African Arts Gallery

This sculpture of African Dogon art, carved from dense wood, personifies an ancestor. The physiognomy expresses deep meditation. Dry, matte and flaky patina. Desiccation cracks.
These statues, sometimes embodying the nyama of the deceased, are placed on ancestor altars and participate in various rituals including those of the sowing and harvest periods. According to Dogon cosmogony, the first primordial ancestors of Dogon, called Nommo, were the bisexual gods of water. They were created in the sky by the creator god Amma and descended from heaven to earth in an ark. The Nommo is said to have founded the eight lineages of Dogon and instilled weaving, the art of blacksmithing, and agriculture in his human descendants.
Ref.: "Dogon" H. Leloup, ed. Musée du Quai Branly.

Janiform version of the African Igbo mask Agbogo Mmwo offering the classic criteria glorifying youth and beauty according to the traditional Igbo conception. Openwork discs surmount the faces.
Abraded matte patina, indigenous restoration, erosions.
The Igbo live in the forest in southeastern Nigeria. They have managed to combine a strong sense of individuality with an equally strong sense of belonging to the group. Their political system is complex and little known. The village constitutes the most important social unit, the smallest being the extended family. Each village has a high degree of autonomy and is placed under the authority of the oldest lineage chief. The religion of the Igbo includes on the one hand the god Chuku, supreme creator, considered omnipotent, omniscient ...

The Chokwe Regalia in African Art
An emblem of power forming part of the regalia, a mark of ostentation, this African scepter represents political and symbolic power. The carved motifs refer to the traditional masks used during mukanda initiations. Matte brown patina. Of Lunda origin, the Lwena, Luena, emigrated from Angola to Zaire in the 19th century, pushed back by the Chokwe. Some became slave traders, others, the Lovale, found refuge in Zambia. The Lwena became known for their sculptures embodying figures of ancestors and deceased chiefs, and their masks linked to the initiation rites of the mukanda. Their sculpture was largely influenced by that of the Chokwe. Source: "Chokwe", B. Wastiau

Carved according to the indications of the Ifa transmitted to the diviner, the babalawo, the Ibedji statuettes played the role of substitute in the death of the child. The statues are then treated as the missing child would have been. It is the mother who must take care of them; she anoints them with oil and feeds them regularly. If she disappears, it is the remaining twin who takes over. Considered to be much more than a physical representation of a loved one, linked to the cult of Shango, the ibedji statues are supposed to influence the life and prosperity of the family, and the latter continues to address prayers to them on domestic altars by means of ritual libations. Brilliant mahogany-colored patina, kaolin residue, erosions on a base.

Mask inspired by the Tlingit, Lingit, or Tide People of Canada, established in Alaska on the Pacific Northwest Coast and the islands facing it. The Lingit society is organized into tribes with a very hierarchical society and a matrilineal system. During the second half of the 19th century, masks accompanied ritual dances. Their function may have been protective. Some depict a woman wearing a labret, the prerogative of nobles, others animals known for their qualities. These subjects also decorated totems and headdresses. Matte polychrome patina, locally chipped.

Considered a "bankishi", this African sculpture is said to be endowed, in the Luba culture, with powerful magical and apotropaic powers. These objects come in different forms, such as this female figure surmounting a set of small calabashes. The posture, hands positioned near the breasts, recalls that the secrets of royalty belong to women thanks to their role as political and spiritual intermediaries. This object was used in the context of the Bugabo association, linked to hunting, healing and combat. It was customary, during rituals, to fill the calabash with magical ingredients in order to strengthen its power. The ingredients used produced a sound when the object was shaken, and were only sealed at the end of the ceremony.
(Luba, Roberts)

Lineage statuette, which was supposed to protect against enemies. These sculptures were made according to the instructions of the Nganga ngoombu and the person who commissioned the object. Rituals and incantatory formulas "reactivated" them. Black patina. Cracks and erosions. One breast has benefited from reconstruction.
Hierarchical and authoritarian, composed of fearsome warriors, Yaka society was governed by lineage chiefs who had the right of life and death over their subjects. Hunting and the prestige that comes from it are an opportunity today for the Yaka to invoke their ancestors and to resort to rituals using charms linked to the "khosi" institution. The youth initiation society, the n-khanda, found among the Eastern Kongo (Chokwe, Luba, etc.), uses various charms and ...

Belgian African art collection
The baskets containing the relics of illustrious ancestors, generally surmounted by two reliquaries, were kept in the temples of the village. One of them embodied the founder of the lineage, and the second his descendants. Ancestor worship, the Bwete (Northern Kota) was at the heart of the social and religious life of the Kota and presents many analogies with that of the Fang. In the exclusive presence of initiates, the major decisions of the clan were taken during ceremonies during which the reliquaries were taken out and used. In order to reactivate the magic charge, the initiates rubbed the relic with sand. Among the Kota, these figures have reached an astonishing degree of stylization and abstraction: reduced to shoulders and "arms" surmounted by ...

This blade is extended by a pommel lined with copper. Oxidized metal, patina of use.

The Mongo group living in the northwest Congo, is famous for its costumes, its weapons, and its metal jewelry and not for its almost non-existent statuary. The Konda who used this type of short sword form one of the tribes of the group.
In Africa, before the colonial period, payments were never made in coins. Transactions were made using cowries, pearls, cattle, kola nuts, but also metals, especially iron. These primitive currencies were used during commercial and social exchanges, for dowries in particular, but could also come from objects of parade or throwing weapons. In Sierra Leone, goods were valued against iron bars called barriferri. In 1556 in Djenné Jean-Léon the African ...

Anthropomorphic figure representing a stocky subject, whose arms form growths hugging the bust. This character, which refers to a proverb known to insiders, wears a hood made of animal skin. Beautiful patina of use, slight chips and cracks.
The tribal art of the Lega, Balega, or even Warega, is distinguished by its initiation statuettes, also made of ivory, some of which were kept in a basket intended for the highest ranking Bwami from different communities. This type of Iginga ( Maginga in the plural) tribal art statuette was the property of the high ranks of the Bwami, a secret society admitting men and their wives, and governing social life. This organization was subdivided into initiatory stages, the highest being the Kindi. The statuettes were used as the aspirants were ...

The African mask Mbole comes into play during the funeral of Lilwa dignitaries or is used by the blacksmith during circumcision rituals. The eyes and mouth are cut into the flat surface, the forehead and nose forming a slight relief. Polychrome matte patina.
Height on base: 44 cm.
The province of Lualaba had several close ethnic groups with similar associations. The Mbole and the Yela are known for their statues embodying, according to D. Biebuck, hanged men, named ofika. The lilwa, an association with dogmatic initiation rites, used to judge and sentence to hanging those guilty of breaches of the imposed rules, which however remained exceptional. These offenses ranged from murder to adultery to breaking the secrecy surrounding the lilwa. Dishonored, the bodies of the condemned ...

A bird sculpture hangs over the female face of this African mask. Polychrome satin patina. Among the group of Mande from the south, in the center of Côte d'Ivoire, the Gouro have used since the 1950s a family of African masks associated with the dance Zaouli . Indeed, like the Goli masks of the Baoulé, all the Guro masks come in two zoomorphic masks followed by a third anthropomorphic, which is considered to be the wife of the zamblé mask, the Gu . The Gu, whose function is apotropaic, represents a young woman endowed with the criteria of beauty specific to the Guro. It is while singing in honor of the zamblé that the Gu moves gracefully, following the sound of the flute.

Naturalism treated with care for this standing statuette, flanked by long arms away from the bust. The refined details distinguish this work embellished with colorful ornaments. Smooth satin patina.
Neighbors of the Yaka and the Kongo in the west of the former Zaire, the Zombo fear, like the Kongo clans, the god named Nzambi< /i>. Their diviners use fetishes similar to those of the Kongo, the ceremonies associated with the initiation rites, however, stem from Yaka traditions. Fetish carvings are used by the ngangas to protect against bad luck, to heal or to bring about luck, wealth and fertility. Their polychrome masks have very large bleached eye sockets.

A masculine attribute, the Ikula ("peace") knife is not a weapon but a symbol of social status. This symbol of authority was also very weak. Kuba blacksmiths may have taken inspiration from Benin knives, which have a similar shape, introduced by the Dutch. It was following a royal decree that wooden knives appeared, the king forbidding iron on full moon nights. The blade is engraved with braided patterns repeated on the handle. The handle is made of wood, in its center copper inlays form small checkerboards.
Several tribes make up the Kuba group, established between the Sankuru and Kasaï rivers: Bushoong, Ngeendé, Binji, Wongo, Kété, etc... Each of them produced a variety of sculptures, statues, prestigious objects, masks, frequently decorated geometric patterns.
The Kuba, ...

This stylized African sculpture is of the Obamba type from Haut-Ogooué. This type of statue forms a stylized emblem for the clan. Among the Kota, this type of effigy was used to guard the mortuary relics of ancestors of high lineage, fragments of bones placed for this purpose in baskets made of wickerwork or bark.
In the exclusive presence of initiates of the bwete cult, the major decisions of the clan were taken during ceremonies during which the reliquaries were taken out and used.
In order to reactivate its magical charge, the initiates rubbed the relic with sand. Sacrifices and offerings were then administered in order to protect the community or family from harmful forces.

The Kirdi, or "pagans", as they are called by the Islamized peoples, are established in the far north of Cameroon, on the border with Nigeria.
They include the Matakam, Kapsiki, Margui, Mofou, Massa, Toupouri, Fali , Namchi, Bata, Do ayo... They live from agriculture, fishing and livestock breeding. They live in small independent hamlets. Renowned for their terracotta statuettes reminiscent of sao works, they are also known for small leather and metal objects, g-strings sewn with beads and also in iron.
In Africa, before the colonial period, payments were never made in coins. Transactions were made using cowries, pearls, cattle, kola nuts, but also metals, especially iron. These primitive currencies were at the time part of the dowry for most Bantu tribes, were used in ...

Among the Bakongo, warriors and hunting masters ring this bell with magical properties to chase away bad influences such as witchcraft. The sound also encourages the owner and his dogs. The motif carved in the round refers to the ancestors of the clan. Within the Khimba initiation society or the Lemba peacemaking association among the Yombe, this same type of bell, an emblem of dignitary power, was used during the manipulation and activation of a Nkisi by the diviner or Nganga in order to call upon the ancestors.

The Vili, the Lâri, the Sûndi, the Woyo, the Bembé, the Bwende, the Yombé and the Kôngo formed the Kôngo group, led by the king ntotela. Their kingdom reached its peak in the 16th century with the trade in ivory, copper and the slave trade. With the same beliefs and ...

Appearing during major annual festivals, this African urhobo mask is associated with a water spirit (edjorame). Surmounted by a horned headdress and a head symbolizing the ohworu genius, the face embodying a nubile young girl offers lowered eyelids, a toothy mouth, and strange pointed ears. The high forehead displays scarified patterns extending over the bridge of the nose. Grainy matte patina, slight sheen.
The Urhobos, living near the northwest of the Niger Delta River, form the main ethnic group in Delta State among the 36 states of the Federal Republic of Nigeria. They speak Urhobo, a language of the Niger-Congo group. Together with the closely related Isoko, they are collectively known as Sobo. Their large sculptures representing the spirits of nature, edjo, or founding ...

The prerogative of the secret male society of the ngil responsible for initiations, this type of long mask with an austere physiognomy appeared in groups at night, lit by numerous torches. This society, which no longer exists today, fought against witchcraft. The ngil consisted of a purifying fire rite symbolized by the gorilla. Its intervention was also linked to the judicial function by designating those guilty of bad actions within the village. The Fang ethnic group, established in a region extending from Yaoundé in Cameroon to Ogooué in Gabon, never had political unity. The cohesion of the clans was maintained through religious and judicial associations such as the so and the ngil. Thick patina locally flaking, minor cracks.

Prestigious furniture in African tribal art. This miniature stool named lupona, or kioni, kipona, kiona, depending on the source, constitutes the meeting point of the sovereign, his people, and the protective spirits and ancestors, where past and present mingle symbolically and spiritually. The subject would form the "receptacle of a deceased sovereign chief" (Luba, Roberts). The prominent scarifications converging towards the navel, "center of the world" associated with the lineage, testify to notions of fertility. It once formed the seat on which the king was enthroned. The seats were arranged on leopard skins during the investiture of the new chief. It was only after sitting on it that his speech took on a royal and divine character. Apart from these exceptional circumstances, the ...

African art among the Fang.

Formerly called Pahouins, the Fang form a very large ethnic group settled, following migrations, in Central Africa, in the three republics of Gabon, Equatorial Guinea and Cameroon. This mask offers a realistic face, scarified, and topped with a crest. Upholstery nails carefully delineate the headdress. Satin brown patina, erosions and cracks. Height on base: 40 cm.
Linked to the cult of ancestors, the Byéri, this mask was responsible for discerning troublemakers, especially sorcerers. It comes out nowadays for entertainment festivals. It also appears now during festivals, funerals, birth celebrations, and on the occasion of an important decision within the village. It was also worn by the Fang Okak and Ntoumou, Ntumu men of Equatorial Guinea ...