Like the gold weights of the Akan peoples and
the heddle pulleys of the Baule and Senufo
tribes, the bronze figures of the Dan are
considered to be the exceptional case in the
corpus of African art: art objects created for art’s
sake. Void of any religious significance or
ceremonial function, these realistically crafted
sculptures were used by chieftains as purely
decorative objects. The chieftain took pleasure
in them as they are, appreciating the
extraordinary beauty of the objects and the
inherent skills of the craftsmanship.
This
sculpture of a man bears the stylistic signatures
of Dan figurative art including the bulbous limbs
and the planar feet and hands. His head is
crowned by an elaborate cruciform hairstyle
erupting from the center of her head that
enhances the sense of his beauty. Such
hairstyles also imply an elite status when one
considers both the other person who must style
the hair and the time-consuming labor involved
in braiding. The decorative bands he wears just
below his knees, his numerous bracelets, and
his
necklace with three banana-shaped pendants all
imply his wealth and rank in society. Such a
splendid masterpiece of sculpture needs no
ceremonial or religious purpose to achieve its
power. The force of this artwork is the art itself
and the hand of the sculptor. Originally, this
work was coveted as an object of beauty by
chieftains of the Dan tribe. Today, we appreciate
this same striking beauty much as the chieftains
would have almost a century ago.