71 - Raffia plush fabric, "mbal"

Raffia plush fabric, "mbal" Kuba-Shoowa. DR Congo Without base Raffia. W 53 cm. L 69 cm. Provenance: Galerie Walu, Zurich. Kuba textiles occupy a prominent place within African art. Their artfully crafted raffia weavings are characterized by a distinctive visual language marked by complex geometric patterns, sophisticated variations, and surprising asymmetries. Over generations, the Kuba have developed and preserved an extraordinary textile tradition whose creative diversity and masterful craftsmanship continue to impress to this day. The Kingdom of Kuba, founded in the 17th century, united some 20 Bantu-speaking ethnic groups in the territory of what is now the Democratic Republic of the Congo. The confederation, dominated by the Bushoong, retained its political independence until the expansion of Belgian colonial rule toward the end of the 19th century. As a traditional institution, the kingdom continues to exist today, albeit without its former political autonomy. In addition to the Bushoong, its members include the Ngeende, Ngongo, Kete, and Shoowa, among others. The Kuba display a pronounced preference for geometric shapes and decorate numerous everyday and ritual objects with artfully crafted patterns that usually cover the entire surface. However, they gained particular fame for their masterfully crafted raffia weavings, which were prized far beyond the borders of their kingdom. The cloths, which are often nearly square and measure about 50 × 50 cm, are made from the fine fibers of the raffia palm’s fronds. While the men weave the base fabric, the women take on the task of decorating it artistically. A particularly distinctive feature is the elaborate velour embroidery, in which dyed raffia threads are drawn into the fabric using a needle without knotting. The protruding thread ends are then trimmed back to a few millimeters, creating a velvety surface with raised, geometric patterns. Traditionally, plant-based and other natural dyes are used to color the fibers. Portuguese travel accounts from the 16th and 17th centuries already mention the exceptional quality of Central African raffia textiles. In the trade of that time, such fabrics were exchanged for salt, cowrie shells, and pearls, among other things. Through extensive trade networks, these coveted cloths reached as far as Angola, where they were also used as a medium of exchange. Due to their high value, raffia cloths also served as a medium of exchange and payment within the Kingdom of Kuba. Furthermore, they held great social and ceremonial significance. To this day, they are presented as precious gifts to guests on a wide variety of occasions, particularly at weddings, births, and anniversaries. They also continue to play an important role in funeral ceremonies. The considerable amount of labor that goes into each individual cloth forms an essential basis for its value. Recipients of such gifts are sometimes given a small fortune, which they can sell or exchange as needed. Anyone who does not own or cannot produce such cloths for a celebration must purchase them in exchange for money, goods, or services. Patterns, quality, and craftsmanship, as well as supply and demand, determine the individually negotiated value. The Kuba’s raffia weavings rank among the outstanding achievements of African textile art. Their sophisticated geometric compositions, the playful variation of recurring motifs, and their distinct sense of rhythm and asymmetry give them an unmistakable aesthetic. Their extraordinary formal language exhibits remarkable parallels to 20th-century abstract art. Artists such as Paul Klee, Antoni Tàpies, and Keith Haring are known to have engaged with Kuba textiles and appreciated their artistic quality. In these extraordinary textiles, masterful craftsmanship, social function, and artistic expressiveness merge to create works of art of timeless fascination. Further reading: Meurant, Georges (1989). Traumzeichen. Munich: Verlag Fred Jahn. CHF 100 / 200 Weight in grams: 245 Condition: Hammer Auctions places great importance on providing a careful and as precise as possible description of all lots offered in the catalog. Each lot is documented with multiple photographs intended to provide as comprehensive an impression of its condition as possible. This includes, in particular, visible signs of wear, irregularities, and age-related changes. We recommend that all interested parties and bidders carefully examine the photographs before placing a bid.