260247 - Old African Rare pair of Konkomba sculptures - Ghana

A pair of Konkomba sculptures, Northern Ghana, borderdestrict Togo, dense wood, posted on blackeed stands.
Height: 73 cm / 73 cm inl. stands
Weight: 2,3 kg / 2,1 kg incl. stands.

This Konkomba sculptures are dated mid 20th century and comes with a certificate of authenticity.

Konkomba sculptural production belongs to the broader corpus of so-called Voltaic or Gur-speaking societies of northern Ghana and northern Togo, yet it remains comparatively understudied and rarely attributed with certainty in early collections. The sculptures are primarily ritual objects embedded in lineage shrines, earth cults, and protective contexts rather than prestige artworks or markers of political authority. Their meaning is inseparable from Konkomba social organization, which lacks centralized chieftaincy and instead emphasizes clan-based ritual control.

Most known Konkomba figures are carved in wood or forged in iron and are modest in scale. Wooden figures are often vertically oriented, compact, and rigid, with simplified anatomy, cylindrical torsos, and short, block-like limbs. Facial features are schematic, frequently reduced to incised eyes, a projecting nose, and a closed mouth, creating an expression of restraint and containment. Proportions are not naturalistic but symbolic, emphasizing stability and spiritual presence rather than movement or individuality. Surface treatment is minimal, and traces of sacrificial encrustation or patina are often the primary markers of ritual use.

Functionally, these sculptures are closely associated with shrine practice, ancestor mediation, and protection against illness, infertility, or misfortune. Figures may serve as material anchors for spiritual forces rather than representations of named ancestors. In this sense, Konkomba sculpture operates less as commemorative portraiture and more as an active instrument in ritual processes. The power of the object derives from consecration, use, and the accumulation of sacrificial substances rather than from formal elaboration.
Iron figures and objects, though rarer in collections, play a significant role within Konkomba ritual life. Iron is associated with transformation, danger, and spiritual potency. Forged anthropomorphic forms or assemblages may be linked to earth shrines, hunting magic, or protective rituals. Their visual austerity reflects a broader Konkomba aesthetic in which efficacy outweighs visual complexity. The object’s capacity to act within a ritual system is paramount.

Stylistically, Konkomba sculptures are often confused with works attributed to neighboring groups such as the Bassari, Moba, or Gurunsi, due to shared formal characteristics across the savannah belt. However, Konkomba works tend to be more restrained and less expressive than Moba figures, lacking the aggressive angularity or exaggerated gestures found further north. This visual restraint corresponds to a ritual logic oriented toward balance and containment rather than confrontation.[5]

In European collections, Konkomba sculptures entered largely without precise documentation, often misattributed or grouped under generalized labels such as “Northern Ghana” or “Voltaic.” Only through later anthropological research has it become possible to situate these works within Konkomba ritual systems. As a result, their significance lies not in stylistic innovation but in their capacity to illuminate an alternative sculptural tradition rooted in acephalous social structures and localized ritual authority.[6]

Footnotes
[1] Skalník, P., “Political Anthropology of an African Stateless Society: The Konkomba of Northern Ghana,” African Studies Review, 1984.
[2] Roy, C., Art and Life in Africa, Iowa City, 2001.
[3] Goody, J., Death, Property and the Ancestors, Stanford, 1962.
[4] Herbert, E., Iron, Gender, and Power: Rituals of Transformation in African Societies, Bloomington, 1993.
[5] Falgayrettes-Leveau, C., Afrique noire: Arts et civilisations, Paris, 1991.
[6] Lentz, C., Ethnicity and the Making of History in Northern Ghana, Edinburgh, 2006.