MASKS
Often tradition dictated following a specific type of design when constructing a mask. Because each creation must always be recognizable and a true representation of the traditions that produced it, the objects deviate from an established style in only  small details. They are variations on very specific themes.
Although we admire masks as art, they had totally different meanings for their creators. The fact that there is no one word in most of the thousand or so languages still spoken in Africa that translates into the word “art” helps to verify that most of what we consider “African Art” was in fact, produced for utilitarian purposes. One ceremonial mask would have a similarity to others made for the same ceremony.
Variation is found in the masks made for boys’ circumcision ceremonies. Although those made for the village dancers to use during the ceremonial dances followed specific characterizations, those carved by the initiates themselves showed the imagination of their creators. These young boys preparing for their induction into manhood often designed and carved a mask to be used at their final “graduation” ceremony. These were often characterized by sincerity, purity, authenticity and often, naiveté.
Distinct characteristics, such as carved hair style, inset or protrusion of the eyes, beading details, use of raffia hoods, feathers, painted finishes etc. make it possible to identify a mask as  being produced and used by a particular tribe. Details in the mask often make it possible to identify what traditional ceremony the mask was used for.
The inevitable effects of age, such as the patina caused by the rubbing of facial skin and hair against the inside of the mask over countless uses become visible and increase their value. Aging wood looses a lot of moisture. Therefore, the weight of the wood decreases as it ages. Since Africa is rich in exotic woods, not well known in this country, one must take into consideration the type of wood one is "weighing. This requires expertise.
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