AKYE (AKE, ANKYE, ATIE, ATTIE, ATYE, ATTYE, EBRIE,ANYI,ANGI)
Lagoon Area figures
Côte d' Ivoire

Alangua statues
Below are some other examples of Attye and Angi figures.
Sotheby's - New York
African & Oceanic Art
Auction Date : Nov 11, 2005

Lot 43 :  A FINE ATTIE FEMALE FIGURE

Description
measurements note
height 15 3/8 in. 39cm

standing on finely curved legs, the full hips supporting the elongated cylindrical torso with pointed breasts and protruding navel beneath
the tall neck and helmet shaped head framed by the upraised arms and finely articualated hands supporting a basket at the crown; the
whole covered with raised scarrification with indigenous repairs at the shoulders, left arm and back; softly worn medium brown surface.

PROVENANCE
Alfred Scheinberg, New York, November 1977

LITERATURE
J. Camp Associates, Treasures from the Ivory Coast, 1977: number 62, catalogue of the exhibition, New York, Tribal Art Gallery,
September 24 - November 5, 1977


Estimate:$ 6,000 - $ 9,000
The standing or seated statues of the Attye are some of the most beautiful of all African statuary, combining the best
features of Baule artistry with a uniquely "lagoon" appearance.

The bulbous arms and legs, serene face and stunning body proportions common to the Attye show definite Baule
influence, but they are more daring in their execution, with exaggerated volumes, and the resulting effect is unusual
and very striking in my opinion. These magnificent seated female and male figures are excellent works, with a
dynamic blend of detail and expressiveness, and the carving when viewed from the side reveals an extraordinary
profile.

Unique to the Attye, the prominent, elevated scarification marks are often achieved by the insertion of small wooden
plugs. Representing the forces of female fecundity, these statues are used in rituals to make these forces work. They
are also employed by healers to cure sickness and to convey messages to the spirit world.

Having an area about the size of Germany, squarish Côte d'Ivoire is bordered on the south by the Atlantic Ocean, on
the west by Liberia and Guinea, to the north by Mali and Burkina Faso, and on the east by Ghana. Except for the
western hill country around Man, Côte d'Ivoire is mostly flat. The coastal area is notable for an inland lagoon that
starts at the Ghananian border and stretches 300km (190mi) along the entire eastern half of the coast.

The peoples of the Lagoon area are a loosely-mixed association of 12 different language groups, and their arts are
rare and difficult to attribute. They are all related but, if studied closely, one may find elements that facilitate
identification. The pegs used by the Attye are such a distinction.

Figures among the Attie or Anyi can be a bush spirit. A spirit lover in the other world, or served as a spiritual
presence during sessions with a diviner. Diviners or healers who would make offerings to the figures to carry
messages to the spirit world often used Anyi figures.
Anyi / Angi

The eastern coast of the Ivory Coast comprises an area of lagoons, where the population is divided into twelve different language groups. The cultural and
stylistic unity of these people justifies grouping them together for the purposes of this chapter. Before colonization, each village was autonomous and,
when threatened, they united to form a 'confederation'. Unusually, these people are not governed by chiefs, although a man's social position is determined
by his age.
The sculptural art of this area can be identified by common characteristics. Carvings feature an elaborate coiffure divided into raised masses and
sometimes small button-like scarifications on the face, while the influence of their neighbours, the Akan to the east and the Baule to the north, is also
apparent.

The two principal groups of the Lagoon area are the Ebrie and the Attye (also called Akye). The Anyi people, also called Angi, live to the north-east of this
area and evolved an artistic tradition reflecting the influence of both the Lagoon and the Baule people.
The hairstyle is one known to the Agni peoples. Physical marks (brands) are rather Baulé as well as posture...

Hard wood polychrome, black, white, red, soot...
Lychens or parasitic mushrooms on the neck and the back of the wrist to the right.

Feet are broken.

Mid 20th century - 34cm or 13.3 inches

This object below is not in my collection
It is in the J. Geller Collection, USA
A beautiful Angi maternity figure
17.5" high
This object is also in the J. Geller Collection
Additional information

The eastern coast of the Côte d'Ivoire comprises the area of lagoons. The population here is divided into twelve different
language groups with Akye being one of them. The Akye numbering 55,000 constitute a part of the Akan group of
ethnicities.  Before colonization each village was autonomous and, when threatened, they united to form a 'confederation'.
Usually these people are not governed by chiefs, although a man's social position is determined by his age.

Early Akan economics revolved primarily around the trade of gold and enslaved peoples to Mande and Hausa traders within
Africa and later to Europeans along the coast. This trade was dominated by the Asante who received firearms in return for
their role as middlemen in the slave trade. These were used to increase their already dominant power. Local agriculture
includes cocoa cultivation for export, while yams and taro serve as the main staples. Along the coast, fishing is very
important. The depleted forests provide little opportunity for hunting. Extensive markets are run primarily by women who
maintain considerable economic power, while men engage in fishing, hunting and clearing land. Both sexes participate in
agricultural endeavors.

Royal membership among Akan is determined through connection to the land. Anyone who traces descendence from a
founding member of a village or town may be considered royal. Each family is responsible for maintaining political and social
order within its confines. In the past, there was a hierarchy of leadership that extended beyond the family, first to the village
headman, then to a territorial chief, then to the paramount chief of each division within the Asante confederacy. The highest
level of power is reserved for the Asanthene, who inherited his position along matrilineal lines. The Asantahene still plays an
important role in Ghana today, symbolically linking the past with current Ghanaian politics.

Akan believe in a supreme god who takes on various names depending upon the particular region of worship. Akan
mythology claims that at one time the god freely interacted with man, but that after being continually struck by the pestle of
an old woman pounding fufu, he moved far up into the sky. There are no priests that serve him directly, and people believe
that they may make direct contact with him. There are also numerous gods (abosom), who receive their power from the
supreme god and are most often connected to the natural world. These include ocean and river spirits and various local
deities. Priests serve individual spirits and act as mediators between the gods and mankind. Nearly everyone participates in
daily prayer, which includes the pouring of libations as an offering to both the ancestors who are buried in the land and to
the spirits who are everywhere. The earth is seen as a female deity and is directly connected to fertility and fecundity.

Woodcarving includes human statues, stools, which are recognized as "seats" of power, wooden dolls (akua’ba) that are
associated with fertility, and also ivory and brass objects. Lost-wax casting processes were highly developed among the
Akan – both gold and brass were caste. There are also extensive traditions of pottery and weaving throughout Akan
territory. Kente cloth, woven on behalf of royalty, has come to symbolize African power throughout the world.

Standing and seated statues with bulbous arms and legs produced by the Akye show strong Baule influence, but they are
very marked by their distinctive style. Often  the hairdo is geometric. What is unusual is that the relief scarification marks are
achieved by insertion of small wooden plugs into the carving. Representing the forces of female fecundity, these statues
were used in rituals to make these forces work. This type of statue was known under the tribal name of
alangua.
Source: www.zyama.com
Rand African Art
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