The Ashanti/Asante are one of the many tribes that make up the Akan polity. The Akuapem, the Akyem, the Ashanti, the Baoulé, the Anyi, the Brong, the Fante and the Nzema all share general cultural trends while maintaining separate tribal identities. Their society is highly ritualised, with numerous gods under a main deity who varies according to the group in question (Onyame – the Supreme One – is the Asante deity), and a host of lesser gods (Abosom) who are mostly connected with the natural world (earth, ocean, rivers, animals etc). The society is ruled by Asantahenes, and a host of minor chiefs who claim royal status through their connection with the land and the founders of villages upon it. One factor that unites the Akan is the fact that they took a golden stool as their emblem and rose up against the European invaders in the 18th century. The Ashanti live in the central portion of the country, and are arguably one of the most important groups from the artistic point of view. Their Akuaba dolls are one of the most recognisable forms on the continent, while their fascination with gold (which the Akan consider a physical manifestation of life’s vital force, or “kra”) has given rise to a plethora of artefactual and artistic production.

The Asante are perhaps one of the best-adapted tribes in terms of dealing with the effects of colonialism. Their art has evolved – in the manner of the Yoruba sculptor, Thomas Ona – to depict and even lampoon European officialdom and the society it brought about. Likewise pieces such as this show not only the virtuoso potentialities of African carvers, but also demonstrate the fluidity with which they adapted – in this case capturing a slightly irreverent image of a chief or other prominent personage. The precise story behind who it represents is probably never going to become clear, but it remains a superbly rendered and sophisticated piece of African art.