Yombe Phemba Figure

D.R. Congo Wood and mirror - 24 cm Provenance: Museum of the Scheut mission in Kangu, collection founded by Father Armand Schermers in the 1930s Peter Loebarth, acquired from the Archbishop of Boma in 1960 Michel Cohen Collection, acquired from above Pierre Dartevelle from Michel Cohen in 1986 Important private collection, Belgium acquired from above in 1986 Exhibited: Utotombo: L'Art d'Afrique noire dans les collections privées belges, Bruxelles, Palais des Beaux-Arts, 25 March - 5 June 1988, p.203, cat.160, ill. Published: Marie-Louise Bastin, in Utotombo: L'Art d'Afrique noire dans les collections privées belges, Brussels, 1988, p.295 Raoul Lehuard, Art Bakongo. Les centres de style, Sarcelles, 1989, pp.592-593, ill. Valérie Dartevelle, Valentine Plisnier, Pierre Dartevelle et les arts premiers. Memory and Continuity, Volume II, 5 Continents, Milan, 2020, cat.366, ill. The maternity presented here holds a root of the hallucinogenic plant munkwisa which she chews to exacerbate her shamanic powers of vision and clairvoyance for witch- hunting. These powers are also symbolized by the mirror eyes. "Sub-style K12 or the style of Kangu" This sub-style, which is represented by only one specimen, could be a continuation of sub-style K4, if the latter was not composed of a majority of monumental (tomb) figures with a less advanced finish. This statuette was found in the Kangu region, according to the archives of the small museum founded by the priests of the mission in the same village. Here, the artist has paid particular attention to the figure of the mother who is chewing the root of the chiefs. The tattoos, highlighted, are at the same level as the necklace of teeth and could make one believe that this woman is wearing a garment covered with ornaments. It is moreover the only character of the Mayombe where one observes that the artist interpreted the tattoos more than he respected the customary schemes". (Raoul Lehuard, Art Bakongo. Les centres de style, 1989, p.592) This sub-style, which is represented by only one specimen, could be a continuation of sub-style K4, if the latter were not composed of a majority of monumental (tomb) figures with a less advanced finish. This statuette was found in the Kangu region, according to the records of the small museum founded by the priests of the mission in the same village. Here, the artist has paid particular attention to the figure of the mother who is chewing the root of the chiefs. The tattoos, highlighted, are at the same level as the necklace of teeth and could make one believe that this woman is wearing a garment covered with ornaments. This is the only Mayombe character where we can see that the artist has interpreted the tattoos more than he has respected the customary patterns. (Raoul Lehuard, Art Bakongo. Les centres de style, 1989, p.592) The maternity presented here holds a root of the hallucinogenic plant munkwisa which she chews to exacerbate her shamanic powers of vision and clairvoyance for witch- hunting. These powers are also symbolized by the mirror eyes.