African art - Stick of command, chieftaincy:The batons of command are one of the bases of the tribal herarchy. They are the property of the tribal chief and give him his authority. Often finely carved and always endowed with a patina of use, they are objects that, when plinths, are of the most beautiful effect in an interior.
African art > Stick of command, chieftaincy > Sceptre Luba
Among the emblems of prestige this type of scepter of luba dignitary. He was grounded at inauguration ceremonies and other important rituals. True sources of information about their owners and local history, the sceptres have a varied iconography. The wide part at the top, the dibulu, under the sculpted female figure referring to royalty, represents the administrative centre of each royal capital and bears motifs engraved with parallel lines forming diamonds. These drawings can be found on the mnemonic boards lukasa referring to Luba's political and spiritual history. The cane is divided into several sections engraved with geometric patterns meant to evoke the uninhabited savannahs and roads leading to the kingdom or the chiefdom. Incarnate deceased parents bakishi or spirits bavidye , ...
African art > Stick of command, chieftaincy > Sceptre Tchokwe
The Royal Chokwe Badges and African Art.
Intended to exalt the qualities of the chef, a mark of ostentation, the handle of the scepter presented is topped by a round-bump sculpture featuring Chibinda Ilunga in a sitting position, hunter and mythical hero, founder of the Chokwé ethnic group. Easily recognizable by his ample headdress with curved side wings ( cipenya-mutwe ), he had taught his people the art of hunting. The chiefs had a major function in the propitiation rites intended for the hunting and fertility of women, the objects being adorned with this figure thus, presumably, a protective function. At the top, a pot-shaped element is intended for tobacco, the use of which was widespread among the Chokwe, with smoke serving as an offering to spirits ajimu . Black brown satin ...
African art > Stick of command, chieftaincy > Kongo stick
Tribal statuette fitted with an abdominal cavity to receive a magical charge. The charge or bilongo consisted 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 was supposed to influence the health, prosperity, enemies of its holder. The headdress is characteristic of the statuary Béembé and Yombé, other tribes of the group Kongo.Patine golden mahogany.
Chez the Kongo, the specialist named nganga , was in charge of the rituals by activating a spiritual force with a nkondi (pl. nkissi). The term nkisi was then used to refer to the terms 'sacred' or 'divine' These protective fetishes for homes are among the most popular in Africa. The ...
African art > Stick of command, chieftaincy > Songye septer
Similar in design to the Kibangos of the neighbouring Luba, this Songye scepter is divided into several sections between which appears a sculpted representation of the fetishes in use within the group. Oiled black patina.
The Songye came from the Shaba region of the DRC and settled between the Lualaba River and the Sankuru River in the middle of the savannah and forests. They are governed by the Yakitengé and local chiefs. The secret society Bwadi however, counterbalances their power. Their male masks, with occult powers, were displayed in punitive and disciplinary expeditions. Their appearances remained linked to divinatory and socio-political objectives. (Luba, F. Neyt)
African art > Used objects, pulleys, boxes, loom, awale > Bangubangu emblem
This scepter summit is made up of different sections between which a double janiform figure is associated with the ancestors. The lines recall the art Of Hemba, Kusu and Buyu. The faces are framed by a tiara and a thin beard collar forming raised bars. Brown patina, satin, rubbed with kaolin.
In the east of the R.D.C. Among the Bangubangu of Luba-Hemba origin, who were decimated by slavery, disease, armed conflict, and under the influence of Islam, statuary is rare. The land belongs to the different clans of their society. The main clan is the Bena Bago , under the aegis of an oversized chief named Mulohwe assisted by dignitaries. Each of the clans is led by a chief Sultani. The secret society, Muyi has carved objects, including emblematic sceptres belonging to judges or the society ...
African art > Stick of command, chieftaincy > Bulu stick
Surmounting a hollowed-out bamboo cylinder, a protective figure kneels, his hands fixed on the contours of the mouthpiece on which are wrapped in ribbons of textile and wicker. The Simiesque effigy is surrounded by strips of red fabric. Waste of ritual libations crystallized and clustered on their surface. Satin patina.
aseblis in the equatorial forest between Cameroon and Gabon, the Bulu gont part of the Fang complex that use relic sculptures as part of the cult of ancestors. Like 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, ...
African art > Stick of command, chieftaincy > Hemba Sceptre
This scepter has different sculpted sections forming an iconographic language relating to the history of the ancestor or that of his clan, such as the kibangos of the Lubas. The dominant central subject, appearing in a round-bump above the janus head, represents a singiti. Dark brown satin patina. Erosions.
The Hemba, established in southeastern Zaire, on the right bank of the Lualaba, have long been subject to the luba neighbour who had a definite influence on their culture, religion and art. The cult of ancestors, whose effigies have long been attributed to the Luba, is central to the society hemba. Genealogy is indeed the guarantor of the privileges and distribution of land. All aspects of the community are imbued with the authority of the ancestors. Thus, they are considered to ...
African art > Stick of command, chieftaincy > Sceptre Lunea
The Lwena emigrated from Angola to Zaire in the 19th century, repelled by the Chokwe. Some became slave traders, others, the Lovale, found refuge in Zambia and near the Zambezi in Angola. Their society is matrilineal, exogamous and polygamous. The Lwena became known for their honey-coloured sculptures, embodying figures of deceased ancestors and chiefs, and their masks related to the initiation rites of the mukanda . This prestigious emblem is composed of different sculpted sections, including a female figure depicted kneeling, eyes closed, topped with janiform faces wearing a tiara. Light wood coated with abraded black pigments.
Paisiblely settled in eastern Angola until the 16th century, the Chokwé were then subjected to the Lunda empire from which they inherited a new ...
African art > Stick of command, chieftaincy > Sceptre Lulua
Prestigious stick with a cephalomorph handle extended from a ring section forming the neck. Beautiful abrased patina, slight gaps, desictating cracks.
The different types of statues Luluwa, Lulua, or Bena Lulua, with multiple scarifications, glorify local leaders, motherhood, fertility and the female figure. Protruding scarifications appear on the front of the perosnnage. .
Grey granular inpatine whose localized erosions reveal a clear wood. The Lulua, or Béna Lulua from West Africa, settled in the south of the Democratic Republic of Congo. Their caste-based social structure is similar to that of the Luba. They produced few masks, but especially statues of ancestors representing the ideal warrior, mulalenga wa nkashaama, as well as the head of the Leopard Society and ...
African art > Used objects, pulleys, boxes, loom, awale > Tshokwe Stick
The Tchokwe regaled them in African art
Em of power being part of the regalia, a mark of ostentation, this scepter represents political and symbolic power. A round-bump sculpture created by an artist in the service of the chef, in the image of Chibinda Ilunga, hunter and mythical hero, founder of the Chokwé ethnic group, the character is identifiable thanks to his ample headdress with curved side fins . cipenya-mutwe). The chiefs had a major function in the propitiation rites intended for the hunting and fertility of women, the objects being adorned with this figure thus, presumably, a protective function.
Peacefully settled in eastern Angola until the 16th century, the Chokwé were then subjected to the Lunda empire from which they inherited a new hierarchical system ...
African art > Used objects, pulleys, boxes, loom, awale > Sceptre Teke
Ex-German African art collection.
This command stick consists of two statuettes with a quadrangular abdomen in which magic substances (bilongo) were introduced. A mirror seals these abdominal cavities. Traditional scarifications, in parallel grooves (mabina) cover the faces. Playing a couple of powerful characters, warriors, ngangas, hunter emeritus, or ancestors, these figures are receptacles of spirits charged with fighting witchcraft, disease, etc. Mate patina, slight loclaized erosions. Established between the Republic of Congo, the Democratic Republic of Congo and Gabon, the Teké were organized as chiefdoms, the leader of which was often chosen among the blacksmiths. The head of the family, mfumu , had the right to life or death over his family whose importance determined his ...
African art > Used objects, pulleys, boxes, loom, awale > Scepter Tchokwe
Tshokwe Chiefdoms and African Art
Intended to exalt the qualities of the leader, mark of ostentation, this scepter represents the political and symbolic power, by a sculpture in round-bump which represents Chibinda Ilunga naked and in seated position, hunter and mythical hero, founder of the Chokwe ethnic group . Easily recognizable by his wide cap with curved lateral wings (cipenya-mutwe), he had taught his people the art of hunting. The chiefs had a major function in the rites of propitiation for the hunting and fertility of women, the objects being adorned with this figure having, therefore, a protective function. Peacefully settled in eastern Angola until the 16th century, the Chokwe were then subjected to the lunda empire from which they inherited a new hierarchical ...
Do you want to hide sold items ? if yes, click HERE
African art > African statues : tribal fetish, maternity > Sceptre Yoruba
Oshe , ritual sceptres Yoruba, appear during ceremonial dances. They are brandished in the left hand by the dancers. These sculptures refer, through the symbol that is the double axe headdress, the god of thunder and youth Shango , or Sango . The latter is the mythical ancestor of the kings of Oyo. Sango , nicknamed Baba Ibeji , legendary father of many twins, was also the protector. The occurrence of groaning was very common in the region. This follower of Sango, god of lightning and social justice, is wearing a flat pattern symbolizing a double axe evoking the stone axes that he is supposed to throw from the sky during storms. The deities of the rivers are also represented by stones and by the water of the rivers associated with them. This emblem signals the connection ...
African art > Used objects, pulleys, boxes, loom, awale > Ritual stick Beembé, Babembé
Ex-French African art collection.
Can of prestige, this anthropomorphic object accompanied the movements of its owner and was then recorded in the earth. Modelled on a stylized long-form female figure whose arms entwin the lower abdomen, she has a second twin face, separated by a ringed neck, wearing the conical headdress of some Babembé. The object is engraved with intersecting parallel lines, and discontinuous linear motifs evoking ethnic scarifications. Satin-used patina and particularly velvety. Residueof kaolin coatings on faces. Few cracks in desication. Settled in the present-day Republic of Congo, the Beembé originally formed the kingdom of Kongo, along with the Vili, Yombé, Bwendé and Woyo. They were under the tutelage of King ntotela elected by the governors. The ivory ...
African art > Used objects, pulleys, boxes, loom, awale > Marotte Tékétéké Kuyu
Ex-collection of French African art.
Iconic figure for dance kibe-kibe,or Ebokita (S.Diakonoff) this stick ends with a round-bump sculpture depicting a character perched on two similar faces, in connection with the mythical ancestor Oso . The white face has scarified patterns, and the mouth reveals sharp teeth. He is wearing a small animal. The body is also covered with scarifications. Long cracks in desication. Object comes with adapted base. In the past, the Kouyou were divided into two totem clans: to the west the Panther, and to the east the snake clan. A secret male association, Ottoté , played an important political role in the appointment of leaders. The initiation of the young men ended with the revelation of the snake god Ebongo represented in the form of a head. The ...
African art > Stick of command, chieftaincy > Baluba Sceptre
This object of African art, from a private Antwerp collection, is formed of a rectangular flat, extended by a stick engraved in its upper part of parallel lines arranged in triangles, and then a female figure in round-bump. The character is endowed, limited by a checkered headband, with a braided hairstyle called "en cascade", like the Luba women's headdresses in the late 19th and early 20th centuries, as evidenced by the photographs taken at the time. Large hollowed-out eye sockets shelter stretched and closed eyelids, and a small mouth appears in a prognathic chin. The protruding of the abdomen is highlighted by the position of digitized hands, the realistic figuration of sexual organs further accentuating the reference to motherhood and fertility. The buttocks also have protrusions, ...
African art > Stick of command, chieftaincy > Stick Oshe Eshu
The term Eshu refers to one of the spirits or orisha from Yoruba religious traditions, including his equivalent named Papa Legba in Brazil and Haiti, and Elegua in Cuba following the deportations of slaves captured on the coasts of Benin and Nigeria.
Eshu is a deity related to communication but his role is broader. Of this orisha indeed depends the protection of the home, the city and, in a general way, of all that is conceived by the Man. By its attributes and virtues, Eshu was initially associated with the Devil by Western settlers. However, contrary to the Judeo-Christian and Greek religious conception, the African tribes and in particular the Yoruba, do not have divinities distributed in Manichean way. Each orisha has its beneficial and evil side. This association ...