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Baga Bronze Plaque with Intertwined Snakes 19" - Guinea
Baga Bronze Plaque with Intertwined Snakes 19" - Guinea
Baga Bronze Plaque with Intertwined Snakes 19" - Guinea
Baga Bronze Plaque with Intertwined Snakes 19" - Guinea
Baga Bronze Plaque with Intertwined Snakes 19" - Guinea
Baga Bronze Plaque with Intertwined Snakes 19" - Guinea
Baga Bronze Plaque with Intertwined Snakes 19" - Guinea
Baga Bronze Plaque with Intertwined Snakes 19" - Guinea
Baga Bronze Plaque with Intertwined Snakes 19" - Guinea
Baga Bronze Plaque with Intertwined Snakes 19" - Guinea
Baga Bronze Plaque with Intertwined Snakes 19" - Guinea
Baga Bronze Plaque with Intertwined Snakes 19" - Guinea

Baga Bronze Plaque with Intertwined Snakes 19″ – Guinea – African Art

$950.00 $855.00

1 in stock

Discover African Art Handmad Badge

This Baga plaque features two snakes intertwined, a typical depiction in Baga art. The plaque is 19 inches tall and weighs 8.5 pounds. This piece would make a wonderful addition to any collection.

Type of Object

Bronze Plaque

Country of Origin

Guinea

Ethnicity

Baga

Animal

Material

Copper Alloy

Approximate Age

Unknown

Height

19"

Width

15"

Depth

2.5"

Weight

8.5 lbs

Overall Condition

Bronze and metal pieces may have signs of corrosion and wear and tear. See photos or inquire for more information.

Tribe Information

About the Baga People


The Baga people live amid the southern swampy lands of the Guinea Atlantic coastline. According to oral tradition, they originally lived along the interior highlands but were driven westward by their neighbors. The name ‘Baga’ is believed to have come from the phrase ‘bae raka’, meaning “people of the seaside”.
Read more about the Baga here.

Additional Information

About Lost-Wax Casting Method

In-direct lost wax casting is the most basic form of metal casting seen in African cultures. Scholars have yet to establish exactly how it was introduced and developed in West African regions, but it is known that it was being used prior to Portuguese explorers’ arrival in the late 1400’s.
To use this method, the artist must begin with a low melting point material that can retain its shape but is soft enough to carve intricate details into, such as beeswax. Once the artist finishes carving the details, layers of clay are applied to the outside and then left to dry. The first layer of clay applied takes on the details, while the additional layers of coarser clay provide strength to the entirety of the mold. Once fired, the wax is then melted, leaving only the baked clay shell. Liquid metal is then poured into the empty clay mold. Once the metal has hardened and cooled, the clay exterior is then broken. This process reveals the finished metal object, which is always unique due to the mold being destroyed during the final process.
Many West African sculptors have altered this method by using multiple castings, which can be used to create hollowed and thin metal figures. One of the ways to achieve the hollowed result is creating the wax sculptures over a formed clay core. Iron spikes are used to attach the solid clay core to the clay layers of the mold. The metal is then poured inside and left to cool and hardened. At the end of the process, the clay core is then broken up and removed and the final brass work is finished. These hollowed pieces can then be united to create larger figures or vessels.

Source:
Apley, Alice. (2001, October) African Lost-Wax Casting Essay. http://www.metmuseum.org/toah/hd/wax/hd_wax.htm