The circular body is extensively decorated with finely incised geometric designs. Cross-hatched and triangular fields radiate around a central star-like composition, creating a particularly effective graphic contrast with the deep brown surface of the wood. Small surviving fibre elements near the upper section further enrich its material character.

Among Kongo peoples, carved wooden bells known as dibu — plural madibu — could form part of the equipment of a nganga, a ritual specialist associated with practices involving nkisi. The Metropolitan Museum describes such bells as mystical percussion instruments whose sound evoked heightened perception of the spiritual realm. The AfricaMuseum further notes that larger ritual examples are distinguished by carved handles and elaborate geometric decoration.

The seated female figure makes this an especially sculptural interpretation of the type, bringing together sound, ritual symbolism and Kongo figurative art within a single object.

Displayed on its custom-made metal stand.

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.

The term "nkondi" derives from the verb "konda", meaning "to hunt", reflecting their function as spiritual "hunters" charged with tracking down and punishing evildoers, sorcerers or enemies.

To this end, the fetish can, as is the case here, present a raised arm which is sometimes accompanied by a weapon. The facies is generally expressive in order to accentuate the threat.

These tribal figures, often anthropomorphic, are designed by religious specialists called nganga.

They contain sacred materials, or bilongo, placed in cavities, generally at the level of the abdomen, and sealed by mirrors or reflective surfaces.

Nails or other sharp objects, more or less numerous, are driven all over the body and serve to "awaken" the spirit of the nkondi, thus activating its power to protect the community or seal oaths.

The minkondi illustrate the complexity of Bakongo beliefs, where the visible and the invisible interact to maintain social and spiritual order. They bear witness to a rich artistic and religious tradition, where art is intimately linked to healing and justice practices.