African Arts Gallery

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 ...

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 \

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 \

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 ...

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 \

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 \

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 \

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 \

Body paintings and scarifications, evoked by geometric lines, run through the face and body of this female figure. They were similar to those of the Asua pygmies with whom the tribe had relations, and varied according to the circumstances.
The fan hairstyle is characteristic of that of the Mangbetu women: from an early age, children were compressed from the cranial box by means of raffia bonds. Later, the young women \

The statues of African art Mangbetu, court art
Geometric motifs that are inscribed on this naturalistic female figure evoke the body paintings and tribal scarifications of the Mangbetu, analogous to those of the Asua pygmies with with 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 young women \

Ex-French African art collection.
This feminine figure of mangbetu ancestor features the famous oblong hairstyle highlighting an elegant headwear and ending here in flared volume. Very large ears are to be noted, as well as extrusion of the pupils in connection with the trance caused by mediumnic invocations. Bodily paintings and scarifications, evoked by geometric patterns, similar to those of the Asua pygmies with whom the tribe had relations, and which varied according to circumstances, run over the character’s face and body. In mangbetu, from an early age, children suffered compression of the cranial box held tight by raffia bonds. Later, the young women «knitted» their hair on wicker strands and applied a band to the forehead in order to bring out the hair and to constitute ...

Ex-collection Swiss African art.
The ruler of the kingdoms of tribal Africa, not sitting on the ground in any way, a great diversity of seats were elaborated by the sculptors, such as this badge of sovereignty, cephalomorphic, embodying the power of the Chief Mangbetu. The seat from which arise two small brass domes associated with fertility, is supported by four feet. It is covered with oiled leather while the contours are embellished with large upholstery nails. The high hairstyle is characteristic of that of the Mangbetu aristocrats: from an early age, children were compressed from the cranial box by means of raffia bonds. Later, the Mangbetu \

African art Mangbetu.
Body paintings and scarifications, evoked by geometric plots, run through the face and body of this first art figure. Very large ears are noteworthy, as well as an extrusion of the pupils in probable connection with the trance aroused by the mediumic invocations. The fan is characteristic of that of the Mangbetu women: from an early age, children were compressed from the cranial box by means of raffia bonds. Later, the young women \

Ex-Belgian African art collection.
Box for honey, remedies and sometimes personal effects such as ivory hairpins, this bark box, anthropomorphic, 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 were compressed from the cranial box by means of raffia bonds. Later, the young women \

Ex-Belgian African art collection.
In the West, the Mangbetu are famous for the diversity of their artistic materials including a wide range of everyday objects, instruments and ornaments of African art. However, they are also renowned among their neighbours for the quality of their architecture and in particular their temples, which led them to be commissioned by the latter to design such architectural gems for them. Mangbetu statues, although rare, are easily identifiable by their light orange wood and characteristic headdress. This headdress represents the ideal canon of beauty within the mangbetu aristocracy. From an early age, the children were compressed from the cranial box, which was tightened by raffia bonds. Later, the young women \