Tribal Art

Loaded with a sumptuous disparate decoration, this large wooden doll of the Namji or Dowayo , animist mountain people living in the north of Cameroon, forms a refined version of a traditional African doll.
These African tribal dolls are carved in wood by the blacksmith, initially for the play of little girls. But these dolls are mainly used by sterile women in complex fertility rituals, the doll becoming a surrogate child that they will treat as such. In some cases the groom offered it to his future wife, the doll representing their future offspring. The decoration of the doll can also reproduce the finery of the new initiates after their period of confinement.

Collection African tribal art Belgian.
African figure carved Nkisi, nkishi (pl. mankishi) desacralized, acquired in 1950 and transmitted by succession. The magic charge bishimba and the various addendums, metal, trinkets, etc... supposed to reinforce the power of the fetish are absent.
Glossy dark patina. Desication cracks, erosions.

These protective fetishes for homes are among the most popular in Africa. The Nkisi plays the role of mediator between gods and men. The large specimens are the collective property of an entire village, the more modest figures reserved for individual or family use.

African art and fascinating magical sculptures of the Songye.
Masterfully processed variant of the African figure songye nkishi (pl. mankishi), charged with bishimba, ritual ingredients here lodged in the horn. The neck stretched towards the protrusion of the abdomen where the fan-shaped fingers rest on either side, the subject has pyriform legs. The flat and digitized feet rest on a pedestal. Semi-matte black patina lightening towards the base. Cracks, desiccation crack.

These protection fetishes intended for homes are among the most popular in Africa. The Nkisi plays the role of mediator between gods and men. Large examples are the collective property of an entire village, smaller figures belong to an individual or a family. In the 16th century, the Songyes ...

Named boli ( pl. boliw ), buffalo, in African art, this fetish of variable size plays a major role in the ritual life of the Mandinka region . There are pocket "Boliw", others belong to chiefdoms, initiation societies, such as the male initiation associations Kono and Komo whose members progress through a process spanning several decades, and even to states.
Used as altars or performed during dance performances, they are designed from revelations granted to the spirits of the bush and transmitted to the diviners, using active amalgams coming from nature and, or organic: daliluw. These materials are aggregated around an inner frame of bamboo wrapped in a white cotton cloth, then coated with layers of mud and clay, and on their surfaces accumulate over time sacrificial ...

African nkishi (pl. mankishi) statue of the Songye equipped with the bishimba magic charge fixed on the bust. The protruding, metallic eyes distinguish this singular piece. Light brown patina.
The Nkisi, a protective fetish, plays the role of mediator between god and men, responsible for protecting against various evils. The large specimens are the collective property of an entire village, the smaller figures belong to an individual or a family. In the 16th century, the Songyes migrated from the Shaba region to settle on the left bank of the Lualaba. Their society is organized in a patriarchal way. Their history is inseparable from that of the Luba, to whom they are related through common ancestors. Very present in their society, divination made it possible to discover sorcerers ...

Extract from a Belgian African tribal art collection of 17 pieces representing different animals.

This object comes from northeastern Nigeria near Lake Chad, around Maiduguri, in the state of Borno, which is currently relatively inaccessible because it is controlled by armed Islamist groups. The dominant language is Kanuri.
It is a rare piece, associated with protective spirits, which was buried in the ground in order to preserve crops from animals or thieves. The Damosaka families, a very little known minority ethnic group in the region, had this type of ritual object. We have no information about them. The sculpture forms a detailed figurative representation of a wild pig offering realistic proportions. A spongy-looking growth remains on the subject's back. A ...

African fetish of the Songye whose face takes up the structure of the kifwebe mask of the Bwadi ka bifwebe society, but whose hairstyle is embellished with small horns. The sculpture is "desacralized", absence of ritual accessories and of the magic charge whose reddish traces testify to the existence. Black satin patina, cracks and traces of xylophages now eradicated.

The fetish Songye, magic sculpture Nkisi, nkishi (pl. mankishi), plays the role of mediator between gods and men. The large specimens are the collective property of an entire village, while the smaller figures belong to an individual or a family. In the 16th century, the Songyes migrated from the Shaba region to settle in Kasai, Katanga and South Kivu. Their society is organized in a patriarchal way. Their ...

African statuette depicting a small figure in a frontal, straight posture, swaddled in textile then coated with dark crusty materials.
Among the Zigua, this type of sculpture served as a support for initiation. The Sukuma of northern Tanzania use similar figures.
This piece of tribal art 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 Madagascans and Bataks with whom, via maritime trade, contact could once have been established. This sculpture was probably used for didactic purposes during male initiations. She could also embody an ancestor or a spirit.

French African tribal art collection.
Small Dogon altar figure, with a flat face extending to the center of the bust. A posture of devotion for this figure of ancestor coated with a black crusty patina resulting from periodic ritual unctions.
Carved for the most part on commission by a family, Dogon statues can also be the object of worship by the entire community when they commemorate, for example, the founding of the village. However, little is known about their functions. Alongside Islam, Dogon religious rites are organized around four main cults: the Lebe, relating to fertility, under the spiritual authority of the Hogon; the Wagem, ancestor worship under the authority of the patriarch; the Binou invoking the spirit world and led by the Binou priest; and the mask society ...

Sculpted figure Nkisi, nkishi (pl. mankishi ) whose face with the features of the kifwebe mask is underlined with metal sheets. The statue is equipped with a bishimba magic charge inserted into the cavity of the skull. Various addendums, metal, jerks, etc. were additionally supposed to enhance the power of the fetish.
Semi-matte dark patina. Desication cracks.

These protective fetishes for homes are among the most popular in Africa. The Nkisi plays the role of mediator between gods and men. The large specimens are the collective property of an entire village, while the smaller figures belong to an individual or a family. In the 16th century, the Songyes migrated from the Shaba region to settle on the left bank of the Lualaba. Their society is organized in a patriarchal ...

Among the traditional African sculptures associated with the Bukota, this female figure, partially cut into flats, intervened during the initiation rites. In addition, combined with its male equivalent Ntanda, it guaranteed conflict resolution. Velvet matte patina, red and white ochre highlights. Crack on the base.
The Metoko and the Lengola, whose ritual sculptures are very close, are peoples of the primary forest dedicated to the worship of a single God, a monotheism rare in Africa. Their three-grade society, the Bukota, structured daily life and welcomed both men and women. It represents the equivalent of the association Bwami of the Lega. The sculptures played a role in the initiation ceremonies, and were then placed on the tomb of high-ranking initiates. Kakungu in particular ...

Despite their small number, the thirty thousand Mambila (or Mambila, Mambere, Nor, Torbi, Lagubi, Tagbo, Tongbo, Bang, Ble, Juli, Bea)(the "men", in Fulani), settled in the northwest of Cameroon, have created a large number of masks and statues easily identifiable by their heart-shaped faces. Although the Mambila believe in a creator god named Chang or Nama, they only worship their ancestors. Their leaders were buried in granaries like wheat as they were believed to symbolize prosperity. Masks and statues were not to be seen by women.
Made according to recurring canons, these statues supposed to embody the ancestors frequently have small tenons as a hairstyle. An orifice was made on the barrel bust of the effigy which was to be dedicated to a therapeutic rite. The head is extended ...

African art lega and introductory materials. African tribal sculpture Sakimatwematwe (Multi-heads) belonging to an insider of the Bwami, among the many others used during the initiations, its structure is in the form of a central trunk around which four losangic faces are directed in all directions. 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 ...

Acquired in Savalou, Benin by the owner, this boccio features a figure with arms tightened around the trunk and comes in rounded shapes. A thin cotton cloth, draped around the legs, was knotted on the object partially coated with ochre clay. Very good condition.
The botchio (from bo: 'evil' in fon, and tchio , 'cadau') erected at the top of a pole was erected at the entrance of the village or a house in order to remove any threat, physical or spiritual. Some of them took minimalist forms, barely put on around a central trunk. The multitude of gods fon (the vodun), similar to those of Yoruba under different names, is represented by fetishes of all shapes and kinds. Their sanctuaries can be found in Togo, Dahomey, and western Nigeria. Statuettes embodying the legba protectors of the ...

Spherical head framed by large ears and pierced pupils, tubular bust and semi-flexed legs, this statue without arms is swaddled in a cloth on which dark residues crystallize.
Among the Zigua, this type of sculpture was used as a support for initiation. The Sukuma of northern Tanzania use similar figures.
This piece of tribal art 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 Batak with whom, via maritime trade, contact could once have been established. This sculpture was probably used for didactic purposes during male initiations. It could also embody an ancestor or a ...

French African tribal art collection.
The African art of the Byeri cult is illustrated by various anthropomorphic sculptures acting as "guardians" and embodying the ancestor.
This rare object (reliquary guardian of atypical form?), is formed of a piriform body, with a hollowed center, surmounted by a figurative motif associated with the ancestors of the clan. Patina of use, greyish brown. Cracks. Among the Fang, the boxes containing the relics of illustrious ancestors were kept by the oldest man in the village, the "esa". Topped by a statue or a head that acted as a guardian of the "byeri" boxes, they were stored in a dark corner of the hut, supposed to divert evil influences to someone else. They were also used during the initiation ceremonies of young people linked to the ...

The African art stylized from the forest tribes.
Janiform figure symbolizing the male and female, lacking upper limbs, and treated in rectangular planes. This kind of object was used by the Bukota society. Lengola statues could also constitute ritual supports dedicated to therapeutic rites. The inclination of the head gives this sculpted work a great expression of gentleness.
Mottled polychrome and matte patina. Small crack.
The Lengola, are established near the Metoko in the center of the Congolese basin between the Lomami and Lualaba rivers, a primary forest people dedicated to the worship of a single God, a rare monotheism in Africa. Their society,the Bukota, welcoming both men and women, is the equivalent of the Bwami association of the Lega. Their ...

Emblematic of Songye sculpture, this figure adopts the appearance of a Kifwebe mask character, perched on a pedestal. Beautiful nuanced patina, desication cracks.
Ingredients of various origins were introduced into the abdomen of the fetishes, into the horn, sometimes also into sachets attached to the loincloth, in order to reinforce the power of the object. Textiles, feathers and necklaces were also necessary attributes to guard against witchcraft. The Songye came from the Shaba region of the DRC and settled along the Lualaba River amid savannah and forests. Their history is inseparable from that of the Luba to which they are related through common ancestors. Very present in their society, divination made it possible to discover sorcerers and to shed light on the causes of the ...

This naturalistic sculpture depicts a vigorous figure well camped on very large digitized feet, characteristic of the dan sculpture. Ritual anointings left crusty residues on the surface. The necklace accessorized with a cauri, symbol of fertility and wealth, also has a magical reach. Abraded spotted patina.
As gifts of women, food, festive ceremonies and honorable status once rewarded the dan sculptors to whom this talent was granted during a dream. The latter was the means of communication of Du, invisible spiritual power, with men. Statuary, rare, played a prestigious role with its holder. These are mainly effigies of wives, la m , wooden human beings. These are not incarnations of spirits or effigies of ancestors, but prestigious figures representing living people, often ...

Of great visual power despite its starkness and the somewhat "frustrating" nature of its creation, this Songye fetish sculpture seems to have been stripped of its magical accessories. The ritual horn has given way to a cup at the top, and no metal or pearl necklace stands out against the greyish-beige patina of the surface.
Velvety patina, erosions and cracks.
The Nkisi songye plays the role of mediator between gods and men. The large specimens are the collective property of an entire village, the smaller figures belong to an individual or a family. In the 16th century, the Songyes migrated from the Shaba region to settle on the left bank of the Lualaba. Their society is organized in a patriarchal way. Their history is inseparable from that of the Luba to which they are ...

Tribal statuette previously consecrated by the priest nganga , it has a magical charge lodged in the abdominal cavity blocked by glass. The load or bilongo consists of various ingredients from the natural environment including red clay, red wood powder tukula, white clay pembe... , but possibly human fragments such as teeth, nails, hair. This fetish of conspiracy, established on a pedestal, was therefore supposed to influence adversity. The circular pupils are encrusted with white clay. The face adopts a menacing appearance. The arms are positioned around the abdominal cavity and the back has a classic arch that protrudes the buttocks of the character. The headdress is characteristic of the statuary Beembé and Yombé, other tribes of the Kongo group. The ropes symbolize the action of ...