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African art - Jars, amphoras, pots, matakam:

Clay jars are closely associated with the daily life of African populations. Made from the material of muddy ponds and rivers, the rather heterogeneous paste allows the production of objects with thick walls such as jars. The jars, often made of wood, are intended to receive offerings, medicinal plants, or divinatory gris-gris.


Kuba cup
African art > Jars, amphoras, pots, matakam > Kuba cup

The outline of this cephalomorphic cut is embellished with an imbolo frieze made up of geometric patterns referring to scarifications, also used on the shoowa raffia textiles. These different types of carved cups aim to enhance the prestige of their owners.
Satin abraded patina.

The Kuba are renowned for the refinement of prestige items created for members of the high ranks of their society.
Particularly organized and hierarchical, it placed a king or nyim at its center, inspiring the statuary of the ethnic group.
This was considered to be of divine origin. Both head of the kingdom and of the bushoong chiefdom, he was attributed supernatural virtues from witchcraft or ancestors. He therefore ensured the sustainability of his subjects, whether through ...


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180.00

Mangbetu Box
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African art > Jars, amphoras, pots, matakam > Mangbetu Box

Ex-collection Belgian African art.
Boîte for honey, remedies and sometimes personal effects such as ivory hairpins, this anthropomorphic bark box once again illustrates the skill of African art sculptors among the Mangbetu. Made of bark, the box has clear residues on the internal walls. The object is equipped with a conveyor belt. The hairstyle of the statue is characteristic of that of the Mangbetu women: from an early age, the children suffered a compression of the cranial box by means of raffia ties. Later, the young women were knitting their hair on wicker strands and applied a headband to the forehead to extract the hair and produce this particular headdress that accentuates the lengthening of the head. The ancient names beli these figures of ancestors stored out of sight and ...


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Mangbetu Box
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African art > Jars, amphoras, pots, matakam > Mangbetu Box

Clever composition for this mangbetu-type container made up of sculpted figures. The body traces, like those of the face, represent the traditional paintings of the ethnic group, inspired by the tattoos of the neighboring Asua pygmies, and which varied according to the circumstances. Among the Mangbetu, from an early age, children of the upper classes suffered compression of the cranial box, held tight by raffia ties. Later, the hair was "knitted" on wicker strands and a headband encircled the forehead in order to constitute this majestic headdress accentuating the elongation of the skull. The ancients call beli the anthropomorphic figures embodying ancestors, stored out of sight, and comparable to those belonging to their secret society nebeli. Shiny mahogany patina, cracks and small ...


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Vases Mangbetu
African art > Jars, amphoras, pots, matakam > Vases Mangbetu

Named 'generous' in African art, these pottery are intended to collect palm wine. These jars with globular bodies, equipped with handles, have cephalomorphic gullies arranged face to face. The faces are marked by subtle differences suggesting a couple. Oiled patina, black and smooth, abrasions.
asebli in the forest in northeastern Zaire, the Mangbetu kingdom has expressed itself through architectural works that impressed European visitors in the 19th century. Their furniture, weapons, adornments and statuary were imbued with a rare aesthetic quality. The Mangbetu story was based on the refinement of his court but also on cannibalistic customs. King Mangbetu Munza was so dubbed The cannibal king. The body lines on the characters, like those of the face, include the traditional ...


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180.00

Dogon box
African art > Jars, amphoras, pots, matakam > Dogon box

This small cupboard with two movable shutters, set on three legs, was probably designed to store active medicinal preparations prepared according to the advice of the elders who had been initiated into the science of trees or " jiridon ". The walls are carved with figures of mythical ancestors Nommos, geniuses associated with the creation of the world and guarantors of health and fertility. These are believed to activate the healing power of the actives. Brown satin patina.
The Dogon are a people renowned for their cosmogony, their esotericism, their myths and legends. Their population is estimated at around 300,000 souls living in the south-west of the Niger loop in the Mopti region of Mali (Bandiagara, Koro, Banka), near Douentza and part of northern Burkina (north-west of ...


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250.00

Chokwe Pot
African art > Jars, amphoras, pots, matakam > Chokwe Pot

This container was probably designed for tobacco or therapeutic ingredients. Tobacco use was indeed widespread among the Chokwe, and smoking was an integral part of offerings to ajimu spirits. Soft slightly satiny patina. Desication crack.

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 and the sacredness of power. Nevertheless, the Chokwé never fully adopted these new social and political contributions. Three centuries later, they ended up seizing the capital of the Lunda weakened by internal conflicts, thus contributing to the dismantling of the kingdom. The Chokwé did not have centralized power but large chiefdoms. They were the ones who attracted artists ...


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240.00

Pende Mortar
African art > Jars, amphoras, pots, matakam > Pende Mortar

Small mortar for spices, pigments, or therapeutic ingredients. The object is carved with different faces that take up the features of the traditional masks of the group. Golden brown satin patina. Slight residue of kaolin.
The Western Pende live on the banks of the Kwilu, while the Eastern have settled on the banks of the Kasai downstream from Tshikapa. The influences of the neighboring ethnic groups, Mbla, Suku, Wongo, Leele, Kuba, and Salempasu have been imprinted on their extensive tribal art sculpture. Within this diversity the Mbuya masks, realistic ,produced every ten years, have a festive function, and embody different characters, including the chief, the diviner and his wife, the prostitute, the possessed, etc.... The masks of initiation and those of power, the ...


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160.00

Kuba cup
African art > Jars, amphoras, pots, matakam > Kuba cup

This cephalomorphic cup was intended for palm oil. In the kuba groups, a wide variety of these sculptures with figurative motifs are intended to enhance the prestige of their bearer. The edges are fine and regular.
Velvety patina.


The extremely organized and hierarchical Kuba society placed a king or nyim at its center, inspiring the statuary of the ethnic group.
This was considered to be of divine origin. Both head of the kingdom and of the bushoong chiefdom, he was attributed supernatural virtues from witchcraft or ancestors. He therefore ensured the sustainability of his subjects, whether through harvests, rain or the birth of children. These magical attributes were not hereditary, however, as the king was elected by a council.
Source: Kuba, ed. ...


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160.00

Lulua Box
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African art > Jars, amphoras, pots, matakam > Lulua Box

Ex-collection French African art.
. In addition to their statuary, the Lulua produced a wide variety of carved objects for ceremonial or utilitarian purposes. This prestigious pot is supported by a squatting female figure. She wears jewelry, a loincloth, and complex scarification on both her neck and face. At the top, a squatting figure is said to ward off disease. The Tschokwe and Luba influences are also notable. Black brown oiled patina and kaolin. The different types of Luluwa, Lulua, or Béna Lulua statues, with multiple scarifications, glorify the local chiefs, maternity, fertility and the female figure. Salient scarifications are drawn on the forehead of the perosnnage. Grey granular patina with localized erosions revealing a clear wood. It is in the south of the ...


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Kuba basket
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African art > Used objects, pulleys, boxes, loom, awale > Kuba basket

Ex Italian African tribal art collection.
Among the regalia symbolizing the status of dignitaries, this basket of wisdom which found its source in the mythology around Woot constitutes one of the insignia of the king nyim and of the highest notables. Inlaid with pearls, cowries, finely chiselled and hammered copper leaves, it illustrates the artistic refinement of the kuba. Small lacks located around the base. Cracks of desiccation.
The Kuba and the tribes established between the Sankuru and Kasai rivers, including the Bushoong and Dengese also originating from the Mongo group, are famous for the refinement of prestige objects created for the members of the high ranks of their society. Several Kuba groups produced anthropomorphic ceremonial objects with refined designs, ...


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Luba Cup
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African art > Jars, amphoras, pots, matakam > Luba Cup

Ex-collection African art Corsica.
Two figures embodying spirits encircle a cylindrical container mboko , which was usually filled with kaolin, the image of purity and the spiritual world. These vessels were used by different Luba societies, and groups of prophets, more generally by the mediums of the divination society Kilumbu, Bilumbu, or by the healers of the Buhabo society. The spirits of the ancestors were consulted individually or collectively through specialists. This type of cutting also played a role in the investiture of King Luba. Beautiful satin brown patina, cracks of desiccation.
The Lubas (Baluba in Tchiluba) are a people from Central Africa. Their cradle is Katanga, more precisely the region of the Lubu river, so the name (Baluba, which means "the ...


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Kuba Basket
African art > Used objects, pulleys, boxes, loom, awale > Kuba Basket

Circular box made of wickerwork, with a lid that fits together. The dense, elaborate weaving incorporates certain geometric patterns borrowed from scarification, also visible on shoowa raffia textiles. The inner edge of the lid is missing.

The Kuba are renowned for the refinement of prestige objects created for the higher ranks of their society. The Lele live to the west of the Kuba kingdom and share common cultural characteristics with the Bushoong of Kuba country. Both groups decorate their prestige objects with similar motifs.
The extremely organized and hierarchical Kuba society placed at its center a king or nyim inspiring the statuary of the ethnic group.
.
Source: Kuba, ed. 5continents, Binkley and Darish.


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65.00

Yoruba Rider
African art > Bronze rider, wooden rider, dogon, yoruba > Yoruba Rider

Within the Yoruba pantheon, Orunmila is the "orisa" deity that one consults in case of problem through divination ifà thanks to the diviner babalawo (iyanifà for a woman). Intended to sit enthroned on the ritual altar, this Yoruba-type sculpture is made up of a box intended for the sacred palm nuts, carried by a horseman figure. The character would embody Esu or Elegba, divine messenger who unites the orisa to men. Satin patina. Cracks and erosions on the base.
Centered on the veneration of its gods, or orisà, the Yoruba religion relies on artistic sculptures with coded messages (aroko). They are designed by the sculptors at the request of the followers, soothsayers and their customers. These spirits are said to intercede with the supreme god Olodumare. The kingdoms of Oyo and ...


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390.00

Luba cup
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African art > Jars, amphoras, pots, matakam > Luba cup

Classic composition of traditional Luba art around a cylindrical mboko container. Figures embodying spirits, sculpted in the round, are seated, arms encircling the vase which was intended for kaolin, an ingredient associated with purity and the spiritual world. These containers were used by different Luba societies, and groups of prophets, more generally by the mediums of the Kilumbu, Bilumbu divination society, or by the healers of the society. Buhabo . It was a question, individually or collectively, of consulting the spirits of the ancestors through specialists. This type of cut also played a role during the investiture of the Luba king.
Grainy satin patina, desiccation cracks and erosions.

The Lubas (Baluba in Chiluba) are a people of Central Africa. Their cradle ...


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Kuba Cup
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African art > Jars, amphoras, pots, matakam > Kuba Cup

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Abundance of decorative carvings in African Kuba art.
The anthropomorphic cup probably symbolizes the character of Bwoom in masked royal dances. It is formed of heads superimposed on legs. Different forms of cups were sculpted whose ornamentation sought to glorify the qualities of their owners. Satin patina, abrasions and cracks of desiccation.
The extremely organized and hierarchical Kuba society placed at its center a king or nyim inspiring the statuary of the ethnic group.
This one was considered to be of divine origin. At the same time chief of the kingdom and of the Bushoong chieftaincy, he was attributed supernatural virtues stemming from sorcery or from the ancestors. He was therefore responsible for the survival of his subjects, whether it was ...


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Luba statue
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African art > African statues : tribal fetish, maternity > Luba statue

Seated figure facing a mboko container with a lid, which was usually filled with kaolin, a symbol of purity and of the spiritual world. These containers were used by different Luba societies, and groups of prophets, more generally by the mediums of the Kilumbu, Bilumbu divination society, or by the healers of the society. Buhabo . It was a question, individually or collectively, of consulting the spirits of the ancestors through specialists. This type of cut also played a role during the investiture of the Luba king.
According to P. Nooter, these figures also represented the wife of the diviner, which highlights its importance in the bilumbu divination process. According to some Luba however, although a woman, she would represent the first Luba diviner, and would also be an ...


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Baule box
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African art > Jars, amphoras, pots, matakam > Baule box

African divinatory art.
Destined for a practice still in use today in the Baule region of the southwest, the object consists of a meditating tutelary figure, visibly in meditation, leaning against a circular receptacle with a floor. A mouse, considered to be the messenger of the deities of the earth, lived in the lower compartment of the object and the successive arrangement of the elements it moved was read as an answer to the question put to the diviner. The piece is also equipped with a carrying strap. A metal plate, partially torn, lines the bottom of the box. Shaded brown grainy patina, partially abraded.

Ref: Mathilde Buratti , "Boxes used for divination by mice".

During the 18th century, united under a single banner, this Akan people was, according to ...


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Arsi pot
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African art > Jars, amphoras, pots, matakam > Arsi pot

Honey, butter or milk pot, made of a coloquinte established on a basketry base. The pot is sheathed with leather straps, extended by a dense, careful weaving of straw, perfectly sealed with resin, and finished with carrying straps lined with cowries. This type of container, a kind of prestigious "crockery", was reserved for great festive occasions. The inner walls have a crusty surface for use.


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Bura funerary urn
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African art > Jars, amphoras, pots, matakam > Bura funerary urn

Remarkable, African Bura art includes three types of archaeological sites in the Niger Valley: sites with necropolises where coffin jars, funerary urns, etc ... Sites with ritual vocations where ceremonies were happening and the religious rites. The habitation sites where we find the usual objects. Herisse in his height of vertical lines composed of small circular reliefs, this conical receptacle was placed in the tomb of the deceased among personal effects like his weapons and clothing that he might need in the afterlife, among his bones and teeth. The piece has the same patterns placed horizontally around the perimeter of its lower base.


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Calyx Pende
African art > Used objects, pulleys, boxes, loom, awale > Calyx Pende

Cephalomorphic cup with a long handle, among the prestigious insignia of the Pende. The lower part of the face, as if swollen, gradually joins the neck. A discreet point is enough to indicate the chin. The upturned nose softens the sketchy features where small holes show teeth, pupils and nostrils. A hairstyle is outlined, disappearing behind the horseshoe ears.
Satin black brown patina. Erosions of use, crack of desication.

The Western Pende live on the banks of the Kwilu, while the Eastern settled on the banks of the Kasaï downstream from Tshikapa. The influences of neighboring ethnic groups, Mbla, Suku, Wongo, Leele, Kuba and Salempasu imprinted on their large tribal art sculpture. Within this diversity, the Mbuya masks, realistic, produced every ten years, take ...


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250.00

Kuba cup
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African art > Jars, amphoras, pots, matakam > Kuba cup

Prestigious sculptures in African art kuba.
The anthropomorphic cut refers to a female ancestor. In the Kuba groups, a wide variety of carved cups with figurative motifs are intended to highlight the prestige of their holder. The character whose head is hollowed out here adopts compacted proportions.
Satin patina.


The extremely organized and hierarchical Kuba society placed a king or nyim at its center, inspiring the statuary of the ethnic group.
This was considered to be of divine origin. Both head of the kingdom and of the bushoong chiefdom, he was attributed supernatural virtues from witchcraft or ancestors. He therefore ensured the sustainability of his subjects, whether through harvests, rain or the birth of children. These magical attributes were ...


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