Description
Kongo fetish, Democratic Republic of the Congo Wood, glass, pearls, metal, nail, string, octional material Dimensions: 46 x 14 x12 cm Provenance: Marc Léo Félix, Brussels Marc Léo Félix, Brussels Spanish private collection The existence of statuary with nails from the Bas-Congo, reported as early as the end of the 17th century by Olfert Dapper, who mentions sculptures into which pieces of metal are driven (Dapper, Dictionnnaire de l'Afrique, 1686: 336), is one of the monuments of African art. Known to the general public in Europe and the United States since the first exhibitions of the 0's, that of Art Nègre (Palais des Beaux-Arts, Brussels, 1930), the Exposition d'art africain et d'art océanien (Galerie du Théâtre Pigalle, Paris, 1930). Impressive, captivating, unsettling by its singular presence, thick patina, irregular nails and glass-set eyes, the fetish was created by the nganga, blacksmith-sorcerer, to act as an intermediary between the visible and the invisible, between the world of the living and that of the ancestors. The action of hammering a nail or blade into the statue, known as koma nloko, sealed a request to the nkisi spirit invested in the object, activating its power to formalize a request for help or healing, to place a contract under the auspices of the nkisi, or to protect oneself against bad luck and evil spirits. - The nails are inlaid in certain places, testifying to repeated invocations, and the crusty patina of the face is the result of the many propitiatory anointings performed during the recitation of the prayer (Lehuard, Fétiches à cloius du Bs-Zaire, 1980: 188-189). This nkonde, as is often the case, has been stripped of its magical ventral charge, formerly consisting of a mirror that enabled the nganaga to visualize the invisible world, the magical doorway to the other world. The importance of the nganaga's role as defender of the community and arbitrator of conflicts is reflected in his expressiveness, gestures and attitude. The face is imbued with a striking expression, hard and intimidating, the eyes glassy, the air austere and impassive. The body, to which the sculptor paid particular attention in order to give it a naturalistic appearance, is proudly camped(Lagamma, Kongo. Power and Majesty, 2015: p. 241).
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Kongo fetish, Democratic Republic of the Congo Wood, glass, pearls, metal, nail, string, octional material Dimensions: 46 x 14 x12 cm Provenance: Marc Léo Félix, Brussels Marc Léo Félix, Brussels Spanish private collection The existence of statuary with nails from the Bas-Congo, reported as early as the end of the 17th century by Olfert Dapper, who mentions sculptures into which pieces of metal are driven (Dapper, Dictionnnaire de l'Afrique, 1686: 336), is one of the monuments of African art. Known to the general public in Europe and the United States since the first exhibitions of the 0's, that of Art Nègre (Palais des Beaux-Arts, Brussels, 1930), the Exposition d'art africain et d'art océanien (Galerie du Théâtre Pigalle, Paris, 1930). Impressive, captivating, unsettling by its singular presence, thick patina, irregular nails and glass-set eyes, the fetish was created by the nganga, blacksmith-sorcerer, to act as an intermediary between the visible and the invisible, between the world of the living and that of the ancestors. The action of hammering a nail or blade into the statue, known as koma nloko, sealed a request to the nkisi spirit invested in the object, activating its power to formalize a request for help or healing, to place a contract under the auspices of the nkisi, or to protect oneself against bad luck and evil spirits. - The nails are inlaid in certain places, testifying to repeated invocations, and the crusty patina of the face is the result of the many propitiatory anointings performed during the recitation of the prayer (Lehuard, Fétiches à cloius du Bs-Zaire, 1980: 188-189). This nkonde, as is often the case, has been stripped of its magical ventral charge, formerly consisting of a mirror that enabled the nganaga to visualize the invisible world, the magical doorway to the other world. The importance of the nganaga's role as defender of the community and arbitrator of conflicts is reflected in his expressiveness, gestures and attitude. The face is imbued with a striking expression, hard and intimidating, the eyes glassy, the air austere and impassive. The body, to which the sculptor paid particular attention in order to give it a naturalistic appearance, is proudly camped(Lagamma, Kongo. Power and Majesty, 2015: p. 241).
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