Statue, Songye, République Démocratique du Congo

Odette et René Delenne, Bruxelles
Pierre Dartevelle, Bruxelles
Luisa Müller, Bruxelles
Collection Francis Berthier, Paris
Lance et Roberta Entwistle, Londres / Paris
Collection Robert Bohlen, Brighton, Michigan
Pace Gallery, New York
Collection Daniel et Marian Malcolm, Tenafly, New Jersey, acquis en 2007

Saint-Paul, Hamline University Art Galleries, Icons of Perfection. Figurative sculpture from Africa, 2 décembre 2005 - 11 février 2006
Ann Arbor, University of Michigan Museum of Art, Masterworks of African Art, The Congo bassin, 6 septembre 2003 - 2 mai 2004

Kan, Masterworks of African Art: The Congo Bassin, 2003, n.p.
Neyt, Songye. La Redoutable statuaire Songye d’Afrique centrale, 2004, p. 70, n° 31
Herreman, Icons of Perfection. Figurative sculpture from Africa, 2006, p. 38, n° 21
Herreman, “Icônes de perfection”, in Tribal Arts, printemps 2006, n° 12, p. 94, n° 8

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François Neyt inscrit la statue de la collection Malcolm au sein du courant stylistique qui s'est développé dans la région des Milembwe septentrionaux, des Belande et des Eki, caractérisé notamment par l'expressionnisme de la bouche. La ligne brisée qui délimite les cheveux des tempes, le volume de la coiffure, les paupières supérieures fermées et le socle curviligne élevé distinguent en particulier un étroit corpus « attribué aux Eki ou aux Kibeshi dans le sud-ouest près des Luba-Kasaï » (Neyt, Neyt, Songye, La redoutable statuaire Songye d’Afrique Centrale, 2004, p. 313). Ses œuvres les plus accomplies sont conservées en mains privées : la statue de la collection Malcolm, qui se singularise par le port d’une barbe, celle de la collection Baudouin de Grunne et l'effigie appartenant autrefois à Christian Duponcheel, qui encadrent le Songye Malcolm dans l'ouvrage de François Neyt (idem, n°30 et 32).

Son collier en fer, la qualité de la sculpture et la corne autrefois insérée au sommet de la tête témoignent de l’action combinée de ses trois auteurs : le forgeron (lié à la magie de la terre et du feu), le sculpteur et le devin, nganga, qui utilise ses connaissances des énergies du cosmos pour transformer l’effigie en force active.

La puissance et les pouvoirs magico-religieux qui lui sont conférés se traduisent admirablement dans sa construction : frontale, symétrique, prête à intervenir. Le geste des mains posées sur le ventre symbolise son pouvoir de protection sur le clan et le lignage. Sa vigueur s’exprime dans le jeu de lignes rigoureusement architecturées, que viennent accentuer les volumes aux plans épannelés. Les yeux mi-clos exaltent vigilance, sérénité et sagesse, prérogatives de l’ancêtre sollicité. Les organes sensoriels y sont subtilement accentués : la bouche afin de délivrer les messages importants, le nez de filtrer les esprits qui entrent et sortent par le souffle, et les oreilles pour capter l’ensemble des paroles, audibles et inaudibles. La sculpture devient dès lors un médiateur efficient entre les hommes et l’esprit des ancêtres, apte à protéger l’ensemble de la communauté.

Songye figure, Democratic Republic of the Congo

François Neyt attributes the Songye figure from the Malcolm collection to the northern Milembwe, Belande and Eki stylistic region. Songye sculptors from this artistic tradition paid special attention to the carving of the mouth. The broken line which delineate the hair on the temples, the volume of the coiffure, the closed upper eyelids, and the curvilinear base are all characteristic of a small corpus of sculptures which are “attributable to Eki or Kibeshi in the southwest, near Luba-Kasai” (Neyt, Neyt, Songye, La redoutable statuaire Songye d’Afrique Centrale, 2004, p. 313). The most accomplished works from this corpus are in private hands: the figure from the Malcolm collection; the figure from the collection of Baudouin de Grunne; and, finally, a figure which once belonged to Christian Duponcheel (ibid., nos. 30 and 32).

The sculptural quality of the figure, its iron collar, and the horn which was once inserted into the top of its head represent the efforts of its three authors: the sculptor, the blacksmith, with his knowledge of the magic of earth and fire, and the diviner, or nganga, who used his knowledge of cosmic energies to transform the figure into an active force.

The magico-religious powers and strength of this figure are reflected in its form, which is frontal, symmetrical, and ready to intervene. The hands placed on the stomach symbolize the figure’s protective power over the clan and lineage. The sense of vigour is increased by the sculpture's structured, architectural lines, which accentuate the angular volumes of the planed surfaces. The half-closed eyes suggest the vigilance, wisdom and serenity that were the prerogatives of the honoured ancestor. The sensory features are subtly accentuated: the mouth, to deliver important messages; the nose, to filter the spirits which enter and exit through breath; and the ears, which catch all words, whether audible or inaudible. The sculpture thus becomes an efficient mediator between men and the spirits of the ancestors capable of protecting an entire community.