7 - 𝗙𝗶𝗴𝘂𝗿𝗲 𝗡𝗸𝗶𝘀𝗵𝗶, 𝗦𝗼𝗻𝗴𝘆𝗲 𝗥𝗲́𝗽𝘂𝗯𝗹𝗶𝗾𝘂𝗲 𝗗𝗲́𝗺𝗼𝗰𝗿𝗮𝘁𝗶𝗾𝘂𝗲 𝗱𝘂 𝗖𝗼𝗻𝗴𝗼

𝗙𝗶𝗴𝘂𝗿𝗲 𝗡𝗸𝗶𝘀𝗵𝗶, 𝗦𝗼𝗻𝗴𝘆𝗲 𝗥𝗲́𝗽𝘂𝗯𝗹𝗶𝗾𝘂𝗲 𝗗𝗲́𝗺𝗼𝗰𝗿𝗮𝘁𝗶𝗾𝘂𝗲 𝗱𝘂 𝗖𝗼𝗻𝗴𝗼 19th century Wood, horn, glass beads, plant fibers, fat residues H. 84 cm Height without the horn: 64 cm Base dimensions: 5.5 × 23 × 23 cm “When Greek art, still linked to Egypt, discovered the smile, it also discovered a new balance of the body” according to Malraux regarding the Kouros of Milos. In Songye thought, the Nkishi is not merely an anthropomorphic representation but a ritually activated effigy, a mediator between humans and the spirit world. A collaborative work between the sculptor and the nganga, it only received its power after the insertion of the bishimba—magical charges composed of carefully selected ingredients and placed, in particular, in the umbilical region, which is the true source of protective energy. These figures were invoked to protect individuals and communities from disease, witchcraft, and misfortune, but also to promote fertility and prosperity. Based on its features, attributes, and expressiveness, this effigy is associated with the Bélandé region, which François Neyt links to the early western Songye tradition. Its frontal and strongly axial composition, the firmness of its forms, and the restrained intensity of its face lend it a particularly accomplished expression. As carriers of powerful symbols, the gestures and postures, in turn, speak to the effigy’s vigilance. “Know that every symbol conceals one meaning, two meanings, or even several. These meanings may be diurnal or nocturnal.” Hampaté-Bâ. Particular attention is thus paid to certain senses such as sight, hearing, and smell. “Facial expression is essential: the active features—the eyes and mouth—turned toward others in a desire to communicate. Deep-set eyes predominate, as does the crescent-shaped mouth (…) it is one of those we liked to call ‘smiling faces .” 𝗣𝗿𝗼𝘃𝗲𝗻𝗮𝗻𝗰𝗲 - Gert Stoll, Schwarz-Weiss Gallery, Munich - Belgian private collection