Fertility doll, Akwaba, Ashanti, Ghana - Lot 20

Fertility doll, Akwaba, Ashanti, Ghana Wood, dark black patina Height: 31.5 cm Provenance: French private collection --- Fertility Akwaba, Ashanti, doll, Ghana Wood, dark black patina Height: 31.5 cm Provenance: French private collection The sculptural tradition of fertility dolls in Ashanti country is rooted in the legend of Akua, a barren woman who was advised by a soothsayer to have a wooden effigy carved to encourage motherhood. Since then, these dolls, called akua'maa (sing. akua'ba), have become symbols of fertility and protection. Supplied by herbalists or priests, they were worn or displayed by women in search of offspring. Female effigies dominate the corpus. This is partly due to the founding legend that Akua's first child was a girl, and partly to the matrilineal organization of Akan society, which favors the birth of female children. Fertility and maternity are therefore the preferred themes of Ashanti sculpture. Our effigy embodies the ideal of beauty traditionally associated with these images. The straightness of the body - treated schematically by a cylindrical, vertical bust, marked by a chest and navel in relief, flanked by arms sculpted at right angles - is contrasted by the roundness of the discoidal head, supported by a long, ringed neck representing folds of fat, a symbol of abundance and good health. The face features a high forehead, small mouth, rounded superciliary arches, straight nose and coffee-bean eyes sculpted in slight relief. The cheeks are scarred. The object's flattened shape meant it could easily be carried on the back or concealed in clothing, like a real child, as was the case with our object, whose deep black patina bears witness to its use. This transformation of the sculpted object into a living figure finds a parallel in the words of David Freedberg, in his book The Power of Images, where he evokes the ability of the consecrated image to "inhabit" inanimate matter. The object is no longer simply an artefact, but becomes the medium of a divine presence, a vector of fertility and protection. At the origin of the sculptural tradition of fertility dolls in Ashanti territory lies the legend of Akua, a sterile woman to whom a diviner advised to have a wooden effigy carved to promote motherhood. Since then, these dolls, called akua'maa (sing. akua'ba), have become symbols of fertility and protection. Provided by herbalists or priests, they were carried or displayed by women seeking offspring. Female effigies overwhelmingly dominate the corpus. This preeminence is explained both by the founding legend-Akua's first child was a girl-and by the matrilineal structure of Akan society, which favors the birth of female children. Fertility and motherhood are therefore the primary themes in Ashanti sculpture. Our effigy embodies the ideal of beauty traditionally associated with these images. The uprightness of the body-treated in a schematic manner with a cylindrical and vertical torso, marked with a protruding breast and navel, flanked by arms carved at right angles-contrasts with the rounded, disc-like shape of the head, supported by a long, banded neck symbolizing fat folds, representing abundance and good health. The face features a high forehead, a small mouth, rounded eyebrows, a straight nose, and coffee-bean-shaped eyes sculpted in slight relief. The cheeks are marked with scarifications. The object's flattened form allowed it to be easily carried on the back or concealed in clothing, much like a real child, as was the case with our piece, whose deep black patina bears witness to its use. This transformation of the carved object into a living figure finds a parallel in David Freedberg's discussion in his work The Power of Images, where he speaks of the ability of sacred images to "inhabit" inanimate matter. The object is no longer simply an artifact, but becomes a vessel for divine presence, a carrier of fertility and protection. Wear and tear. Significant loss at rear of body. Both arms missing. --- Wear and tear. At the back of the body a significant lack. Lacks on both arms