Null Standing figure. Nok culture, Nigeria, 5th century BC. - 5th century AD.
Te…
Description

Standing figure. Nok culture, Nigeria, 5th century BC. - 5th century AD. Terracotta. Measurements: 35 cm high. The Nok culture appeared in Nigeria around 500 BC, and disappeared at the end of the first millennium AD, for reasons unknown until now. Today, the social structure of this culture seems extremely advanced, considering its relative remoteness from other major cultures, and also considering that the rest of West Africa was, at that time, assimilating the Neolithic. Some theories connect the Nok with Ancient Egypt. Moreover, this culture is considered the most refined producer of terracotta sculptures in sub-Saharan Africa. The theory that the Nok were descendants of the Egyptians would partly explain the maturity of their culture and the refinement of their terracotta figures, but this is a nineteenth-century explanation for which there is no evidence. The pieces of Nok art that have been preserved over time, almost all of which are incomplete, are terracottas of spectacular elegance, denoting a high degree of technological and artistic skill in both the modelling of the clay and the firing of the pottery. The themes are generally figurative, depicting what appear to be leaders and ancestors, as well as funerary stelae and amulets. This exquisite legacy has made the Nok culture famous throughout the world, and is particularly notable for the stylised and variously positioned male and female figurines, wearing numerous jewels and characterised by a disproportionately large head, adorned with meticulously detailed hairstyles. Unlike the one presented here, the Nok figures are usually broken, as they come from alluvial strata formed and destroyed by the erosion of sporadic floods. Rarely are pieces preserved intact, which gives them a very high value not only intrinsically, but also commercially.

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Standing figure. Nok culture, Nigeria, 5th century BC. - 5th century AD. Terracotta. Measurements: 35 cm high. The Nok culture appeared in Nigeria around 500 BC, and disappeared at the end of the first millennium AD, for reasons unknown until now. Today, the social structure of this culture seems extremely advanced, considering its relative remoteness from other major cultures, and also considering that the rest of West Africa was, at that time, assimilating the Neolithic. Some theories connect the Nok with Ancient Egypt. Moreover, this culture is considered the most refined producer of terracotta sculptures in sub-Saharan Africa. The theory that the Nok were descendants of the Egyptians would partly explain the maturity of their culture and the refinement of their terracotta figures, but this is a nineteenth-century explanation for which there is no evidence. The pieces of Nok art that have been preserved over time, almost all of which are incomplete, are terracottas of spectacular elegance, denoting a high degree of technological and artistic skill in both the modelling of the clay and the firing of the pottery. The themes are generally figurative, depicting what appear to be leaders and ancestors, as well as funerary stelae and amulets. This exquisite legacy has made the Nok culture famous throughout the world, and is particularly notable for the stylised and variously positioned male and female figurines, wearing numerous jewels and characterised by a disproportionately large head, adorned with meticulously detailed hairstyles. Unlike the one presented here, the Nok figures are usually broken, as they come from alluvial strata formed and destroyed by the erosion of sporadic floods. Rarely are pieces preserved intact, which gives them a very high value not only intrinsically, but also commercially.

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Great head of the Nok culture. Nigeria. H with stand 31cm, H without stand 25cm, made of beige-brownish mottled terracotta with elaborate coiffure, arranged in two large bowls, pierced eyes and nostrils. This head probably comes from the same archaeological site as the following number. The Nok culture was originally estimated to date from 500 BC to 200 AD. According to new findings, however, it is thought to have developed between 1500 BC and 900 BC. It then experienced its heyday, from which the majority of known terracotta originates. This heyday came to an abrupt end around the turn of the millennium for reasons that are as yet unknown. It marks the transition from stone use to ironworking in central Nigeria and can also be considered the oldest Iron Age culture in sub-Saharan Africa, where bronze was only introduced after iron. The search for minerals, wood and precious stones in the middle of the 20th century and the construction of roads on the plains and plateaus on both sides of the Niger and Benue rivers have brought to light a large number of works of art from ancient indigenous cultures. However, the geological processes of erosion and accumulation in West Africa are of such intensity that large earth movements can be caused over the course of a few centuries. Apart from heads and figures only a few centimetres in size, which usually remain largely intact, the vast majority of the works of art unearthed are damaged or broken. As a rule, this is not a problem if all the parts belonging to the object can be found and professionally restored, as was apparently the case with the head being examined here. The rough and grainy surface of the untouched figures is also due to erosion. The formerly smooth engobe coating is weathered. One mop of hair partially broken off. Provenance: Ex Coll. Mareidi Stoll-Singer, Munich, in Germany since the 1970s.

Great head of the Nok culture. Nigeria. H with stand 32cm, H without stand 25cm, made of beige-brownish mottled terracotta with elaborate piled-up coiffure with side braids, pierced eyes and nostrils. The head was apparently recovered broken and has not been restored. This head probably comes from the same archaeological site as the previous number. For a long time it was controversial to speak of Nok as a culture due to a lack of knowledge about the economic and settlement methods of the prehistoric population, as there is no documentation on the circumstances under which most Nok figurines were found. As a rule, the place of discovery is also unknown. Settlement remains have also not been researched or published. In contrast to Europe, archaeological work in Africa is therefore particularly difficult and almost exclusively limited to chance finds. One such chance discovery in the 1940s brought to light the earliest evidence of black African sculpture outside Egypt. After the discovery of the first clay head in the Jaba village of the same name in the Zaria Province of Nigeria, which had already been discovered in 1944 as a scarecrow (!) and which had been shown to archaeologist Bernard Fagg, he became aware of a second head that was brought to him. He called this culture Nok. However, it was William Buller Fagg, his older brother, who arranged for the heads to be shown in the exhibition of the Royal Anthropological Institute of Great Britain Traditional Art from the British Colonies in London in 1949. A characteristic feature of the Nok sculptures are the elliptical to triangular eyes, whose pupils, like the nostrils, are usually pierced. A great wealth of imagination is evident in the design of the extravagant hairstyles, as well as in other individual features such as jewelry or other accessories. In terms of cultural history, the creations of the Nok culture are remarkable because on the one hand they combine a great diversity of conceptual form with a relatively continuous unity of style, but on the other hand they show a tendency to emphasize the head, as is so widespread in more recent African art. As in almost all parts of the world, however, it is precisely terracotta and metal finds that can shed light on the artistic statements of past cultures. Fragmentary. Provenance: Ex Coll. Mareidi and Gert Stoll, Munich, in Germany since the mid to late 1960s.