Beschreibung:

nkisi
Wood with dark brown ritual patination, copper
Height 23in (58.5cm)
Provenance
Private Colonial Collection, Belgium
Galerie Nova, Brussels, 1980
Collection Guy Berbé, Waterloo, Belgium
Christie's, Paris, 10 April 2018, Lot 83
Pierre Dartevelle, Brussels
Published
Dartevelle, Valerie et Valentine Plisner, Pierre Dartevelle et les Arts Premiers. Mémoire et Continuité, Vol. II, 5 Continents, 2021; p. 438, fig. 555
Dunja Hersak notes, "The multiple chiefdoms that comprise the Songye cultural complex are known for the variety and abundance of magician figures (mankishi, sing. nkishi) that are used to alleviate a host of personal and communal problems. In comparison to the sculptural traditions of their neighbors such as the Luba, Hemba, or Luluwa in which polished surfaces, incised detailing, and gentle curves predominate, in this area the aesthetic is bold, stark, and powerful. Unlike the many prestigious carvings and emblems of state created and circulated by the Luba, Songye figures were not conceived as objects of display, but as intimate devices used for protection, healing, or therapy. As such, the selection of Songye mankishi for an exhibition of masterpieces poses numerous interesting conceptual problems.
There is no doubt that a well-carved figure would be recognized as such by the Songye. However, there may be no direct rapport between a figure's visual excellence and its ultimate appreciation. While we attribute value to the visual features of power figures--their uniqueness, craftsmanship, and authenticity--to the Songye it is their effectiveness as instruments of process and change that is of ultimate importance. The determining factor in this assessment is not visual, but is dependent on the magical ingredients (bishimba) concealed in the abdominal cavity, top of the head, or horn set in the cranium. [. . .]
[. . .] In general, the external attachments on magical figures are not identified symbolically with the bishimba, but are intended to augment the visual impact of the nkisi. The copper metal strips that are often attached to the faces of Songye statues are more enigmatic. Often placed along the nose/forehead axis, they recall the principal lines of demarcation on Songye masks and are said to relate to lightning. Thus, on the nkisi this facial sign seems to signal its dual capacity to counteract and redirect aggressive action against the evildoer." (Verswijver, Gustaaf (ed.), Masterpieces from Central Africa, Royal Museum for Central Africa, Tervuren, Prestel, 1996, pp. 174-75)