Kongo Nkisi power figure
The magical power of the Bakongo
This superb African statue is what is called, in African bakongo art, a nkisi (pl. Minkisi). This is a personalized power from the invisible world of the dead, who has chosen or has been forced to submit to some human control through ritualistic practices. If the term nkisi is most often associated with anthropomorphic statuettes such as this one, it can also be other types of objects, instruments or knives for example.
Some of them, as is the case with this one, are partially or entirely desecrated, or "mutilated" some would say because they are extracted on the one hand from their ritual context including songs, dances and offerings, but also because they are sometimes the magical charges attached to the body were removed. As seen on this one, the ventral box still bears traces of bilongo "medicines" as well as metal necklaces and bracelets but it is quite possible that she carried more accessories and loads.
We spoke to a nkisi while waiting for help in the face of adversity, whether it be illness, crime, or witchcraft. It is the accessories and ingredients that accompany the statue that give it its magical power and determine its field of competence.
Postures in Bakongo art
If this statue stands out for its beautiful patina testifying to intensive ritual use, it has beautiful stylistic assets with regard to the aesthetic canons of Bakongo. Thus, the character is represented standing, trunk slightly leaning forward, hands resting on the hips. This is an aggressive posture aimed at warding off bad luck. Very codified, the Kongo statuary is classified according to the posture, thus, the figurine which I propose to you here is in position called ntelamono ya pakalala.
More specifically, it alludes to vigilance and responsiveness; he who puts his hands on his hips is ready to welcome any eventuality. Warriors or athletes commonly take this pose. This attitude signals that the nkisi will fight for its customers.
From a purely practical point of view, it is also good to know that the arms were made this way in order to prevent them from breaking.
From a stylistic point of view, the face is of a controlled naturalism with its expressive features including the wide open mouth revealing teeth.
An exceptional collection of tribal art
This figurine is part of a family collection of objects mainly of Kongo origin, quite exceptional, the other pieces of which you will find here.
02276
Data sheet
- Presumed dating
- Mid XXth century
- Size
- 23,5 cm
- Ethnic group
- Material(s)
- Wood, accessories
- Country
- Origin
- Tribal art collection Belgium
- Stand
- Included
- Condition
- Excellent
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The magical power of the Bakongo
This superb African statue is what is called, in African bakongo art, a nkisi (pl. Minkisi). This is a personalized power from the invisible world of the dead, who has chosen or has been forced to submit to some human control through ritualistic practices. If the term nkisi is most often associated with anthropomorphic statuettes such as this one, it can also be other types of objects, instruments or knives for example.
Some of them, as is the case with this one, are partially or entirely desecrated, or "mutilated" some would say because they are extracted on the one hand from their ritual context including songs, dances and offerings, but also because they are sometimes the magical charges attached to the body were removed. As seen on this one, the ventral box still bears traces of bilongo "medicines" as well as metal necklaces and bracelets but it is quite possible that she carried more accessories and loads.
We spoke to a nkisi while waiting for help in the face of adversity, whether it be illness, crime, or witchcraft. It is the accessories and ingredients that accompany the statue that give it its magical power and determine its field of competence.
Postures in Bakongo art
If this statue stands out for its beautiful patina testifying to intensive ritual use, it has beautiful stylistic assets with regard to the aesthetic canons of Bakongo. Thus, the character is represented standing, trunk slightly leaning forward, hands resting on the hips. This is an aggressive posture aimed at warding off bad luck. Very codified, the Kongo statuary is classified according to the posture, thus, the figurine which I propose to you here is in position called ntelamono ya pakalala.
More specifically, it alludes to vigilance and responsiveness; he who puts his hands on his hips is ready to welcome any eventuality. Warriors or athletes commonly take this pose. This attitude signals that the nkisi will fight for its customers.
From a purely practical point of view, it is also good to know that the arms were made this way in order to prevent them from breaking.
From a stylistic point of view, the face is of a controlled naturalism with its expressive features including the wide open mouth revealing teeth.
An exceptional collection of tribal art
This figurine is part of a family collection of objects mainly of Kongo origin, quite exceptional, the other pieces of which you will find here.