text: [{"text_idx": "#000003", "text": "The range of composition and formation of Fossungo Dagnogos masks is very small. He did hold on one style for decades, though he is known for achiving a pure \"modern\" style. About\n10 Kpelie\u0301 masks in exact the same style are known and documentated. Fossoungo was a close friend of Songuifolo Silue\u0301. Provably Silue\u0301, who was 20 years younger than Fossoungo, was\ninfluenced by the simplicity of Dagnogos masks. Both were Fono. Typical for both carvers is the triangularly formed facette on the back. It is said, that Fonos had problems to deepen the\nback of their masks with their limited tools. A Koule\u0301 works with a wider range of hatchets and knives for a more precise, even and detailed carving (read more in the blog article: Signs\nof a Kpelie\u0301 mask cearved by a Fono)."}, {"text_idx": "#000004", "text": "Fossoungo Dagnogo did carve for almost 60 years. Working with just one style, his masks can be compared. There are certain developmental levels in his work to determine the age of his Kpelie\u0301.\nOlder masks, carved before 1950, are flat and unevenly. Masks from around 1960 show more volume, are balanced and even. Persumibly Fossoungo got also influenced by Songuifolo Silue\u0301, who\nbecame a well known master after 1950. The mask on the right is very similar to masks made by Silue\u0301 in the late 1960ies."}]