Bété mask, Ivory Coast - Lot 7

Bété mask, Ivory Coast Wood, skin, brass Height: 27 cm Provenance: French private collection --- Bété mask, Ivory Coast Wood, skin, brass Height: 27 cm Provenance: French private collection Bété art is distinguished by its stylistic diversity and external influences: the Daloa and Niabwa regions feature a unique type of mask inspired by the Wè, characterized by exaggerated human features combined with animal or geometric attributes, while the Gagnoa region, influenced by Gouro and Baoulé art, offers realistic works including statues, masks and various objects. The Bété are not organized around secret societies, with the exception of the Société du Masque, present in a few localities. The functions of Bété masks, similar to those of their Guéré neighbors, are manifold: presiding over major trials, accompanying funeral ceremonies, honoring dignitaries, guiding hunters in their preparations, leading the community and purifying the village. Armistead P. Rood, who has documented Bété masked dances, reports that the mask is a half-human, half-supernatural entity, offering protection to the man who puts it on, provided he has taken the necessary precautions. As long as he remains under the influence of the mask, he is safe from the dark forces of the world. However, once he removes the mask and loses his powers, he is no longer protected. That's why it's essential that the identity of the mask-wearer remains entirely concealed from all but the initiated. Bohumil Holas, in his book L'image du monde Bété (1968), puts forward the idea that the Bété mask, "representing the sacred Monster, hence the terrible, uncontrollable Forces from beyond, [...] recalls the primordial chaos from which, not without some serious mythical vicissitudes, emerged the social Order which, in the final analysis, must be considered as its most sublime emanation." This duality between order and chaos, harmony and raw power, is fully expressed in the aesthetics of Bété masks from the Daloa region, symbolizing the balance between opposing forces essential to the harmony of the world and society. The sculptures unfold according to a rigorous composition, giving rise to powerful hybrid representations combining zoomorphic, anthropomorphic and geometric forms. In this respect, our example is an expression of restrained, controlled strength. Projected in high relief, tubular eyes marked by brass pupils emerge on either side of a nose with wide, arched nostrils. The half-open mouth, composed of two perpendicular elements, reveals a visible tongue and attached metal teeth. The face is surmounted by a visored forehead and framed by outgrowths classically associated with horns and tusks. The intrinsic strength of the mask is amplified by the presence of ritual elements - a bell and strips of dried skin. The face, perforated with a multitude of small holes, allows the dancer partial visibility while maintaining the anonymity essential to preserving the mask's mystical powers, thanks to a hood entirely enveloping the head and shoulders. Bété art stands out for its stylistic diversity and external influences: the region of Daloa and Niabwa presents a unique type of mask inspired by the Wè, characterized by exaggerated human features combined with animal or geometric attributes, while the region of Gagnoa, influenced by Gouro and Baoulé art, offers realistic works including statues, masks, and various objects. The Bété are not organized around secret societies, except for the Mask Society, which is present in a few localities. The functions of Bété masks, similar to those of their Guéré neighbors, are varied: presiding over major trials, accompanying funeral ceremonies, honoring dignitaries, guiding hunters in their preparations, leading the community, and purifying the village. Armistead P. Rood, who documented Bété masked dances, reports that the mask is a semi-human, semi-supernatural entity, offering protection to the wearer, provided they have taken the necessary precautions. As long as the wearer remains under the influence of the mask, they are shielded from the dark forces of the world. However, once the mask is removed and its powers are lost, the wearer is no longer protected. This is why it is essential for the identity of the mask wearer to remain completely hidden from view, except for the initiated. Bohumil Holas, in his work L'image du monde Bété (1968), suggests that the Bété mask, "depicting the Sacred Monster, thus the Terrible, uncontrollable forces from the beyond, [...] recalls the primordial chaos from which, not without s