African Arts Gallery

The tribal art of Africa proves once again that any usual object can become an artistic support. The decorative aspect of an object is never its intrinsic function. In African art, any everyday object can be transformed into a masterpiece while keeping its usefulness. The major role played by women in the political life of the kingdom is illustrated by the recurrence of the female motif in Luba art. The latter, which stood out for its prestige and quality, had a great influence on neighboring groups. This comb is surmounted by a protective effigy embodying a political and spiritual intermediary, a role held by the woman in Luba royalty. Her headdress, behind a wide band revealing a shaven forehead, evokes one of those worn by Luba women at the beginning of the 20th century. The secrets ...

Ex Portuguese African art collection. The effigies are depicted facing each other, the head at the end of a long ringed neck, resting on the shoulder of the one opposite. They are embracing each other in a curious position, the right leg of one raised to the height of the other's thigh. Both figures have a headdress pulled back behind a squared band, a reference to the elaborate quadrifoliate headdresses of dignitaries. Dark oiled patina, satin sheen, slight lack of one of the teeth of the comb. African tribal art proves once again that any common object can become an artistic support. The decorative aspect of an object is never its intrinsic function. In African art, any everyday object can be transformed into a masterpiece while keeping its usefulness. The major role played by women ...

A kneeling female figure with a hemispheric container mboko , a gourd that was filled with kaolin, an image of purity and the spiritual world. These containers were used by different Luba societies, and groups of prophets, more generally by the mediums of the society of divination Kilumbu, Bilumbu , or by the healers of society Buhabo . The soothsayers Mbudye also used it. It was a matter, individually or collectively, to consult the spirits of the ancestors through specialists.
Red brown orange skate. Erosions, cracks on the cut.
According to P. Nooter, these figures, seated or kneeling as appropriate, also represented the soothsayer's wife, underscoring her importance in the divination process bilumbu . According to some Lubas, however, although a woman, she would represent ...

Gracious head-wearing for this seated female figure with the mboko cup, a calabash filled with kaolin, symbolizing purity and the spiritual world, and whose visitors to the king were silent. A small face, a long neck, and a bust where the scarifications in use are written in diamond and epi. According to P.Nooter these figures represented the soothsayer's wife, which underlines its importance in the process of divination bilumbu. Small cavities at the top were used to introduce magical-purpose active ingredients. Semi-mate velvety patina. Abrasions.


Luba (Baluba in Tchiluba) are a people of Central Africa. Their cradle is the Katanga, specifically the region of the Lubu River, so the name (Baluba, which means the Lubas). They were born from a secession of the Songhoy ...

This female figure with a tiered hairstyle has a mboko" , calabash that was filled with kaolin, symbolizing purity and the spiritual world. These containers were used by different Luba societies, more generally by the mediums of the divination society Kilumbu, Bilumbu, or by the healers of the society Buhabo . The soothsayers Mbudye also used it. The faces of these characters embodying the guardian spirits show a peaceful interiority. According to P.Nooter these figures also represented the soothsayer's wife, which underlines its importance in the divination process bilumbu . According to some Luba, however, although a woman, she would represent the first soothsayer Luba, and would also be an allegory of royalty linked to the powerful society of the Mbudye associated with royal power. ...

Ex Belgian African art collection.
.The Luba are renowned for their statuary and in particular their neck rests and stools made up of a caryatid figure. The figures adorning this neckrest, which must preserve the complex headdress of its owner, refer to Luba royalty. But the neck rests were also used to support the heads of the deceased, and sometimes, according to Albert Maesen, buried in their place. Medium brown patina abraded.
The Luba (Baluba in Tchiluba) are a people of Central Africa. Their cradle is Katanga, more precisely the region of the Lubu river, hence the name (Baluba, which means "the Lubas"). They were born from a secession of the Songhoy ethnic group, under the leadership of Ilunga Kalala, who had the old king Kongolo, venerated since then in the form of ...

Ex-collection Traditional African art from Belgium.
Seated on the spherical stove of a water pipe, an image of the womb, this African statue of a female Luba, a spirit medium, has an ovoid head with a shaved forehead outlined by a headband. Her hairstyle is that of Luba women in the early 20th century. Her attitude, with her hands positioned close to her chest, reminds us that the secrets of royalty (the bizila) belong to women thanks to their role as political and spiritual intermediaries. Dark patina, slightly satin. The Luba (Baluba in Tchiluba) are a people of Central Africa. Their cradle is Katanga, more precisely the region of the Lubu river, thus the name (Baluba, which means "the Lubas"). They were born from a secession of the Songhoy ethnic group, under the leadership ...

Ex-collection of French African tribal art.
Asaned in order to present the hollowed-out gourd mboko which was filled with kaolin whose visitors to the king were silently symbolizing purity and the spiritual world, this female figure offers a delicately modeled face. According to P.Nooter these figures represented the soothsayer's wife, which underlines its importance in the process of divination bilumbu
The healers of the society Buhabo and the soothsayers Mbudye also used it.
On some Luba though a woman, she would represent the first soothsayer Luba, and would also be an allegory of royalty linked to the powerful society of the Mbudye associated with royal power. Patine mate.

Luba (Baluba in Tchiluba) are a people of Central Africa. Their cradle is the ...

Female figure in a seated position, presenting the cup mboko, a gourd that was filled with kaolin, symbolizing purity and the spiritual world, and which the king's visitors would smear on out of respect. On the bust are inscribed in checkerboard pattern the scarifications in use. According to P. Nooter these figures represented the diviner's wife, which underlines her importance in the divination process bilumbu. Matt patina, velvety, pink ochre. Abrasions.
The Luba (Baluba in Tchiluba) are a people of Central Africa. Their cradle is Katanga, more precisely the region of the Lubu river, so the name (Baluba, which means "the Lubas"). They were born from a secession of the Songhoy ethnic group, under the leadership of Ilunga Kalala, who had the old king Kongolo, ...

The Luba consider the degree of effectiveness of their carved objects according to their refinement. Among the Lubas of Kasai, the production of ritual objects has been greatly influenced by the neighboring Songye and Chokwe ethnic groups. This statuette bears particular scarifications, in checkerboard pattern, and a hairstyle reminiscent of that of the Punus. Black satin patina. Small erosion and minimal cracks.
The Luba (Baluba in Tchiluba) are a people of Central Africa. Their cradle is Katanga, more precisely the region of the Lubu River, thus the name (Baluba, which means "the Lubas"). They were born from a secession of the Songhoy ethnic group, under the leadership of Ilunga Kalala, who had the old king Kongolo, who has since been venerated in the form of a python, die. ...

Ex-collection of Belgian African art.

The Shankadis belong to the luba group, and have the same associations and structures. Their mostly realistic statuary is characterized by spectacular hairstyles, a smooth surface, and smaller lower limbs. The "cascade" hairstyle illustrates one of the different braided compositions fashionable in Zaire in the 1800s, highlighting the social status of the wearer. The female effigy symbolizes the Luba royalty and the major role of women within it. Neck rests were also used to support the heads of the deceased, and sometimes, according to Albert Maesen, buried in their place. Locally abraded dark brown oiled patina.
The Luba (Baluba in Tchiluba) are a people of Central Africa. Their cradle is Katanga, more precisely the region of the ...

Ex-collection German African art.

The Luba are renowned for their refined statuary and famous in particular for their neck rests and stools made of a caryatid figure. The seated figures, interlaced, one of them leaning on the knees of the second, symbolize Luba royalty. The neck rests protecting the headdresses during the night were also used to support the heads of the deceased, and sometimes, according to Albert Maesen, buried in their place. The figures embody the spirit of an ancestor, vidiye and have a cascading hairstyle in the Shankadi style. Warm brown patina, residual ochre inlays. The Luba (Baluba in tchiluba) are a people from Central Africa. Their cradle is Katanga, more precisely the region of the Lubu river, hence the name (Baluba, which means "the Lubas"). ...

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, ...

Large mask from the Eastern Lubas, showing a face framed by horns emerging from a diadem. A bird sculpted in the round rests its beak on the back of the neck. A serene physiognomy emerges from the features that extend a short beard engraved with decorative motifs. Black patina.
These masks were used in different traditions: investitures, funerals, and rites against witchcraft in the different initiatory societies. In the eastern part of the Luba region, important ceremonies are held in honor of the clan's ancestors, deceased chiefs, and the new moon. Offerings are then made to the spirits of nature, intermediaries between the group and the ancestors.

Ex-collection of Belgian African art.
This African mask of the Kifwebe dance society, of which the Royal Museum for Central Africa in Tervuren has a similar example, has a voluminous raffia collar that concealed the dancer. The impressive aspect of the mask is reinforced by the presence of thick curved horns framing the face. The neat features of the face form a powerful expression. It is likely that the buffalo horns on this mask would refer to the mythical hero luba Mbidi Kiluwe, an actor in the epic of the clan, described as very beautiful. The wearing of this mask took place during ceremonies commemorating the history of the clan. Oiled patina, grainy.
These masks were produced during different traditions: investitures, funerals, and rites against witchcraft in different ...

This female effigy embodies a spiritual medium. She offers fine features and a concentrated meditative physiognomy. The attitude, hands on breasts, indicates that the secrets of royalty ( the bizila) belong to women through their role as political and spiritual intermediaries. The prominent umbilicus evokes her role in transmitting life. Shaded brown patina.
The Luba (Baluba in Tchiluba) are a people of Central Africa. Their cradle is Katanga, more precisely the region of the Lubu River, thus the name (Baluba, which means "the Lubas"). They were born from a secession of the Songhoy ethnic group, under the leadership of Ilunga Kalala, who had the old king Kongolo, who has since been venerated in the form of a python, die. In the sixteenth century they created a state, ...

This type of African mask luba with a rounded structure has similarities with the masks of the Songye. However, they did not have the same function. This category of African masks are named "Bifwebe". They appeared during funerals and investitures. Abraded matte patina. br /> The Luba bifwebe masks appeared during ritual ceremonies of the kazanzi society, charged with combating magic for evil purposes. "Bifwebe" (Sing.: kifwebe) would moreover mean, according to C. Faïk-Nzuji, "to chase death". Worn with a voluminous raffia collar that concealed the dancer, this mask was generally danced in the company of a zoomorphic mask. For the Luba, white is synonymous with a relationship with the spiritual world, through the evocation of the moon that the circular shape of the object ...

Rare African Statuette Nkisi, nkishi (pl. mankishi ) camped bent-legged on a rounded base, head turned sideways. The cowrie-encrusted gaze realistically figures half-closed eyes, accentuating a menacing physiognomy. This type of figure was produced for ritual purposes in the Songye-Luba border region. Oiled, lustrous patina, shaded with black browns.
These protective fetishes for homes are among the most prized in Africa. The Nkisi plays the role of mediator between gods and men. The larger examples are collectively owned by an entire village, while the smaller figures belong to an individual or a family. In the sixteenth century, the Songyes migrated from the Shaba region to settle on the left bank of the Lualaba River. Their society is organized in a patriarchal manner. ...

This type of African mask luba, with a rounded structure, has similarities with the masks of the Songye. However, they did not have the same function. This category of African masks are named "bifwebe" (plural). They appeared at funerals and investitures. A prominent rectangular mouth and perforations around the eyelids distinguish this example. The patina is matte, abraded and velvety.
They performed during the ritual ceremonies of the kazanzi society, responsible for fighting witchcraft. "Bifwebe" (Sing.: kifwebe) would moreover mean, according to C. Faïk-Nzuji, "to chase death". Worn with a voluminous raffia collar that concealed the dancer, this mask was generally danced in the company of a zoomorphic mask. For the Luba, white is synonymous with a relationship with the ...

The Luba are famous in particular for their neck rests and stools made of a caryatid figure. Neck rests protecting headdresses at night were also used to support the heads of the deceased, and sometimes, according to Albert Maesen, buried in their place. These female figures embodying the spirit of an ancestor, vidiye, crouching with legs widely apart (Zula style), whose heads support the curved prop, form the "receptacle of a deceased sovereign chief"( Luba, Roberts). Black brown oiled patina.

The Luba (Baluba in Tchiluba) are a people of Central Africa. Their cradle is Katanga, more precisely the region of the Lubu River, hence the name (Baluba, which means "the Lubas"). They were born from a secession of the Songhoy ethnic group, under the leadership of ...

Hybrid anthropomorphic sculpture in which one of the faces represents a man while the second offers feminine characteristics. Each of the characters has discreet body scarifications composed of dotted lines. Glossy brown-black patina. Cracks.