Sao Putchu Guinadji equestrian figure
€75.00
This small copper-alloy equestrian figure belongs to the group of horseman amulets known in the literature as Putchu Guinadji, chiefly documented in the Kotoko region of the Lake Chad basin, between northern Cameroon and neighbouring areas of Chad and Nigeria. Recent research favours the broader geographical attribution Kotoko region rather than an exclusively ethnic identification, since such objects also circulated among several neighbouring peoples.
Cast by the lost-wax process, the figure has a compact construction in which horse and rider form an almost inseparable sculptural unit. The tapered legs of the mount, strongly curved volumes and spiral or striated motifs give the piece a particularly striking graphic presence.
The term Putchu Guinadji probably derives from the Fulfulde expression puccu ginnaaji, meaning “horse of the spirits/genies”. These riders were used as protective and therapeutic amulets, particularly in the treatment of disorders understood locally in relation to spirit possession.
Their exact symbolism nevertheless remains debated: the rider may represent a spirit, a protective warrior, or an agent intended to control it.
Shipping fees
02719
Data sheet
- Presumed dating
- Mid XXth century
- Size
- 5 cm
- Ethnic group
- Material(s)
- Bronze
- Country
- Stand
- Included
- Condition
- Excellent
This small copper-alloy equestrian figure belongs to the group of horseman amulets known in the literature as Putchu Guinadji, chiefly documented in the Kotoko region of the Lake Chad basin, between northern Cameroon and neighbouring areas of Chad and Nigeria. Recent research favours the broader geographical attribution Kotoko region rather than an exclusively ethnic identification, since such objects also circulated among several neighbouring peoples.
Cast by the lost-wax process, the figure has a compact construction in which horse and rider form an almost inseparable sculptural unit. The tapered legs of the mount, strongly curved volumes and spiral or striated motifs give the piece a particularly striking graphic presence.
The term Putchu Guinadji probably derives from the Fulfulde expression puccu ginnaaji, meaning “horse of the spirits/genies”. These riders were used as protective and therapeutic amulets, particularly in the treatment of disorders understood locally in relation to spirit possession.
Their exact symbolism nevertheless remains debated: the rider may represent a spirit, a protective warrior, or an agent intended to control it.