African Arts Gallery

Belgian African art collection
Produced by the pygmies of the Ituri forest in the Democratic Republic of Congo, these fabrics woven from ficus bark fibers were painted by the women. The men cut the wood and hammered the bark, and the women generally used a decoction of gardenia mixed with coal ash to draw patterns with fingers or plant stems similar to the tattoos worn by members of the tribe. On this thick copy, the rhythm and the space created between the different signs would also have a link with the polyphonic songs through which the Mbuti pygmies of Ituri address God. Woolly touch texture. The Mangbetu, in contact with the Asua pygmies, produced a similar type of fabric (called tapa in Oceania) decorated with more complex symbols called murumba or nogetwe. This type of ...

Produced by the pygmies of the Ituri forest in Democratic Republic of Congo, these fabrics woven from ficus bark fibers were painted by the women. The men cut the wood and hammered the bark, and the women generally used a decoction of gardenia mixed with coal ash to draw patterns with fingers or plant stems similar to the tattoos worn by members of the tribe. The rhythm and the space created between the different signs would also have a link with the polyphonic songs through which the Mbuti pygmies of Ituri address God. Thick texture with a woolly feel. The Mangbetu, in contact with the Asua pygmies, produced a similar type of fabric (called tapa in Oceania) decorated with more complex symbols called murumba or nogetwe. This type of fabric, if it was not worn as a loincloth, could be ...

Produced by the pygmies of the Ituri forest in the Democratic Republic of Congo, these fabrics woven from ficus bark fibers were painted by the women. The men cut the wood and hammered the bark, and the women generally used a decoction of gardenia mixed with coal ash to draw designs similar to the tattoos sported by members of the tribe. The rhythm and the space created between the different signs would also have a link with the polyphonic songs through which the pygmies of Ituri address God. The Mangbetu, in contact with the Asua pygmies, produced a similar type of fabric (called tapa in Oceania) decorated with more complex symbols called murumba or nogetwe. This type of fabric, if it was not worn as a loincloth, could be stretched on the interior walls of the huts. Ref. : ...

The African art and the refinement of Kuba weaving.
Produced in Zaire by the Shoowa, Bashoowa, subgroup Kuba, these fabrics forming true paintings of primitive art, are made of a raffia textile base on which threads are cut short, forming a velvet effect accentuated by contrasts in tone. The geometrical patterns formed represent the ethnic group's body scarifications or the decorations of sculptures. These refined fabrics were intended to be used at the royal court, as a seat or cover, to enhance its prestige. In many cases, they were used as currency, or followed their owners to the grave, covering the body of the deceased. It was King Shamba Bolongongo who introduced the technique of velvet weaving to Kuba country in the 17th century. He had previously introduced the Kuba ...

African art and the refinement of Kuba weaving
Produced in Zaire by the Shoowa, Bashoowa, Kuba sub-group, these fabrics forming veritable paintings are made up of a raffia textile base on which threads are cut with flush, forming a velvet effect accentuated by the contrasts of tone. The geometric patterns formed represent the body scarifications of the ethnic group or the decorations of the sculptures. These refined fabrics were intended to be used at the royal court, as seat or cover, in order to enhance its prestige. In many cases they took on the value of money, or also followed their owners to the grave by covering the body of the deceased. It was King Shamba Bolongongo who introduced the technique of velvet weaving in the 17th century to the Kuba country. He had previously ...

African art and the refinement of Kuba weaving.
Produced in Zaire by the Shoowa, Bashoowa, subgroup Kuba, these fabrics, which form real paintings of primitive art, are made of a raffia textile base on which threads are cut flush, forming a velvet effect accentuated by the contrasts of tone. The geometrical patterns formed represent the body scarifications of the ethnic group or the decorations of the sculptures. These refined fabrics were intended to be used at the royal court, as a seat or cover, to enhance its prestige. In many cases, they took on the value of money, or they also followed their owners into the grave by covering the body of the deceased. It was King Shamba Bolongongo who is said to have introduced the technique of velvet weaving to the Kuba country in the ...

Ex-Belgian African art collection.
Produced by the pygmies of the Ituri forest in the Democratic Republic of Congo, these fabrics woven from ficus bark fibers were painted by women. The men chopped the wood and hammered the bark, and the women usually used a decoction of gardenia mixed with charcoal ash to draw designs similar to the tattoos worn by the tribesmen. On a thin brown background, dark gray and dark blue patterns are drawn with regularity. The rhythm and the space created between the different signs would also have a link with the polyphonic songs thanks to which the pygmies of Ituri address themselves to God. Threadbare edges, separation of fibers at bark knots.
The Mangbetu, in contact with the Asua pygmies, produced a similar type of cloth (called tapa in ...

Produced by the pygmies of the Ituri forest in the Democratic Republic of Congo, these fabrics woven from ficus bark fibers were painted by women. The men cut the wood and hammered the bark, and the women generally used a decoction of gardenia mixed with charcoal ash to draw with the help of fingers or vegetable stems patterns similar to the tattoos worn by members of the tribe. On this copy with a dense texture, grids of different formats have been drawn on the light background. The rhythm and the space created between the different signs would also have a link with the polyphonic songs thanks to which the Mbuti pygmies of Ituri address themselves to God. Soft touch texture. The Mangbetu, in contact with the Asua pygmies, produced a similar type of cloth (called tapa in Oceania) ...

Prestigious fabrics among African Kuba art objects.
Produced in Zaire by the Shoowa, Bashoowa, mainly, subgroup Kuba, these fabrics forming true paintings of primitive art, are made of a textile base of raffia. The geometric patterns formed represent the body scarifications of the ethnic group or the decorations of sculptures. These refined fabrics were intended to be used at the royal court, as a seat or cover, to enhance its prestige. In many cases, they were used as currency, or followed their owners to the grave, covering the body of the deceased. It was King Shamba Bolongongo who introduced the weaving technique to Kuba country in the 17th century. He had previously introduced the Kuba to the art of blacksmithing. It was the men who softened the fibers of young palms ...

Produced by the pygmies of the Ituri forest in the Democratic Republic of Congo, these woven fabrics made of ficus bark fibers were painted by women. The men cut wood and hammered the bark, and the women usually used a decoction of gardenia mixed with charcoal ash to draw designs similar to the tattoos worn by tribal members. On a thin brown background, dark gray and dark blue patterns are evenly drawn. The rhythm and the space created between the different signs are also said to be related to the polyphonic songs with which Ituri pygmies address God. Edges removed, fibers spread at the knots of the bark.
The Mangbetu, in contact with the Asua pygmies, produced a similar type of cloth (called tapa in Oceania) decorated with more complex symbols called murumba or ...

Collection art africain belge
Tissus de prestige parmi les objets d'art africain Kuba Produits au Zaïre par les Shoowa, Bashoowa,principalement, sous-groupe Kuba , ces étoffes formant de véritables tableaux d'art premier, sont constituées d'une base textile en raphia. Les motifs géométriques formés représentent les scarifications corporelles de l'ethnie ou reprenennent les décorations des sculptures. Ces étoffes raffinées étaient destinées à être utilisées à la cour royale, en tant qu'assise ou de couverture, afin de rehausser son prestige. Elles prenaient dans bien des cas valeur de monnaie, ou suivaient aussi leurs propriétaires dans la tombe en couvrant le corps du défunt. Ce fut le roi Shamba Bolongongo qui aurait introduit au XVIIe siècle au pays Kuba la technique du ...

The African art and the refinement of Kuba weaving.
Produced in Zaire by the Shoowa, Bashoowa, subgroup Kuba, these fabrics forming true paintings of primitive art, consist of a raffia textile base on which the geometric patterns formed represent the body scarifications of the ethnic group or the decorations of sculptures. These refined fabrics were intended to be used at the royal court, as a seat or cover, to enhance its prestige. In many cases, they were used as currency, or followed their owners to the grave, covering the body of the deceased. It was King Shamba Bolongongo who introduced the technique of velvet weaving to Kuba country in the 17th century. He had previously introduced the Kuba to the art of blacksmithing. It was the men who softened the fibers of young ...

Produced in Zaire by the Shoowa, Bashoowa, mainly, subgroup Kuba, these prestigious rolled mats are made of a dense, tightly woven textile of raffia fibers. They took value as currency, or could still intervene in the payment of the dowry.
It was King Shamba Bolongongo who introduced the weaving technique to Kuba country in the 17th century. He had previously introduced the Kuba to the art of blacksmithing. It was the men who softened the fibers of young palms and bark into long threads, a delicate and laborious exercise that took several months. The embroideries were then the prerogative of women, originally pregnant women. It was the Bushoong women, a Kuba sub-tribe from which the king nyim was chosen, who adorned the cloth with cowrie shells, embroidered designs, or ...

Ex-Swiss African art collection.

Produced by the pygmies of the Ituri forest in the Democratic Republic of Congo, these woven fabrics made of ficus bark fibers were painted by women. The men cut wood and hammered the bark, and the women usually used a decoction of gardenia mixed with charcoal ash to draw with their fingers or plant stems patterns similar to the tattoos worn by tribal members. On this densely textured specimen, grids of various sizes were drawn on the light background. The rhythm and the space created between the different signs would also have a link with the polyphonic songs with which the Mbuti pygmies of Ituri address God. Soft touch texture. The Mangbetu, in contact with the Asua pygmies, produced a similar type of cloth (called tapa in Oceania) decorated ...

Produced by the pygmies of the Ituri forest in the Democratic Republic of Congo, these woven fabrics made of ficus bark fibers were painted by women. The men cut wood and hammered the bark, and the women usually used a decoction of gardenia mixed with charcoal ash to draw with their fingers or plant stems patterns similar to the tattoos worn by tribal members. On this thick specimen, grids of different sizes were drawn on the light background, with lines connecting each of them. The rhythm and the space created between the different signs would also have a link with the polyphonic songs with which the Mbuti pygmies of Ituri address God. Texture with a woolly touch. The Mangbetu, in contact with the Asua pygmies, produced a similar type of cloth (called tapa in Oceania) decorated ...

Produced by the pygmies of the Ituri forest in the Democratic Republic of Congo, these woven fabrics made of ficus bark fibers were painted by women. The men cut wood and hammered the bark, and the women usually used a decoction of gardenia mixed with charcoal ash to draw with their fingers or plant stems patterns similar to the tattoos worn by tribal members. On this example, grids of different sizes were drawn on the light background, lines connecting each of them. The rhythm and the space created between the different signs would also have a link with the polyphonic songs through which the Mbuti pygmies of Ituri address God. Thick texture with a woolly touch. The Mangbetu, in contact with the Asua pygmies, produced a similar type of cloth (called tapa in Oceania) decorated with ...

Prestigious fabrics among Kuba.
African art objects. Produced in Zaire by the Shoowa, Bashoowa, mainly, subgroup Kuba, these fabrics forming true paintings of primitive art, consist of a textile base in raffia. The geometrical patterns formed represent the body scarification of the ethnic group or the decorations of the sculptures. These refined fabrics were intended to be used at the royal court, as seat or cover, to enhance its prestige. In many cases, they took on the value of money, or they also followed their owners into the grave by covering the body of the deceased. It was King Shamba Bolongongo who is said to have introduced the technique of weaving to Kuba country in the 17th century. He had previously introduced the Kuba to the art of forging. It was the men who ...

Prestigious fabrics among Kuba.
African art objects. Produced in Zaire by the Shoowa, Bashoowa, mainly, subgroup Kuba, these fabrics forming true paintings of primitive art, consist of a textile base in raffia. The geometrical patterns formed represent the body scarification of the ethnic group or the decorations of the sculptures. These refined fabrics were intended to be used at the royal court, as seat or cover, to enhance its prestige. In many cases, they took on the value of money, or they also followed their owners into the grave by covering the body of the deceased. It was King Shamba Bolongongo who is said to have introduced the technique of weaving to Kuba country in the 17th century. He had previously introduced the Kuba to the art of forging. It was the men who ...

The African art and the refinement of Kuba weaving.
Produced in Zaire by the Shoowa, Bashoowa, subgroup Kuba, these fabrics forming true paintings of primitive art, are made of a raffia textile base on which threads are cut short, forming a velvet effect accentuated by contrasts in tone. The geometrical patterns formed represent the ethnic group's body scarifications or the decorations of sculptures. These refined fabrics were intended to be used at the royal court, as a seat or cover, to enhance its prestige. In many cases, they were used as currency, or followed their owners to the grave, covering the body of the deceased. It was King Shamba Bolongongo who introduced the technique of velvet weaving to Kuba country in the 17th century. He had previously introduced the Kuba ...

The African art and the refinement of Kuba weaving.
Produced in Zaire by the Shoowa, Bashoowa, subgroup Kuba, these fabrics forming true paintings of primitive art, consist of a raffia textile base on which the geometric patterns formed represent the body scarifications of the ethnic group or the decorations of sculptures. These refined fabrics were intended to be used at the royal court, as a seat or cover, to enhance its prestige. In many cases, they were used as currency, or followed their owners to the grave, covering the body of the deceased. It was King Shamba Bolongongo who introduced the technique of velvet weaving to Kuba country in the 17th century. He had previously introduced the Kuba to the art of blacksmithing. It was the men who softened the fibers of young ...

African art and the refinement of Kuba weaving.
Produced in Zaire by the Shoowa, Bashoowa, subgroup Kuba, these fabrics, which form real paintings of primitive art, are made of a raffia textile base on which threads are cut flush, forming a velvet effect accentuated by the contrasts of tone. The geometrical patterns formed represent the body scarifications of the ethnic group or the decorations of the sculptures. These refined fabrics were intended to be used at the royal court, as a seat or cover, to enhance its prestige. In many cases, they took on the value of money, or they also followed their owners into the grave by covering the body of the deceased. It was King Shamba Bolongongo who is said to have introduced the technique of velvet weaving to the Kuba country in the ...