Tribal Art

The Moba statues are easily identifiable by their minimalist structure invariably presenting the same pattern: an imposing spherical head, engulfed here in the shoulders, sometimes engraved with sketchy features, surmounting a body and filiform limbs. The forward-facing legs, in this case, confer an illusion of movement. The raw wood, clear, criss-crossed, is speckled with blackish residual inlays. The reduced works were intended for the family altar. The tchitcheri less than 25 cm in the capacity of the ichthitcher is a personal talisman.
On the soothsayer's threads were entitled to sculpt this protective effigy. The Tchitcheri sakwa (pl. of Chicherik) represent an ancestor symbolized, founder of the clan, by a human body with an abstract face.
It was originally planted in ...

This sculpture depicting a woman with an ovoid face with regular features and whose pose, hands on her chest, would evoke fertility, is also associated with royal secrets. This attitude indicates that the secrets of royalty, bizila, belong to women through their role as political and spiritual intermediaries. She is pictured wearing a prolonged tiara of a sophisticated hairstyle of braids and copper threads behind a forehead largely cleared by the traditional shaving. The so-called Scarifications u-0022en epi", "tactile mnemonic code", cover the abdomen and lower abdomen, highlighting volumes and protruding umbilical. This type of figure was also used in fertility rituals: young women lacking breast milk came to touch the chest of the statue in the hope of breastfeeding more abundantly. ...

African Art among the Baoulé

The effigy against, probably destined for the cult of the Mbra, presents an evocation of the monkey by the African mask Bo nun amuin, revealing sharp teeth in a quadrangular muzzle. cynocephalic women could not be seen, just like some masks.The animal, frozen in a human attitude, wears an offering cup.These objects whose characteristics are stamped with the Senoufo influence, have several names, which aboya or mbotumbo and belong to the group of " beings-force " or amwin, intermediate between God and men and given to Baoulé by their Creator, just like the sacred masks whose wide open jaw they share. A minor deity named aboya, with a propitiatory aim, these sculptures were to constitute the interior of the spirits to which offerings supports were ...

Ex-collection French African art.
Sculpture associated with the primordial bird that is one of the five animals of the Senoufo cosmogony, the first stage of the creation of Senoufo, and more precisely the calao. Evoked for morphological and behavioural criteria, it emblematicly decorates, in its miniature version, many objects of African art senoufo. Its long beak, " interpreted as the figuration of the male sexual organ" perpetuating the life of the community, returns to land on the abdomen of the animal. Enhanced with rafters and parallel lines, the tricolour patina is matte. Desication cracks, erosions on the base.
Lied to the Poro Society, which introduced young boys from the age of seven into a succession of three cycles lasting seven years, this sculpture of the Setien ...

African statue Nkisi , nkishi (pl. mankishi) of Songye, it has a massive head in the image of the female mask kifwebe named kikashi. The arms are positioned around a bulbous abdomen pointing between a textile-wrapped bulge in which the magic load bishimba has been introduced and a skirt-loin of red fabric belted at the waist. The metallic necklace forms an additional magical accessory.
Patine mate, usual abrasions. Desication cracks. Eroded base.br-These protective fetishes for homes are among the most popular in Africa. Nkisi plays the role of mediator between God and humans, charged with protecting against different evils. Large specimens are the collective property of an entire village, and smaller figures belong to an individual or family. In the 16th century, the Songyes ...

The Tikar populate the western part of Central Cameroon, which is located in the mid-altitude secondary dense forest, along the Mbam River.In this ecotone, the "tikar plain" "(which takes its name from its current occupants ) constitutes a depression which leans to the Mbam (and its Mapé and Kim tributaries) and to the foothills of the Adamawa Plateau, respectively, to the west and north. south of a long draining zone of the main rivers of the center of the country (Djerem, Sanaga, Bénoué) From the ethnic point of view, the current limits of the Tikar country coincide with those of Bamun in the west (Foumban), Mambila in north-west, Fulbe to the south, Babouté to the southeast (Yoko) and small individual groups (Djenti, etc.) scattered on its borders.

This male figure was intended to be recorded by the posterior stalk on the basket housing the relics of the ancestors. Wearing a three-hulled crest characteristic of the Mvai warriors of the Ntem Valley, this ancestor effigy with an offering horn has a concave face with a large pout.
odlened dark bois, indigenous restoration on one leg, missing on one foot and érosions.br / In the Fang of Cameroon and Gabon, each family has a Byeri, or reliquary box, in which the bones of ancestors are preserved. These boxes were guarded by the oldest man in the village, the esa. The reliquary boxes were surmounted by a statue or a head that acted as the guardian of the 'byeri' boxes. These were kept in a dark corner of the box, and were intended to divert evil influences to someone else. They were ...

African art lega and the many introductory materials.
Vocation of foresight, this African statuette Sakimatwematwe (Multi-heads) forms a sculpted symbol for an insider of the Bwami. A long neck is topped with bleached faces. The teacher guided the aspirant to a place where masks and statuettes were exposed, and it was through careful observation that the future initiate had to guess the more or less complex meaning of these metaphors, the latter referring largely to proverbs and sayings. Those who were not allowed to see the object, in order to be protected, had to submit to expensive ceremonies, and sometimes even join the lower rank of the Bwami, the kongabulumbu, at great expense to the families. Each of these initiations took place over seven days and featured at least seven ...

Statuette dressed in a garnet textile, bordered at the waist and ankles of a fringe of vegetable fibers. The oversized face, which is divided into a golden brown and burgundy tone, features the famous "zanze" look with half-closed eyes. This sculpture can be associated with a fertility cult. Desication cracks, usual abrasions.
The seed live on the banks of the Kwilu, while the have settled on the banks of the Kasai river downstream of Tshikapa. The influences of the neighbouring ethnic groups, Mbla, Suku, Wongo, Leele, Kuba and Salempasu, were imprinted on their large tribal art sculpture. Within this diversity the masks Mbuya, realistic, produced every ten years, have a festive function, and embody different characters, including the chef, the soothsayer and his wife, the ...

French African art collection.
Incarating a protective entity to which sacrifices were periodically dedicated, this motherhood figure harvested in Guinea-Bissau embodies the concept of local beauty, sculpted with many details such as sophisticated hairstyle, necklaces and bracelets, young woman's breast. Cracks and abrasions.
Mêlés aux Nalu and Landuman , the Baga live along the coasts of Guinea-Bissau in areas of swamps flooded six months a year. These Baga groups based on the coast and living from rice farming are made up of seven subgroups, including the Baga Kalum, Bulongic, Baga sitem, Baga Mandori, etc. They believe in a creative god called Nagu, Naku, which they do not represent, and which is accompanied by a male spirit whose name is Somtup. Apart from the famous Nimba ...

Ex Belgian tribal art collection.

This pair of bembe statues impresses by its dimensions. It is about a couple. The man holds a knife and a miniature head covered with kaolin while the woman holds a child on her arm, also covered with kaolin.
Both large figures have a relatively crusty reddish patina. Both wear black ornaments, such as bracelets. They wear a hemispherical headdress topped with a white growth.
The features of the faces are also demarcated from the patina using black pigment, as are the genitals. Bembe statuary has the particularity of highlighting the genitals, especially the male ones, sometimes in surrealist proportions.

The Bembe ethnic group is a Luba branch that left the Congo in the 18th century. Their society and artistic tendencies ...

The African art of the cult of Byeri is illustrated by various anthropomorphic sculptures acting as 'guardians' and embodying the ancestor. The boxes containing the relics of illustrious ancestors were kept by the oldest man in the village, the esa. Surmounted by a statue or head that acted as the guardian of the 'byeri' boxes, they were stored in a dark corner of the box, supposed to divert evil influences to someone else. They were also used during the initiation ceremonies of young people linked to society. So, so. During the holidays, the statues were separated from their boxes and paraded. Pre-events were carried out on some statues for therapeutic purposes.
This statuette intended to be boxed in a basket-reliquaire by the posterior peduncle, has a prognathic machoîre in which ...

Reliquary sculpture devoid of crescent crest usually accompanying this type of pieces. Two broad ears frame a flat face where the bulging forehead is surmounted by an outgrowth. The piece alternates with gold veneers and highlights of orange copper wire, while the neck is wrapped in a large sheet of black metal. Restorations using long staples were carried out on the damaged foot.
Among the shira-punu group, Les Massango , Mashango , Sango, Sangu, settled on the Chaillu massif in Gabon and in the province of Ngounié. The use of the bone baskets of the deceased, on which sculptures of this type reigned, was widespread throughout Gabon, ches the Fang, the Kota, but also the Mitsogho and Massango , in which this cult takes the name of Bumba. The sculptures playing the role of "medium" ...

Slightly curved plateau topped by a miniature protective figure supposed to embody an ancestor communicating with the guardian spirits, "mvidye", intermediate between the spiritual world and individuals, and also able to embody the spirits of nature among the Luba of Kasai. The motifs engraved on the tray are linked to a mnemonic proverb or code associated with the myths, origins and precepts of Luba royalty. This object allowed followers of the Mbudye to transmit during codified rituals, through stories and songs, the genealogy of the founding heroes, the history of the clan's migrations, etc.
Light Brown Velvety Matte. Height on pedestal: 45 cm
Shest the Luba, the king, mulopwe, occupied the highest place of a complex command system. He partially delegated his powers to ...

With large circular ears forming one of the specificities of East African statuary, this asexual figure is depicted in a frontal psoition, legs spread from the width of the pelvis, hands positioned on the bust surmontanty a slightly swollen abdomen. The hollowed-out pupils had to be encrusted with beads in the past. Locally abraded brown skate.
This type of sculpture comes from the northeastern region of Tanzania, bordering Kenya, facing the Indian Ocean, where the Paré, Shamba, Zigua, and Mbugu tribes live. A relative homogeneity characterizes the productions of these groups, recalling some of the Malagasy and Bataks with whom, via maritime trade, contact could once have been established. This piece was probably used for educational purposes during male initiations. It could also ...

There is a wide variety of Fang statues within African art linked to the cult of Byeri.
This anthropomorphic sculpture, intended to be boxed in a basket-reliquaire by the posterior peduncle, has a concave face with the prognathic machoîre. The morphology is long, the importance of lineage is symbolized by the umbilical tenon and genitals. The attitude, on tiptoe, is common tpeu. Black patina, satin, scattered erosions.
The boxes containing the relics of illustrious ancestors were kept by the oldest man in the village, "esa". Surmounted by a statue or head that acted as the guardian of the boxes "byeri", they were stored in a dark corner of the box, supposed to divert evil influences to someone else. Samples were also taken from the figures for therapeutic purposes. They were ...

Ex-collection African tribal art Polargo USA 1955 - Mercier Belgium 1978.
This anthropomorphic figure of balanced proportions is depicted frontally, perched on a promontory whose base with holes allowed to fix the basketry and fabrics that concealed the dancer. The semi-flexed legs evoke the tribal dance mbobo of the girls during the ceremonies of the Ogbom , taking place in front of the altar at the end of periods of confinement. This danced ritual was dedicated to the deity of the earth named Ala in the Igbo , and Isong in the Ibibio. The masks were then kept near the chimney ducts of the huts in order to be protected from insects. Glossy dark patina, localized abrasions. Ex. Belgian collection Mercier.The Eket, established in southeastern Nigeria, are a subgroup of the Ibibio ...

Living to the east of the Luba kingdom on the banks of the Mbujimayi River, and having adopted part of the Luba culture, the Kanyok created prestigious objects, water pipes, neck presses, sticks, and stools, and dark wooden carved statuettes bearing bun hairstyles depicted in different postures.
On the Kanyok religion, the human being consists of three sets: body, soul and spirit. They believe in a supreme being named Tang a Ngoy.
The characters without scarifications and adornments stand opposite, faces close together, the woman sitting on her spouse's thighs. The oiled, dark brown patina has weak abrasions. Misses the end of a foot. Indigenous restoration on a thigh.

The African art of the Byeri cult is illustrated by various anthropomorphic sculptures that serve as "gardiens" and embody the ancestor.
The boxes containing the relics of illustrious ancestors were guarded by the oldest man in the village, the "esa". Surmounted by a statue or a head that acted as guardian of the boxes "byi", they were stored in a dark corner of the box, supposed to divert evil influences to someone else. They were also used during the initiation ceremonies of young people linked to the company "So". During the holidays, the statues were separated from their boxes and paraded.
This statuette intended to be recorded in a basket-reliquary by the posterior stalk, has a head with metal-circled eyes, and a sulky mouth with eroded volumes. The pattern of the ...

French tribal art collection.
This statue embodying a village spirit was used by the ancient baga to demand favor and protection of ancestors. A square in the centre of the village housed these statues, which were the subject of offerings. Some of them were used for divination. The head follows the structure of the Baga Nimba mask, whose busqué nose refers to the calao's beak, and an incised hair divided by a crest. This national symbol can reach up to 50 kg in its largest versions. Real name Demba / D'mba (or Nimba in baga language), it represents the nurturing woman, but also the fertility of the calao thanks to its beak-shaped nose. Supposed to increase harvests, arouse pregnancies, the mask is displayed at various ceremonies, celebrations and funerals.
Desication cracks, ...

Deep whitened orbits and wide rictus give an unusual character to this statue embodying the spirit of a great ape. It also serves as a reliquary thanks to its hollowed-out bust on the back, shuttered by a shutter. Tapestry nails highlight certain features. Dark skate abraded locally. Erosions.
Established in the equatorial forest between Cameroon and Gabon, the Bulu are part of the Fang ensemble that use sculptures as part of the cult of ancestors. As the Fang of South Cameroon famous for their large white masks, the Boulou, Bulu, also practiced the ritual Ngi , Ngil in order to fight witchcraft and poisoning. Ngi is the anthropoid monkey, a fearsome animal to which the applicant identifies after his acceptance into the secret society. (African Art, Mazenod).