African Arts Gallery

Among the traditional African weapons, this knife, whose tapered curved blade is accompanied by a circular growth, has an elegant wooden handle with a stylized human motif, associated with ancestors whose spirits were revered. From an early age, upper-class children were compressed in the cranial box, held tight by raffia ties. Later, the hair was 'knitted' on wicker strands and a headband would enser the forehead to bring out the hair and form this majestic headdress accentuating the elongation of the skull.
Parade Arms above all, the Sickle Knives of the Mangbetu formed accessories appreciated during the ritual ceremonies danced and during visits. Established in the forest in northeastern Zaire, between Bomokandi and the River Uele, the Mangbetu kingdom was expressed through ...

The fan hairstyle of this female figure was sported by the Mangbetu: from an early age, the children were compressed from the cranial box by means of raffia bonds. Later, the hair was \

Among the traditional African weapons, this knife with a tapered curved blade has a ringed wooden handle. Parade weapons above all, the sickle knives of the Mangbetu formed accessories appreciated during the ritual ceremonies danced and during visits. Established in the forest in northeastern Zaire, between Bomokandi and the River Uele, the Mangbetu kingdom was expressed through architectural works that fascinated European visitors in the 19th century. Several groups established in the south of the Uele were placed under the authority of the Mangbetu kingdom as early as 1820: Bangaba, Makere, Mamvu, etc. A proliferation of prestigious objects, as well as utilitarian objects, were produced for dignitaries.

Female figure of the Mangbetu with the illustrious headdress ending in flared volume and linear marks on the whole body. Red-brown patina. Desication cracks.
The character wears body paints and scarifications similar to those of the Asua pygmies with whom the tribe had relationships, and which varied according to the circumstances. Among the Mangbetu, from an early age, the children also suffered a compression of the cranial box held tight by rapia ties.  Later, the young women \

Refinement of the African sculpture Mangbetu. Female statuette wearing the high headdress of the ethnic group. Indeed, among the Mangbetu from an early age, upper-class children suffered a compression of the cranial box, held tight by rapia ties. Later, the hair was 'knitted' on wicker strands and a headband would enser the forehead to bring out the hair and form this majestic headdress accentuating the elongation of the skull. Body lines, like those of the face, include traditional ethnic paintings, inspired by tattoos of the nearby Asua pygmies, and which varied according to the circumstances. The ancient names beli anthropomorphic figures embodying ancestors, stored out of sight, and comparable to those belonging to their secret society nebeli . Velvety dark patina. Slight misses.

This ceramic vase, whose conical neck is carefully highlighted by successive ribs, and whose regular globular body is adorned with a decorative frieze, affirms the elegance of mangbetu productions. The work of ceramics, in West and Central Africa, is carried out by women, wives of blacksmiths in the majority of cases. The Mangbetu women, who also produced basketry, excelled in this art. Black patina speckled with abraded light areas.
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 ...

The motfs inscribed on the face and body of this female figure depict the traditional paintings of the ethnic group, inspired by the tattoos of the nearby Asua pygmies, which varied according to the circumstances. Among the Mangbetu from an early age, upper-class children suffered a compression of the cranial box, held tight by raffia ties. Later, the hair was 'knitted' on wicker strands and a headband would enser the forehead to bring out the hair and form this majestic headdress accentuating the elongation of the skull. The ancient names beli anthropomorphic figures embodying ancestors, stored out of sight, and comparable to those belonging to their secret society nebeli . Eroded wood. Fingerprints of treated xylophages.
The Mangebetu Kingdom in northern Congo produced ...

Percussion musical instrument of the 'a target'_blank' 'new'nofollow' href'https://www.wikiwand.com/en/Mangbetu_ (people)'' Mangbetu, , this half-moon-shaped wooden idiophone has been fitted with a long slot that acts as a resonant opening. It is endowed with an anthropomorphic handle that includes the features of the ancestor figures nebeli .
The Mangebetu Kingdom in northern Congo produced architectural works that impressed European visitors in the 19th century. Their furniture, weapons, adornments and statuary were imbued with a rare aesthetic quality. The ethnologist G.A. Schweinfurth in 1870 described its symmetry and refinement, while at the same time testifying to the ritual killings and human sacrifices practiced by the people of elongated heads. The slot drum is not ...

Combined with fertility rites, this sculpture adorned with multicolored pearl necklaces that highlight its slender shapes exudes the beauty of a young pregnant woman. The object expresses fullness by the protective gesture of the hand placed on the bulging abdomen. Body lines, like those of the face, include traditional ethnic paintings, inspired by tattoos of the nearby Asua pygmies, and which varied according to the circumstances. Indeed, among the Mangbetu from an early age, upper-class children suffered a compression of the cranial box, held tight by rapia ties. Later, the hair was 'knitted' on wicker strands and a headband would enser the forehead to bring out the hair and form this majestic headdress accentuating the elongation of the skull. The ancient names beli anthropomorphic ...

Established 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 paintings of the ethnic group, inspired by the tattoos of the nearby Asua pygmies, and which varied according to the circumstances. Indeed, among the Mangbetu from an early age, upper-class children suffered a compression of the cranial box, held tight by rapia ties. Later, the hair was 'knitted' on ...

Mangbetu male figure associated with fertility.
The geometric patterns inscribed on this naturalistic male figure evoke the body paintings and tribal scarifications of the Mangbetu, similar to those of the Asua pygmies with whom the tribe had relations. The latter varied depending on the circumstances. The fan hairstyle was sported by the Mangbetu: from an early age, children were compressed from the cranial box by means of raffia ties. Later, the Mangbetu 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 comparable to those belonging to their secret society nebeli .
Satin golden ...

Ex-collection Belgian African art.
The geometric lines inscribed on the face and body of this motherhood are the traditional paintings of the ethnic group, inspired by the tattoos of the nearby Asua pygmies, which varied according to the circumstances. Among the Mangbetu from an early age, upper-class children suffered a compression of the cranial box, held tight by raffia ties. Later, the hair was 'knitted' on wicker strands and a headband would enser the forehead to bring out the hair and form this majestic headdress accentuating the elongation of the skull. The ancients name beli the anthropomorphic figures embodying ancestors, stored out of sight, and comparable to those belonging to their secret society nebeli.
The Mangbetu Kingdom in northern Congo produced architectural ...

The geometric alites inscribed on the face and body of this pregnant female figure feature traditional ethnic paintings, inspired by the tattoos of nearby Asua pygmies, which varied according to the circumstances. In the Mangbetu from an early age, upper-class children were compressed from the cranial box, which was kept tight by raffia bonds. Later, the hair was \

The mangbetu's ceremonial objects have a wide variety, such as this prestigious spoon whose anthropomorphic handle borrows the silhouette of a woman wearing traditional body motifs, inspired by the tattoos of the neighboring Asua pygmies, evolving according to the circumstances. She also wears the famous headdress that resulted from compression by raffia ties of the cranial box from an early age. The hair was later \

Ex-collection Belgian tribal art.
Mangbetu's African art offers a wide variety of everyday objects, instruments and adornments. However, many of the objects attributed to them are from the Nzakara whose prestigious sculptures are stylistically comparable.
Among the aerophones, originally carved from antelope horns or in the ivory of elephant trunks, this type of lateral-mouthed tube was used to produce coded sounds for the purpose of communication within the group, in a context of hunting, rituals around hunting, or to make music supposed to please ancestral spirits during funeral ceremonies. The object refers to the ancestors by its iconography, identifiable by the headdress of the character, the aesthetic canon of the mangbetu aristocracy. From an early age, children's ...

The African art of Mangbetu offers a wide variety of everyday objects, instruments and adornments. However, many of the objects attributed to them are from the Nzakara whose prestigious sculptures are stylistically comparable.
Among the aerophones, originally carved from antelope horns or in the ivory of elephant trunks, this type of lateral-mouthed tube was used to produce coded sounds for the purpose of communication within the group, in a context of hunting, rituals around hunting, or to make music supposed to please ancestral spirits during funeral ceremonies. The object refers to the ancestors by its iconography, identifiable by the headdress of the character, the aesthetic canon of the mangbetu aristocracy. From an early age, children's skulls were compressed with raffia ...

Triumphant virility for this male Mangbetu figure associated with fertility. The geometric patterns inscribed on this naturalistic male figure evoke the body paintings and tribal scarifications of the Mangbetu, similar to those of the Asua pygmies with whom the tribe had relations. The latter varied depending on the circumstances. The fan hairstyle was sported by the Mangbetu: from an early age, children were compressed from the cranial box by means of raffia ties. Later, the Mangbetu \

Named 'generous' in African art, these ritual pottery are intended to collect palm wine. The foot consisting of three amphoras with similar heads support the main container depicting a fourth, larger subject. The decorative motifs refer to the traditional scaritications and tattoos of the ethnic group. Restoration on the cove.
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 ...

The typical Mangbetu high headdress stands atop the head of this ancestor effigy. The eyes are enclosed in a delicately sculpted face offering a certain serenity. Wide ears stand out, emphasizing the importance of listening, of perception. The long neck extends from a straight column. Excessive feet and hands contrast with the general morphology. Body paintings and scarifications, evoked by geometric patterns similar to those of the Asua pygmies with which the tribe had relations, and which varied according to the circumstances, are part of the whole. The ancients name beli these figures of ancestors stored out of sight and comparable to those belonging to their secret society nebeli.
In Mangbetu from an early age, children were compressed from the cranial box, which was held ...

Mangbetu court art and statues of ancestors
Geometric motifs on this naturalistic male figure evoke the body paintings and tribal scarifications of the Mangbetu, similar to those of the Asua pygmies with the the tribe had a relationship. The latter varied depending on the circumstances. The fan hairstyle was sported by the Mangbetu: from an early age, the children were compressed from the cranial box by means of raffia bonds. Later, the Mangbetu \

African court art Mangbetu and statues of ancestors
This traditional musical instrument features a hollowed-out soundbox topped with a head. The stick that accompanies it in a miniature shape. The geometric patterns on the object evoke the bodily paintings and tribal scarifications of the Mangbetu, similar to those of the Asua pygmies with whom the tribe had relations. The latter varied depending on the circumstances. The fan hairstyle was sported by the Mangbetu: from an early age, the children were compressed from the cranial box by means of raffia bonds. Later, the Mangbetu \