This is a retablo painted by Aureliano Lorenzo. He is a member of a family of masters of Mexican folk art.
This family is from the state of Guerrero Mexico, a small village in the rio balsa area where most of the amate style painters live. Their work is in the style of the amate paintings that you see on bark paper but these are painted on masonite and laquered afterwards. Most depict dances, village scenes, saints, animals performing human acts, popular figures such as luchador wrestlers and skeletons along with the supernatural. T The entire family, including the youngest of children paint from an early age.
A huge and superbly painted painted hand carved wooden jaguar masks from Oaxaca. This is a tradition form of folk art in Oaxaca. These vibrantly painted animals are called Alebrijes. This one measures about 10X10"
This poncho come from the very fashion conscious Zinacantan. Textiles are important here and the color motifs and even techniques appear to change dramatically every few years! This one is probably from the early 90's and is hand woven and extensively hand embroidered. This poncho has been handwoven and then embroidered with fabulous fanciful and sensual floral patterns. This bright color way is no longer produced making this a rare piece. The fringe at the bottom is fine and hand twisted.
These look lovely as wall hangings and can be simply hung with a dowel.
It measures 21 wide X 23" long not including the tassels.
These are tremendously beautiful masks from Gabon. Really gorgeous.
This one measures 16 x 7 inches. The condition is as shown in the pictures.
This is some information about these masks from the Met Museum website and the Art Institute of Chicago website:
In the Punu communities of southern Gabon, mukudj masks are considered portraits of an exceptionally beautiful female member. The coiffure, featuring a prominent sagittal lobe flanked by two lateral tresses, is a classic style of dressing women's hair practiced throughout the region during the nineteenth century. Lozenge cicatrization markings were incised on the forehead and temples of Punu women as a form of aesthetic embellishment and a sign of sensuality. Classic mukudj masks often emphasize a subdivision of the motif into nine units, which is significant in light of the fact that, among the Punu, nine is considered a mystically powerful number and a catalyst in the healing process. In mukudj mask representations, the prominence of the number nine, as well as the red band that accentuates the hairline, make reference to the mystical powers commanded by the dancer. It is those powers that are believed to provide him with the talent and protection necessary to perform. The stylized rendering of the eyes, represented as closed slits, evokes a meditative serenity while at the same time affording the wearer an unobstructed view of the performance arena he must negotiate. The application of white kaolin to the surface of the masks is a reference to spiritual transcendence. The white clay is a sacred material linked to the parallel ancestral realm of existence and also a cosmetic associated with idealized beauty.
Mukudj dances are commissioned by community leaders to mark important occasions-to commemorate the memory of an important member of the community, to celebrate the return or the visit of an honored individual, or to mark a development that will enhance the community's well-being. The mukudj dance is performed on stilts of up to three meters in height; dancers must train from childhood to master the difficult and demanding choreography. During official celebrations, a mukudj dancer towers above his audience and executes acrobatic feats that demand agility, strength, and an acute sense of equilibrium. Because of the extraordinary nature of the performance, dancers are perceived as exceptional individuals who draw upon mystical powers to accomplish such a feat. The thrilling spectacle of mukudj performances alternates between passages of lyrical grace and explosive power.
Mukudj performances are appreciated as the most aesthetically appealing and exciting form of expression in Punu culture and consequently have become a national icon of Gabon. Mukudj masks are displayed as proud insignia of Punu cultural identity in domestic contexts in the capital, Libreville, as well as in rural villages of the remote interior.
This mask is defined by an elaborate and highly stylized bi-lobed coiffure, painted black, which frames an idealized female face. The face is painted white with kaolin, which both references the earthly beauty of the woman represented and symbolizes the spirits of past ancestors. The diamond-shaped scarification marks on the forehead and the square-shaped marks on the temples emphasize the perfect, symmetrical beauty of the face, with its dramatically arched eyebrows, almond-shaped slit eyes, small ears, delicate nose, and slightly protruding mouth and chin. Mukudj masks became extremely popular among European art collectors during the 1920s and 1930s, as their aestheticized and abstract attributes intersected with the ideals of modern art. Today the Punu especially embrace the mukudj mask as a sign of ethnic identity, thus often displaying them within their private domestic spaces and incorporating them into a host of celebrations and communal events.
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