Female sculpture dedicated to Eshu, Yoruba, Nigeria - Lot 23

Female sculpture dedicated to Eshu, Yoruba, Nigeria Wood, sacrificial patina, leather, cowries Height: 37 cm Provenance: Mr. and Mrs: Mr and Mrs O-M French private collection --- Eshu female sculpture, Yoruba, Nigeria Wood, sacrificial patina, leather, cauri Height: 37 cm Provenance: Mr. and Mrs O-M French private collection Distinguished from the corpus by its superb reddish, crusty patina, testifying to its age, the powerful yet delicate treatment of the female figure, and the attention paid to body ornamentation, this effigy embodies, in her orante posture, the silent call addressed to Eshu, orisha bearer of the àṣẹ - the vital, dynamic force that the Yoruba recognize as the fundamental principle animating both the visible and invisible worlds, the material and spiritual, the tangible and imperceptible. Eshu occupies the central role of intermediary between yòrun, the heavens, and yaiyé, the earthly world. He serves as a messenger, transmitting the actions and intentions of human beings to the divine entities, while bringing their deeds before the Supreme Being. It is most likely the top of a dancing scepter, used during festivities dedicated to Eshu. These ceremonial objects, traditionally worn by the faithful, were presented in pairs, associating a male and a female figure. Male effigies were often depicted with swords or whips, while female figures adopted the characteristic posture of hands supporting the chest. The orante is shown genuflecting, with both hands supporting the breast, a feminine attribute that John Pemberton describes as symbolizing a "source of vital power". The sensitivity of the facial features, partially blurred by use and time, is matched by the expressiveness of the eyes, rendered by the tapestry nail pupils. The body adornments - scarification marks on the chest, bracelets, necklaces and beaded belts - culminate in the elaborate hairstyle, sculpted into a high bun and extending into a plait that falls smoothly down the back. This movement finds a refined echo in the long strap adorned with cowrie shells, which gracefully follows the curve of the silhouette, creating a harmony of lines and momentum. Among the Yoruba, cowrie shells (owó eyo) were once used as currency. Integrated into the ornaments, these ornaments symbolize Eshu's permanent aspiration to grant humanity the àṣẹ, the vital force of which he is the depositary. The character seems to be expressing a silent, profound prayer, invoking the beneficent power of the orisha, as might the priestess of Eshu in her shrine through these words: "Eshu, I worship you for your power [...] Eshu, you are the one who offers. Make me rich and make me the mother of good children [...] Come with your magnificent appearance, you son of the cowries." (in "Eshu-Elegba: The Yoruba Trickster God", Pemberton John, African Arts , October 1975, Vol. 9, No. 1, p.22). The ewà (beauty) contained in this rare, beautifully crafted ogo elegba effigy is such that, in Yoruba parlance, it can be said to àwòmáleèlo, to "anchor the gaze" and capture attention with the force of its presence. Distinguished from the corpus by its superb reddish and crusty patina, which attests to its antiquity, the treatment of the female figure blending power and delicacy, as well as the attention to bodily adornments, this effigy, in its orante posture, embodies the silent appeal made to Eshu, the orisha bearer of àṣẹ - the vital and dynamic force that the Yoruba recognize as the fundamental principle animating both the visible and invisible worlds, the material and the spiritual, the tangible and the imperceptible. Eshu plays the central role of intermediary between yòrun, the heavens, and yaiyé, the earthly realm. He serves as a messenger, conveying the actions and intentions of human beings to the divine entities while bringing their deeds before the Supreme Being. This is most likely the top of a dance scepter, used during festivities dedicated to Eshu. These ceremonial objects, traditionally carried by the faithful, were presented in pairs, associating a male figure with a female one. The male figures were often depicted with swords or whips, while the female figures adopted the characteristic posture of hands supporting the chest. The orante is depicted in a kneeling position, both hands supporting the chest, a feminine attribute that John Pemberton describes as symbolizing a "source of vital power." The sensitivity of the facial features, partially faded by use and time, contrasts with the expressiveness of the gaze conveyed by the nail-studded pupils. The body adornments - scarification