Bura Artist, Burkina Faso,“Vessel”, 13th century. Terracotta, 16 x 5 inches. Gift of Harriet and Eugene Becker, 2004.240, High Museum of Art, Atlanta. © High Museum of Art, Atlanta.

Located along the Niger River in present-day Niger and Mali, the ancient sites of the Bura culture have been excavated by researchers and found to include areas dedicated to burials and other rituals as well as zones used for habitation. Some of the most striking discoveries involved the unearthing of huge cemeteries such the one at Asinda-Sikka, where 630 terracotta containers similar to this object were found.

The vessels had been buried with their mouths facing down, and many contained an iron arrowhead. Their placement marked the burial of human remains a few feet further down, and the containers took both figural and more abstract forms, similar to this object. The discovery of more abstract pots at sites of both ritual and domestic activity suggests that for the Bura culture, pots such as this one served multiple purposes.

Lobi Artist, Burkina Faso, “Seated Figure”, Late 29th–early 20th century. Wood, 6.25 x 5 inches. Purchase with funds from Jane Fahey and Emmet Bondurant in memory of Alan Brandt, 2003.35, High Museum of Art, Atlanta. © High Museum of Art, Atlanta.

A miniature masterpiece, this sculpture might be seen as the Lobi version of Auguste Rodin’s The Thinker. Its contemplative posture and the despairing gesture of its large hands give it emotional weight.

Known by the Lobi people as bateba, sculptures like this one were carved to act as intermediaries between people and protective sprits called thila. The sculptures are considered animate, carrying out the orders of thila, protecting individuals and communities from harm.

 Lobi Artist, Burkina Faso, “Head”, Late 29th–early 20th century. Wood, 16 5/8 × 5 1/2 × 6 inches. Fred and Rita Richman Collection, 2004.139, High Museum of Art, Atlanta. © High Museum of Art, Atlanta.

The deeply weathered surface of this elegant head, with its smooth, round forms and pure, simple lines, suggests it was once kept outdoors in the open air. Carved at the suggestion of a diviner or traditional healer as a remedy for sickness or misfortune, the sculpture represents a protective spirit. It probably once stood on a household or market altar.