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Lot 81
Kongo-Vili or Yombe Power Figure, Democratic Republic of the Congo
21 November – 5 December 2024, 12:00 PST
Online, Los AngelesUS$40,000 - US$60,000
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Kongo-Vili or Yombe Power Figure, Democratic Republic of the Congo
nkisi nkondi: mangaaka
Wood with varied light and dark brown patina, metal, glass eyes
Height 30 3/4in (78cm)
Provenance
Jean-Pierre Hallet Collection, California, acquired in the Democratic Republic of the Congo in the 1950s
Belgian Private Collection
Native, Brussels, 5 October 2019, Lot 59
Pierre Dartevelle (1940-2022), Brussels
Thence by descent
In her discussion of mangaaka figures, Alisa Lagamma notes, 'It is clear that these massive, elaborate representations that generally measure more than a meter in height were hugely ambitious works intended to inspire respect for local authority and to terrify those who might dare to challenge it. The sculptors involved with these commissions were indubitably seasoned professionals. [. . .]
[. . .] The visual definition of an unbounded, immaterial force invoked to fulfil its role as defender of its community and supreme arbiter of conflicts was interpreted by the carver as an arresting and intimidating figure. While the effort of every sculptor who took on this challenge varied in its success, a common goal was to underscore revered qualities of authoritative leadership, keen sensory acuity, and formidable physical force. The head was the focal point of the body, "modelled carefully and at the expense of the other parts." (Madaus, Holzfiguren des Kongo-Kassai-Gebietes, p. 9) The crowning element--an mpu cap with a pronounced knob--has been articulated variously by different carvers through relief-defined contours and a surface often filled with incised geometric patterns that refer to its looped and knotted designs.[. . .]
[. . .] In the most sculpturally accomplished of the figures, the transition from a sensitively rendered head to a colossal body is especially dramatic. The expansive torso dominates the overall composition. It is framed at either side by the curved arc of shoulders that extend laterally as arms and terminate in hands held at the waist. The upper arms feature depictions of tied raffia-cord bands known as nsunga, a charm that protects a ritual expert from witchcraft. (MacGaffey, Kongo Political Culture, p. 113) The extent of the negative space that exists between the arms and the body changes considerably. The broad trunk is often inclined at an angle so that it leans forward aggressively and invades the viewer's space.[. . .]
The stance of arms akimbo with hands on hips has been described as pakala and signals an individual's preparedness to confront challenges.' (Thompson, Grand Detroit N'Kondi, p. 215) (Kongo: Power and Majesty, The Metropolitan Museum of Art, New York, 2015, pp. 241-53)
This weathered and fragmented nkisi nkondi, worn by rain and eaten by insects, suggests vitality in the face of adversity, and was probably abandoned by its original owners who felt it was no longer effective or had converted to Christianity. The naturalistic beauty and serene facial expression is a tribute to the sculptor that the figure still appears vital and full of energy. The few remaining metal pieces and nail, together with the multiple nail holes throughout the surface are a testament to the use of arousing the nkisi by driving nails into it.
Wood with varied light and dark brown patina, metal, glass eyes
Height 30 3/4in (78cm)
Provenance
Jean-Pierre Hallet Collection, California, acquired in the Democratic Republic of the Congo in the 1950s
Belgian Private Collection
Native, Brussels, 5 October 2019, Lot 59
Pierre Dartevelle (1940-2022), Brussels
Thence by descent
In her discussion of mangaaka figures, Alisa Lagamma notes, 'It is clear that these massive, elaborate representations that generally measure more than a meter in height were hugely ambitious works intended to inspire respect for local authority and to terrify those who might dare to challenge it. The sculptors involved with these commissions were indubitably seasoned professionals. [. . .]
[. . .] The visual definition of an unbounded, immaterial force invoked to fulfil its role as defender of its community and supreme arbiter of conflicts was interpreted by the carver as an arresting and intimidating figure. While the effort of every sculptor who took on this challenge varied in its success, a common goal was to underscore revered qualities of authoritative leadership, keen sensory acuity, and formidable physical force. The head was the focal point of the body, "modelled carefully and at the expense of the other parts." (Madaus, Holzfiguren des Kongo-Kassai-Gebietes, p. 9) The crowning element--an mpu cap with a pronounced knob--has been articulated variously by different carvers through relief-defined contours and a surface often filled with incised geometric patterns that refer to its looped and knotted designs.[. . .]
[. . .] In the most sculpturally accomplished of the figures, the transition from a sensitively rendered head to a colossal body is especially dramatic. The expansive torso dominates the overall composition. It is framed at either side by the curved arc of shoulders that extend laterally as arms and terminate in hands held at the waist. The upper arms feature depictions of tied raffia-cord bands known as nsunga, a charm that protects a ritual expert from witchcraft. (MacGaffey, Kongo Political Culture, p. 113) The extent of the negative space that exists between the arms and the body changes considerably. The broad trunk is often inclined at an angle so that it leans forward aggressively and invades the viewer's space.[. . .]
The stance of arms akimbo with hands on hips has been described as pakala and signals an individual's preparedness to confront challenges.' (Thompson, Grand Detroit N'Kondi, p. 215) (Kongo: Power and Majesty, The Metropolitan Museum of Art, New York, 2015, pp. 241-53)
This weathered and fragmented nkisi nkondi, worn by rain and eaten by insects, suggests vitality in the face of adversity, and was probably abandoned by its original owners who felt it was no longer effective or had converted to Christianity. The naturalistic beauty and serene facial expression is a tribute to the sculptor that the figure still appears vital and full of energy. The few remaining metal pieces and nail, together with the multiple nail holes throughout the surface are a testament to the use of arousing the nkisi by driving nails into it.
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