Among the Kongo, madibu — singular dibu — belonged to a tradition in which hunting and the spiritual realm were closely connected. Simple bells could be attached to hunting dogs, while more elaborate carved examples were used by nganga, ritual specialists, healers and mediators with invisible forces. Their sound formed part of invocations, healing practices and attempts to identify the spiritual causes of disorder.

The particularly successful combination of figurative sculpture, geometric ornament and sonic function makes this piece a compelling example of Kongo ritual art. The custom-made stand is included, providing an elegant and stable gallery-quality presentation.

The present piece closely follows this typology: a globular body, removable domed lid, lateral projections for a suspension cord, and an extensive incised geometric decoration covering most of the surface. Cross-hatching, chevrons and intersecting linear patterns give the vessel a particularly strong graphic presence. The British Museum likewise holds a Congolese wooden gunpowder flask with a conical lid attached by fibre and a body decorated with interlocking lozenges.

Beyond its practical function, the object illustrates the care devoted in Kongo art to personal equipment associated with hunting, status and, in certain contexts, ritual practice.

Within Kongo thought, an nkisi was far more than a carved figure. It became operative through the intervention of a ritual specialist, the nganga, who introduced empowering substances known as bilongo into cavities or attached receptacles. Such preparations could combine plant, mineral and animal materials according to the intended purpose: protection, healing, dispute settlement or the punishment of wrongdoing.

Several metal points remain embedded in the torso, while a chain crosses the chest and extends towards a padlock. Such additions belong to the vocabulary of certain minkisi: inserted metal could accompany the activation of their powers, while chains could metaphorically evoke the ability to bind, immobilise or control a force or adversary. Combined with the figure's assertive stance, these features cautiously suggest a relationship with the nkisi nkondi category, the “hunters” invoked to pursue wrongdoers or sources of disorder.

Its small scale is fully compatible with ritual use. The Metropolitan Museum, for example, preserves a male Kongo nkisi measuring 19.7 cm, while the Smithsonian documents miniature minkisi capable of functioning as independent power objects.

The accomplished carving, deep brown-black patina, geometrically decorated base and, above all, the survival of a complex ritual assemblage give this figure an unusually concentrated visual presence.

This exceptional piece has been entrusted to us by Lucien Mbungu Mbuka—an antique dealer, President of ASSONACO (National Association of Antique Dealers of the Congo), and an accredited expert for MUSAFRICA (Namur) and the National Museum of the Democratic Republic of the Congo.

This example is especially compelling because that process of accumulation and empowerment remains visually apparent. The figure stands on an integral base decorated with incised geometric patterns. Its slender body supports an unusually large head surmounted by a dramatic curved coiffure or crest. Wide-open eyes are emphasized by white inlays, producing an intense and commanding gaze. Technical studies of Kongo power figures demonstrate that the eyes themselves could be significant locations for spiritually charged materials, although the precise substance used for the white elements on this figure cannot be established from photographs alone.

The face is highly expressive, with a compact nose, open mouth exposing carved teeth and strong contrasts between the reddish-brown wood and darker areas surrounding the eyes. A rectangular feature containing a white central element appears on the crest and visually echoes another rectangular device attached to the front of the torso.

The treatment of the body is especially significant. Much of the upper torso is covered with a composite crust of resinous or earthy material, textile and fibres, while a small rectangular receptacle is attached to the abdomen. At the reverse, a substantial packet survives, wrapped in cloth and firmly bound with cord. Its precise contents cannot be identified without material analysis; structurally, however, these additions closely correspond to the documented use of external and internal receptacles for bilongo on Kongo minkisi. Museum examples demonstrate that the finished power object could combine carving, textiles, bound packets, resinous substances and medicinal compounds added by the ritual specialist.

The appeal of this work therefore lies not only in the expressive quality of its carving but also in the survival of its multiple material layers: wood, inlays, composite matter, textile, cords and attached receptacles. It vividly illustrates the collaborative character of Kongo power sculpture, created through the complementary interventions of the sculptor and the nganga.

Provenance :

Aimé-Lucien Mbungu Mbuka is a respected Congolese expert, antiquarian, and collector specializing in ethnic and tribal art. Founder of the Antika Gallery at the Boboto Cultural Centre in Kinshasa, he has worked for more than thirty years to preserve and promote Congo’s traditional artistic heritage.

As President of the National Association of Antiquarians of Congo (ASSONACO), he emphasizes the historical, spiritual, and cultural significance of African masks, sculptures, and ritual objects. He is also involved in discussions surrounding the restitution of African heritage held abroad.

In June 2022, King Philippe of Belgium visited the Antika Gallery, where Mbungu Mbuka introduced him to various aspects of traditional Congolese art. He also published One Hundred Congolese Sculptures from the Antika Collection in 2009 and continues to promote Congolese art both in the DRC and in Europe.

This carved wooden sculpture is attributed to the Kongo people of the Democratic Republic of the Congo. It depicts a standing male and female figure carved on a shared base, a composition characteristic of sculptures associated with the prestigious Lemba society, an institution connected with prosperity, social harmony and moral authority.

The elongated figures display restrained yet expressive facial features and balanced proportions. The male figure rests one hand on his hip, while the female emphasizes her breasts, a traditional symbol of fertility and family continuity. The extended arm linking the two figures reinforces the themes of unity and partnership.

The sculpture retains several original features that reflect its ritual history, including fragments of wrapped textiles around the waist, remnants of head coverings and traces of ritual materials. Its deep brown patina highlights the refined carving and suggests prolonged ceremonial handling.

Within Kongo culture, Lemba sculptures symbolize alliance, prestige, lineage and social balance. They are among the most distinctive sculptural traditions of the Congo Basin.

Combining expressive carving, symbolic composition and a beautifully developed patina, this sculpture is an outstanding example of traditional Central African art.

Within Kongo traditions, such figures belong to the broader category of nkisi, spiritually empowered objects used in a variety of ritual contexts. The cavity typically contained symbolic materials known as bilongo, selected for their protective, healing, judicial, or spiritual properties. Once activated by a ritual specialist, the figure served as a mediator between the human world and unseen forces. The open mouth, a recurring feature in Kongo art, is often associated with speech, spiritual authority, and the ability to invoke or communicate with ancestral powers.

Kongo art is renowned for combining refined stylization with profound symbolic meaning. Beyond its sculptural qualities, this nkisi figure reflects a worldview in which objects could embody spiritual energy and act as intermediaries between the living, the ancestors, and the invisible realm. It stands as an important example of the artistic and religious traditions that flourished within the historic Kongo cultural sphere.