Statuette Nkisi, Kongo, République Démocratique du Congo

Aurait été acquis in situ par le baron Tibbaut (1862-1935)
Alan Brandt (1923-2002), New York
Christie’s, Londres, 3 décembre 1991, n° 108
Collection Daniel et Marian Malcolm, Tenafly, New Jersey, acquis en juillet 1992

Schweizer, Visions of Grace: 100 Masterpieces  from the Collection of Daniel and Marian Malcolm, 2014, p. 162-165, cat n° 64

Good condition overall. Wear consistent with age and use within the culture. Both charges are retained but have suffered a few losses. Small hairline cracks to the proper right side of the head and one thin crack running alongside the proper right ear. The proper right hand has a gap to the fingers. Beautiful brown reddish patina.
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Parmi les statues magico-religieuses des Kongo, celles qui adoptent l’attitude du nkisi de la collection Malcolm sont très rares. Le corps aux lignes souples s’enroule autour de la volumineuse charge ventrale obturée par un miroir tandis que le personnage porte à sa bouche un élément sphérique. Cette iconographie singulière se différencie de la gestuelle impérieuse de la plupart des figures nkisi. Sa signification demeure hypothétique. Une statue de singe Vili provenant de la collection Bela Hein (Ancienne collection B.H, Fraysse et Associés, Paris, 6 juin 2005, n° 52), une figure humaine de l’ancienne collection Paul Rupalley (Etude Flagel, Paris, 16-18 Mars, 1930, n° 143) et la sculpture de l’ancienne collection Henri Matisse (qu’il représenta dans Still Life with African Sculpture, 1906-1907) en complètent le corpus.

Les instructions iconographiques liées à chaque figure nkisi étaient dictées par le devin (nganga) qui activait la sculpture par l’insertion de charges magico-religieuses (bilongo). Le nkisi devenait ainsi un médium de communication spirituelle. Ici, la puissance de la double charge bilongo est associée aux yeux sertis de « miroirs de clairvoyance » et à la sphère portée à la bouche, qui peut être interprétée comme un aliment augmentant le pouvoir médiumnique.

Outre sa position, le nkisi de la collection Malcolm se distingue par la prégnance de la tête surdimensionnée (siège du savoir et de la sagesse). Contrastant avec la patine sombre et profonde, la brillance des yeux grands ouverts traduit magistralement la transe et les pouvoir spirituels conférés à l’œuvre.

Nkisi figure, Kongo, Democratic Republic of the Congo

Figures carved in the posture of the nkisi from the Malcolm collection are rare amongst the vast corpus of Kongo magico-religious sculptures.  The crouched body almost envelops the large ventral charge, which is sealed by a mirror. Folded in on itself, in an almost animal-like position, the figure raises a spherical object to his mouth with both hands. This distinctive iconography is radically different from the imperious gesture of most nkisi figures. Its significance remains enigmatic. A Vili monkey figure from the collection of Bela Hein (Fraysse & Associés, Paris, 6 June, 2005, lot 52), a human figure formerly in the collection of Paul Rupalley (Etude Flagel, Paris, 16-18 March , 1930, lot 143) and a figure from the collection of Henri Matisse (which he represented in the painting Still Life with African Sculpture, 1906-1907) complete the limited corpus.

The iconography of each nkisi was dictated by the diviner (nganga) who activated the sculpture by inserting magico-religious charges (bilongo). The nkisi would then become a medium for spiritual communication. Here the power of the double bilongo charge is combined with eyes which are inset with “mirrors of clear-sightedness”. The sphere raised to the mouth may be interpreted as a food intended to increase the mediumistic power of the figure.

The nkisi from the Malcolm collection is distinguished as much by its unusual pose as by the strength of the oversized head (the seat of knowledge and wisdom). Contrasting with the dark and deep patina, the glare of the wide, staring eyes masterfully conveys a trance-like state and the spiritual powers which the sculpture posseses.