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 chiefs 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, planar feet and hands, and the
almond-shaped eyes. His head is crowned by an
elaborate crested coiffure. 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, time
that would otherwise be spent working in the
fields. The decorative bands he wears just above
his knees further 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 chieftain would have almost a
century ago.