African Arts Gallery

Ex-German African art collection.

Female figure with a large head. The body tracings, like those of the face, represent the traditional paintings of the ethnic group, inspired by the tattoos of the neighboring Asua pygmies, and which varied according to the circumstances. Among the Mangbetu, from a very young age, the children of the upper classes were subjected to a compression of the skull, kept tight by raffia ties. Later, the hair was "knitted" on wicker strands and a headband was placed around the forehead in order to bring out the hair and form this majestic headdress accentuating the elongation of the skull. The ancients called beli anthropomorphic figures embodying ancestors, stored out of sight, and comparable to those belonging to their secret society nebeli . Black ...

African cephalomorphic mask of the Mangbetu, topped with the traditional hairstyle. The nose and the ears have a ring. The base showing a thick neck is decorated with a raffia fringe. Oiled wood. Erosions. Desiccation cracks.
The geometric patterns 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 according to the circumstances. The fan-shaped headdress was worn by the Mangbetu: from an early age, children had their skulls compressed with raffia ties. Later, the Mangbetu would "knit" their hair onto strands of wicker and apply a headband to the forehead in order to extract the hair and produce this particular headdress that accentuates the elongation of the head. The ...

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 ...

The body tracings, like those of the face, are associated with the traditional paintings of the ethnic group, inspired by the tattoos of the neighboring Asua pygmies, and which varied according to the circumstances. In addition, among the Mangbetu, from an early age, children of the upper classes underwent compression of the cranium, held tight by raffia ties. Later, the hair was "knitted" on wicker strands and a headband was placed around the forehead to bring out the hair and form this majestic headdress accentuating the elongation of the skull. The ancients called beli anthropomorphic figures embodying ancestors, stored out of sight, and comparable to those belonging to their secret society nebeli . Dark oiled patina, desiccation cracks.br> The Mangebetu kingdom in northern ...

Ex-collection German African art.

Ample African mask of the Mangbetu, topped with the traditional flared hairstyle. Erosions. Satin reddish patina. Missing on the lower contour. Exorbed pupils for this Mangbetu mask representing a state of trance. The geometrical tracings evoke the body paintings and tribal scarification of the Mangbetu, similar to those of the Asua pygmies with whom the tribe had relations. The latter varied according to circumstances. The fan-shaped hairstyle was worn by the Mangbetu: from an early age, children were subjected to compression of the skull by means of raffia ties. Later, the Mangbetu would "knit" their hair on wicker strands and apply a headband to the forehead in order to extract the hair and produce this particular hairstyle which ...

In addition to its remarkable statuary, the African art of the Mangbetu presents a wide variety of everyday objects, instruments and adornments. The statues of Mangbetu ancestors are easily identifiable thanks to the typical headdress they have. This headdress represents the ideal canon of beauty within the mangbetu aristocracy. From an early age, children's skulls were compressed with cords of raffia that deformed their skulls, and a high, flared headdress further accentuated the importance. The triangular face with fine features, with very large circular ears and closed eyelids, is carried by a graceful neck, in continuity of the torso. Long scars, which varied depending on the circumstances, run through the effigy, evoking tribal paintings and linear tattoos of the Asua pygmies with ...

Figure of ancestor depicted naked, camped on stocky lower limbs, half-fell. The geometric patterns traced 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 .
s dark satinpatine. Fine ...

Large African Mangbetu mask, topped by the traditional flared hairstyle. Golden mahogany oiled wood. Erosions. Satin patina.
The geometric patterns evoke the body paintings and tribal scarification of the Mangbetu, similar to those of the Asua pygmies with whom the tribe had relations. The latter varied according to circumstances. The Mangbetu had a fan-shaped hairstyle: from a very young age, children had their skulls compressed with raffia ties. Later, the Mangbetu would "knit" their hair on wicker strands and apply a headband to the forehead in order to extract the hair and produce this particular hairstyle which accentuates the lengthening of the head. Established in the forest in northeastern Zaire, between Bomokandi and the Uele River, the Mangbetu Kingdom ...

Ex-Swiss African art collection.

The fan-shaped hairstyle of this female figure was worn by the Mangbetu: from a very young age, the children underwent a compression of the cranium by means of raffia ties. Later, the hair was "knitted" on strands of wicker and a band on the forehead was applied to extract the hair and produce this particular headdress that accentuates the elongation of the head. The ancients name beli these figures of ancestors stored out of sight and comparable to those belonging to their secret society nebeli . The notion of fecundity is magnified here by the rounded volumes. The back of the statue is marked with a deep erosion notch. Desiccation cracks on the headdress. Blackish oiled patina. One foot is wider than the other.

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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.

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 \

A globular body surmounted by a female head styled according to the barrels of the ethnic group affirms the elegance of mangbetu pottery, symbol of fertility. The motifs engraved on the surface echo the traditional scarifications. 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.
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 ...

Named 'generous' in African art, these pottery are intended to collect palm wine. These jars with globular bodies, equipped with handles, have cephalomorphic gullies arranged face to face. The faces are marked by subtle differences suggesting a couple. Oiled patina, black and smooth, abrasions.
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 face, include the traditional ...

Ex-collection Belgian African art.
Boîte for honey, remedies and sometimes personal effects such as ivory hairpins, this anthropomorphic bark box 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 suffered a compression of the cranial box by means of raffia ties. Later, the young women were knitting 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 ...

The motifs inscribed on the face and body of this male figure are associated with the traditional paintings of the ethnic group, inspired by the tattoos of the neighboring Asua pygmies, and which varied according to the circumstances. Among the Mangbetu from a very young age, children of the upper classes were also subjected to compression of the skull, kept tight by raffia ties. Later, the hair was "knitted" on wicker strands and a headband was placed around the forehead in order to bring out the hair and form this majestic headdress accentuating the elongation of the skull. The ancients called beli anthropomorphic figures embodying ancestors, stored out of sight, and comparable to those belonging to their secret society nebeli . Oiled black patina. Slight abrasions and missing on one ...

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 ...

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 \

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 ...

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 ...