[19] Astuti, Rita. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Invisible objects: Mortuary rituals among the Vezo of Western Madagascar. RES: Anthropology and Aestetics, no. 25, 1994, p111-112.<br />[20] Boulfroy, Nicole. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><br />[21] Boulfroy, Nicole. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Madagascar - arts de la vie et de la survie. Cahiers de l’ADEIAO, 8, Paris, 1989.<br />[22] Gabus, Jean. Archive of the Musée d’Ethnographie de Neuchâtel, Switzerland.<br /><span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 14.2667px; mso-ansi-language: FR-CH; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[22a] Martin, Christian. <a href="http://foto.christianmartin.pagesperso-orange.fr/tombeaux_malgaches.htm" target="_blank">Dessins et Photographies</a> - Platine Palladium & Argentique, accessed 30.01.2021.</span><br />[23] Postcard entitled ‘’5.-Un tombeau Vezo à Ankivalo-Morondava’’. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Courtesy of the Trustees of the British Museum, London, UK, photographer Pastor Jorgen Ruud, 1934-1954.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[24] Holas, Bohumil. Musée du Quai Branly, Paris, <a href=" http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>.</span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[25] Kouwenhoven, Arlette. L’art funéraire de Madagascar. Tribal Arts, no. 19, 1998, 72-82.<br />[26] Goedefroit, Sophie; Lombard, Jacques. <a href="https://www.franceculture.fr/emissions/le-salon-noir/lart-funeraire-sakalava-madagascar" target="_blank">L'art funéraire sakalava à Madagascar</a>. Emission France culture, 23/01/2008.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[27] <a href="https://www.ird.fr/content/download/7140/75019/version/1/file/DP_Andolo.pdf" target="_blank">Andolo book presentation</a>. Institut de recherche pour le développement, IRD, Paris, 2007.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[28] Lombard, Jacques. <a href="https://www.researchgate.net/publication/280945916_Ethnocentrisme_et_creation" target="_blank">Des « images intérieures » à la création plastique</a>. Ethnocentrisme et création, 2013: 195-219.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[29] Goedefroit, Sophie; Lombard, Jacques. <a href="https://www.researchgate.net/profile/Jacques_Lombard2/publication/281064930_Regard_sur_l'art_funeraire_sakalava/links/55d32ff808ae7fb244f5819c/Regard-sur-lart-funeraire-sakalava.pdf" target="_blank">Regard sur l'art funéraire sakalava</a>. Arts & Cultures, Barbier-Mueller Museum, Geneva, 2008: 136-153.<br />[30] Lombard, Jacques. <a href="http://journals.openedition.org/oceanindien/571" target="_blank">Images et imaginaire</a> - quelles images au fondement de la culture malgache? </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Études océan Indien, 44, 2010.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[31] Lempertz Auction, Brussels, 26 January 2016, lot 103. Fist publication in 1994, further details and references in: <a href="http://www.ahdrc.eu/" target="_blank">African Heritage Documentation & Research Center</a>, no. ao-0076255-001.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[32] Molet Louis. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>, no. PF0176389. </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[33] Vérin, Pierre. <a href="https://unesdoc.unesco.org/ark:/48223/pf0000042687_fre?posInSet=5&queryId=50dc60e2-26c8-4bad-9d04-b1783b7d5fb8" target="_blank">Madagascar</a>. In Histoire générale de l'Afrique, II: Afrique ancienne, 2. Editions Unesco 1980, 753-779.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[34] Lombard, Jacques. <a href="https://www.researchgate.net/publication/32993735_Le_royaume_Sakalave-Menabe_resultat_d'une_enquete_et_presentation_d'un_corpus_de_traditions_et_de_litterature_orales" target="_blank">Le royaume Sakalave-Menabe</a>: résultat d'une enquête et présentation d'un corpus de traditions et de littérature orales. Cahiers O.R.S.T.O.M., série Sciences Humaines, vol. XIII, no. 2, 1976: 173-202.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[35] <span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 14.2667px; mso-ansi-language: FR-CH; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Goedefroit, Sophie. <a href="https://horizon.documentation.ird.fr/exl-doc/pleins_textes/pleins_textes_7/b_fdi_03_03/010012955.pdf" target="_blank">A l’ouest de Madagascar</a> – les Sakalava du Menabe. Karthala-IRD, Paris, 1998.</span><br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[36] Musée d’ethnographie de Genève. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH; text-underline: none;">Photographie: <a href="https://www.ville-ge.ch/meg/musinfo_photo.php?what=409774&collection=Jacques+Faubl%C3%A9e&debut=0&bool=AND" target="_blank">Fonds Jacques Faublée</a> (1912-2003).</span></span><span class="MsoHyperlink" style="font-size: medium;"><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;"><br /></span></span><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;">[37] Berechnung <a href="https://www.sonnenverlauf.de/#/-20.2932,44.2777,9/2020.07.01/11:29/1/3" target="_blank">Sonnenverlauf</a>. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Assessed 21 October 2020.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[38] Mallet, Robert. L’art funéraire Sakalava. La Revue Française, 171, 21-26, 1964.<br />[39] Mallet, Robert. Art Sakalava: Statues, objets, photographies, documents, sonores. Catalogue d’exposition, Université de Madagascar, Tananarive, février-mars 1963.<br />[40] Garlinski, Majan; Hopkins, Eve. À Madagascar - Photographies de Jacques Faublée, 1938-1941. Catalogue d'exposition. Infolio éditions, Musée d'ethnographie de Genève, 2010.<br />[41] Mack, John. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; text-underline: none;">Madagascar: Island of the ancestors. British Museum Publications Ltd., London, 1986.<br />[42] Vérin, Pierre. <a href="https://www.jstor.org/stable/42928993?seq=1" target="_blank">Madagascar</a>. Asian Perspectives, vol. 7, no. 1/2, 1963: 41-44.<br /><span class="MsoHyperlink"><span face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;">[43] <a href="http://www.calames.abes.fr/pub/#details?id=FileId-1327" target="_blank">Fonds Robert Mallet</a>.</span></span><span face="Calibri, sans-serif" style="font-size: 11pt; line-height: 15.6933px;"> </span><span class="MsoHyperlink"><span face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;">Archives et manuscrits du SCD de l'Université de Picardie Jules Verne, Amiens, France.</span></span></span></span><br />[44]</span><span lang="EN-US" style="font-size: medium; mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">African Heritage Documentation & Research Centre, ao-0076358-001: 82 cm, Marovoay style, collected by Pierre Langlois in 1966, accessed on 25.10.2021.<br />[45]</span><span lang="EN-US" style="font-size: medium; mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">African Heritage Documentation & Research Centre, ao-0076287-001/002/003: 106 cm, accessed on 03.12.2021.</span><br />[46] Battistini, René; Vérin, Pierre; Rason, René. Le site archéologique de Talaky. Annales de l’Université de Madagascar - Lettres, vol. 1, 1963, pp.111-153.<br />[47] Gautier, Emile-F.<a href="https://doi.org/10.3406/geo.1897.5616" target="_blank"> Lettre de Madagascar</a>. In: Annales de Géographie, t.6, no. 27, 1897, pp. 263-268.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 14.2667px; mso-ansi-language: FR-CH; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[48] De Grunne, Bernard. <a href="https://issuu.com/artsolution/docs/sakalava_hd">Sakalava</a>. Exhibition catalogue TEFAF, Maastricht, 2018.<br /><span class="MsoHyperlink"><span face=""Calibri",sans-serif" style="font-size: 11pt; line-height: 15.6933px; mso-ansi-language: FR-CH; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[49] <span class="MsoHyperlink"><span color="windowtext" face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;"><a href="https://spectacles-selection.com/archives/expositions/fiche_expo_M/madagascar-V/madagascar-cimetiere-P.html" target="_blank">Madagascar, dernières demeures</a> - images de la vidéo. Exposition MADAGASCAR - Arts de la Grande Île, Muséee du quai Branly, 2018.<br /></span></span></span></span></span>[50] Bonhams auction, 12 Feb 2010, lot 4264, 89.5cm (also in AHDRC, no. ao-00 0076251-001).<br />[51] African Heritage Documentation & Research Centre, ao-0076298-001: 82cm, Sothebys NY, 1980, accessed on 13.03.2022.<br />
[52] Photo found on Overblog.com on 29.01.2021, could not be found anymore on
27.03.3022 to provide exact reference.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Blogposts related to Madagascar
sculpted cemeteries<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Research outcome: Sakalava sculpted cemeteries – Part 16: Amboaniatoka.
<a href="https://statuary-in-context.blogspot.com/2022/03/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 14.03.2022</a>.<br />
Research outcome: Sakalava sculpted cemeteries – Part 15: Antevamena/Mangily. <a href="https://statuary-in-context.blogspot.com/2022/02/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 05.02.2022</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 14: Marofotse. <a href="https://statuary-in-context.blogspot.com/2022/01/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 09.01.2022</a>. <br />Research outcome: Sakalava sculpted cemeteries – Part 13: Manometinay. <a href="http://statuary-in-context.blogspot.com/2021/12/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 12.12.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 12: Bosy-Andraingy-2. <a href="http://statuary-in-context.blogspot.com/2021/09/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 19.09.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 11: Bosy-Andraingy-1. <a href="http://statuary-in-context.blogspot.com/2021/03/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 28.03.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 10: Avaradrova (Anosy Lava).<a href="http://statuary-in-context.blogspot.com/2021/01/research-outcome-sakalava-sculpted.html" target="_blank"> Blogpost 11.10.2020</a><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 15.6933px; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">.</span><br />Research outcome: Sakalava sculpted cemeteries – Part 9: Marovoay. <a href="http://statuary-in-context.blogspot.com/2020/10/research-outcome-sakalava-sculpted_24.html" target="_blank">Blogpost 24.10.2020</a><a href="http://statuary-in-context.blogspot.com/2020/09/research-outcome-sakalava-sculpted.html" target="_blank">.</a><br />Research outcome: Sakalava sculpted cemeteries – Part 8: Ambato. <a href="http://statuary-in-context.blogspot.com/2020/09/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 20.09.2020.</a><br /><span face="Arial, sans-serif">Research outcome: Sakalava sculpted cemeteries – Part 7: Kivalo. <a href="http://statuary-in-context.blogspot.com/2020/08/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 26.06.2020</a>.<br /></span><span face="Arial, sans-serif"><span face="">Research outcome: Sakalava sculpted cemeteries – Part 6: Antakitoka-2. <a href="http://statuary-in-context.blogspot.com/2020/06/research-outcome-sakalava-sculpted.html">Blogpost 26.06.2020</a>.<br /></span><span face="" lang="">Research outcome: Sakalava sculpted cemeteries – Part 5: Antakitoka-1. <a href="http://statuary-in-context.blogspot.com/2020/02/research-outcome-sakalava-sculpted.html">Blogpost 13.01.2020</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 4. <a href="http://statuary-in-context.blogspot.com/2020/01/research-outcome-sakalava-sculpted.html">Blogpost 13.01.2020</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 3. <a href="http://statuary-in-context.blogspot.com/2019/12/research-outcome-sakalava-sculpted.html">Blogpost 15.12.2019</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 2. <a href="http://statuary-in-context.blogspot.com/2019/11/research-outcome-sakalava-sculpted.html">Blogpost 02.11.2019</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 1. <a href="http://statuary-in-context.blogspot.com/2019/10/research-outcome-sakalava-sculpted.html">Blogpost 20.10.2019</a></span></span>.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Keller, Thomas. Research outcome: Sakalava sculpted cemeteries – Part 17:
Ankevo. <br />
</span><span face=""Arial",sans-serif">https://statuary-in-context.blogspot.ch,
08.05.2022.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 120%;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 9pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled according
to the ‘’fair practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-8350143654003622432022-03-14T21:01:00.001+01:002022-05-08T20:20:18.370+02:00Research outcome: Sakalava sculpted cemeteries - Part 16: Amboaniatoka<p><b><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br /><a href="https://statuary-in-context.blogspot.com/2022/02/research-outcome-sakalava-sculpted.html" target="_blank">Read Part 15 first</a></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">3.10 Sculpted cemetery of Amboaniatoka<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">As was the case
for the sculpted cemeteries of Manometinay (<a href="https://statuary-in-context.blogspot.com/2021/12/research-outcome-sakalava-sculpted.html" target="_blank">Part 13</a>) and Marofotse (<a href="https://statuary-in-context.blogspot.com/2022/01/research-outcome-sakalava-sculpted.html" target="_blank">Part 14</a>), Robert
Mallet published a photo in his 1963 exhibition catalogue [39], which he
attributed to the cemetery of ‘’Amboaniatoka’’. The photo depicts a couple seen
from the back and is reproduced in Fig. 117 (top left), together with the
original caption. As for the previously mentioned two cemeteries, no other
references to a cemetery of this name could be found in literature; Mallet’s
attribution could therefore not be cross-checked, and it is thus assumed to be applicable
in the following.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhBOZT5hdPiphGEW-O7nhZ3OYPO8MbkaFZundmn8ZFPDxXsMo0FzriLibAdFpohPotNWxBE9LhBdjxA47Jah-2RLhIBQ8xTsFYT8A0dn3iuAv5IpZDQzrXfm8938OyWO7nO5bMxOraWI5RZxTjj9kUC_itG1zbRGkEj4CE8gSUKl4YUwStKfgNNcBuchQ=s2514" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1695" data-original-width="2514" src="https://blogger.googleusercontent.com/img/a/AVvXsEhBOZT5hdPiphGEW-O7nhZ3OYPO8MbkaFZundmn8ZFPDxXsMo0FzriLibAdFpohPotNWxBE9LhBdjxA47Jah-2RLhIBQ8xTsFYT8A0dn3iuAv5IpZDQzrXfm8938OyWO7nO5bMxOraWI5RZxTjj9kUC_itG1zbRGkEj4CE8gSUKl4YUwStKfgNNcBuchQ=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 117. Cemetery and sculpture photos, direct Amboaniatoka attribution
in reference and own attributions (+), see Table 19</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">As was also the
case for ‘’Marofotse’’, a location or village denominated ‘’Amboaniatoka’’
could not be found in today’s databases and available historic maps. Only
villages with somewhat similar names exist today in the Sakalava settlement
area, i.e., ‘’Ambiatoka’’ or ‘’Amboanio’’, see Fig. 118. The latter name
appeared at three different locations – a fact that has already been observed more
than once, i.e., that one village name was attributed to several villages.
Whether or not this is true or is a problem of the databases could not be
verified.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjGbmPABRXQx1QDnk5P5wM6mHlu-fPbl9UqkwkzC6L_ShfxsWQ2mFDLlkirmF1fFJpHRlBse_t09k-GrwivCVu7C83Cn23ADYkYFsIMx8v9E3NZjg4GYvTjYC5L8j9ASe5k6bExnndbtxxD9yjpTvn2sD54T-RUD89b2AkjOp8KmQHo3bpSb4mFIDVz1g=s1926" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1926" data-original-width="1459" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEjGbmPABRXQx1QDnk5P5wM6mHlu-fPbl9UqkwkzC6L_ShfxsWQ2mFDLlkirmF1fFJpHRlBse_t09k-GrwivCVu7C83Cn23ADYkYFsIMx8v9E3NZjg4GYvTjYC5L8j9ASe5k6bExnndbtxxD9yjpTvn2sD54T-RUD89b2AkjOp8KmQHo3bpSb4mFIDVz1g=w484-h640" width="484" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 118. Potential locations of Amboaniatoka village in Sakalava
settlement area</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Based on this
photo, a further 21 anonymous photos could be attributed to the cemetery of
Amboaniatoka, as shown in Figs. 117, 119 and 120, whereof 16 originated from
Mallet’s archive [43], two from the archive of the Quai Branly museum [18], one
from John Mack [41] and two from auction catalogues [50, 51]. The photos with
their new captions (derived according to the previous cemetery
reconstructions), and the justifications for their attributions to the Amboaniatoka
cemetery, are listed in Table 19.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhHSjb_XMj9TdG9Dww7FScdMACqElBY6UoNo5FQFrpSRAIV9nRPwVbAqP_MaoI5cCbsTyGiuqJfzyNJd3NpWDW4f1CWmHYecAzI29dJTzXGz9gE9PE4Yr03ECb1YQDcwigZV-AgyZFYhmvq71a_P7yEpKPNrEsBps2tgEYS91W_qo0SqgVvvvXbl77Ibw=s2988" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1788" data-original-width="2988" src="https://blogger.googleusercontent.com/img/a/AVvXsEhHSjb_XMj9TdG9Dww7FScdMACqElBY6UoNo5FQFrpSRAIV9nRPwVbAqP_MaoI5cCbsTyGiuqJfzyNJd3NpWDW4f1CWmHYecAzI29dJTzXGz9gE9PE4Yr03ECb1YQDcwigZV-AgyZFYhmvq71a_P7yEpKPNrEsBps2tgEYS91W_qo0SqgVvvvXbl77Ibw=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 119. Cemetery and tomb photos, Amboaniatoka attributions derived
from own comparative analyses, see Table 19</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg_5ngr9kHRLi481KYs1H0WCfsDWN8NCn0Sgb4LRzuFQHo754AbBDUiSk7vlQX14xokO6a6F1708RgMnEYKp-8HKfxaw7XJJS3xIUvKDwFIE7qsyrzchX6niCKosNyIXyRK5y-O9Va5SxXcuxjGSMW5jYce4ZqwXfbYT9EDQYH5-Ns2H7Fd9mYQRbJkvQ=s2934" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1029" data-original-width="2934" src="https://blogger.googleusercontent.com/img/a/AVvXsEg_5ngr9kHRLi481KYs1H0WCfsDWN8NCn0Sgb4LRzuFQHo754AbBDUiSk7vlQX14xokO6a6F1708RgMnEYKp-8HKfxaw7XJJS3xIUvKDwFIE7qsyrzchX6niCKosNyIXyRK5y-O9Va5SxXcuxjGSMW5jYce4ZqwXfbYT9EDQYH5-Ns2H7Fd9mYQRbJkvQ=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 120. Sculpture photos, Amboaniatoka attributions derived from own
comparative analyses, see Table 19</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Based on the total
22 photos, a small segment of the cemetery could be reconstructed, as shown in
Fig. 121. The photos mainly focus around two tombs and can be grouped
accordingly, i.e., 1) photos around the tomb with the above-mentioned couple,
shown in Fig. 117, and 2) grouped around the tomb and sculptures shown in Figs.
119-120. Photo 44C-C-Ma-62-2+ of the second group (Fig. 119, top left) made it
possible to connect the two groups, i.e., the tomb details framed by the yellow
line belong to the first group; the same section is also yellow-framed in
44C-C-Ma-62-1+ of the first group (Fig. 117, top right). The reconstructed
segment thus comprises five tombs; the photo view directions are also indicated
in Fig. 121. Based on the previous cemetery reconstructions, it was assumed
that the sun’s position was in the south and the north-south orientation was
thus derived from the shadows of the sculptures. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjz-iQ2ebvxXAH2SswID40ToqHdWN7OiAbehuDHR6JmgFizrdbRLTKsvTGWhdz_ON41SQSSBfnGdjg9VRrcQGbDztgCE7fBOBzdegdnGkM9pTF5G81vo-KwIEJJ3v9Vk-21yUvH8LlFGTh4DURN2KzQdU3uXzXiHne37WILK2kLEHfiSkz-V0r9zCWGLg=s1637" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1261" data-original-width="1637" src="https://blogger.googleusercontent.com/img/a/AVvXsEjz-iQ2ebvxXAH2SswID40ToqHdWN7OiAbehuDHR6JmgFizrdbRLTKsvTGWhdz_ON41SQSSBfnGdjg9VRrcQGbDztgCE7fBOBzdegdnGkM9pTF5G81vo-KwIEJJ3v9Vk-21yUvH8LlFGTh4DURN2KzQdU3uXzXiHne37WILK2kLEHfiSkz-V0r9zCWGLg=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Table 19. Cemetery of Amboaniatoka – photo references and derivation of
attributions</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Tomb no. 4 in Fig.
121 deviates from the usual tomb construction in several aspects, i.e. the
ground plan was conceived to be almost quadratic (and not rectangular), most
probably in order to have space for the cross sculpture on the western fence
(which normally is shorter and does not comprise sculptures). Furthermore, in
contrast to the normally simple cross-beams on the top of the fences, complex
doubly-triangulated beams were used. Two similar tomb and beam constructions
were found in the Avaradrova cemetery, see Fig. 69b&d in <a href="https://statuary-in-context.blogspot.com/2021/01/research-outcome-sakalava-sculpted.html" target="_blank">Part 10</a>; a similar
cross sculpture was however placed only on the tomb shown in Fig. 69b.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjdLXDQHrT3uhR8vHnaulTKptnASY05wqQAl4f9OsMYhu6uuSgIS2oCg7q3TSLmHVswjmpB81nPjgnitIR0wcf3uMKNE2d07JRAfFUP3wqZpgBtiqCBJnV7_8W88bCBGcDkJeibBeoJO6IMMgbsnMe3ahCEcastRkShI9-j4RPEwFcp5wdm5F0uBUInrQ=s2619" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1590" data-original-width="2619" src="https://blogger.googleusercontent.com/img/a/AVvXsEjdLXDQHrT3uhR8vHnaulTKptnASY05wqQAl4f9OsMYhu6uuSgIS2oCg7q3TSLmHVswjmpB81nPjgnitIR0wcf3uMKNE2d07JRAfFUP3wqZpgBtiqCBJnV7_8W88bCBGcDkJeibBeoJO6IMMgbsnMe3ahCEcastRkShI9-j4RPEwFcp5wdm5F0uBUInrQ=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 121. Amboaniatoka sculpted cemetery, reconstruction of a segment,
status in 1962</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">While the couple
sculpture on tomb no. 1 seems to clearly have originated from Rasidany since</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">the conception and details match those described in
previous blogposts about this sculptor, the sculptures on tomb no. 4, which
also represent four couples, significantly differ from these characteristics
and thus seem to have been created by another sculptor. While combinations of
the female and male sculptures as found on the western tomb side also appear in
Rasidany’s sculptures (i.e., kneeling male figures on the back and front sides
of the female ones), combinations as depicted on the eastern side (back-to-back
arrangement and standing male figure in the front) could not be found (so far)
among sculptures attributed to Rasidany. Furthermore, some details also significantly
differ, such as the hands (which are much less naturalistically shaped) and the
ears (which are not integrated into the hairstyle). The appearance of the sculptures
on the two Avaradrova tombs, mentioned above, is similar and they thus also
seem to originate from this (unknown) sculptor.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><a href="https://statuary-in-context.blogspot.com/2022/05/research-outcome-sakalava-sculpted.html" target="_blank">Continued in Part 17</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">References
(Parts 1-16)</span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><span face=""Arial",sans-serif" style="font-size: 10pt;"><span face=""Arial",sans-serif" style="font-size: 10pt;">[1</span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><span face=""Arial",sans-serif" style="font-size: 10pt;">] Goedefroit, Sophie. <a href="https://core.ac.uk/download/pdf/39851654.pdf" target="_blank">La société Sakalava du Menabe</a>: Approche anthropologique d'un ensemble régional de Madagascar. Paris: Université de la Sorbonne Panthéon Paris 1, 1997.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[2] Goedefroit, Sophie; Lombard, Jacques. Andolo – l’art funéraire Sakalava à Madagascar. Biro éditeur, 2007. <a href="https://www.researchgate.net/publication/277307257_Andolo_L'art_funeraire_sakalava_a_Madagascar" target="_blank">PDF version</a>.<br />[3] Oberle, Philippe. Provinces malgaches. Art, histoire, tourisme. Edition Kintana, 1979.<br />[4] Malgache, qui es-tu? Cat. d’exp., Musée d’Ethnographie de Neuchâtel, 1973.<br />[5] Urbain-Faublée, Marcelle. L’art malgache. Pays d’outre-mer, 5ème série: arts et littérature, 2. Presses Universitaires de France, 1963.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[6] Satellite photos from </span><a href="https://satellites.pro/" style="font-size: medium;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">https://satellites.pro</span></a><span class="MsoHyperlink" style="font-size: medium;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 10pt; mso-ansi-language: EN-US; mso-themecolor: text1; text-underline: none;"> or Google Earth</span></span><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 10pt; mso-ansi-language: EN-US; mso-themecolor: text1;">.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[7] Postcard entitled ‘’5.-Tombeaux Vezo à Ankivalo-Morondava’’ (no other information on the back).<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[8] Musée du Quai Branly, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online archive</a>, no. PP0139090, approx.1950.</span><span style="font-size: medium;"> </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[9] Astuti, Rita. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">People of the sea, identity and descent among the Vezo of Madagascar. Cambridge University Press, 1995.<br />[10] Smith, George Herbert.<a href="https://archive.org/details/amongmenabeorth00commgoog/page/n8" target="_blank"> Among the Menabe</a>; or, thirteen months on the west coast of Madagascar. E. & J. B. Young and Co., New York, 1896.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; text-underline: none;">[11] Poirier, Charles. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">Sculptures funéraires des Sakalava de Morondava. Mémoires de L’académie malgache - Notes d’ethnographie et d’histoire malgache, XXVIII: 19-20, 1939.<br /></span></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[12] Molet, Louis. Bulletin de Madagascar, No. 144, 1958.<br />[13] Molet Louis. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>, no. PF0176385-88. </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[14] Lavondès, Anne. Art traditionnel malgache: Introduction à une exposition. Institut de recherche scientifique de Madagascar, Tananarive, 1961.<br />[15] Marchal, Jean-Yves. <a href="http://horizon.documentation.ird.fr/exl-doc/pleins_textes/divers18-08/22256.pdf">Etude géographique de la plaine de Bemarivo (Belo/Tsiribihina)</a>. Office de la recherche scinetifique et technique outre-mer, Tananarive, 1968.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[16] Chazan, Suzanne. </span></span><span face=""Arial",sans-serif" style="font-size: 10pt;"><a href="http://horizon.documentation.ird.fr/exl-doc/pleins_textes/divers18-08/23765.pdf" target="_blank">Echanges, pouvoir, représentations</a>: côte Ouest de Madagascar / 2: Itinéraires: région de Belo-sur-Tsirihihina et vallée du Manambolo. ORSTOM, Paris,1986.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[17] Goy, Bertrand. Arts anciens de Madagascar. Milan: 5 continents, 2015.<br />[18] Anonymous. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/">Online Archive</a>.</span></span><span face=""Arial",sans-serif" style="font-size: 10pt;"> </span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;"><br /></span></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[19] Astuti, Rita. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Invisible objects: Mortuary rituals among the Vezo of Western Madagascar. RES: Anthropology and Aestetics, no. 25, 1994, p111-112.<br />[20] Boulfroy, Nicole. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><br />[21] Boulfroy, Nicole. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Madagascar - arts de la vie et de la survie. Cahiers de l’ADEIAO, 8, Paris, 1989.<br />[22] Gabus, Jean. Archive of the Musée d’Ethnographie de Neuchâtel, Switzerland.<br /><span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 14.2667px; mso-ansi-language: FR-CH; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[22a] Martin, Christian. <a href="http://foto.christianmartin.pagesperso-orange.fr/tombeaux_malgaches.htm" target="_blank">Dessins et Photographies</a> - Platine Palladium & Argentique, accessed 30.01.2021.</span><br />[23] Postcard entitled ‘’5.-Un tombeau Vezo à Ankivalo-Morondava’’. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Courtesy of the Trustees of the British Museum, London, UK, photographer Pastor Jorgen Ruud, 1934-1954.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[24] Holas, Bohumil. Musée du Quai Branly, Paris, <a href=" http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>.</span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[25] Kouwenhoven, Arlette. L’art funéraire de Madagascar. Tribal Arts, no. 19, 1998, 72-82.<br />[26] Goedefroit, Sophie; Lombard, Jacques. <a href="https://www.franceculture.fr/emissions/le-salon-noir/lart-funeraire-sakalava-madagascar" target="_blank">L'art funéraire sakalava à Madagascar</a>. Emission France culture, 23/01/2008.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[27] <a href="https://www.ird.fr/content/download/7140/75019/version/1/file/DP_Andolo.pdf" target="_blank">Andolo book presentation</a>. Institut de recherche pour le développement, IRD, Paris, 2007.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[28] Lombard, Jacques. <a href="https://www.researchgate.net/publication/280945916_Ethnocentrisme_et_creation" target="_blank">Des « images intérieures » à la création plastique</a>. Ethnocentrisme et création, 2013: 195-219.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[29] Goedefroit, Sophie; Lombard, Jacques. <a href="https://www.researchgate.net/profile/Jacques_Lombard2/publication/281064930_Regard_sur_l'art_funeraire_sakalava/links/55d32ff808ae7fb244f5819c/Regard-sur-lart-funeraire-sakalava.pdf" target="_blank">Regard sur l'art funéraire sakalava</a>. Arts & Cultures, Barbier-Mueller Museum, Geneva, 2008: 136-153.<br />[30] Lombard, Jacques. <a href="http://journals.openedition.org/oceanindien/571" target="_blank">Images et imaginaire</a> - quelles images au fondement de la culture malgache? </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Études océan Indien, 44, 2010.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[31] Lempertz Auction, Brussels, 26 January 2016, lot 103. Fist publication in 1994, further details and references in: <a href="http://www.ahdrc.eu/" target="_blank">African Heritage Documentation & Research Center</a>, no. ao-0076255-001.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[32] Molet Louis. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>, no. PF0176389. </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[33] Vérin, Pierre. <a href="https://unesdoc.unesco.org/ark:/48223/pf0000042687_fre?posInSet=5&queryId=50dc60e2-26c8-4bad-9d04-b1783b7d5fb8" target="_blank">Madagascar</a>. In Histoire générale de l'Afrique, II: Afrique ancienne, 2. Editions Unesco 1980, 753-779.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[34] Lombard, Jacques. <a href="https://www.researchgate.net/publication/32993735_Le_royaume_Sakalave-Menabe_resultat_d'une_enquete_et_presentation_d'un_corpus_de_traditions_et_de_litterature_orales" target="_blank">Le royaume Sakalave-Menabe</a>: résultat d'une enquête et présentation d'un corpus de traditions et de littérature orales. Cahiers O.R.S.T.O.M., série Sciences Humaines, vol. XIII, no. 2, 1976: 173-202.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[35] <span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 14.2667px; mso-ansi-language: FR-CH; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Goedefroit, Sophie. <a href="https://horizon.documentation.ird.fr/exl-doc/pleins_textes/pleins_textes_7/b_fdi_03_03/010012955.pdf" target="_blank">A l’ouest de Madagascar</a> – les Sakalava du Menabe. Karthala-IRD, Paris, 1998.</span><br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[36] Musée d’ethnographie de Genève. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH; text-underline: none;">Photographie: <a href="https://www.ville-ge.ch/meg/musinfo_photo.php?what=409774&collection=Jacques+Faubl%C3%A9e&debut=0&bool=AND" target="_blank">Fonds Jacques Faublée</a> (1912-2003).</span></span><span class="MsoHyperlink" style="font-size: medium;"><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;"><br /></span></span><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;">[37] Berechnung <a href="https://www.sonnenverlauf.de/#/-20.2932,44.2777,9/2020.07.01/11:29/1/3" target="_blank">Sonnenverlauf</a>. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Assessed 21 October 2020.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[38] Mallet, Robert. L’art funéraire Sakalava. La Revue Française, 171, 21-26, 1964.<br />[39] Mallet, Robert. Art Sakalava: Statues, objets, photographies, documents, sonores. Catalogue d’exposition, Université de Madagascar, Tananarive, février-mars 1963.<br />[40] Garlinski, Majan; Hopkins, Eve. À Madagascar - Photographies de Jacques Faublée, 1938-1941. Catalogue d'exposition. Infolio éditions, Musée d'ethnographie de Genève, 2010.<br />[41] Mack, John. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; text-underline: none;">Madagascar: Island of the ancestors. British Museum Publications Ltd., London, 1986.<br />[42] Vérin, Pierre. <a href="https://www.jstor.org/stable/42928993?seq=1" target="_blank">Madagascar</a>. Asian Perspectives, vol. 7, no. 1/2, 1963: 41-44.<br /><span class="MsoHyperlink"><span face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;">[43] <a href="http://www.calames.abes.fr/pub/#details?id=FileId-1327" target="_blank">Fonds Robert Mallet</a>.</span></span><span face="Calibri, sans-serif" style="font-size: 11pt; line-height: 15.6933px;"> </span><span class="MsoHyperlink"><span face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;">Archives et manuscrits du SCD de l'Université de Picardie Jules Verne, Amiens, France.</span></span></span></span><br />[44]</span><span lang="EN-US" style="font-size: medium; mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">African Heritage Documentation & Research Centre, ao-0076358-001: 82 cm, Marovoay style, collected by Pierre Langlois in 1966, accessed on 25.10.2021.<br />[45]</span><span lang="EN-US" style="font-size: medium; mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">African Heritage Documentation & Research Centre, ao-0076287-001/002/003: 106 cm, accessed on 03.12.2021.</span><br />[46] Battistini, René; Vérin, Pierre; Rason, René. Le site archéologique de Talaky. Annales de l’Université de Madagascar - Lettres, vol. 1, 1963, pp.111-153.<br />[47] Gautier, Emile-F.<a href="https://doi.org/10.3406/geo.1897.5616" target="_blank"> Lettre de Madagascar</a>. In: Annales de Géographie, t.6, no. 27, 1897, pp. 263-268.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 14.2667px; mso-ansi-language: FR-CH; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[48] De Grunne, Bernard. <a href="https://issuu.com/artsolution/docs/sakalava_hd">Sakalava</a>. Exhibition catalogue TEFAF, Maastricht, 2018.<br /><span class="MsoHyperlink"><span face=""Calibri",sans-serif" style="font-size: 11pt; line-height: 15.6933px; mso-ansi-language: FR-CH; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[49] <span class="MsoHyperlink"><span color="windowtext" face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;"><a href="https://spectacles-selection.com/archives/expositions/fiche_expo_M/madagascar-V/madagascar-cimetiere-P.html" target="_blank">Madagascar, dernières demeures</a> - images de la vidéo. Exposition MADAGASCAR - Arts de la Grande Île, Muséee du quai Branly, 2018.<br /></span></span></span></span></span>[50] Bonhams auction, 12 Feb 2010, lot 4264, 89.5cm (also in AHDRC, no.
ao-00 0076251-001).<br />
[51] African Heritage Documentation & Research Centre, ao-0076298-001: 82cm,
Sothebys NY, 1980, accessed on 13.03.2022.</span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Blogposts related to Madagascar
sculpted cemeteries<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Research outcome: Sakalava sculpted cemeteries – Part 15:
Antevamena/Mangily. <a href="https://statuary-in-context.blogspot.com/2022/02/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 05.02.2022</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 14: Marofotse. <a href="https://statuary-in-context.blogspot.com/2022/01/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 09.01.2022</a>. <br />Research outcome: Sakalava sculpted cemeteries – Part 13: Manometinay. <a href="http://statuary-in-context.blogspot.com/2021/12/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 12.12.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 12: Bosy-Andraingy-2. <a href="http://statuary-in-context.blogspot.com/2021/09/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 19.09.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 11: Bosy-Andraingy-1. <a href="http://statuary-in-context.blogspot.com/2021/03/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 28.03.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 10: Avaradrova (Anosy Lava).<a href="http://statuary-in-context.blogspot.com/2021/01/research-outcome-sakalava-sculpted.html" target="_blank"> Blogpost 11.10.2020</a><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 15.6933px; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">.</span><br />Research outcome: Sakalava sculpted cemeteries – Part 9: Marovoay. <a href="http://statuary-in-context.blogspot.com/2020/10/research-outcome-sakalava-sculpted_24.html" target="_blank">Blogpost 24.10.2020</a><a href="http://statuary-in-context.blogspot.com/2020/09/research-outcome-sakalava-sculpted.html" target="_blank">.</a><br />Research outcome: Sakalava sculpted cemeteries – Part 8: Ambato. <a href="http://statuary-in-context.blogspot.com/2020/09/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 20.09.2020.</a><br /><span face="Arial, sans-serif">Research outcome: Sakalava sculpted cemeteries – Part 7: Kivalo. <a href="http://statuary-in-context.blogspot.com/2020/08/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 26.06.2020</a>.<br /></span><span face="Arial, sans-serif"><span face="">Research outcome: Sakalava sculpted cemeteries – Part 6: Antakitoka-2. <a href="http://statuary-in-context.blogspot.com/2020/06/research-outcome-sakalava-sculpted.html">Blogpost 26.06.2020</a>.<br /></span><span face="" lang="">Research outcome: Sakalava sculpted cemeteries – Part 5: Antakitoka-1. <a href="http://statuary-in-context.blogspot.com/2020/02/research-outcome-sakalava-sculpted.html">Blogpost 13.01.2020</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 4. <a href="http://statuary-in-context.blogspot.com/2020/01/research-outcome-sakalava-sculpted.html">Blogpost 13.01.2020</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 3. <a href="http://statuary-in-context.blogspot.com/2019/12/research-outcome-sakalava-sculpted.html">Blogpost 15.12.2019</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 2. <a href="http://statuary-in-context.blogspot.com/2019/11/research-outcome-sakalava-sculpted.html">Blogpost 02.11.2019</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 1. <a href="http://statuary-in-context.blogspot.com/2019/10/research-outcome-sakalava-sculpted.html">Blogpost 20.10.2019</a></span></span>.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Keller, Thomas. Research outcome: Sakalava sculpted cemeteries – Part 16:
Amboaniatoka. <br />
</span><span face=""Arial",sans-serif">https://statuary-in-context.blogspot.ch,
14.03.2022.<u><o:p></o:p></u></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 120%;">Homepage: <a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 9pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-49669642467689350702022-02-05T06:42:00.006+01:002022-03-14T21:02:05.456+01:00Research outcome: Sakalava sculpted cemeteries - Part 15: Antevamena/Mangily<p><b><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br /><a href="https://statuary-in-context.blogspot.com/2022/01/research-outcome-sakalava-sculpted.html" target="_blank">Read Part 14 first</a></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">3.9 Sculpted cemetery of Antevamena/Mangily<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;">Several cemetery, tomb and sculpture photos exist in the
literature (as shown later), which are attributed to a ‘’Cemetery of Mangily’’.
The location of the village of Mangily, around 13km to the northeast of
Morondava, and its coordinates are shown in Fig. 101. Finding the corresponding
‘’Cemetery of Mangily’’ is not easy however. A cemetery denominated ‘’Antevamena
(Mangily)’’ is mentioned by Goedefroit in [1] (p461), where inhabitants of the
villages of Mangily, Ampatiky, and Ambato were buried. This cemetery is also
marked on her map with two crosses (p23, named ‘’Antevamena’’), the corresponding
section is reproduced in Fig. 101 (left). The cemetery is located around 1.7km
to the north of the village of Mangily, on a sand dune surrounded by mangrove
swamps. However, a second cemetery,</span><span lang="EN-US" style="color: black; mso-ansi-language: EN-US; mso-themecolor: text1;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;">denominated ‘’Mangily’’,
is also shown on the same map (but not mentioned in the text), only around 500m
to the southeast of Mangily (also depicted in Fig. 101 (left) - and assumed to
be smaller, since only one cross symbol was used). This cemetery is surrounded
by cultivated land according to the map. The question thus arises as to which
cemetery was meant when attributing the above-mentioned photos to the
‘’Cemetery of Mangily’’, ‘’Antevamena (Mangily)’’ or ‘’Mangily’’?</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgZJ6O0HIb_qJ501tvRfH2bbn70PWJ78nXG3sOoSlZmqOlWBqtMnL8KOx0usLVPh5ev9WVy6bpwSUUI5Q3IZkQKl-HrdUXPySgosx9UdM-czcqWrJwvjGRpDFbhCk535oDCNeA2pjMFwD_MBNPmxYO8eUkVrvecmY70OBGz9cKmQef9Po_ZDr9lTx0GQQ=s2799" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1599" data-original-width="2799" height="366" src="https://blogger.googleusercontent.com/img/a/AVvXsEgZJ6O0HIb_qJ501tvRfH2bbn70PWJ78nXG3sOoSlZmqOlWBqtMnL8KOx0usLVPh5ev9WVy6bpwSUUI5Q3IZkQKl-HrdUXPySgosx9UdM-czcqWrJwvjGRpDFbhCk535oDCNeA2pjMFwD_MBNPmxYO8eUkVrvecmY70OBGz9cKmQef9Po_ZDr9lTx0GQQ=w640-h366" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 101. Location of Mangily village and corresponding sculpted cemeteries
(see also Fig. 1 in <a href="https://statuary-in-context.blogspot.com/2019/10/research-outcome-sakalava-sculpted.html">Part 1</a>)</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;">Two further independent references mention a ‘’Cemetery
of Mangily’’. Oberle indicated in [3] that the ‘’Cemetery of Mangily’’ is
accessible only during the dry season, since it is located in a swamp area
(p139) - he thus seems to refer to ‘’Antevamena (Mangily)’’, which is
surrounded by swamps (and not by always accessible cultivated land). Furthermore,
Mallet reproduced a cemetery photo in [39] denominated ‘’Mangily’’ that depicts
a dry tree, which is also visible on a cemetery photo denominated
‘’Antevamena’’ in [2] (more details see below). Based on these two indications and
further photo comparisons discussed below, it could be concluded that cemetery photos
entitled ‘’Mangily’’ normally refer to the cemetery of ‘’Antevamena (Mangily)’’.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhNdNTnovkseEAiL0GoT_rQ-HYvp7Seh0yyvaEihEJzedbBw4C3ESzyhgwoxV12v0ORE7GKWdXB5URxnjMW2qsFfsua9da1Rk_3DzmZM6X87e6OwA284Gn11iK1mm-P5QfaHMPwyJZvPiAtPHUBm2PR8rZTJKUadRojJ7qHD6fZarF3SH7wzNZozIbDZQ=s1911" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1629" data-original-width="1911" height="546" src="https://blogger.googleusercontent.com/img/a/AVvXsEhNdNTnovkseEAiL0GoT_rQ-HYvp7Seh0yyvaEihEJzedbBw4C3ESzyhgwoxV12v0ORE7GKWdXB5URxnjMW2qsFfsua9da1Rk_3DzmZM6X87e6OwA284Gn11iK1mm-P5QfaHMPwyJZvPiAtPHUBm2PR8rZTJKUadRojJ7qHD6fZarF3SH7wzNZozIbDZQ=w640-h546" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 102. Antevamena/Mangily cemetery in the 1990s (ground plan [1]) and
2004-2018 (satellite photos [6])</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;">A cemetery can also be seen on satellite photos dating
from 2004 to 2018 [6], at the approximate location denominated ‘’Antevamena’’ on
the above-mentioned map [1], see Figs. 101 (right) and 102 (while no such
cemetery can be recognized at the location designated ‘’Mangily’’). However,
comparing the size of this cemetery in 2004 (around 30 tombs) with a ground
plan of the Antevamena cemetery in 1989-1994 (around 60 tombs) - published by
Goedefroit in [1] and also reproduced in Fig. 102 (top left) - reveals that the
2004 cemetery was much smaller than in 1989-1994; the two cemeteries could thus
not be one and the same. A closer look at the map and satellite photos indicates
that the location of the Antevamena cemetery on a sand dune (on the map in [1],
i.e., in around 1990), was progressively flooded, at least since 2004, see satellite
photos in Fig. 103. The present cemetery is located around 400m to the east of
the 1990 location in [1], again on a dry sand dune. It thus seems that the
cemetery was relocated in the later 1990s due to the permanent flooding, which
would explain why it was smaller in 2004.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEisEy-HkoNpS8qGHO0xNfwBpe0J5t1NMMJ2tWQzrubabg_2mtw9RGwqQm4WW8_H86TEn4-XT41NhxMC56D_oGVCej7hT-X-WQUK9nP4vRj234KpK93NTMIYpcykJ8FM3oXLwprJfKVlagNxymkM6Dx7K6ACPBUDbScU6HF-fchlZ9PP3YCfGnA3QOOHNA=s3009" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1227" data-original-width="3009" src="https://blogger.googleusercontent.com/img/a/AVvXsEisEy-HkoNpS8qGHO0xNfwBpe0J5t1NMMJ2tWQzrubabg_2mtw9RGwqQm4WW8_H86TEn4-XT41NhxMC56D_oGVCej7hT-X-WQUK9nP4vRj234KpK93NTMIYpcykJ8FM3oXLwprJfKVlagNxymkM6Dx7K6ACPBUDbScU6HF-fchlZ9PP3YCfGnA3QOOHNA=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 103. Antevamena/Mangily cemetery, presumed relocation after the
1990s due to permanent flooding</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;">Goedefroit, who performed her field work in 1989-1994
[1], published ground plans of the Antevamena cemetery in two documents, [1]
and [35], in 1997 and 1998, respectively, see Fig. 104. Both plans show the
same four cemetery sections attributed to the same four families. However, the
tomb patterns were not identical, the rows of the section attributed to the
Tsimanavadraza family being shifted downwards by one row in the latter
document. In addition, the tomb geometries sometimes differed significantly.
The origins of the four families were added in the lower plan (based on p.461
in [1]), suggesting that most of the deceased came from Mangily.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjzGT2Aklo9l0IOeB4ORcFUYqqzVVBgq7K2sQ6SYvy4d1LGQpnRQd1-70gg5M9FBvDb-Chz0xeC-aspLeXo6Xq6We5WBDqRjDn9XC1pitBVYCbCUjYk8YzckAdBn-NPNY92sSvfWwIKnguwld6u8UvAmuJFHwcwcqvzmQzN6KYYA4kic_rsxAVaLGajFA=s2217" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2004" data-original-width="2217" height="578" src="https://blogger.googleusercontent.com/img/a/AVvXsEjzGT2Aklo9l0IOeB4ORcFUYqqzVVBgq7K2sQ6SYvy4d1LGQpnRQd1-70gg5M9FBvDb-Chz0xeC-aspLeXo6Xq6We5WBDqRjDn9XC1pitBVYCbCUjYk8YzckAdBn-NPNY92sSvfWwIKnguwld6u8UvAmuJFHwcwcqvzmQzN6KYYA4kic_rsxAVaLGajFA=w640-h578" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 104. Antevamena/Mangily cemetery, different ground plans by
Goedefroit in [1] and [35]</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEii7lnnY9CcLKINNJAl6EA7rHjQIiAGWw_hXFBUhpMoTxJIYVnvgoeJP1sEoRio8qEcWCqvcmOzvJMYEopjBsov0knULz0MTTJzYFyYqEspw6WCvTJFg8Bcxz1F6bQ8g9EgdRRz1Hp7Gk9u5y8B-cOX2ZST-dM35gYNJkhtE7s5X_06O7awgOCJWari3w=s2322" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2226" data-original-width="2322" src="https://blogger.googleusercontent.com/img/a/AVvXsEii7lnnY9CcLKINNJAl6EA7rHjQIiAGWw_hXFBUhpMoTxJIYVnvgoeJP1sEoRio8qEcWCqvcmOzvJMYEopjBsov0knULz0MTTJzYFyYqEspw6WCvTJFg8Bcxz1F6bQ8g9EgdRRz1Hp7Gk9u5y8B-cOX2ZST-dM35gYNJkhtE7s5X_06O7awgOCJWari3w=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 105. Antevamena/Mangily cemetery (before relocation), at different
stages of wooden tomb replacement by concrete tombs (identical wooden and
concrete tombs are marked in red and yellow/green, respectively)</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face="Arial, sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%;">Goedefroit and Lombard furthermore reproduced aerial
photos of the Antevamena cemetery in their book ‘’Andolo’’. Surprisingly, the
printed and the online PDF versions of the book contain different photos
(although both book versions have the same ISBN number). The printed version depicts
a much older view of the cemetery, which in addition is reversed, if compared
with Goedefroit’s ground plan [1], see Figs. 105 (section) and 106 (complete
photo), where the photo, 6C-C-GL-x-1, is horizontally flipped into the correct
position. A similar photo, but taken more from the top, was found in [49], see
6C-C-An-x-1+ in Fig. 106. In the PDF version of the book, most of the wooden
tombs were replaced by concrete tombs, see 6C-C-GL-x-2 in Figs. 105 (section)
and 106 (complete view). The detailed analysis shown in Fig. 105, i.e., the identical
tombs marked in red (wood) and yellow/green (concrete), confirms however that
all three documents depict the same cemetery at different stages. Concerning
the ground plans shown in Fig. 104, the 1997 [1] version seems to be the
correct one as the 1998 [35] version does not correspond. However, as already
indicated above, certain tomb geometries seem to be inexact, which was
confirmed, i.e., some tomb sizes or proportions do not correspond to those in the
aerial view. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgHFFJGHUxTrCrX8MpozkExQTo4Su8TKSDKG7eKDWgHvzV4KZgIcbX5eNyYDeMdTn1QwPDVkGrsg3POm791JOQy36VzMduxfqqfBipQAPuBnRRIxbPtDzp3e-Ae-M2hoCFE8pwPMGtd5HEfcITZpeW408eq6cEk_xY9s2ZSsBAxaWZD3BxFrN2Ar_QPPw=s2724" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1647" data-original-width="2724" src="https://blogger.googleusercontent.com/img/a/AVvXsEgHFFJGHUxTrCrX8MpozkExQTo4Su8TKSDKG7eKDWgHvzV4KZgIcbX5eNyYDeMdTn1QwPDVkGrsg3POm791JOQy36VzMduxfqqfBipQAPuBnRRIxbPtDzp3e-Ae-M2hoCFE8pwPMGtd5HEfcITZpeW408eq6cEk_xY9s2ZSsBAxaWZD3BxFrN2Ar_QPPw=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 106. Cemetery photos, direct Antevamena/Mangily attributions in
references and own attribution (+), see Table 18</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;">The two aerial views were unfortunately not dated. The
older version must have been taken after 1962 and before 1973. This can be
concluded from a photo taken by Mallet in 1962 (and attributed by him to
Mangily in [39]), 6C-C-Ma-62-1 in Fig. 106. The photo shows a dry tree (framed in
yellow), which is also visible on the older aerial view (again framed in
yellow),</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;">as already mentioned
above. Mallet’s photo depicts a large segment of the cemetery in the foreground
of this tree, which is missing in the aerial view, with only remnants of the
tombs visible in that area (blue framed). The dating of before 1973 will be justified
below based on additional photos. The later aerial view seems to have been
taken during Goedefroit’s fieldwork. The tomb pattern and her ground plan (1997
version) are basically identical. The large tomb in the ground plan (Fig. 105),
in the south of the third row from the west, framed by a green dashed line, could
represent the ‘’double tomb’’ shown in the aerial view. The tomb in the ground
plan in the south of the fourth row from the west, also framed with a green
dashed line, would then also be made of concrete according to the aerial view. It
exhibits heavily perforated walls and a decoratively shaped triangle on the
eastern wall - this characteristic tomb will be helpful later in the
reconstruction of the cemetery.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjooi5KKbzc1rbTtWBO7wDI50X0ED4tOYFZvngekGb2dwfOwiGq3C9DY2NzlieKs8VzDTwxiLPoqdoLvI3PuY_wUq3Kt9OQH7yYOAsf7UyqgGCxODlVOyTVJktWboeofSYKAjUDkYXi3xL5pPVttm0pGGGTr0Z7j0odv2LtV7vL9ugf4yVoolIQ1Ffuqw=s2349" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1665" data-original-width="2349" height="454" src="https://blogger.googleusercontent.com/img/a/AVvXsEjooi5KKbzc1rbTtWBO7wDI50X0ED4tOYFZvngekGb2dwfOwiGq3C9DY2NzlieKs8VzDTwxiLPoqdoLvI3PuY_wUq3Kt9OQH7yYOAsf7UyqgGCxODlVOyTVJktWboeofSYKAjUDkYXi3xL5pPVttm0pGGGTr0Z7j0odv2LtV7vL9ugf4yVoolIQ1Ffuqw=w640-h454" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 107. Cemetery and sculpture photos, direct Mangily attributions in
references, see Table 18</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjrtHlYB2rSxbF_-ybqLxYugBcBu6fBfZzLOmnjekmmBKJ6nUljPMv1sVb_OdeR-QY99rFbru6Y-UcKzpGN7V9IFceKWpRVc6JTk1p1OU6-zOVaiMRgMqLLcBGRqD4-K0ddhkHLxXfXfj4VjUkuAANSICMjSzI1yhkbN8McWNfIvKtqlVJ1oHdcq9OY4A=s2337" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2337" src="https://blogger.googleusercontent.com/img/a/AVvXsEjrtHlYB2rSxbF_-ybqLxYugBcBu6fBfZzLOmnjekmmBKJ6nUljPMv1sVb_OdeR-QY99rFbru6Y-UcKzpGN7V9IFceKWpRVc6JTk1p1OU6-zOVaiMRgMqLLcBGRqD4-K0ddhkHLxXfXfj4VjUkuAANSICMjSzI1yhkbN8McWNfIvKtqlVJ1oHdcq9OY4A=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 108. Cemetery and sculpture photos with incorrect Mangily
attributions in references</span></td></tr></tbody></table><p></p><div class="separator" style="clear: both; text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1; text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjMypHaUAsQ71aU2Kw4LDJLE1H8lzlJzKLFG-9EXSgvngBZr7P0Jyce7_BPRvhNi2tA5oQsiB2bZuA8f3-yXIDhP4BO1vaehtr-t21StUZq4be2YlbxoIYwzBSBt4-N5L6JKCrg5Pb3Reu20Gk-xoJ0SmYbHmfzv8fZ5LyokrmGRSyRZOOYEp4iCrjI1w=s2835" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2235" data-original-width="2835" src="https://blogger.googleusercontent.com/img/a/AVvXsEjMypHaUAsQ71aU2Kw4LDJLE1H8lzlJzKLFG-9EXSgvngBZr7P0Jyce7_BPRvhNi2tA5oQsiB2bZuA8f3-yXIDhP4BO1vaehtr-t21StUZq4be2YlbxoIYwzBSBt4-N5L6JKCrg5Pb3Reu20Gk-xoJ0SmYbHmfzv8fZ5LyokrmGRSyRZOOYEp4iCrjI1w=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 109. Cemetery photos, Mangily attributions derived from own
comparative analyses, see Table 18</span></td></tr></tbody></table><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0.0001pt;"><span face="Arial, sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%;">A total of 13 photos with direct ‘’Mangily’’ or
‘’Antevamena’’ attributions in the references could be collected, as shown in
Figs. 106 and 107 and Table 18 (cemetery derivation denominated ‘’in
reference’’). The photos in Fig. 106 permitted a cross-check of the
attributions by means of the dry tree, as explained above. Four of the photos
however were misattributed to Mangily, but depict the Antalitoka cemetery, see
Fig. 108. In addition, 30 untitled photos were found which could be attributed
to the Mangily cemetery, based on comparative analyses with the former set of photos,
see Figs. 106 and 109-111. The reasons for these attributions are given in
Table 18; they were mainly derived from the positions of the above-mentioned
dry tree in the south, another large tree in the east, and the decorative
element on the concrete tomb also mentioned above, and are framed on the photos
in yellow, pink and green, respectively. These additional photos can be
identified by a ‘’+’’ in the photo code (which is composed as in the previous
cemetery reconstructions, the cemetery number is 6C, see <a href="https://statuary-in-context.blogspot.com/2019/10/research-outcome-sakalava-sculpted.html" target="_blank">Part </a></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><a href="https://statuary-in-context.blogspot.com/2019/10/research-outcome-sakalava-sculpted.html" target="_blank">1</a>). The codes of photos that could be cross-checked
and of the new attributions based on cross-checked references are indicated in
green in all figures. <o:p></o:p></span></p></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgLQ6u8hyau8rvg8Qp-rO3qAHAmCAhEfuBdWKRo39782nic_NUM-YNz2EsOT3YiRKuVHI8Ct2W-4Z6Wctnzdka_EthmpGyFfuTGEm_8D7zChda2l2V6U93NUSmdCxcpLwc6SGpO6KhphNSnXtfPC6fJwKROhwK3SLbiScNn74SOi4ah-2yR19HtLXFKqw=s3339" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2160" data-original-width="3339" src="https://blogger.googleusercontent.com/img/a/AVvXsEgLQ6u8hyau8rvg8Qp-rO3qAHAmCAhEfuBdWKRo39782nic_NUM-YNz2EsOT3YiRKuVHI8Ct2W-4Z6Wctnzdka_EthmpGyFfuTGEm_8D7zChda2l2V6U93NUSmdCxcpLwc6SGpO6KhphNSnXtfPC6fJwKROhwK3SLbiScNn74SOi4ah-2yR19HtLXFKqw=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 110. Cemetery and sculpture photos, Mangily attributions derived
from comparative analyses, see Table 18</span></td></tr></tbody></table></span></span></div><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjl1Cpl3c-tBmCBT66ZSBL9GN6R8_mRQVdchTCcUluleyF3vY6hx1kwKwP5kPgp_z2-62A4JLp8JQ3UD1GLrODPWKkNg0cDkdZBwcmxGwhADTxpqCSN3sv7SQSdX-MOvOKk-9JpTbJJgfJ6P_iqUYVQt_TW4SPv6XaXz0HIG_krUCNOsuFT7A7XhjtxQg=s2855" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2855" data-original-width="1881" src="https://blogger.googleusercontent.com/img/a/AVvXsEjl1Cpl3c-tBmCBT66ZSBL9GN6R8_mRQVdchTCcUluleyF3vY6hx1kwKwP5kPgp_z2-62A4JLp8JQ3UD1GLrODPWKkNg0cDkdZBwcmxGwhADTxpqCSN3sv7SQSdX-MOvOKk-9JpTbJJgfJ6P_iqUYVQt_TW4SPv6XaXz0HIG_krUCNOsuFT7A7XhjtxQg=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Table 18. Cemetery of Antevamena/Mangily – photo references and
derivation of attributions</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Interesting is the
tomb shown in the foreground of 6C-C-An-x-2+ in Fig. 111 (left). Exactly the
same design of a tomb and its sculptures, including their positioning, can be
found on the Ambato cemetery, see Fig. 111 (right) and <a href="https://statuary-in-context.blogspot.com/2020/09/research-outcome-sakalava-sculpted.html" target="_blank">Part 8</a>. The human couple
and one of the bird couples had however already been removed from the Mangily
tomb. The tomb and sculptures were most probably manufactured by Rasidany, see
below.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjSSjdBiejjobubB4DHJhMQqPDC6KM0APunZzvalzsgPRPjLMJx1odIGRqNmDLVapNPUnOVVrgv9Sn8XjzfH8ENFI_w1_EfowH5nnWvyzEscxz3lGg6SBK4CjOUQ8b_s0TsXqpS8GZGwSbETId_VMqk7s_ntAAqMuaUsmAzbnbgvTLbn_f30RBs8O_xbQ=s2691" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1155" data-original-width="2691" src="https://blogger.googleusercontent.com/img/a/AVvXsEjSSjdBiejjobubB4DHJhMQqPDC6KM0APunZzvalzsgPRPjLMJx1odIGRqNmDLVapNPUnOVVrgv9Sn8XjzfH8ENFI_w1_EfowH5nnWvyzEscxz3lGg6SBK4CjOUQ8b_s0TsXqpS8GZGwSbETId_VMqk7s_ntAAqMuaUsmAzbnbgvTLbn_f30RBs8O_xbQ=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 111. Cemetery photo with derived Mangily attribution (left see
Table 18), identical tomb and sculpture design by Rasidany in Ambato (right)</span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span><span face="Arial, sans-serif" lang="EN-US" style="line-height: 107%;"><span style="font-size: 11pt;">– M=male, F=female, P=couple, B</span><sup><span style="font-size: xx-small;">2</span></sup><span style="font-size: 11pt;">=bird
couple, x=missing</span></span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">From the total of 43
photos, twelve originate from Mallet [39, 43] and were taken in 1962, 18 are
from Gabus [22], taken in 1973, and eight photos originate from Goedefroit and/or
Lombard [2, 27, 28], most of the latter being undated. The unattributed photos
from Gabus particularly, which could be linked to Mangily, permitted the
reconstruction of a large part of the cemetery at two stages, i.e., at the
beginning of the 1960s and 1970s, and the considerable transformations in
between could be documented. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;">The reconstructed ground plan, shown in Fig. 112, depicts
in blue the 1962 Mallet photo views and, overlapped, in orange, the 1973 Gabus
photo views. Also shown are the aerial views and the (undated) views of the
Goedefroit and Lombard photos (ochre color). Furthermore, the above-mentioned large
and the dry trees in the east and south, respectively, are indicated. The
resulting tomb pattern almost matches that shown in 6C-C-An-x-1+ (Fig. 106). The
tombs were numbered from the north to the south, and 37 tombs could thus be
integrated into the reconstructed segment. The reconstruction demonstrates that
the wooden tombs no. 5, 19 and 28 were replaced by concrete tombs between 1962
and 1973. Two sculptures, still installed on tomb no. 19 in 1962, were found on
a woodpile in 1973, after replacement of the wooden by a concrete tomb, see
Fig. 113. The fact that the older aerial view (6C-C-GL-x-1) includes the
concrete tomb no. 19, but not yet the concrete tomb no. 28 reveals that the
photo was taken before 1973.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhUATuDUMGJMVY_gZAaE0nHTvvAvz48kNVJkBSTgbSfE6ua6pnvNS9-ELA1yfICRP1xXTvBsNE7cMMFQMPQBNRN-IfW297A2MHTBrVGRWmsz14R3RdAwsiXoymBKzdf0VDOfQpVYs1aw0RpYfGIQqjbaasgnjVlxMdJb2GNz1Qs4rl9PxShd0k54RbcUg=s2820" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1863" data-original-width="2820" src="https://blogger.googleusercontent.com/img/a/AVvXsEhUATuDUMGJMVY_gZAaE0nHTvvAvz48kNVJkBSTgbSfE6ua6pnvNS9-ELA1yfICRP1xXTvBsNE7cMMFQMPQBNRN-IfW297A2MHTBrVGRWmsz14R3RdAwsiXoymBKzdf0VDOfQpVYs1aw0RpYfGIQqjbaasgnjVlxMdJb2GNz1Qs4rl9PxShd0k54RbcUg=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 112. Antevamena/Mangily sculpted cemetery, reconstruction of a segment,
status in 1962 and 1973</span></td></tr></tbody></table><p></p><span face="Arial, sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh947BvHtr77RMgYx1mPzw_ZPgt2tZEyZuvw3kpknnVRf4g4rySjbOPNRvzRxRpVOVpi7V48grpGynokp3CyMhQnciug9IsCbVWCJOxSd_j8YFtHpOnOz4vmyhaZevFloT4b2QBqV7HQv4y58D6ToAoffZMtufR5ynRa_yQ60cr8wMmnRcrHOIEr0tDoQ=s2577" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="2577" src="https://blogger.googleusercontent.com/img/a/AVvXsEh947BvHtr77RMgYx1mPzw_ZPgt2tZEyZuvw3kpknnVRf4g4rySjbOPNRvzRxRpVOVpi7V48grpGynokp3CyMhQnciug9IsCbVWCJOxSd_j8YFtHpOnOz4vmyhaZevFloT4b2QBqV7HQv4y58D6ToAoffZMtufR5ynRa_yQ60cr8wMmnRcrHOIEr0tDoQ=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 113. Two sculptures installed on wooden tomb no. 19 in 1962 (left
and right) and on woodpile in 1973 (middle), after replacement of wooden by
concrete tomb</span></td></tr></tbody></table>The reconstruction also demonstrates that a large part
of the cemetery, in the southwest, was destroyed between 1962 and 1973. Based
on photo 6C-C-Ma-62-1, this part could be reconstructed, i.e. tombs no. 17, 20,
21, 24, and 29-35 could be integrated and the aerial view 6C-C-GL-x-1 could be supplemented,
see Fig. 114, which finally shows the status in 1962. The concrete tomb no. 1
already existed at that time, tombs no. 5 and 19 were still made of wood, while
no information about the status of the concrete tombs no. 14 and 25 could be
derived from the photos of 1962. <o:p></o:p></span><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgxLYnnfSHrKKnyVl3iA50MqvoDSWi9HRQwqtW8d4UjryA-_R31E7Tx9Uv4I4rGJcKG6A8TlZNBUCQ4cdmZFzAPlcfU88vaSNU9-RR2h01Fu1pVsNpQ0MXwX6U0AIv7FTrvfd7ME5etWrNQ23omSgkv3tucvet_f0YZHX8KDifUFYoclCwfOkiQQgF4wQ=s2373" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1395" data-original-width="2373" src="https://blogger.googleusercontent.com/img/a/AVvXsEgxLYnnfSHrKKnyVl3iA50MqvoDSWi9HRQwqtW8d4UjryA-_R31E7Tx9Uv4I4rGJcKG6A8TlZNBUCQ4cdmZFzAPlcfU88vaSNU9-RR2h01Fu1pVsNpQ0MXwX6U0AIv7FTrvfd7ME5etWrNQ23omSgkv3tucvet_f0YZHX8KDifUFYoclCwfOkiQQgF4wQ=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 114. Antevamena/Mangily sculpted cemetery, supplement to aerial
view to show status in 1962</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;">The question arises as to why this southwestern cemetery
part completely disappeared between 1962 and1973 and why no new concrete tombs
were built later in this area, as shown in the aerial view taken in around 1990
(6C-C-GL-x-2). The wooden tombs existing in that area in 1962 were not older or
more decayed than in the adjacent areas (see 6C-C-Ma-62-1); therefore, their
decay could not be the reason. One explanation could however be that the
above-mentioned flooding of the cemetery started in this area. The barren
ground visible on both aerial views in this area and the fact that the flooding
came from the west (see Fig. 103) may confirm this hypothesis.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;">In contrast to the previously reconstructed
cemeteries, the north-south orientation of the segment was already known since
it was indicated in the ground plans of Goedefroit, see Fig. 104. Nevertheless,
the method adopted in the previous reconstructions, i.e. to determine the
orientation by means of the sun’s shadows, was also applied to confirm the
orientation and thus to also validate this method. Based on the assumption that
Mallet took his photos in summer, i.e. in December, as can be derived from his
dated photos of other cemeteries (see previous reconstructions) and the fact
that the trees still bore leaves, it was concluded that the sun was in the
south of the cemetery, see Fig. 115. The cemetery was marked at its original
location, i.e., in the flooded area (compare to Fig. 103). The assumption that
the photos were taken in the early afternoon in mid-December would result in sun
shadows like those seen, for instance, on the sculpture in 6C-S-Ma-62-3+ (see
Fig. 110). The applicability of the method was thus confirmed.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh0GLE86jYWjMElDvYFZFNM4sIpOBZWT4IyTb9f1x14kMax2KYaJ5sotqpRtQvPefV_i05Z9Gp8mwIspgVZa_bNrFCmzwEZZjBqr4qCqLzudDRd0fFsFmyGzrlNr3AQO-YYXE3Zvzin2f7tCPaLmpVBl9kC6-BquAMDljxedwuFYfLt4raDXuI2h3__KQ=s1713" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1377" data-original-width="1713" height="514" src="https://blogger.googleusercontent.com/img/a/AVvXsEh0GLE86jYWjMElDvYFZFNM4sIpOBZWT4IyTb9f1x14kMax2KYaJ5sotqpRtQvPefV_i05Z9Gp8mwIspgVZa_bNrFCmzwEZZjBqr4qCqLzudDRd0fFsFmyGzrlNr3AQO-YYXE3Zvzin2f7tCPaLmpVBl9kC6-BquAMDljxedwuFYfLt4raDXuI2h3__KQ=w640-h514" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 115. Antevamena/Mangily sculpted cemetery, sun’s position on 15
December 1962 according to [37]</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;">Sculptures that could be well identified and their
positions on the reconstructed segment in 1962 are shown in Fig. 116. The
sculptural styles were very different, varying from rather abstract shapes with
frontal orientation to complex spatial concepts, the latter in the case of
couples in particular. Some of the sculptures were nude, others dressed, and
male sculptures wore hats</span><span lang="EN-US" style="color: black; mso-ansi-language: EN-US; mso-themecolor: text1;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;">in most cases. The almost arbitrary distribution
of these different styles and varying states of decay of the tombs did not permit
any conclusions to be drawn regarding older or newer parts of the cemetery. An
extraordinary sculpture was installed on the northeastern corner of tomb no. 8,
exhibiting a complex hairstyle and different arm directions, i.e., directed forwards
(right arm) and backwards. Many of the sculptures seem to have originated from
Rasidany (as indicated in Fig. 116), their conception and details matching
those described <a href="https://statuary-in-context.blogspot.com/2021/05/research-outcome-sakalava-sculptures.html" target="_blank">in previous blogposts</a> about this sculptor. The female sculpture
on tomb no. 15 was however attributed to <a href="https://statuary-in-context.blogspot.com/2019/08/fact-check-sakalava-sculptures.html" target="_blank">Maneraka</a> by Gabus in [4] - the father
of Rasidany (see a previous blogpost) - as was also done for the male sculpture
on tomb no. 22. Since the other sculptures on tomb no. 15 seem to clearly
originate from Rasidany and the female sculpture also exhibits the typical
attributes of Rasidany sculptures, and its style is significantly different
from that of the sculpture on tomb no. 22, Gabus’ attribution must be incorrect.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiZUJsBvvE71y6tJKFjVU7St5p7lso5b7Il1mImTy2jS_-tY1m6t2uOz708VIwpdigA5__7j0dHTyYKh-PqMMpHNPATlIxJcUuZwVMtn-wmypWOUB9pZ2ZIoWejy6J9ULyjsiVMkS-KrkTqiwhG2gX_3oaEOOE-ATFgG_8VIHfYFd7nonnRYLBy373zgA=s1866" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1866" data-original-width="1743" src="https://blogger.googleusercontent.com/img/a/AVvXsEiZUJsBvvE71y6tJKFjVU7St5p7lso5b7Il1mImTy2jS_-tY1m6t2uOz708VIwpdigA5__7j0dHTyYKh-PqMMpHNPATlIxJcUuZwVMtn-wmypWOUB9pZ2ZIoWejy6J9ULyjsiVMkS-KrkTqiwhG2gX_3oaEOOE-ATFgG_8VIHfYFd7nonnRYLBy373zgA=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 116. Antevamena/Mangily sculpted cemetery, positions of selected
sculptures in 1962</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: text1;">If Fig. 114 is compared with the aerial photo
6C-C-GL-x-2 in Fig. 105, only the wooden tombs no. 8, 9, and 13 existed and
were more or less intact in around 1990; all the other tombs were destroyed or
replaced by concrete ones. Sculptures can still be seen on the latter two
tombs, the above-mentioned extraordinary sculpture on tomb no. 8 however was no
longer there. Some tombs and sculptures could not yet be integrated into the
reconstruction, i.e., those shown in photos 6C-S-DG-x-1&2 (Fig. 107), 6C-C-Ga-73-11+
(Fig. 109), and 6C-T-Ga-73-1+, 6C-S-Ga-73-3+/4+ (Fig. 110).</span><span face=""Arial",sans-serif" lang="EN-US" style="color: #d9d9d9; font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-themecolor: background1; mso-themeshade: 217;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><a href="https://statuary-in-context.blogspot.com/2022/03/research-outcome-sakalava-sculpted.html" target="_blank">Continued in Part 16</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">References
(Parts 1-15)<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" style="font-size: 10pt;"><span face=""Arial",sans-serif" style="font-size: 10pt;">[1</span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><span face=""Arial",sans-serif" style="font-size: 10pt;">] Goedefroit, Sophie. <a href="https://core.ac.uk/download/pdf/39851654.pdf" target="_blank">La société Sakalava du Menabe</a>: Approche anthropologique d'un ensemble régional de Madagascar. Paris: Université de la Sorbonne Panthéon Paris 1, 1997.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[2] Goedefroit, Sophie; Lombard, Jacques. Andolo – l’art funéraire Sakalava à Madagascar. Biro éditeur, 2007. <a href="https://www.researchgate.net/publication/277307257_Andolo_L'art_funeraire_sakalava_a_Madagascar" target="_blank">PDF version</a>.<br />[3] Oberle, Philippe. Provinces malgaches. Art, histoire, tourisme. Edition Kintana, 1979.<br />[4] Malgache, qui es-tu? Cat. d’exp., Musée d’Ethnographie de Neuchâtel, 1973.<br />[5] Urbain-Faublée, Marcelle. L’art malgache. Pays d’outre-mer, 5ème série: arts et littérature, 2. Presses Universitaires de France, 1963.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[6] Satellite photos from </span><a href="https://satellites.pro/" style="font-size: medium;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">https://satellites.pro</span></a><span class="MsoHyperlink" style="font-size: medium;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 10pt; mso-ansi-language: EN-US; mso-themecolor: text1; text-underline: none;"> or Google Earth</span></span><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 10pt; mso-ansi-language: EN-US; mso-themecolor: text1;">.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[7] Postcard entitled ‘’5.-Tombeaux Vezo à Ankivalo-Morondava’’ (no other information on the back).<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[8] Musée du Quai Branly, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online archive</a>, no. PP0139090, approx.1950.</span><span style="font-size: medium;"> </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[9] Astuti, Rita. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">People of the sea, identity and descent among the Vezo of Madagascar. Cambridge University Press, 1995.<br />[10] Smith, George Herbert.<a href="https://archive.org/details/amongmenabeorth00commgoog/page/n8" target="_blank"> Among the Menabe</a>; or, thirteen months on the west coast of Madagascar. E. & J. B. Young and Co., New York, 1896.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; text-underline: none;">[11] Poirier, Charles. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">Sculptures funéraires des Sakalava de Morondava. Mémoires de L’académie malgache - Notes d’ethnographie et d’histoire malgache, XXVIII: 19-20, 1939.<br /></span></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[12] Molet, Louis. Bulletin de Madagascar, No. 144, 1958.<br />[13] Molet Louis. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>, no. PF0176385-88. </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[14] Lavondès, Anne. Art traditionnel malgache: Introduction à une exposition. Institut de recherche scientifique de Madagascar, Tananarive, 1961.<br />[15] Marchal, Jean-Yves. <a href="http://horizon.documentation.ird.fr/exl-doc/pleins_textes/divers18-08/22256.pdf">Etude géographique de la plaine de Bemarivo (Belo/Tsiribihina)</a>. Office de la recherche scinetifique et technique outre-mer, Tananarive, 1968.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[16] Chazan, Suzanne. </span></span><span face=""Arial",sans-serif" style="font-size: 10pt;"><a href="http://horizon.documentation.ird.fr/exl-doc/pleins_textes/divers18-08/23765.pdf" target="_blank">Echanges, pouvoir, représentations</a>: côte Ouest de Madagascar / 2: Itinéraires: région de Belo-sur-Tsirihihina et vallée du Manambolo. ORSTOM, Paris,1986.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[17] Goy, Bertrand. Arts anciens de Madagascar. Milan: 5 continents, 2015.<br />[18] Anonymous. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/">Online Archive</a>.</span></span><span face=""Arial",sans-serif" style="font-size: 10pt;"> </span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;"><br /></span></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[19] Astuti, Rita. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Invisible objects: Mortuary rituals among the Vezo of Western Madagascar. RES: Anthropology and Aestetics, no. 25, 1994, p111-112.<br />[20] Boulfroy, Nicole. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><br />[21] Boulfroy, Nicole. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Madagascar - arts de la vie et de la survie. Cahiers de l’ADEIAO, 8, Paris, 1989.<br />[22] Gabus, Jean. Archive of the Musée d’Ethnographie de Neuchâtel, Switzerland.<br /><span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 107%; mso-ansi-language: FR-CH; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[22a] Martin, Christian. <a href="http://foto.christianmartin.pagesperso-orange.fr/tombeaux_malgaches.htm" target="_blank">Dessins et Photographies</a> - Platine Palladium
& Argentique, accessed 30.01.2021.</span><br />[23] Postcard entitled ‘’5.-Un tombeau Vezo à Ankivalo-Morondava’’. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Courtesy of the Trustees of the British Museum, London, UK, photographer Pastor Jorgen Ruud, 1934-1954.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[24] Holas, Bohumil. Musée du Quai Branly, Paris, <a href=" http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>.</span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[25] Kouwenhoven, Arlette. L’art funéraire de Madagascar. Tribal Arts, no. 19, 1998, 72-82.<br />[26] Goedefroit, Sophie; Lombard, Jacques. <a href="https://www.franceculture.fr/emissions/le-salon-noir/lart-funeraire-sakalava-madagascar" target="_blank">L'art funéraire sakalava à Madagascar</a>. Emission France culture, 23/01/2008.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[27] <a href="https://www.ird.fr/content/download/7140/75019/version/1/file/DP_Andolo.pdf" target="_blank">Andolo book presentation</a>. Institut de recherche pour le développement, IRD, Paris, 2007.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[28] Lombard, Jacques. <a href="https://www.researchgate.net/publication/280945916_Ethnocentrisme_et_creation" target="_blank">Des « images intérieures » à la création plastique</a>. Ethnocentrisme et création, 2013: 195-219.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[29] Goedefroit, Sophie; Lombard, Jacques. <a href="https://www.researchgate.net/profile/Jacques_Lombard2/publication/281064930_Regard_sur_l'art_funeraire_sakalava/links/55d32ff808ae7fb244f5819c/Regard-sur-lart-funeraire-sakalava.pdf" target="_blank">Regard sur l'art funéraire sakalava</a>. Arts & Cultures, Barbier-Mueller Museum, Geneva, 2008: 136-153.<br />[30] Lombard, Jacques. <a href="http://journals.openedition.org/oceanindien/571" target="_blank">Images et imaginaire</a> - quelles images au fondement de la culture malgache? </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Études océan Indien, 44, 2010.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[31] Lempertz Auction, Brussels, 26 January 2016, lot 103. Fist publication in 1994, further details and references in: <a href="http://www.ahdrc.eu/" target="_blank">African Heritage Documentation & Research Center</a>, no. ao-0076255-001.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[32] Molet Louis. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>, no. PF0176389. </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[33] Vérin, Pierre. <a href="https://unesdoc.unesco.org/ark:/48223/pf0000042687_fre?posInSet=5&queryId=50dc60e2-26c8-4bad-9d04-b1783b7d5fb8" target="_blank">Madagascar</a>. In Histoire générale de l'Afrique, II: Afrique ancienne, 2. Editions Unesco 1980, 753-779.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[34] Lombard, Jacques. <a href="https://www.researchgate.net/publication/32993735_Le_royaume_Sakalave-Menabe_resultat_d'une_enquete_et_presentation_d'un_corpus_de_traditions_et_de_litterature_orales" target="_blank">Le royaume Sakalave-Menabe</a>: résultat d'une enquête et présentation d'un corpus de traditions et de littérature orales. Cahiers O.R.S.T.O.M., série Sciences Humaines, vol. XIII, no. 2, 1976: 173-202.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[35] <span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 107%; mso-ansi-language: FR-CH; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Goedefroit, Sophie. <a href="https://horizon.documentation.ird.fr/exl-doc/pleins_textes/pleins_textes_7/b_fdi_03_03/010012955.pdf" target="_blank">A l’ouest de Madagascar</a> – les Sakalava du Menabe.
Karthala-IRD, Paris, 1998.</span><br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[36] Musée d’ethnographie de Genève. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH; text-underline: none;">Photographie: <a href="https://www.ville-ge.ch/meg/musinfo_photo.php?what=409774&collection=Jacques+Faubl%C3%A9e&debut=0&bool=AND" target="_blank">Fonds Jacques Faublée</a> (1912-2003).</span></span><span class="MsoHyperlink" style="font-size: medium;"><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;"><br /></span></span><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;">[37] Berechnung <a href="https://www.sonnenverlauf.de/#/-20.2932,44.2777,9/2020.07.01/11:29/1/3" target="_blank">Sonnenverlauf</a>. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Assessed 21 October 2020.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[38] Mallet, Robert. L’art funéraire Sakalava. La Revue Française, 171, 21-26, 1964.<br />[39] Mallet, Robert. Art Sakalava: Statues, objets, photographies, documents, sonores. Catalogue d’exposition, Université de Madagascar, Tananarive, février-mars 1963.<br />[40] Garlinski, Majan; Hopkins, Eve. À Madagascar - Photographies de Jacques Faublée, 1938-1941. Catalogue d'exposition. Infolio éditions, Musée d'ethnographie de Genève, 2010.<br />[41] Mack, John. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; text-underline: none;">Madagascar: Island of the ancestors. British Museum Publications Ltd., London, 1986.<br />[42] Vérin, Pierre. <a href="https://www.jstor.org/stable/42928993?seq=1" target="_blank">Madagascar</a>. Asian Perspectives, vol. 7, no. 1/2, 1963: 41-44.<br /><span class="MsoHyperlink"><span face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;">[43] <a href="http://www.calames.abes.fr/pub/#details?id=FileId-1327" target="_blank">Fonds Robert Mallet</a>.</span></span><span face="Calibri, sans-serif" style="font-size: 11pt; line-height: 15.6933px;"> </span><span class="MsoHyperlink"><span face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;">Archives et manuscrits du SCD de l'Université de Picardie Jules Verne, Amiens, France.</span></span></span></span><br />[44]</span><span lang="EN-US" style="font-size: medium; mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">African Heritage Documentation & Research Centre, ao-0076358-001: 82 cm, Marovoay style, collected by Pierre Langlois in 1966, accessed on 25.10.2021.<br />[45]</span><span lang="EN-US" style="font-size: medium; mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">African Heritage Documentation & Research Centre, ao-0076287-001/002/003: 106 cm, accessed on 03.12.2021.</span><br />[46] Battistini, René; Vérin, Pierre; Rason, René. Le site archéologique de Talaky. Annales de l’Université de Madagascar - Lettres, vol. 1, 1963, pp.111-153.<br />[47] Gautier, Emile-F.<a href="https://doi.org/10.3406/geo.1897.5616" target="_blank"> Lettre de Madagascar</a>. In: Annales de Géographie, t.6, no. 27, 1897, pp. 263-268.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 107%; mso-ansi-language: FR-CH; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[48] De Grunne, Bernard. <a href="https://issuu.com/artsolution/docs/sakalava_hd">Sakalava</a>. Exhibition catalogue TEFAF,
Maastricht, 2018.<br /><span class="MsoHyperlink"><span face=""Calibri",sans-serif" style="font-size: 11pt; line-height: 107%; mso-ansi-language: FR-CH; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[49] <span class="MsoHyperlink"><span color="windowtext" face="Arial, sans-serif" style="font-size: 10pt; line-height: 107%;"><a href="https://spectacles-selection.com/archives/expositions/fiche_expo_M/madagascar-V/madagascar-cimetiere-P.html" target="_blank">Madagascar, dernières demeures</a> - images de la vidéo.
Exposition MADAGASCAR - Arts de la Grande Île, Muséee du quai Branly, 2018.</span></span></span></span><br />
<!--[endif]--></span></p><p class="MsoNormal" style="line-height: 19.2px; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 19.2px; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Blogposts related to Madagascar sculpted cemeteries<o:p></o:p></span></b></p><p class="MsoNormal" style="line-height: 19.2px; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Research outcome: Sakalava sculpted cemeteries – Part 14: Marofotse. <a href="https://statuary-in-context.blogspot.com/2022/01/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 09.01.2022</a>. <br />Research outcome: Sakalava sculpted cemeteries – Part 13: Manometinay. <a href="http://statuary-in-context.blogspot.com/2021/12/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 12.12.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 12: Bosy-Andraingy-2. <a href="http://statuary-in-context.blogspot.com/2021/09/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 19.09.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 11: Bosy-Andraingy-1. <a href="http://statuary-in-context.blogspot.com/2021/03/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 28.03.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 10: Avaradrova (Anosy Lava).<a href="http://statuary-in-context.blogspot.com/2021/01/research-outcome-sakalava-sculpted.html" target="_blank"> Blogpost 11.10.2020</a><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 15.6933px; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">.</span><br />Research outcome: Sakalava sculpted cemeteries – Part 9: Marovoay. <a href="http://statuary-in-context.blogspot.com/2020/10/research-outcome-sakalava-sculpted_24.html" target="_blank">Blogpost 24.10.2020</a><a href="http://statuary-in-context.blogspot.com/2020/09/research-outcome-sakalava-sculpted.html" target="_blank">.</a><br />Research outcome: Sakalava sculpted cemeteries – Part 8: Ambato. <a href="http://statuary-in-context.blogspot.com/2020/09/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 20.09.2020.</a><br /><span face="Arial, sans-serif">Research outcome: Sakalava sculpted cemeteries – Part 7: Kivalo. <a href="http://statuary-in-context.blogspot.com/2020/08/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 26.06.2020</a>.<br /></span><span face="Arial, sans-serif"><span face="">Research outcome: Sakalava sculpted cemeteries – Part 6: Antakitoka-2. <a href="http://statuary-in-context.blogspot.com/2020/06/research-outcome-sakalava-sculpted.html">Blogpost 26.06.2020</a>.<br /></span><span face="" lang="">Research outcome: Sakalava sculpted cemeteries – Part 5: Antakitoka-1. <a href="http://statuary-in-context.blogspot.com/2020/02/research-outcome-sakalava-sculpted.html">Blogpost 13.01.2020</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 4. <a href="http://statuary-in-context.blogspot.com/2020/01/research-outcome-sakalava-sculpted.html">Blogpost 13.01.2020</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 3. <a href="http://statuary-in-context.blogspot.com/2019/12/research-outcome-sakalava-sculpted.html">Blogpost 15.12.2019</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 2. <a href="http://statuary-in-context.blogspot.com/2019/11/research-outcome-sakalava-sculpted.html">Blogpost 02.11.2019</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 1. <a href="http://statuary-in-context.blogspot.com/2019/10/research-outcome-sakalava-sculpted.html">Blogpost 20.10.2019</a></span></span>.</span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Keller, Thomas. Research outcome: Sakalava sculpted cemeteries – Part 15:
Antevamena-Mangily. <br />
https://statuary-in-context.blogspot.ch, 05.02.2022.<u><o:p></o:p></u></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 9pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-29556162645122567462022-01-09T12:20:00.004+01:002022-02-05T06:44:24.259+01:00Research outcome: Sakalava sculpted cemeteries - Part 14: Marofotse<p><b><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br /><a href="http://statuary-in-context.blogspot.com/2021/12/research-outcome-sakalava-sculpted.html" target="_blank">Read Part 13 first</a></span></b></p><p><b style="mso-bidi-font-weight: normal; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">3.8 Sculpted cemetery of Marofotse</span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">As done for the
cemetery of Manometinay (see <a href="http://statuary-in-context.blogspot.com/2021/12/research-outcome-sakalava-sculpted.html" target="_blank">Part 13</a>), Robert Mallet published a photo of a
sculpted tomb</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">in [39], entitled ‘’Marofotse’’, thus implying that
the photo depicts a tomb in the cemetery of Marofotse. This photo with its
caption is reproduced in Fig. 98 (43C-C-Ma-62-1). No other references to a
cemetery of Marofotse could be found in literature; Mallet’s attribution could
thus not be cross-checked, and it is assumed in the following that the
attribution is correct.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEilsbG_Vn-Vx2oDT7fNfz7vDvlRKgrTAvsb0dfU7TEbgotdl4zUWOzCrT1sCnjg4x0dxtEbjqeHm49Foc26wZUTpHkXgLuSDFSptEB2bWpIrAYjCuV0JjJXibI_zQMLN02IDoAbW6LGGQIZqhqr7G8iLft1rquwhx-iOYTZ1zGfTJSyn_KU9nCHvahZLg=s2960" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1383" data-original-width="2960" src="https://blogger.googleusercontent.com/img/a/AVvXsEilsbG_Vn-Vx2oDT7fNfz7vDvlRKgrTAvsb0dfU7TEbgotdl4zUWOzCrT1sCnjg4x0dxtEbjqeHm49Foc26wZUTpHkXgLuSDFSptEB2bWpIrAYjCuV0JjJXibI_zQMLN02IDoAbW6LGGQIZqhqr7G8iLft1rquwhx-iOYTZ1zGfTJSyn_KU9nCHvahZLg=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 98. Marofotse cemetery photos, attributions in references and own
attributions, overview of photo collection</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The same photo was
found in the archive of the Fonds Robert Mallet [43], without any attribution
however. Furthermore, a photo of a tomb detail (43C-T-Ma-62-1) was included in
the archive, with ‘’Marofotse’’ written on the back, see Fig. 98. Based on
these photos, a further four photos from the archive could also be attributed
to that cemetery, see Fig. 98.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEheyYKh2LqcVXJ6cyl7tnVml3vYX1Tryp-JJeCX1gAQ4-itix4AMxR_pDnpq8a3rvfUnCuhE0SYNpymFPmZI_TEYmeiySl42PT5-vWmlYelMka2WrTeqhBgpOmBHK3i712-d03OC9qcxY81DUIktgpi4xwYdtOCBzR4XiROyFKfm5_0FvXzEie_cR1pDQ=s1564" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="579" data-original-width="1564" src="https://blogger.googleusercontent.com/img/a/AVvXsEheyYKh2LqcVXJ6cyl7tnVml3vYX1Tryp-JJeCX1gAQ4-itix4AMxR_pDnpq8a3rvfUnCuhE0SYNpymFPmZI_TEYmeiySl42PT5-vWmlYelMka2WrTeqhBgpOmBHK3i712-d03OC9qcxY81DUIktgpi4xwYdtOCBzR4XiROyFKfm5_0FvXzEie_cR1pDQ=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Table 17. Cemetery of Marofotse/y – photo references and derivation of
attributions</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The photos with
their captions (derived according to the previous cemetery reconstructions),
and the justifications for their attributions to the Marofotse cemetery, are
listed in Table 17. Since the photos were part of the same collection as those
of the Marovoay (<a href="http://statuary-in-context.blogspot.com/2020/10/research-outcome-sakalava-sculpted_24.html" target="_blank">Part 9</a>) and Bosy (Parts <a href="http://statuary-in-context.blogspot.com/2021/03/research-outcome-sakalava-sculpted.html" target="_blank">11</a>&<a href="http://statuary-in-context.blogspot.com/2021/09/research-outcome-sakalava-sculpted.html" target="_blank">12</a>) cemeteries (see Fig. 98),
it was assumed that these photos of Marofotse were also taken in December 1962,
i.e., during summer. The fact that the trees in the photos still had their
leaves, and no leaves were on the ground, may support this assumption.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhWPPjqQ3oZvdwdTVGY_eQUns93UfuTNdx4Dv4tfR_dfuLDUtwhxZarh5xKWWGhP_9QfrrMCssbctKdHNrgNEeg4Yn-di1x8h3d8mQN6-7IGdWHpusOFrkRxcpQ1da7Egl7q2OaAFpprFISbQyozJcqZngp9ZfHx8-O6aXQZGHI3movCd8j9bBJfZrxPw=s3417" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1683" data-original-width="3417" src="https://blogger.googleusercontent.com/img/a/AVvXsEhWPPjqQ3oZvdwdTVGY_eQUns93UfuTNdx4Dv4tfR_dfuLDUtwhxZarh5xKWWGhP_9QfrrMCssbctKdHNrgNEeg4Yn-di1x8h3d8mQN6-7IGdWHpusOFrkRxcpQ1da7Egl7q2OaAFpprFISbQyozJcqZngp9ZfHx8-O6aXQZGHI3movCd8j9bBJfZrxPw=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 99. Presumed location of Marofotse/y and pertaining area of
cemetery 43C, and two large cemeteries in 2020 [6]: <b>A</b> on the same latitude (Maintirano, left), and <b>B</b> near Tamotamo (right), between A and Belo-sur-Tsiribihina
(cemeteries 34C-42C, see Part 4)</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">In a next step,
the location of a village named ‘’Marofotse’’ was searched for in the Sakalava
settlement area - without success however. Databases such as geographic.org or
geonames.org, which normally provide such information, did not list this name.
A further search in literature revealed the existence of a clan Antandroy
denominated ‘’Marofotse’’, who however lived in the 1960s in the southern part
of Madagascar, thus far away from the Sakalava area [46]. On the other hand, a
reference to ‘’some rare villages of Marofots<u>y</u>’’ was found, who were
former Antsihanaka slaves [47]. Some of these villages were located (in 1897)
in the Betsiboka region, which is still populated by Sakalava people (according
to the map in [2]). The search was continued, and a village named ‘’Marofots<b>y</b>’’
was found (on</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">geographic.org and geonames.org), around 100km to the
southwest of the Betsiboka region and thus in the Sakalava area; the village is
shown in Fig. 99 and located around 190km to the north of Belo-sur-Tsiribihina.
The question thus arose whether this village was meant by Mallet or whether ‘’Marofots<b>e</b>’’
refers to people who were buried in the depicted tomb/cemetery, whose pertaining
village name however remains unknown.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The plausibility
of the first option was further examined, since the second option seemed less
likely, i.e., that Antandroy people were buried in a Sakalava cemetery. In
Parts <a href="http://statuary-in-context.blogspot.com/2019/10/research-outcome-sakalava-sculpted.html" target="_blank">1</a>-<a href="http://statuary-in-context.blogspot.com/2020/01/research-outcome-sakalava-sculpted.html" target="_blank">4</a> of this research, the Sakalava cemeteries currently visible on
satellite photos were documented for the Menabe coastal region, which exhibits the
densest distribution of such cemeteries. In the north, the limit of this research
was Belo-sur-Tsiribihina, see location of cemeteries 34C-42C shown in Fig. 99.
It was thus verified whether (sparser) Sakalava cemeteries also exist more to
the north, up to the latitude of Marofotsy. Two large cemeteries were found</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">in the more northern coastal area, one near
Maintirano, on the same latitude as Marofotsy (‘’A’’ in Fig. 99), and one near
Tamotamo, between Maintirano and Belo (‘’B’’ in Fig. 99). Since Sakalava
cemeteries exist up to the latitude of Marofotsy, it is thus possible that a
Sakalava cemetery existed in the Marofotsy area (yellow dashed area in Fig. 99),
although no such cemetery could any longer be found there on today’s satellite
photos. Therefore assuming the location of the supposed cemetery of Marofotse to
be in the north of Belo, and following the numbering introduced in Parts 1-4,
the cemetery in question was coded ‘’43C’’.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEipeqvmslMmg0LvcqGsDyOxlRUQWl6SywFfP4q5dhOVuGnRPYt3-KYsJdmmTIGas8bBWUVm_yeuk3aKUPmhxCeVUJZ6hiwG2JB5T_XTtfZ0z0M9ZcE7aCJDDmi222LtmBpeBEXkQAF2vJZeYKnPpbffAN4Nb1bKSfxAXo6k7rPdPim85dVeW3s6sHR6Sw=s2438" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1247" data-original-width="2438" src="https://blogger.googleusercontent.com/img/a/AVvXsEipeqvmslMmg0LvcqGsDyOxlRUQWl6SywFfP4q5dhOVuGnRPYt3-KYsJdmmTIGas8bBWUVm_yeuk3aKUPmhxCeVUJZ6hiwG2JB5T_XTtfZ0z0M9ZcE7aCJDDmi222LtmBpeBEXkQAF2vJZeYKnPpbffAN4Nb1bKSfxAXo6k7rPdPim85dVeW3s6sHR6Sw=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 100. Marofotse/y cemetery – reconstruction of one segment</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Based on the
available photos, a small segment of the cemetery could be reconstructed, as
shown in Fig. 100, which also includes the view directions of the photos. The
north-south orientation was derived from the sun’s shadows (as in the previous
reconstructions); the sun’s position was assumed as being in December 1962 (see
above), i.e., in the southeast. Noteworthy is the central tomb (no. 2), which has
an unusual almost quadratic shape and is separated by a central crossbeam</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">into two spaces, whose proportions resemble those of
normal tombs. Some probably personal items of the decedents were still present,
such as a stool (or table) and an umbrella.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The tomb
detail shown in 43C-T-Ma-62-1 could not be attributed and must originate from
another tomb, not comprised in this segment. The cemetery seems to have been
installed in a forest (and not on sand dunes as done in coastal areas), which
would correspond to the supposed inland location of Marofotse/Marofotsy.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><a href="https://statuary-in-context.blogspot.com/2022/02/research-outcome-sakalava-sculpted.html" target="_blank">Continued in Part 15</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">References
(Parts 1-14)<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" style="font-size: 10pt;"><span face=""Arial",sans-serif" style="font-size: 10pt;">[1</span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><span face=""Arial",sans-serif" style="font-size: 10pt;">] Goedefroit, Sophie. <a href="https://core.ac.uk/download/pdf/39851654.pdf" target="_blank">La société Sakalava du Menabe</a>: Approche anthropologique d'un ensemble régional de Madagascar. Paris: Université de la Sorbonne Panthéon Paris 1, 1997.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[2] Goedefroit, Sophie; Lombard, Jacques. Andolo – l’art funéraire Sakalava à Madagascar. Biro éditeur, 2007.<br />[3] Oberle, Philippe. Provinces malgaches. Art, histoire, tourisme. Edition Kintana, 1979.<br />[4] Malgache, qui es-tu? Cat. d’exp., Musée d’Ethnographie de Neuchâtel, 1973.<br />[5] Urbain-Faublée, Marcelle. L’art malgache. Pays d’outre-mer, 5ème série: arts et littérature, 2. Presses Universitaires de France, 1963.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[6] Satellite photos from </span><a href="https://satellites.pro/" style="font-size: medium;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">https://satellites.pro</span></a><span class="MsoHyperlink" style="font-size: medium;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 10pt; mso-ansi-language: EN-US; mso-themecolor: text1; text-underline: none;"> or Google Earth</span></span><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 10pt; mso-ansi-language: EN-US; mso-themecolor: text1;">.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[7] Postcard entitled ‘’5.-Tombeaux Vezo à Ankivalo-Morondava’’ (no other information on the back).<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[8] Musée du Quai Branly, online archive, no. PP0139090, approx.1950.</span><span style="font-size: medium;"> </span><span face=""Arial",sans-serif" style="font-size: 10pt;">http://collections.quaibranly.fr/pod16/<br />[9] Astuti, Rita. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">People of the sea, identity and descent among the Vezo of Madagascar. Cambridge University Press, 1995.<br />[10] Smith, George Herbert.<a href="https://archive.org/details/amongmenabeorth00commgoog/page/n8" target="_blank"> Among the Menabe</a>; or, thirteen months on the west coast of Madagascar. E. & J. B. Young and Co., New York, 1896.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; text-underline: none;">[11] Poirier, Charles. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">Sculptures funéraires des Sakalava de Morondava. Mémoires de L’académie malgache - Notes d’ethnographie et d’histoire malgache, XXVIII: 19-20, 1939.<br /></span></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[12] Molet, Louis. Bulletin de Madagascar, No. 144, 1958.<br />[13] Molet Louis. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>, no. PF0176385-88. </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[14] Lavondès, Anne. Art traditionnel malgache: Introduction à une exposition. Institut de recherche scientifique de Madagascar, Tananarive, 1961.<br />[15] Marchal, Jean-Yves. <a href="http://horizon.documentation.ird.fr/exl-doc/pleins_textes/divers18-08/22256.pdf">Etude géographique de la plaine de Bemarivo (Belo/Tsiribihina)</a>. Office de la recherche scinetifique et technique outre-mer, Tananarive, 1968.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[16] Chazan, Suzanne. </span></span><span face=""Arial",sans-serif" style="font-size: 10pt;"><a href="http://horizon.documentation.ird.fr/exl-doc/pleins_textes/divers18-08/23765.pdf" target="_blank">Echanges, pouvoir, représentations</a>: côte Ouest de Madagascar / 2: Itinéraires: région de Belo-sur-Tsirihihina et vallée du Manambolo. ORSTOM, Paris,1986.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[17] Goy, Bertrand. Arts anciens de Madagascar. Milan: 5 continents, 2015.<br />[18] Anonymous. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/">Online Archive</a>.</span></span><span face=""Arial",sans-serif" style="font-size: 10pt;"> </span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;"><br /></span></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[19] Astuti, Rita. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Invisible objects: Mortuary rituals among the Vezo of Western Madagascar. RES: Anthropology and Aestetics, no. 25, 1994, p111-112.<br />[20] Boulfroy, Nicole. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><br />[21] Boulfroy, Nicole. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Madagascar - arts de la vie et de la survie. Cahiers de l’ADEIAO, 8, Paris, 1989.<br />[22] Gabus, Jean. Archive of the Musée d’Ethnographie de Neuchâtel, Switzerland.<br />[23] Postcard entitled ‘’5.-Un tombeau Vezo à Ankivalo-Morondava’’. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Courtesy of the Trustees of the British Museum, London, UK, photographer Pastor Jorgen Ruud, 1934-1954.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[24] Holas, Bohumil. Musée du Quai Branly, Paris, <a href=" http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>.</span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[25] Kouwenhoven, Arlette. L’art funéraire de Madagascar. Tribal Arts, no. 19, 1998, 72-82.<br />[26] Goedefroit, Sophie; Lombard, Jacques. <a href="https://www.franceculture.fr/emissions/le-salon-noir/lart-funeraire-sakalava-madagascar" target="_blank">L'art funéraire sakalava à Madagascar</a>. Emission France culture, 23/01/2008.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[27] <a href="https://www.ird.fr/content/download/7140/75019/version/1/file/DP_Andolo.pdf" target="_blank">Andolo book presentation</a>. Institut de recherche pour le développement, IRD, Paris, 2007.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[28] Lombard, Jacques. <a href="https://www.researchgate.net/publication/280945916_Ethnocentrisme_et_creation" target="_blank">Des « images intérieures » à la création plastique</a>. Ethnocentrisme et création, 2013: 195-219.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[29] Goedefroit, Sophie; Lombard, Jacques. Regard sur l'art funéraire sakalava. Arts & Cultures, Barbier-Mueller Museum, Geneva, 2008: 136-153.<br />[30] Lombard, Jacques. <a href="http://journals.openedition.org/oceanindien/571" target="_blank">Images et imaginaire</a> - quelles images au fondement de la culture malgache? </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Études océan Indien, 44, 2010.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[31] Lempertz Auction, Brussels, 26 January 2016, lot 103. Fist publication in 1994, further details and references in: <a href="http://www.ahdrc.eu/" target="_blank">African Heritage Documentation & Research Center</a>, no. ao-0076255-001.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[32] Molet Louis. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>, no. PF0176389. </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[33] Vérin, Pierre. <a href="https://unesdoc.unesco.org/ark:/48223/pf0000042687_fre?posInSet=5&queryId=50dc60e2-26c8-4bad-9d04-b1783b7d5fb8" target="_blank">Madagascar</a>. In Histoire générale de l'Afrique, II: Afrique ancienne, 2. Editions Unesco 1980, 753-779.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[34] Lombard, Jacques. <a href="https://www.researchgate.net/publication/32993735_Le_royaume_Sakalave-Menabe_resultat_d'une_enquete_et_presentation_d'un_corpus_de_traditions_et_de_litterature_orales" target="_blank">Le royaume Sakalave-Menabe</a>: résultat d'une enquête et présentation d'un corpus de traditions et de littérature orales. Cahiers O.R.S.T.O.M., série Sciences Humaines, vol. XIII, no. 2, 1976: 173-202.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[35] Goedefroit, Sophie; Lombard, Jacques. <a href="https://www.researchgate.net/profile/Jacques_Lombard2/publication/281064930_Regard_sur_l'art_funeraire_sakalava/links/55d32ff808ae7fb244f5819c/Regard-sur-lart-funeraire-sakalava.pdf" target="_blank">Regard sur l'art funéraire sakalava</a>. Arts & Cultures, Barbier-Mueller Museum, Geneva, 2008: 136-153.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[36] Musée d’ethnographie de Genève. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH; text-underline: none;">Photographie: <a href="https://www.ville-ge.ch/meg/musinfo_photo.php?what=409774&collection=Jacques+Faubl%C3%A9e&debut=0&bool=AND" target="_blank">Fonds Jacques Faublée</a> (1912-2003).</span></span><span class="MsoHyperlink" style="font-size: medium;"><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;"><br /></span></span><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;">[37] Berechnung <a href="https://www.sonnenverlauf.de/#/-20.2932,44.2777,9/2020.07.01/11:29/1/3" target="_blank">Sonnenverlauf</a>. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Assessed 21 October 2020.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[38] Mallet, Robert. L’art funéraire Sakalava. La Revue Française, 171, 21-26, 1964.<br />[39] Mallet, Robert. Art Sakalava: Statues, objets, photographies, documents, sonores. Catalogue d’exposition, Université de Madagascar, Tananarive, février-mars 1963.<br />[40] Garlinski, Majan; Hopkins, Eve. À Madagascar - Photographies de Jacques Faublée, 1938-1941. Catalogue d'exposition. Infolio éditions, Musée d'ethnographie de Genève, 2010.<br />[41] Mack, John. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; text-underline: none;">Madagascar: Island of the ancestors. British Museum Publications Ltd., London, 1986.<br />[42] Vérin, Pierre. <a href="https://www.jstor.org/stable/42928993?seq=1" target="_blank">Madagascar</a>. Asian Perspectives, vol. 7, no. 1/2, 1963: 41-44.<br /><span class="MsoHyperlink"><span face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;">[43] <a href="http://www.calames.abes.fr/pub/#details?id=FileId-1327" target="_blank">Fonds Robert Mallet</a>.</span></span><span face="Calibri, sans-serif" style="font-size: 11pt; line-height: 15.6933px;"> </span><span class="MsoHyperlink"><span face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;">Archives et manuscrits du SCD de l'Université de Picardie Jules Verne, Amiens, France.</span></span></span></span><br />[44]</span><span lang="EN-US" style="font-size: medium; mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">African Heritage Documentation & Research Centre, ao-0076358-001: 82 cm, Marovoay style, collected by Pierre Langlois in 1966, accessed on 25.10.2021.<br />[45]</span><span lang="EN-US" style="font-size: medium; mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">African Heritage Documentation & Research Centre, ao-0076287-001/002/003: 106 cm, accessed on 03.12.2021.</span><br />
[46] Battistini, René; Vérin, Pierre; Rason, René. Le site archéologique de
Talaky. Annales de l’Université de Madagascar - Lettres, vol. 1, 1963,
pp.111-153.<br />
[47] Gautier, Emile-F.<a href="https://doi.org/10.3406/geo.1897.5616" target="_blank"> Lettre de Madagascar</a>. In: Annales de Géographie, t.6,
no. 27, 1897, pp. 263-268.</span><br /></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Blogposts related to Madagascar
sculpted cemeteries<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Research outcome: Sakalava sculpted cemeteries – Part 13: Manometinay.
<a href="http://statuary-in-context.blogspot.com/2021/12/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 12.12.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 12: Bosy-Andraingy-2. <a href="http://statuary-in-context.blogspot.com/2021/09/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 19.09.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 11: Bosy-Andraingy-1. <a href="http://statuary-in-context.blogspot.com/2021/03/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 28.03.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 10: Avaradrova (Anosy Lava).<a href="http://statuary-in-context.blogspot.com/2021/01/research-outcome-sakalava-sculpted.html" target="_blank"> Blogpost 11.10.2020</a><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 15.6933px; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">.</span><br />Research outcome: Sakalava sculpted cemeteries – Part 9: Marovoay. <a href="http://statuary-in-context.blogspot.com/2020/10/research-outcome-sakalava-sculpted_24.html" target="_blank">Blogpost 24.10.2020</a><a href="http://statuary-in-context.blogspot.com/2020/09/research-outcome-sakalava-sculpted.html" target="_blank">.</a><br />Research outcome: Sakalava sculpted cemeteries – Part 8: Ambato. <a href="http://statuary-in-context.blogspot.com/2020/09/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 20.09.2020.</a><br /><span face="Arial, sans-serif">Research outcome: Sakalava sculpted cemeteries – Part 7: Kivalo. <a href="http://statuary-in-context.blogspot.com/2020/08/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 26.06.2020</a>.<br /></span><span face="Arial, sans-serif"><span face="">Research outcome: Sakalava sculpted cemeteries – Part 6: Antakitoka-2. <a href="http://statuary-in-context.blogspot.com/2020/06/research-outcome-sakalava-sculpted.html">Blogpost 26.06.2020</a>.<br /></span><span face="" lang="">Research outcome: Sakalava sculpted cemeteries – Part 5: Antakitoka-1. <a href="http://statuary-in-context.blogspot.com/2020/02/research-outcome-sakalava-sculpted.html">Blogpost 13.01.2020</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 4. <a href="http://statuary-in-context.blogspot.com/2020/01/research-outcome-sakalava-sculpted.html">Blogpost 13.01.2020</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 3. <a href="http://statuary-in-context.blogspot.com/2019/12/research-outcome-sakalava-sculpted.html">Blogpost 15.12.2019</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 2. <a href="http://statuary-in-context.blogspot.com/2019/11/research-outcome-sakalava-sculpted.html">Blogpost 02.11.2019</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 1. <a href="http://statuary-in-context.blogspot.com/2019/10/research-outcome-sakalava-sculpted.html">Blogpost 20.10.2019</a></span></span>.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Keller, Thomas. Research outcome: Sakalava sculpted cemeteries – Part 14:
Marofotse. <br />
</span><span face=""Arial",sans-serif">https://statuary-in-context.blogspot.ch,
09.01.2022.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 120%;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 9pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><br /></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-49428348630925645292022-01-01T18:20:00.001+01:002022-01-01T18:20:36.540+01:00Research outcome: Five years of ‘’statuary-in-context.ch’’<p></p><div style="text-align: left;"><br /></div><span face="Arial, sans-serif" style="text-align: justify;"><div style="text-align: left;"><span style="font-size: 12pt;">The homepage </span><a href="http://www.statuary-in-context.ch" style="font-size: 12pt;">www.statuary-in-context.ch</a><span style="font-size: 12pt;">
and associated blog </span><a href="http://www.statuary-in-context.blogspot.ch" style="font-size: 12pt;">www.statuary-in-context.blogspot.ch</a><span style="font-size: 12pt;"> have been online for five
years now. The research done so far can be summarized as shown in the following
figures for the whole five years, 2017-2021, and the last year, 2021 (bracketed
figures):</span></div></span><p></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">From the homepage,
seven publications can be downloaded free of charge, five concerning Lobi
Statuary, one concerning Northern Togo Statuary and one concerning the Mayasa
grave poles from Indonesia; 1666 (256) downloads of these publications have
been recorded.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjHGE9nf3QUEonjfRl-FIZYSATUrLyqrs5IkyY5u6zyWjOz0YsBB-vqUnSPo_lOxN0bg3P5_1jqCodIBJDes0fL0q8NVNBCoDKORskaPHJFxPFV6lJqJF47Ace1irJT9LO8cNKH94PLZqRkGUD9Azz5x6VT0RwAFcsZ-1RtlJgmf0lBZ3Pocxm7eGzytw=s2631" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1366" data-original-width="2631" height="332" src="https://blogger.googleusercontent.com/img/a/AVvXsEjHGE9nf3QUEonjfRl-FIZYSATUrLyqrs5IkyY5u6zyWjOz0YsBB-vqUnSPo_lOxN0bg3P5_1jqCodIBJDes0fL0q8NVNBCoDKORskaPHJFxPFV6lJqJF47Ace1irJT9LO8cNKH94PLZqRkGUD9Azz5x6VT0RwAFcsZ-1RtlJgmf0lBZ3Pocxm7eGzytw=w640-h332" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Statuary-in-context.ch publications, <a href="http://www.statuary-in-context.ch/index.html" target="_blank">free download here</a></span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Regarding the blog,
127 (17) blog posts have been published, 2.1 (1.4) per month on average, i.e. 64
(8) ‘’Research outcome‘’, 58 (9) ‘’Fact check’’, and 5 (2) ‘’General’’ posts. The
topics covered by the former two categories were Lobi Statuary, 51 (5),
Northern Togo Statuary, 36 (2), Fon-Ewe-Adja Statuary, 6 (2), and Madagascar-Indonesia
Statuary, 29 (8). <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The blog has had an
average of 23 (24) page views per day since 2017 (during the last year), 41200 (8900)
in total, mostly from the USA-8500, France-6700, Switzerland-6500, Germany-2600,
Belgium-2200, Italy-2000, and Spain-1000 (rounded values).</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjbDudA14jEhSRFBQa-aqZFIINovPKURl55HTUD7QtEMWjUUJJVXjS2iRSmn3mw41XVHiKHrN8Lan_Bgb46F07QCndoUGZirStE_XDXhl-9_Eti109wNwYB9Nx3AOfcoTP_9aWv_5BIv5VaBQub2ID9dxC2Lwy_3YGfL0Zseq7nYF9eEK-poHL6mJKsNg=s2382" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1519" data-original-width="2382" height="408" src="https://blogger.googleusercontent.com/img/a/AVvXsEjbDudA14jEhSRFBQa-aqZFIINovPKURl55HTUD7QtEMWjUUJJVXjS2iRSmn3mw41XVHiKHrN8Lan_Bgb46F07QCndoUGZirStE_XDXhl-9_Eti109wNwYB9Nx3AOfcoTP_9aWv_5BIv5VaBQub2ID9dxC2Lwy_3YGfL0Zseq7nYF9eEK-poHL6mJKsNg=w640-h408" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Statuary-in-context.ch statistics: blog visits and homepage publication
downloads</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The most read
posts during the last five years were eight concerning Northern Togo Statuary, one
Madagascar Statuary and one Adja Statuary – the subject of the most read post were
the <a href="http://statuary-in-context.blogspot.com/2017/05/research-outcome-statuary-from-tchamba.html" target="_blank">Tchamba sculptures</a> of Northern Togo (988 views). The subject of the most
read post last year concerned the <a href="http://statuary-in-context.blogspot.com/2021/03/research-outcome-sakalava-sculpted.html" target="_blank">Bosy-Andraingy sculpted cemetery</a> of the
Sakalava in Madagascar (100 views). <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The focus of the
research during the last year was again on the sculpted cemeteries and
sculptors of Madagascar. The discovery of the photo archive of Robert Mallet
allowed to reconstruct parts of the cemeteries of <a href="http://statuary-in-context.blogspot.com/2021/03/research-outcome-sakalava-sculpted.html" target="_blank">Bosy-Andraingy</a> and
<a href="http://statuary-in-context.blogspot.com/2021/12/research-outcome-sakalava-sculpted.html" target="_blank">Manometinay</a>, and gain more information about the sculptors <a href="http://statuary-in-context.blogspot.com/2021/06/research-outcome-sakalava-sculptures.html" target="_blank">Tsivolosa</a> and
<a href="http://statuary-in-context.blogspot.com/2021/05/research-outcome-sakalava-sculptures.html" target="_blank">Rasidany</a>. A highlight was the discovery of Sakalava sculptures with rotating
arms, installed in the cemetery of Bosy-Andraingy. Based on several sculptures
attributed to <a href="http://statuary-in-context.blogspot.com/2021/10/fact-check-fesira-sculptures.html" target="_blank">Fesira</a> at the Parcours des Mondes 2021, a detailed fact check
about the work of this sculptor was furthermore established. Two more blogposts
about the sculpted cemeteries of Mangily and Marofotse are already in progress
and will be published soon.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">With my best
wishes for a happy and healthy New Year<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Thomas Keller<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><a href="mailto:info@statuary-in-context.ch">info@statuary-in-context.ch</a><o:p></o:p></span></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-19969850587071953082021-12-12T17:16:00.005+01:002022-02-08T21:12:31.987+01:00Research outcome: Sakalava sculpted cemeteries - Part 13: Manometinay<p><b><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><br /><a href="http://statuary-in-context.blogspot.com/2021/09/research-outcome-sakalava-sculpted.html" target="_blank">Read Part 12 first</a></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">3.7 Sculpted cemetery of Manometinay<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The existence of a
cemetery of Manometinay was derived from a photo attributed to that cemetery, taken
by Robert Mallet and shown in the catalogue of the exhibition ‘’Art Sakalava’’
[39], which took place in 1963 in Madagascar. The photo with its caption is
reproduced in Fig. 93 (21C2-C-Ma-62-1). No other references to a cemetery of
Manometinay could be found in literature, neither in [1] nor in [2] or [3];
Mallet’s attribution could thus not be cross-checked, and it is assumed that it
is correct.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEidMC0uF8n9Zyowe995gG2L34DtsTy4aLSoA7ejsdXJxWqFxqYU2pL0H7DGSMwuMezHPn05s5Y_N1FMbQnjppn0wWy7XGdYZSf-FZmys94FjgV3O8ZXcL0SxfspjEDCCyK7jZlWxkPO_fk4F-pUePtPYPq0fif5QNh66am9juz6-M5d3wvbI5REmP78fw=s2531" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1242" data-original-width="2531" src="https://blogger.googleusercontent.com/img/a/AVvXsEidMC0uF8n9Zyowe995gG2L34DtsTy4aLSoA7ejsdXJxWqFxqYU2pL0H7DGSMwuMezHPn05s5Y_N1FMbQnjppn0wWy7XGdYZSf-FZmys94FjgV3O8ZXcL0SxfspjEDCCyK7jZlWxkPO_fk4F-pUePtPYPq0fif5QNh66am9juz6-M5d3wvbI5REmP78fw=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 93. Manometinay cemetery photos, attribution in reference and own
attributions</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The same photo was
subsequently found in the archive of the Fonds Robert Mallet [43] (without any
attribution however), together with an almost identical photo, which is also
shown in Fig. 93 (21C2-C-Ma-62-1+). Based on these photos, a further 14 photos from
the archive could also be attributed to that cemetery, see Fig. 93 (photos of
cemetery sections) and Fig. 94 (photos of individual sculptures). Furthermore,
photos of an individual sculpture (21C2-S-Ma-62-9+) were found in the AHDRC
archive [45]</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">(21C2-S-An-x-1+); this sculpture had obviously been
removed from the cemetery later.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgwLxk_CVHnwFab9cQktXgonSUoFtCw_tIZD66yVkDwkYJYkVYOdo9BE7BJ-rdt6PkRM4I73zWqqktpWVKd5QaavvM0L_l95IbrkeYl6AiPtgLNq_JmA3a98HUlXHpfBEhmbBVEegl-lj8WbqUrXyZyHFIyA1tXYUBR99VvzKz3S5gOO9gaZEExPh3cdg=s2048" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1074" data-original-width="2048" src="https://blogger.googleusercontent.com/img/a/AVvXsEgwLxk_CVHnwFab9cQktXgonSUoFtCw_tIZD66yVkDwkYJYkVYOdo9BE7BJ-rdt6PkRM4I73zWqqktpWVKd5QaavvM0L_l95IbrkeYl6AiPtgLNq_JmA3a98HUlXHpfBEhmbBVEegl-lj8WbqUrXyZyHFIyA1tXYUBR99VvzKz3S5gOO9gaZEExPh3cdg=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 94. Manometinay sculpture photos, own attributions</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhoi0wDmph0FlEsfG3INRt0iXbSapszF9qbvX-NBWgRaxDzIz_SwYECp7IoTJcWLmZXu4sejmRS1UX_2P1Hdde6Sc05G9atXCVL0y2wuZv_LmELLRU_1y4iccOr234ZRr8bq-CPu10nzvOHdf03G8_mc9YtDUuMkyVs9-4-3wF-7ETYZyuen-K8vnt34A=s1861" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1057" data-original-width="1861" src="https://blogger.googleusercontent.com/img/a/AVvXsEhoi0wDmph0FlEsfG3INRt0iXbSapszF9qbvX-NBWgRaxDzIz_SwYECp7IoTJcWLmZXu4sejmRS1UX_2P1Hdde6Sc05G9atXCVL0y2wuZv_LmELLRU_1y4iccOr234ZRr8bq-CPu10nzvOHdf03G8_mc9YtDUuMkyVs9-4-3wF-7ETYZyuen-K8vnt34A=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 14.6667px;">Table 16. Cemetery of Manometinay – photo references and derivation of attributions</span></td></tr></tbody></table>The photos with their captions (derived according to the previous
cemetery reconstructions), and the justifications for their attributions to the
Manometinay cemetery, are listed in Table 16. Since the photos were part of the
same collection of photos as those of the Marovoay (Part 9) and Bosy (Parts
11&12) cemeteries, where some of them were dated (in French) ‘’déc 62’’</span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">on the back by Mallet, it was assumed that these
photos of Manometinay were also taken in December 1962, i.e., during summer.
The fact that the trees in the photos still had their leaves may support this
assumption</span>.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiJkkllYSNGenxt9LH8DUKF7ZB9MbvNf-e2aNC6UWXUs3O1UjEfhX7VCv4JhfAa7HdzJk_JyOVzeVn2hH8FN00m4cEOvA5CZ_jelUZ5Sd39IZwSr3lHxDynHvVWUukcIDNzkLIGdFXzgAOkaV_u_tXpa4LG2o3lToVMy3oT5OS1h7Crt1dqaW8GCAyVsg=s2048" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1135" data-original-width="2048" src="https://blogger.googleusercontent.com/img/a/AVvXsEiJkkllYSNGenxt9LH8DUKF7ZB9MbvNf-e2aNC6UWXUs3O1UjEfhX7VCv4JhfAa7HdzJk_JyOVzeVn2hH8FN00m4cEOvA5CZ_jelUZ5Sd39IZwSr3lHxDynHvVWUukcIDNzkLIGdFXzgAOkaV_u_tXpa4LG2o3lToVMy3oT5OS1h7Crt1dqaW8GCAyVsg=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 95. Manometinay village and nearest surrounding cemeteries in 2020
[6]</span></td></tr></tbody></table></span><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The village of
Manometinay is located around 22 km to the southwest of Morondava, see Fig. 95.
The nearest cemeteries found on satellite views today were 21C and 23C3, see
Fig. 95 and <a href="http://statuary-in-context.blogspot.com/2019/11/research-outcome-sakalava-sculpted.html" target="_blank">Part 2</a>; their distances from the village are 2.4 and 5.3 km,
respectively. Since other villages exist around these two cemeteries however,
none of them could be definitely attributed to Manometinay. It is also possible
that this cemetery was not maintained and thus disappeared in the meantime. A
new cemetery number was thus attributed to Manometinay; ‘’21C2’’ was selected,
since it seemed more likely that the cemetery was located in the closer west
(area of 21C) than in the much more distant southwest (area of 23C3), whereby
both areas exhibit the typical landscape in which such cemeteries are located,
i.e., on sand dunes or dune islands, see <a href="http://statuary-in-context.blogspot.com/2019/10/research-outcome-sakalava-sculpted.html" target="_blank">Part 1</a>.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi9zTIsdxV8orGyO_-7mfFcdtFJVUmHmrrJByU0nwinQpeJRytICWDKhLa7eVTq_MiPfe9DKarJB8I1zXJIKVjvqknYLnD3YLNFI-fKQMUqMHOUqooER51NzLyGaS2BL6hJC-HcvzWe8FHyU5Y5QXH_V7SzAJS3Zvzt7WzPaGQGsNVh9xgEV9O8lF3Quw=s2343" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="936" data-original-width="2343" src="https://blogger.googleusercontent.com/img/a/AVvXsEi9zTIsdxV8orGyO_-7mfFcdtFJVUmHmrrJByU0nwinQpeJRytICWDKhLa7eVTq_MiPfe9DKarJB8I1zXJIKVjvqknYLnD3YLNFI-fKQMUqMHOUqooER51NzLyGaS2BL6hJC-HcvzWe8FHyU5Y5QXH_V7SzAJS3Zvzt7WzPaGQGsNVh9xgEV9O8lF3Quw=s16000" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 96. Manometinay cemetery – reconstruction of one segment</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgnk-PFNsCnLAFOICdEIuJ0hIuPxKj_gMaiEYDM5NxMKAJx-MvLbMAeeKeOi85iRDM8YltvKSjolphKVLIBb_-mdOOt0ZRr5IY07Fdf7s4-J4jeqDjUQZ6eAaSd30meXXxFe8abqo3zIzj1Kg1c8IwMiF6x-PELY192gm9oHmWGCN0MlABKji3KcOZJUQ=s2048" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1524" data-original-width="2048" height="475" src="https://blogger.googleusercontent.com/img/a/AVvXsEgnk-PFNsCnLAFOICdEIuJ0hIuPxKj_gMaiEYDM5NxMKAJx-MvLbMAeeKeOi85iRDM8YltvKSjolphKVLIBb_-mdOOt0ZRr5IY07Fdf7s4-J4jeqDjUQZ6eAaSd30meXXxFe8abqo3zIzj1Kg1c8IwMiF6x-PELY192gm9oHmWGCN0MlABKji3KcOZJUQ=w640-h475" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 97. Sun’s position in December (summer) 1962 [37]</span></td></tr></tbody></table><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Based on the available 16 cemetery photos, a segment of the cemetery could be
reconstructed, as shown in Fig. 96, which also includes the view directions of
the photos. The north-south orientation was derived from the sun’s shadows; the
sun’s position was assumed as being in December 1962 (see above), i.e., in the
southeast, as depicted in Fig. 97. A sun position in the morning thus produced
shadows as visible in the photos. The apparently oldest tombs (where the male
sculptures did not yet wear hats and were not dressed) were therefore located
in the north, which would correspond to the typical cemetery development from
north to south [1]. The cemetery segment was almost intact in 1962, with only
one sculpture having apparently been removed from tomb no. 3, which is rather exceptional
compared with the previously analyzed cemeteries where many more sculptures had
already been removed.</span><o:p></o:p></span><p></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;"><a href="http://statuary-in-context.blogspot.com/2022/01/research-outcome-sakalava-sculpted.html" target="_blank">Continued in Part 14</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">References
(Parts 1-13)<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" style="font-size: 10pt;">[1</span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><span face=""Arial",sans-serif" style="font-size: 10pt;">] Goedefroit, Sophie. <a href="https://core.ac.uk/download/pdf/39851654.pdf" target="_blank">La société Sakalava du Menabe</a>: Approche anthropologique d'un ensemble régional de Madagascar. Paris: Université de la Sorbonne Panthéon Paris 1, 1997.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[2] Goedefroit, Sophie; Lombard, Jacques. Andolo – l’art funéraire Sakalava à Madagascar. Biro éditeur, 2007.<br />[3] Oberle, Philippe. Provinces malgaches. Art, histoire, tourisme. Edition Kintana, 1979.<br />[4] Malgache, qui es-tu? Cat. d’exp., Musée d’Ethnographie de Neuchâtel, 1973.<br />[5] Urbain-Faublée, Marcelle. L’art malgache. Pays d’outre-mer, 5ème série: arts et littérature, 2. Presses Universitaires de France, 1963.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[6] Satellite photos from </span><a href="https://satellites.pro/" style="font-size: medium;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">https://satellites.pro</span></a><span class="MsoHyperlink" style="font-size: medium;"><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 10pt; mso-ansi-language: EN-US; mso-themecolor: text1; text-underline: none;"> or Google Earth</span></span><span face=""Arial",sans-serif" lang="EN-US" style="color: black; font-size: 10pt; mso-ansi-language: EN-US; mso-themecolor: text1;">.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[7] Postcard entitled ‘’5.-Tombeaux Vezo à Ankivalo-Morondava’’ (no other information on the back).<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[8] Musée du Quai Branly, online archive, no. PP0139090, approx.1950.</span><span style="font-size: medium;"> </span><span face=""Arial",sans-serif" style="font-size: 10pt;">http://collections.quaibranly.fr/pod16/<br />[9] Astuti, Rita. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">People of the sea, identity and descent among the Vezo of Madagascar. Cambridge University Press, 1995.<br />[10] Smith, George Herbert.<a href="https://archive.org/details/amongmenabeorth00commgoog/page/n8" target="_blank"> Among the Menabe</a>; or, thirteen months on the west coast of Madagascar. E. & J. B. Young and Co., New York, 1896.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; text-underline: none;">[11] Poirier, Charles. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">Sculptures funéraires des Sakalava de Morondava. Mémoires de L’académie malgache - Notes d’ethnographie et d’histoire malgache, XXVIII: 19-20, 1939.<br /></span></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[12] Molet, Louis. Bulletin de Madagascar, No. 144, 1958.<br />[13] Molet Louis. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>, no. PF0176385-88. </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[14] Lavondès, Anne. Art traditionnel malgache: Introduction à une exposition. Institut de recherche scientifique de Madagascar, Tananarive, 1961.<br />[15] Marchal, Jean-Yves. <a href="http://horizon.documentation.ird.fr/exl-doc/pleins_textes/divers18-08/22256.pdf">Etude géographique de la plaine de Bemarivo (Belo/Tsiribihina)</a>. Office de la recherche scinetifique et technique outre-mer, Tananarive, 1968.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[16] Chazan, Suzanne. </span></span><span face=""Arial",sans-serif" style="font-size: 10pt;"><a href="http://horizon.documentation.ird.fr/exl-doc/pleins_textes/divers18-08/23765.pdf" target="_blank">Echanges, pouvoir, représentations</a>: côte Ouest de Madagascar / 2: Itinéraires: région de Belo-sur-Tsirihihina et vallée du Manambolo. ORSTOM, Paris,1986.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[17] Goy, Bertrand. Arts anciens de Madagascar. Milan: 5 continents, 2015.<br />[18] Anonymous. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/">Online Archive</a>.</span></span><span face=""Arial",sans-serif" style="font-size: 10pt;"> </span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;"><br /></span></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[19] Astuti, Rita. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Invisible objects: Mortuary rituals among the Vezo of Western Madagascar. RES: Anthropology and Aestetics, no. 25, 1994, p111-112.<br />[20] Boulfroy, Nicole. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;"><br />[21] Boulfroy, Nicole. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Madagascar - arts de la vie et de la survie. Cahiers de l’ADEIAO, 8, Paris, 1989.<br />[22] Gabus, Jean. Archive of the Musée d’Ethnographie de Neuchâtel, Switzerland.<br />[23] Postcard entitled ‘’5.-Un tombeau Vezo à Ankivalo-Morondava’’. </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Courtesy of the Trustees of the British Museum, London, UK, photographer Pastor Jorgen Ruud, 1934-1954.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[24] Holas, Bohumil. Musée du Quai Branly, Paris, <a href=" http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>.</span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[25] Kouwenhoven, Arlette. L’art funéraire de Madagascar. Tribal Arts, no. 19, 1998, 72-82.<br />[26] Goedefroit, Sophie; Lombard, Jacques. <a href="https://www.franceculture.fr/emissions/le-salon-noir/lart-funeraire-sakalava-madagascar" target="_blank">L'art funéraire sakalava à Madagascar</a>. Emission France culture, 23/01/2008.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[27] <a href="https://www.ird.fr/content/download/7140/75019/version/1/file/DP_Andolo.pdf" target="_blank">Andolo book presentation</a>. Institut de recherche pour le développement, IRD, Paris, 2007.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[28] Lombard, Jacques. <a href="https://www.researchgate.net/publication/280945916_Ethnocentrisme_et_creation" target="_blank">Des « images intérieures » à la création plastique</a>. Ethnocentrisme et création, 2013: 195-219.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[29] Goedefroit, Sophie; Lombard, Jacques. Regard sur l'art funéraire sakalava. Arts & Cultures, Barbier-Mueller Museum, Geneva, 2008: 136-153.<br />[30] Lombard, Jacques. <a href="http://journals.openedition.org/oceanindien/571" target="_blank">Images et imaginaire</a> - quelles images au fondement de la culture malgache? </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Études océan Indien, 44, 2010.<br /></span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[31] Lempertz Auction, Brussels, 26 January 2016, lot 103. Fist publication in 1994, further details and references in: <a href="http://www.ahdrc.eu/" target="_blank">African Heritage Documentation & Research Center</a>, no. ao-0076255-001.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[32] Molet Louis. Musée du Quai Branly, Paris, <a href="http://collections.quaibranly.fr/pod16/" target="_blank">Online Archive</a>, no. PF0176389. </span><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />[33] Vérin, Pierre. <a href="https://unesdoc.unesco.org/ark:/48223/pf0000042687_fre?posInSet=5&queryId=50dc60e2-26c8-4bad-9d04-b1783b7d5fb8" target="_blank">Madagascar</a>. In Histoire générale de l'Afrique, II: Afrique ancienne, 2. Editions Unesco 1980, 753-779.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[34] Lombard, Jacques. <a href="https://www.researchgate.net/publication/32993735_Le_royaume_Sakalave-Menabe_resultat_d'une_enquete_et_presentation_d'un_corpus_de_traditions_et_de_litterature_orales" target="_blank">Le royaume Sakalave-Menabe</a>: résultat d'une enquête et présentation d'un corpus de traditions et de littérature orales. Cahiers O.R.S.T.O.M., série Sciences Humaines, vol. XIII, no. 2, 1976: 173-202.<br /></span><span face=""Arial",sans-serif" style="font-size: 10pt;">[35] Goedefroit, Sophie; Lombard, Jacques. <a href="https://www.researchgate.net/profile/Jacques_Lombard2/publication/281064930_Regard_sur_l'art_funeraire_sakalava/links/55d32ff808ae7fb244f5819c/Regard-sur-lart-funeraire-sakalava.pdf" target="_blank">Regard sur l'art funéraire sakalava</a>. Arts & Cultures, Barbier-Mueller Museum, Geneva, 2008: 136-153.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[36] Musée d’ethnographie de Genève. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH; text-underline: none;">Photographie: <a href="https://www.ville-ge.ch/meg/musinfo_photo.php?what=409774&collection=Jacques+Faubl%C3%A9e&debut=0&bool=AND" target="_blank">Fonds Jacques Faublée</a> (1912-2003).</span></span><span class="MsoHyperlink" style="font-size: medium;"><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;"><br /></span></span><span face=""Arial",sans-serif" lang="DE-CH" style="font-size: 10pt; mso-ansi-language: DE-CH;">[37] Berechnung <a href="https://www.sonnenverlauf.de/#/-20.2932,44.2777,9/2020.07.01/11:29/1/3" target="_blank">Sonnenverlauf</a>. </span><span face=""Arial",sans-serif" style="font-size: 10pt;">Assessed 21 October 2020.<br /></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" style="font-size: 10pt; text-underline: none;">[38] Mallet, Robert. L’art funéraire Sakalava. La Revue Française, 171, 21-26, 1964.<br />[39] Mallet, Robert. Art Sakalava: Statues, objets, photographies, documents, sonores. Catalogue d’exposition, Université de Madagascar, Tananarive, février-mars 1963.<br />[40] Garlinski, Majan; Hopkins, Eve. À Madagascar - Photographies de Jacques Faublée, 1938-1941. Catalogue d'exposition. Infolio éditions, Musée d'ethnographie de Genève, 2010.<br />[41] Mack, John. </span></span><span class="MsoHyperlink" style="font-size: medium;"><span color="windowtext" face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; text-underline: none;">Madagascar: Island of the ancestors. British Museum Publications Ltd., London, 1986.<br />[42] Vérin, Pierre. <a href="https://www.jstor.org/stable/42928993?seq=1" target="_blank">Madagascar</a>. Asian Perspectives, vol. 7, no. 1/2, 1963: 41-44.<br /><span class="MsoHyperlink"><span face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;">[43] <a href="http://www.calames.abes.fr/pub/#details?id=FileId-1327" target="_blank">Fonds Robert Mallet</a>.</span></span><span face="Calibri, sans-serif" style="font-size: 11pt; line-height: 15.6933px;"> </span><span class="MsoHyperlink"><span face="Arial, sans-serif" style="font-size: 10pt; line-height: 14.2667px;">Archives et manuscrits du SCD de l'Université de Picardie Jules Verne, Amiens, France.</span></span></span></span><br />
[44]</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">African Heritage Documentation & Research Centre, ao-0076358-001:
82 cm, Marovoay style, collected by Pierre Langlois in 1966, accessed on
25.10.2021.<br />
[45]</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">African Heritage Documentation & Research Centre,
ao-0076287-001/002/003: 106 cm, accessed on 03.12.2021.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Blogposts related to Madagascar
sculpted cemeteries<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Research outcome: Sakalava sculpted cemeteries – Part 12:
Bosy-Andraingy-2. <a href="http://statuary-in-context.blogspot.com/2021/09/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 19.09.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 11: Bosy-Andraingy-1. <a href="http://statuary-in-context.blogspot.com/2021/03/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 28.03.2021</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 10: Avaradrova (Anosy Lava).<a href="http://statuary-in-context.blogspot.com/2021/01/research-outcome-sakalava-sculpted.html" target="_blank"> Blogpost 11.10.2020</a><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 15.6933px; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">.</span><br />Research outcome: Sakalava sculpted cemeteries – Part 9: Marovoay. <a href="http://statuary-in-context.blogspot.com/2020/10/research-outcome-sakalava-sculpted_24.html" target="_blank">Blogpost 24.10.2020</a><a href="http://statuary-in-context.blogspot.com/2020/09/research-outcome-sakalava-sculpted.html" target="_blank">.</a><br />Research outcome: Sakalava sculpted cemeteries – Part 8: Ambato. <a href="http://statuary-in-context.blogspot.com/2020/09/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 20.09.2020.</a><br /><span face="Arial, sans-serif">Research outcome: Sakalava sculpted cemeteries – Part 7: Kivalo. <a href="http://statuary-in-context.blogspot.com/2020/08/research-outcome-sakalava-sculpted.html" target="_blank">Blogpost 26.06.2020</a>.<br /></span><span face="Arial, sans-serif"><span face="">Research outcome: Sakalava sculpted cemeteries – Part 6: Antakitoka-2. <a href="http://statuary-in-context.blogspot.com/2020/06/research-outcome-sakalava-sculpted.html">Blogpost 26.06.2020</a>.<br /></span><span face="" lang="">Research outcome: Sakalava sculpted cemeteries – Part 5: Antakitoka-1. <a href="http://statuary-in-context.blogspot.com/2020/02/research-outcome-sakalava-sculpted.html">Blogpost 13.01.2020</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 4. <a href="http://statuary-in-context.blogspot.com/2020/01/research-outcome-sakalava-sculpted.html">Blogpost 13.01.2020</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 3. <a href="http://statuary-in-context.blogspot.com/2019/12/research-outcome-sakalava-sculpted.html">Blogpost 15.12.2019</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 2. <a href="http://statuary-in-context.blogspot.com/2019/11/research-outcome-sakalava-sculpted.html">Blogpost 02.11.2019</a>.<br />Research outcome: Sakalava sculpted cemeteries – Part 1. <a href="http://statuary-in-context.blogspot.com/2019/10/research-outcome-sakalava-sculpted.html">Blogpost 20.10.2019</a></span></span>.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Keller, Thomas. Research outcome: Sakalava sculpted cemeteries – Part 13:
Manometinay. <br />
https://statuary-in-context.blogspot.ch, 12.12.2021.<u><o:p></o:p></u></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 9pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled according
to the ‘’fair practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.</span></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0tag:blogger.com,1999:blog-6538611612270669357.post-55373175149648446112021-10-18T21:29:00.003+02:002021-10-19T15:31:51.523+02:00Fact check: Fesira sculptures ?<p></p><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 12pt;"><br />Based on the attribution of a group
of Malagasy musician sculptures to the Antanosy sculptor Fesira, a general
review of the state of knowledge about this sculptor and the works attributed
to him is first provided, followed by the conclusion regarding the applicability
of the attribution of this group of musicians to Fesira.</span></div><p></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">1) Factual statement <o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">According to [1]
and sculptures S1-S3 in Fig. 1:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Group of musicians, artist: Fesira, Antanosy,
Madagascar</span></i><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2-V2Iac7un2j6JGZrLDkR_A8XX5zgRPuExVou8lXZICzNTMLyfI69HMbPbmW3Kat9x2I_xQyihF0wABKbLSHHuU_kLDkGPiiFt8TBQ1Mf6ht3mOdztxkFBNJ2gpX3qbfZ_Qw7qqGYAUEt/s1500/Fesira-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1485" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2-V2Iac7un2j6JGZrLDkR_A8XX5zgRPuExVou8lXZICzNTMLyfI69HMbPbmW3Kat9x2I_xQyihF0wABKbLSHHuU_kLDkGPiiFt8TBQ1Mf6ht3mOdztxkFBNJ2gpX3qbfZ_Qw7qqGYAUEt/w396-h400/Fesira-1.jpg" width="396" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 1. Group of Malagasy musician sculptures attributed to Fesira in
[1]</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">2) Discussion <o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">A survey of the
literature gives the impression that independent information concerning the
sculptor Fesira was provided by only three sources, i.e., Pierre Vérin in 1964,
Bernard Peyrot in 1973, and John Mack in 1986, who reported the findings of
their fieldwork in [2-4], respectively. According to Vérin, Fesira was an
Antanosy who was no longer alive in 1964 and there were no known disciples.
Vérin attributed sculptures S4 and S5 [5] of the famous Ramaria cenotaph, shown
in Fig. 2, to Fesira, while he mentioned that it was not known who carved
sculpture S6 [2] of the same cenotaph,</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">i.e., whether it also
originated from Fesira. No information regarding the sources of these
statements was disclosed by Vérin. The Ramaria cenotaph had been visited already
in 1917 by Decary [6] and was described by him in 1962 [7]; however, the name
of the sculptor was not mentioned. Pidoux published two photos of sculpture S5 in
1962 [8], taken in 1959. He inquired in the surrounding area about the name of
the sculptor, but nobody was able to respond.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKaPmruM6-ACE68kBBGuMTndOKJ2rGHRs6N2X7kLc9_PYsDcBzfZ2htDC2K6f02Oo2Vmmw05vf8hLxSQ0nzoLwJrnjNgKvUyLKzdsG-QkLH0P9ZU6bYbFTrtoNf710aEMoc3JD1urW2Kg7/s2048/Fesira-2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1151" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKaPmruM6-ACE68kBBGuMTndOKJ2rGHRs6N2X7kLc9_PYsDcBzfZ2htDC2K6f02Oo2Vmmw05vf8hLxSQ0nzoLwJrnjNgKvUyLKzdsG-QkLH0P9ZU6bYbFTrtoNf710aEMoc3JD1urW2Kg7/s16000/Fesira-2.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig.2. Sculptures attributed to Fesira -1</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Peyrot provided a
detailed description of sculpture S7 [3] in 1973, denominated ‘’Stèle
d’Ingasy’’ by the villagers, and carved by Fesira in his preferred wood of the Arandrato
tree, in response to a commission from Ingasy’s wife, in around 1929, see Fig.
2. He furthermore mentioned the steles installed on the Ramaria cenotaph, a
stele in Marohotra (an approximately 1.5m-high representation of a warrior,
which could be attributed to Fesira), and raised stones and sculpted motifs in
Mokala (which however seemed older than those originating from Fesira). The
cenotaph of Mokala is shown in Fig. 3; the photos were taken by Frénée [9] and
Decary [10] in 1925 and 1926, respectively. A naked sculpture with raised arm on
a post can be seen, which closely resembles S6, shown in Fig. 2, and thus could
originate from the same sculptor (most likely also Fesira, see below).</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjnfT9UO0i_6qz6LocqO-2oLPhDlbZzl_mZvF_ADH1FP_0Ut4NCP60nKavnQquUqAGTy-_IlTGSLCR5tQarcmUTsXkh91C_WqC8HaP8cirxsTD3n-mRcoV5rkCSpZ0strk8RDoz_QlzDDs/s2598/Fesira-3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1007" data-original-width="2598" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjnfT9UO0i_6qz6LocqO-2oLPhDlbZzl_mZvF_ADH1FP_0Ut4NCP60nKavnQquUqAGTy-_IlTGSLCR5tQarcmUTsXkh91C_WqC8HaP8cirxsTD3n-mRcoV5rkCSpZ0strk8RDoz_QlzDDs/w640-h248/Fesira-3.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 3. Mokala cenotaph shown in 1925 and 1926</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">According to Mack,
most of Fesira’s works were created in the immediate pre-war period [4]. He
also provided information about Fesira’s working methods and their cultural
background, but it is not repeated here. During his fieldwork in 1984-85, he
photographed the complex sculpture S8, shown in Fig. 2, which he attributed to
Fesira. It represents a memorial to a man who served in the French military and
owned the first motor car in the village. Mack collected this information in
the villages where Fesira worked.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIEkY0DmP4EscjZtIRidUrHehlqRZwnkO6Cr5Gfbz9cpSM4aeOVObAeYxer_jBC36BcnIoW64lC7uESKSG6bU9Lehyphenhyphen_Iy0v2543GCY29_8NZAWBUrjtNbRU1hQhaSfiiU1Or5gtvwK1oGO/s2637/Fesira-4.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1193" data-original-width="2637" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIEkY0DmP4EscjZtIRidUrHehlqRZwnkO6Cr5Gfbz9cpSM4aeOVObAeYxer_jBC36BcnIoW64lC7uESKSG6bU9Lehyphenhyphen_Iy0v2543GCY29_8NZAWBUrjtNbRU1hQhaSfiiU1Or5gtvwK1oGO/s16000/Fesira-4.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 4. Sculptures attributed to Fesira -2</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">In the following,
works are summarized that were only recently attributed to Fesira, after
appearing on the tribal art market, based on stylistic similarities, mainly to the
sculptures of the Ramaria cenotaph. Sculptures S9 and S10 [11], shown in Fig. 4,
were photographed by Lisan in 1939 for the first time [12]. A further field photo,
taken in 1959, is shown in [8]. In 2020, the two sculptures were attributed to
Fesira in an exhibition catalogue [13].</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih_JNSoLofIbqSvsYATbPuHc76GGDIBWvPER0BSFIEPGOfyDGoUEmC8Q3DQtgt__Wi8kH8ydY6W635jmVRBfpTuMAs6H-EY7CmeKQsAUoaL67-g314XOjY_J4SJ_9bxndicEWglOTwjBCi/s3094/Fesira-5.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1016" data-original-width="3094" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih_JNSoLofIbqSvsYATbPuHc76GGDIBWvPER0BSFIEPGOfyDGoUEmC8Q3DQtgt__Wi8kH8ydY6W635jmVRBfpTuMAs6H-EY7CmeKQsAUoaL67-g314XOjY_J4SJ_9bxndicEWglOTwjBCi/s16000/Fesira-5.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 5. Sculpted posts of sculptures originating from Fesira and a
possible follower</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">A sculpture of a
soldier, S11 in Fig. 4, was photographed by Faublée in 1958 [14]; the sculpture
can also be seen in the AHDRC archive [15], where it is classified under
‘’Antanosy or Bara or Sakalava’’. Since the appearance is very similar to that
of S10, it may also be attributed to Fesira. Furthermore, a group of three sculptures
positioned under a canopy, i.e., a couple and a complex sculpture with a horse
rider and a female figure below on a pedestal, S12-14 in Fig. 4, photographed
by Catala in 1934 [16], were also attributed to Fesira in [17]. A comparison of
the similar cantilevering platforms of the riders in S8 and S14, and the
similar faces of the female figure and the Ramaria sculpture (S4) in
particular, may support this identical origin.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5RcRwFfFbw_wtA14tdmbtHDwR_WXnfqCtUJ-uIecghUE6dPirIdU_EN_RcAOOnM_dZi28F1LTPCpbaDck5wBtuoBhiUmI3mxPedTo1eRADX4PhOK_-IyV2xsKP-P8zkTJWxYX3AhQy-KU/s2048/Fesira-6.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1320" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5RcRwFfFbw_wtA14tdmbtHDwR_WXnfqCtUJ-uIecghUE6dPirIdU_EN_RcAOOnM_dZi28F1LTPCpbaDck5wBtuoBhiUmI3mxPedTo1eRADX4PhOK_-IyV2xsKP-P8zkTJWxYX3AhQy-KU/s16000/Fesira-6.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 6. Comparison of head designs of sculptures originating from Fesira
and possible contemporaries/followers</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Common to the
sculptures S4-14 is that they all stand on complexly sculpted posts, planted
into the ground, which may represent a trait of Fesira’s works, as shown in
Fig. 5 (S7-9-10-11). The motifs on these sculptures and posts are said to
represent scenes or events in the life of the decedent [4]. The face details of
the sculptures are also consistent, exhibiting carved eyes without eyebrows,
small noses without wings, and thin mouths with narrow lips, see Fig. 6; in
addition, the hands are small and feet are slender, and soldiers wear shoes. Furthermore,
two ways of dressing the sculptures can be differentiated, i.e., in some
sculptures the dresses are carved in the wood (S4-5, S7-11), while in others
the wooden sculptures are naked and dressed with real cloths (S6, S12-14). The
fact that S6 was not dressed in the 1960s may have given rise to Vérin’s question
as to whether this sculpture also originated from Fesira or not. However, as a
field photo taken by Frénée between 1902 and 1930 [18] demonstrates, S6 was
originally dressed in real clothes, which disappeared in the 1930s, according
to a photo taken by Decary [19]; both photos are shown in Fig. 7. A comparison
of the face/head designs in Fig. 6 (top row), together with the fact that the sculpture
stands on a sculpted post, may confirm that Fesira was also the sculptor of
this work (and thus of that of the Mokala cenotaph, see above). Since the degree
of deterioration of S6 is much greater than that of S4-5 (on the same cenotaph),
it may be further concluded that the sculptures with carved dresses are more
recent than those with real dresses.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv8n7W2GnLvzCdpIhb0Mt18dESH8yMUJYf7xYvZ9D42HgUpA6koxJBbB3CAMCDkpHXaq6SNCvn4mecrJA9miXkoqwQt2jAjIeq2sQoNcP3O_KFgUgiT6oxJQ2Iu9L4F4Afq4azP8qpsnBk/s2555/Fesira-7.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1231" data-original-width="2555" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv8n7W2GnLvzCdpIhb0Mt18dESH8yMUJYf7xYvZ9D42HgUpA6koxJBbB3CAMCDkpHXaq6SNCvn4mecrJA9miXkoqwQt2jAjIeq2sQoNcP3O_KFgUgiT6oxJQ2Iu9L4F4Afq4azP8qpsnBk/s16000/Fesira-7.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 7. History of male sculpture of Ramaria cenotaph</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Goy in [17]
attributed another sculpture to Fesira, S15 in Fig. 8 [21]. The field photo of
the backside was taken by Catala in 1934 [22]; according to [22], the sculpture
was installed in 1928, which seems plausible since it did not exhibit any significant
signs of age in 1934. Sculptures of similar appearance to S15 were photographed
by Faublée in 1939 [23] (S16&17 in Fig. 8) and are represented in the AHDRC
archive (S16-18 in Fig. 8 [24, 25]).</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhXNSgYLHW5bMC8JdZoOf-vDxOrbgt1KmBKtjk7CyKScEYlSgl-W-3sgnh5f8W_7XCSxi_pnQZczaTTsuGXaSu9Af7uQ7EuAH7qSVs1v_MiKGZQZskhI0aaHEhSyMaz4d16EHGC5E21Z2Z/s2660/Fesira-8.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1182" data-original-width="2660" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhXNSgYLHW5bMC8JdZoOf-vDxOrbgt1KmBKtjk7CyKScEYlSgl-W-3sgnh5f8W_7XCSxi_pnQZczaTTsuGXaSu9Af7uQ7EuAH7qSVs1v_MiKGZQZskhI0aaHEhSyMaz4d16EHGC5E21Z2Z/s16000/Fesira-8.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 8. Sculptures attributed to Fesira but possibly originating from a
contemporary Antanosy sculptor </span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Common to this
series of sculptures (S15-18) - and very different to the series S4-14 - is
that they were not carved on sculpted posts, but on a (sometimes multilayered)
platform, which itself transformed into a supporting post of much smaller cross
section. The face details are also very different; they are delicate,
comprising protruding eyebrows above eyes formed by inserts, most probably made
of glass (see below), as shown in Fig. 6 (middle row). Sculpture S16 still exhibits
these inserts, but they were later lost and only the empty eye sockets
remained, see Figs. 6 and 8. Furthermore, in contrast to S4-14, the noses
exhibit nose wings and the mouths are broad with emphasized lips. The male
sculptures are always naked, except a carved loincloth; the feet are compact
and naked.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQDZ2iZmM1_QP7wIiPpP_QdBrdhQxj2KRZGPqf3B3FGYaUryGAZ5nUcs_Z16cubRwWfXJJkacPrLx8oQd26iwO3ZIdPrAOSjT9OF4AWRI3fX_fpKEEdA6idCSsTS31hPpeEv2m-cEdDczT/s2048/Fesira-9.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1631" data-original-width="2048" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQDZ2iZmM1_QP7wIiPpP_QdBrdhQxj2KRZGPqf3B3FGYaUryGAZ5nUcs_Z16cubRwWfXJJkacPrLx8oQd26iwO3ZIdPrAOSjT9OF4AWRI3fX_fpKEEdA6idCSsTS31hPpeEv2m-cEdDczT/w400-h319/Fesira-9.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 9. Sculptures attributed to Fesira but possibly originating from
followers</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Four further
sculptures were directly or indirectly (via [26]) attributed to Fesira in [17],
S19-22, shown in Fig. 9. Sculptures S19-20 [27, 17] also stand on sculpted
posts, which however are much less complexly shaped as in S7-9-10-11, see Fig. 5.
The motifs of S19-20 are just arranged around circular middle posts in one or
two identical levels, while in S7-9-10-11 the remaining post sections have
different shapes and stepped levels and are arranged eccentrically. The
compositions of the sculpted posts underneath in S7-9-10-11 represent real
artworks per se, while the arrangements in S19-20 seem rather banal. The facial
expressions of S19-20 are also different from those of S4-14, representing
rather old and tired men, see Fig. 6 (bottom left), while those of the latter
sculptures seem to express younger people in the middle of their life, see Fig.
6 (top row). In contrast to S4-14, the faces in S19-20 exhibit eyebrows, the
noses are more pointed, the mouths broader and the lips thicker, and the chins
smaller. A last difference can be seen in the dresses, only the upper body is
dressed</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">in S19-20, and a loincloth marks the transition to naked
legs; this type of dress does not appear in S4-14.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Sculptures S21-22 [28,
26], finally, are of very similar style to S15-18. Except the eyes, which are
formed by glass inserts, the face details show some differences, however, i.e.,
the noses and chins are more pointed, the mouths are open and the lips thicker;
the hairstyles are also complex but different, see Fig. 6 (bottom right). These
two sculptures exhibit rotating arms and are not placed on a platform or post.
As suggested in [29] for S21, they may not have been produced for ritual use. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><b><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">3) Conclusions</span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Contemporaries of
Fesira, such as Catala [16], Decary [19], or Frénée [18], who photographed the
above-mentioned sculptures (and collected notes about their photos), and
published about them [6, 7, 19], did not mention Fesira’s name or origin;
Pidoux could moreover not discover the name of the sculptor of the Ramaria
cenotaph in the field in 1959 [8], and Mack wrote in [30] (citation): ‘’Fesira
is a mysterious figure about whom little is known’’. All the attributions of
sculptures S9-14 seem to be based only on Vérin’s mention of Fesira and his attribution
of sculptures S4-5 and stylistic similarities. Vérin’s statements were however
made after Fesira’s death and their sources were not disclosed. Based on the
independent sources provided by Peyrot and Mack, it seems however plausible
that a sculptor named Fesira existed and that he was the carver of sculptures S4-8.
<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Comparing the two mutually
consistent styles of the two series of sculptures, S4-14 (in Figs. 2 and 4 and
top row of Fig. 6), and S15-18 (in Fig. 8 and middle row of Fig. 6), makes it
difficult to support the statement that they originated from the same sculptor,
as claimed in [17], in view of the above-described significant differences in composition
and style (i.e., the underlying sculpted posts vs. platforms, carved eyes vs.
eye inserts, rather schematic vs. delicate faces, and consistent differences in
face details, hairstyle and dresses). The sculptures of the two series were
carved in the same pre-war period - it thus seems difficult to imagine that one
sculptor, even if he was very skilled, could or would have worked simultaneously
in two such different styles. An attribution of S15-18 to a contemporary
Antanosy sculptor, and not to Fesira, seems thus more appropriate. Due to the above-mentioned
differences, it also seems difficult to understand that S19-22 originated from Fesira,
whereas an attribution to followers of Fesira, and the above-mentioned possible
contemporary, seems equally plausible.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizfph_X4nOHSqPqYUUeBN0fiCQooMmj5eCIMXx1wIdx78GUAp3KYDtou3djDfLo8vyS66jEkFbs3aHXtgIZsuDcYBF_2tRi-gY3APi9Y9fO0pbcCQYtvpCLOX5qm9NzpxoQrcQlfOo-iy0/s2048/Fesira-10.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1198" data-original-width="2048" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizfph_X4nOHSqPqYUUeBN0fiCQooMmj5eCIMXx1wIdx78GUAp3KYDtou3djDfLo8vyS66jEkFbs3aHXtgIZsuDcYBF_2tRi-gY3APi9Y9fO0pbcCQYtvpCLOX5qm9NzpxoQrcQlfOo-iy0/w640-h374/Fesira-10.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Fig. 10. Valiha players originating from Fesira and possibly from a
contemporary</span></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">The sculptures in
question, S1-3, clearly belong to the style of the second series (S15-18), see
Fig. 6 (middle row). The different conception of the construction beneath the
sculptures can be clearly seen in Fig. 1, i.e., the circular platforms and the
short rectangular posts below, which, based on the differences in patina and the
visible hole, seem to have been fixed into another structure. These sculptures
were thus not directly anchored in the ground via a sculpted post, as was done
by Fesira. A further stylistic comparison between S1-3 and S5 (Fesira) is made in
Fig. 10, based on the example of a valiha player. It seems obvious that two
different sculptors must have been the origin of these sculptures of clearly different
style, as described above. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm; text-align: justify;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">To conclude, it
does not seem very likely that the group of musicians originates from Fesira,
an attribution to a contemporary of Fesira seems more likely. The factual
statement can thus not be confirmed at this stage.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">4) References<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">[1]
African Heritage Documentation & Research Centre, ao-0181888-001, accessed on 10.10.2021, and
Parcours des Mondes 2021, Paris, Bernard de Grunne Gallery: sculptures</span><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">attributed to Fesira.<br />
[2] Vérin, Pierre. </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" style="font-size: 10pt;">Observations sur les
monuments funéraires des Antanosy Avaratra et les poteaux commémoratifs du
village d'Antsary. Annales de l’Université de Madagascar, Série Lettres et
Sciences Humaines, vol. 3, 47-57, 1964. <br />
[3] Peyrot, Bernard. Notes sur les stèles funéraires en pays tanosy. </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Bulletin de Madagascar,
no. 321, 277-281, 1973 (photo taken by T. Cazabon in Ankoba). <br />
[4] Mack, John. Madagascar: Island of the ancestors. British Museum
Publications Ltd., London, 1986. [5] Photos taken by Jean Gabus in 1972.
Archive of the Musée d’ethnographie de Neuchâtel, Switzerland.<br />
</span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" style="font-size: 10pt;">[6] Decary, Raymond. Une lettre de
Raymond Decary. Annales de l’Université de Madagascar, Série Lettres et
Sciences Humaines, vol. 4, 175-176, 1965. <br />
[7] Decary, Raymond. La mort et les coutumes funéraires à Madagascar.
Maisonneuve et Larose, Paris, 1962.<br />
[8] Pidoux, Edmond. Madagascar, maître à son bord. Editions du Soc, Lausanne,
1962.<br />
[9] Musée du Quai Branly, online archive, no. PP0011710: Emile Frénée, 1925,
Mokala, accessed on 10.10.2021.<br />
[10] Musée du Quai Branly, online archive, no. </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">PP0011763: Raymond
Decary, 1926, accessed on 10.10.2021.<br />
[11] Own photos, taken at Parcours des Mondes 2021, Paris, Bernard Dulon
Gallery: sculptures attributed to Fesira. <br />
</span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" style="font-size: 10pt;">[12] Musée du Quai Branly, online
archive, no. PP0016026: Robert Lisan, 1939, accessed on 10.10.2021. <br />
[13] Dulon Gallery, Paris. <a href="http://dulonbernard.fr/TEFAF20_FR/" target="_blank">Exhibition catalogue</a> TEFAL 2020. </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" style="font-size: 10pt;"><br />
[14] Faublée, Jacques. </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Photo taken in the north of Antanimora in 1958. Musée d’ethnographie de
Genève, Online collection, no. ETHPH 410067. <br />
[15] African Heritage Documentation & Research Centre, ao-0076326-001:
sculpture attributed to the Antanosy or Bara or Sakalava, accessed on
10.10.2021. <br />
</span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" style="font-size: 10pt;">[16] Musée du Quai Branly, online
archive, no. PP0027543: Catala, René, 1934, Behara</span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">, accessed on
10.10.2021.<br />
[17] Goy, Bertrand. In southern Madagascar, Fesira, an Antanosy sculptor. Arts
& Cultures, Musée Barbier-Mueller, Geneva, 158 -169, 2020: sculpture
attributed to Fesira. <br />
[18] Musée du Quai Branly, online archive, no. PP0011708: Frénée, Emile, between
1902 and 1930, accessed on 10.10.2021</span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" style="font-size: 10pt;">.<br />
[19] Decary, Raymond. Le culte des morts à Madagascar. La Revue Française, no.
171, 16-20, 1964. </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">(Photo dated in the 1930s since it had been taken before the
installation of the Ramaria sculpture.)<br />
[20] Binoche et Giquello, Paris, Auction catalogue, 22.06.2017, lot 89, 93cm:
sculpture attributed to Fesira.<br />
[21] African Heritage Documentation & Research Centre, ao-0076421-001:
sculpture attributed to the Antanosy or Bara or Sakalava, accessed on
10.10.2021. <br />
[22] Musée du Quai Branly, online archive,</span></span><span style="mso-bookmark: _Hlk85115036;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">no. </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" style="font-size: 10pt;">PP0027585: Catala, René, 1934, accessed on 10.10.2021. <br />
[23] Musée d’ethnographie de Genève, online collection,</span> </span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" style="font-size: 10pt;">no. ETHPH 404789ter: Faublée, Jacques, </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">1939,</span><span lang="EN-US"> </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Belamoty,</span><span lang="EN-US"> </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">accessed on 10.10.2021. <br />
[24] African Heritage Documentation & Research Centre,
ao-0076359-001&002: sculptures attributed to the Antanosy and Sakalava(?), accessed
on 10.10.2021.<br />
[25] African Heritage Documentation & Research Centre, ao-0076422-001:
sculpture attributed to the Bara or Antanosy,</span></span><span style="mso-bookmark: _Hlk85115036;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">accessed
on 10.10.2021.<br />
[26] Goy, Bertrand. Arts anciens de Madagascar. Milan: 5 continents, 2015. <br />
[27] Grusenmeyer & Woliner Gallery, homepage, accessed 06.09.2019.
Sculpture attributed to Fesira in [17]. <br />
[28] African Heritage Documentation & Research Centre, ao-0076316-001:
sculpture designated Antanosy, attributed to Fesira in [17].<br />
</span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" style="font-size: 10pt;">[29] Savary, Claude. Sculptures
africaines d’un collectionneur de Genève. </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Musée d’ethnographie, Genève, 1978.<br />
[30] Mack, John. The Artfulness of Death in Africa. Reaktion Books, London,
2019.<br />
[31] Own photo, taken at</span><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Parcours des Mondes
2021, Paris, Bernard de Grunne Gallery: sculpture attributed to Fesira.<br />
</span></span><span style="mso-bookmark: _Hlk85115036;"><span face=""Arial",sans-serif" style="font-size: 10pt;">[32] Art Richelieu, commissaire-priseur
Patrick Deburaux, Paris, 07.10.2021, lot 33, peinture sur toile, 92x68cm,
Tananarive, Madagascar.<o:p></o:p></span></span></p>
<span style="mso-bookmark: _Hlk85115036;"></span>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Blogposts related to the Fesira<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US;">Research outcome: Antanosy sculptures attributed to Fesira and the
Ramaria cenotaph – 3rd Complement. <a href="http://statuary-in-context.blogspot.com/2020/11/research-outcome-antanosy-sculptures.html" target="_blank">Blogpost 07.11.2020</a>.<br />Research outcome: Antanosy sculptures attributed to Fesira and the Ramaria cenotaph – 2nd Complement. <a href="http://statuary-in-context.blogspot.com/2020/04/research-outcome-antanosy-sculptures.html" target="_blank">Blogpost 20.04.2020</a>.<br />Research outcome: Antanosy sculptures attributed to Fesira and the Ramaria cenotaph – Complement. <a href="http://statuary-in-context.blogspot.com/2019/09/research-outcome-antanosy-sculptures.html" target="_blank">Blogpost 01.09.2019</a>.<br />Research outcome: Antanosy sculptures attributed to Fesira and the Ramaria cenotaph. <a href="http://statuary-in-context.blogspot.com/2019/08/research-outcome-antanosy-sculptures.html" target="_blank">Blogpost 11.08.2019</a>.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Citation
format<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">Keller, Thomas. Fact check: Fesira sculptures? https://statuary-in-context.blogspot.ch,
18.10.2021.<u><o:p></o:p></u></span></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 12pt; line-height: 120%; mso-ansi-language: EN-US;">Homepage:
<a href="http://www.statuary-in-context.ch">www.statuary-in-context.ch</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: 120%; margin-bottom: 0cm;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 8pt; line-height: 120%; mso-ansi-language: EN-US;">Copyright of images is handled
according to the ‘’fair practice’’ specified in the <a href="http://www.wipo.int/edocs/lexdocs/treaties/en/berne/trt_berne_001en.pdf" target="_blank">Berne Convention for the Protection of Literary and Artistic Works</a>, Article 10.<o:p></o:p></span></p>
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<p style="margin-bottom: .0001pt; margin: 0cm;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial",sans-serif" lang="EN-US" style="font-size: 11pt; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p>statuary-in-contexthttp://www.blogger.com/profile/02309959061149930607noreply@blogger.com0