Lot 138

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Description: Important Totem Crocodile composé de quatre figures principales anthropomorphes , qui pourrait être un couple et ses enfants, la femme sur les épaules de l’homme et les enfants, l’un tenu par sa mère face à elle, l’autre tête en bas dans son dos, formant une assise de ses pieds, et l’homme tenant un important crocodile dressé face à lui.
Perpendiculaire au poteau Totem, un panneau directionnel travaillé en ajour d’un enchevêtrement de figures de personnages entremêlés.
Bois polychromé, kaolin et pigments organiques, chanvre et coquillages.
Art Sepik de Papouasie-Nouvelle-Guinée .
fleuve Middle Sepik, , milieu du 20e siècle.
Collection privée Italie vers les années 1970.
La riche spiritualité du peuple Sepik puise dans la grandeur de son environnement naturel, et les objets qu'il a créés reflètent ces croyances.
est associée aux concepts de pouvoir, donc tout ce qui a été créé pour soutenir ce pouvoir a été par la suite vénéré.
La spiritualité des Sepik était très individualisée, chaque groupe de parenté au sein d'un village prenant un nom emblématique, ou totem, des oiseaux et des animaux de la région de la rivière Sepik.
Un totem sert de symbole au groupe et signifie leur héritage ancestral - bien qu'ils aient tous reconnu une ascendance commune avec le crocodile.
Les anciens qui ont mémorisé les copieux emblèmes totémiques détiennent un grand prestige et un grand pouvoir au sein du village.
Les représentations des animaux totems, comme les crocodiles, sont importantes pour honorer et nourrir les relations avec les ancêtres.Les crocodiles figurent en bonne place dans les légendes et les rites de passage de diverses tribus Sépik, car la rivière est l'un des habitats de crocodiles les plus densément peuplés au monde.
Les histoires varient selon les centaines de villages, mais il existe une croyance commune selon laquelle les hommes descendent des crocodiles et reviennent à cet état puissant grâce à un processus rituel de cicatrisation qui imite les bosses surélevées de la peau de crocodile.Note : en raison de sa taille et de son poids, cette pièce devra être manipulée, emballée et expédiée sur mesure, ou être directement récupérée par l'acheteur.
Devis sur demande

  • Literature:

    The history of Asian art, or Eastern art, includes a vast range of influences from various cultures and religions. Developments in Asian art historically parallel those in Western art, in general a few centuries earlier. Chinese art, Indian art, Korean art, Japanese art, each had significant influence on Western art, and, vice versa. Near Eastern art also had a significant influence on Western art. Excluding prehistoric art, the art of Mesopotamia represents the oldest forms of Asian art.
    Chinese art is visual art that, whether ancient or modern, originated in or is practiced in China or by Chinese artists. The Chinese art in the Republic of China (Taiwan) and that of overseas Chinese can also be considered part of Chinese art where it is based in or draws on Chinese heritage and Chinese culture. Early "stone age art" dates back to 10,000 BC, mostly consisting of simple pottery and sculptures. After this early period Chinese art, like Chinese history, is typically classified by the succession of ruling dynasties of Chinese emperors, most of which lasted several hundred years.
    Chinese art has arguably the oldest continuous tradition in the world, and is marked by an unusual degree of continuity within, and consciousness of, that tradition, lacking an equivalent to the Western collapse and gradual recovery of classical styles. The media that have usually been classified in the West since the Renaissance as the decorative arts are extremely important in Chinese art, and much of the finest work was produced in large workshops or factories by essentially unknown artists, especially in the field of Chinese porcelain. Much of the best work in ceramics, textiles and other techniques was produced over a long period by the various Imperial factories or workshops, which as well as being used by the court was distributed internally and abroad on a huge scale to demonstrate the wealth and power of the Emperors. In contrast, the tradition of ink wash painting, practiced mainly by scholar-officials and court painters especially of landscapes, flowers, and birds, developed aesthetic values depending on the individual imagination of and objective observation by the artist that are similar to those of the West, but long pre-dated their development there. After contacts with Western art became increasingly important from the 19th century onwards, in recent decades China has participated with increasing success in worldwide contemporary art.
    Korean arts include traditions in calligraphy, music, painting and pottery, often marked by the use of natural forms, surface decoration and bold colors or sounds.
    The earliest examples of Korean art consist of stone age works dating from 3000 BC. These mainly consist of votive sculptures and more recently, petroglyphs, which were rediscovered.
    This early period was followed by the art styles of various Korean kingdoms and dynasties. Korean artists sometimes modified Chinese traditions with a native preference for simple elegance, spontaneity, and an appreciation for purity of nature.
    The Goryeo Dynasty (918–1392) was one of the most prolific periods for a wide range of disciplines, especially pottery.
    The Korean art market is concentrated in the Insadong district of Seoul where over 50 small galleries exhibit and occasional fine arts auctions. Galleries are cooperatively run, small and often with curated and finely designed exhibits. In every town there are smaller regional galleries, with local artists showing in traditional and contemporary media. Art galleries usually have a mix of media. Attempts at bringing Western conceptual art into the foreground have usually had their best success outside of Korea in New York, San Francisco, London and Paris.
    Japanese art covers a wide range of art styles and media, including ancient pottery, sculpture, ink painting and calligraphy on silk and paper, ukiyo-e paintings and woodblock prints, kirigami, origami, dorodango, and more recently manga—modern Japanese cartooning and comics—along with a myriad of other types of works of art. It has a long history, ranging from the beginnings of human habitation in Japan, sometime in the 10th millennium BC, to the present.
    Japan has been subject to sudden invasions of new and strange ideas followed by long periods of minimal contact with the outside world. Over time the Japanese developed the ability to absorb, imitate, and finally assimilate those elements of foreign culture that complemented their aesthetic preferences. The earliest complex art in Japan was produced in the 7th and 8th centuries in connection with [Buddhism]. In the 9th century, as the Japanese began to turn away from China and develop indigenous forms of expression, the secular arts became increasingly important; until the late 15th century, both religious and secular arts flourished. After the Ōnin War (1467–1477), Japan entered a period of political, social, and economic disruption that lasted for over a century. In the state that emerged under the leadership of the Tokugawa shogunate, organized religion played a much less important role in people's lives, and the arts that survived were primarily secular.
    Painting is the preferred artistic expression in Japan, practiced by amateurs and professionals alike. Until modern times, the Japanese wrote with a brush rather than a pen, and their familiarity with brush techniques has made them particularly sensitive to the values and aesthetics of painting. With the rise of popular culture in the Edo period, a style of woodblock prints became a major form and its techniques were fine tuned to produce colorful prints. The Japanese, in this period, found sculpture a much less sympathetic medium for artistic expression; most Japanese sculpture is associated with religion, and the medium's use declined with the lessening importance of traditional Buddhism.
    Japanese ceramics are among the finest in the world and include the earliest known artifacts of their culture. In architecture, Japanese preferences for natural materials and an interaction of interior and exterior space are clearly expressed.

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