Very beautiful African Kuba Bwoom Royal mask - Congo






Holds a postgraduate degree in African studies and 15 years experience in African art.
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Very beautiful African Kuba Bwoom Royal mask from the Kuba people of the Democratic Republic of the Congo, provenance Privécollectie, dimensions 35 cm high, 30 cm wide and 25 cm deep, in excellent condition.
Description from the seller
Old African Bwoom Royal mask from the Kuba, Congo.
Size: 35 cm x 30 cm x 25 cm.
This Royal Kuba mask is dated mid-20th century and comes with a certificate of authenticity.
Democratic Republic of the Congo - Kuba. Bwoom helmet mask. Natural patina hardwood, metal, fabric, beads, shells, seeds, and animal fur. Signs of use.
This richly decorated Bwoom mask is part of the triptych of royal Kuba masks. Introduced in the seventeenth century by King Miko mi-Mbul, according to tradition it represents the hydrocephalic brother of the king (the forehead is always very prominent) to whom everything was allowed and who played a role very similar to what was traditionally the court jester for us Europeans.
The untamed and rebellious character of the Mbooms was evident both in the 'overdressing' of the mask and in their proud and aggressive manner of dancing.
Fully 'clothed' in all its colorful, gaudy, and lived-in kit, this Mboom mask of the Kuba is one of the icons of African primitive art production.
There is a small missing part (see the picture).
It's made of wood covered with copper foil, adorned with finials of glass beads, seeds, shells, goatskin, and fabric. Bwoom masks represent one of three types of 'royal masks' that, among the Kuba, embody the Mingesh—mediating spirits between humans and God.
The specific identity of Bwoom varies according to different versions of the myth. He may represent the king's younger brother, a person of Twa descent, or a commoner. The Bwoom masquerade embodies a subversive force within the royal court and is performed in defiance of the mask representing Woot.
Very expressive African helmet mask from the Kuba, Congo. The mask is one of three royal Kuba masks. During the annual Kuba feast, three royal masks appear that represent the primal ancestors of the Kuba dynasty. The two brothers Woot and Bwoom fought over the throne, and their sister Mweel, who later married Woot. Wooden helmet mask, shod with sheet copper, with a very nice dark patina, decorated with kauri shells, colored glass beads, nut shells, and raphia netting.
The vast Kuba territory, covering the entire southeastern part of the DRC up to Tanganyika and Lake Mweru, is uniform in language and culture but racially diverse. Although the history of the Kuba people is marked by violence and warfare, their artistic style is characterized by a harmonious integration of organically related forms. The splendid artistic achievements of the Kuba are due to a fortunate blending of different racial and cultural elements, as well as the high standards upheld at the court. Kuba art ranks among the finest in Africa. Artists held a privileged position in the hierarchy. The Kuba artist carried a ceremonial ax on his shoulder, symbolizing prestige and dignity of his role. Some apprentices were recruited from among the deformed, who could neither hunt nor fight as warriors and were believed to have a close spiritual connection.
Seller's Story
Old African Bwoom Royal mask from the Kuba, Congo.
Size: 35 cm x 30 cm x 25 cm.
This Royal Kuba mask is dated mid-20th century and comes with a certificate of authenticity.
Democratic Republic of the Congo - Kuba. Bwoom helmet mask. Natural patina hardwood, metal, fabric, beads, shells, seeds, and animal fur. Signs of use.
This richly decorated Bwoom mask is part of the triptych of royal Kuba masks. Introduced in the seventeenth century by King Miko mi-Mbul, according to tradition it represents the hydrocephalic brother of the king (the forehead is always very prominent) to whom everything was allowed and who played a role very similar to what was traditionally the court jester for us Europeans.
The untamed and rebellious character of the Mbooms was evident both in the 'overdressing' of the mask and in their proud and aggressive manner of dancing.
Fully 'clothed' in all its colorful, gaudy, and lived-in kit, this Mboom mask of the Kuba is one of the icons of African primitive art production.
There is a small missing part (see the picture).
It's made of wood covered with copper foil, adorned with finials of glass beads, seeds, shells, goatskin, and fabric. Bwoom masks represent one of three types of 'royal masks' that, among the Kuba, embody the Mingesh—mediating spirits between humans and God.
The specific identity of Bwoom varies according to different versions of the myth. He may represent the king's younger brother, a person of Twa descent, or a commoner. The Bwoom masquerade embodies a subversive force within the royal court and is performed in defiance of the mask representing Woot.
Very expressive African helmet mask from the Kuba, Congo. The mask is one of three royal Kuba masks. During the annual Kuba feast, three royal masks appear that represent the primal ancestors of the Kuba dynasty. The two brothers Woot and Bwoom fought over the throne, and their sister Mweel, who later married Woot. Wooden helmet mask, shod with sheet copper, with a very nice dark patina, decorated with kauri shells, colored glass beads, nut shells, and raphia netting.
The vast Kuba territory, covering the entire southeastern part of the DRC up to Tanganyika and Lake Mweru, is uniform in language and culture but racially diverse. Although the history of the Kuba people is marked by violence and warfare, their artistic style is characterized by a harmonious integration of organically related forms. The splendid artistic achievements of the Kuba are due to a fortunate blending of different racial and cultural elements, as well as the high standards upheld at the court. Kuba art ranks among the finest in Africa. Artists held a privileged position in the hierarchy. The Kuba artist carried a ceremonial ax on his shoulder, symbolizing prestige and dignity of his role. Some apprentices were recruited from among the deformed, who could neither hunt nor fight as warriors and were believed to have a close spiritual connection.
