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De fineste genstande bragt til dig af {name}

Dimitri André

Feminine remembrance ritual figure. The first one is pure cast with chiseling & punching finissage. 
The figure belongs to the was lost - wax smelted in the great statuary imagery tradition from the former Kingdom of Congo (1390-1857). Such carvings were used as part of a cult of treatment of female fertility/ infertility and child survival reassurance established, so the tradition believes, by a midwife belonging to the chiefly clans. It further commemorated and celebrated the mythic motherly line ascendancy, being all that creed cluster called the Mphemba cult. 

The figure is seated, legs crossed, atop a small circulated base with a plain rim, with a forward-thrusting semi-elliptical head. She is depicted with distinct a semi-full oval face with a pointed chin, heavy-lidded eyes with drilled-in pupils below doomed brows, broad flattened nose, heart-shaped mouth with fleshy lips, the woman's thick neck supporting the delicately carved head and with the marks of high social status and consciously acquired beauty:  a simple hairstyle (headdress which is reminiscent of the usual elite's hat), and especially naturalistic back-set (spatially carved) ears as well as the chiseled power load breast cord. Likewise the halfway downwards projecting breasts, striking shoulder width and pronounced, almost oversized deltoid muscles. 

On its back the lower part of the back shows a continuous superficial crack from the scapular area up down to the gluteus (sacrum area) showing complete nakedness from the waist down. a cord tied above the breasts, likewise beautiful wear patina around allover the coiffure, convey high status and may indicate too, that the individual represented occupied a high rank in her community and incarnates a founding ancestor of a descent group.   The women depicted represent thus, common female ancestor existing on the otherworldly sphere (Yulu) and earthly leader (mfumu makanda) direct descendant of Mbaangala. 

It is about a schematic “version” of a female individual  belonging to the upper class/ founding warrior clans; like in the case of the Kuba aristocracy and other ethnic groups on the Congo basin. That kind of rope; tight coiled a cord tied above the breasts, convey high status and may indicate too that the individual represented occupied a high rank in her community and/ or incarnates a founding ancestor of a descent group.  Further, it serves both as evil-bad warding off protection (those ropes usually had not only glass or ceramic pearls/ beads, but also power load “bilongo” filled leather sachets attached). Healers and diviners activated the spirit and medicines contained within to ensure that those would carry out their protecting function. The medicinal substances, known as bilongo, include a myriad of vegetable, animal, and mineral ingredients.   The women depicted represent thus, common female ancestor existing on the otherworldly sphere (Yulu) and earthly leader (mfumu makanda) direct descendant of semi-historical lineage or even tribe founding individuals.

Most Congo ethnicities recognized their descent matrilineally,  so the mother's line is of the utmost importance to establish a lineage linked into kinship groups or elite clans.

The hand to breast gesture depicts a female individual who most probably mother-to-be awaiting a child (like the hands resting on the cheeks or on the jaw are depicting illness and grief, respectively). It is hard to establish though, due to the regional imaginery variabilities. This comparatively small figure is actually cast in an ultra dense alloy. The figure is 9,8 cm (3,858”) tall, but weighs a phenomenal 774 g  (2,074 lb). Overall height (with base) 20,6 cm. High brass alloy. Circa 1900 - 1920. Congo cast figures like that one are rare. Includes wooden custom socle.

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Forfaderfigur - Bakongo - Congo - Congolesisk rituel figur  (Ingen mindstepris)

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Forfaderfigur - Bakongo - Congo - Congolesisk rituel figur (Ingen mindstepris)

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