Pumbu Mask
Eastern Pende, Democratic Republic of Congo
Early-Mid 20th Century
(Photo from Bayly Art Museum)
The Pumbu mask is very characteristic of the Kongo culture with its exaggerated features and geometric patterns. It has a cylinder shaped body, a long nose, and a square shaped mouth. The geometric pattern of red, white, and black symbolizes anger. Pumbu represents the warlike nature of the chief, and therefore, is stored in an inner chamber, which is considered the chiefs treasury. It is the most fearful and dangerous mask within the Kongo culture. Referred to as an "executioner," it can only be used by a few chiefs who exert the most power. Since the mask is so powerful, it can only be danced on rare and terrible occasions, such as when the chief himself is seriously ill.[1] The mask itself may not be seen as a power object, but it becomes a controlling force in the community when it is danced.[2]
[1] Monica Blackmun Visona, Robin Poynor, and Herbert M. Cole: A History of Art in Africa 2nd Edition (Upper Saddle River, N.J: Pearson/Prentice Hall, 2008, 377.
[2] Z.S Strother, Inventing Masks: Agency and History in the Art of the Central Pende (Chicago: University of Chicago Press, 1998), 216.
Early-Mid 20th Century
(Photo from Bayly Art Museum)
The Pumbu mask is very characteristic of the Kongo culture with its exaggerated features and geometric patterns. It has a cylinder shaped body, a long nose, and a square shaped mouth. The geometric pattern of red, white, and black symbolizes anger. Pumbu represents the warlike nature of the chief, and therefore, is stored in an inner chamber, which is considered the chiefs treasury. It is the most fearful and dangerous mask within the Kongo culture. Referred to as an "executioner," it can only be used by a few chiefs who exert the most power. Since the mask is so powerful, it can only be danced on rare and terrible occasions, such as when the chief himself is seriously ill.[1] The mask itself may not be seen as a power object, but it becomes a controlling force in the community when it is danced.[2]
[1] Monica Blackmun Visona, Robin Poynor, and Herbert M. Cole: A History of Art in Africa 2nd Edition (Upper Saddle River, N.J: Pearson/Prentice Hall, 2008, 377.
[2] Z.S Strother, Inventing Masks: Agency and History in the Art of the Central Pende (Chicago: University of Chicago Press, 1998), 216.
Nkisi n' Kondi
Kongo, Democratic Republic of Congo
2nd half of 19th century
Wood, metal, resin, enamel
46 in. high
(Photo from Metropolitan Museum of Art)
The Nkisi n' Konde is a powerful sculpture that is used to control and contain a spiritual force. The name of this sculpture refers to its power to track down offenders, in an aggressive manner. Wood, metal, glass, fabric, fiber, cowrie shells, bone, leather, gourds, and feathers compose this sculpture. The nails were put into the figure to destroy an evil force and the cowrie shells and bone are used to enhance its ability to attract a spirit. For centuries, the nkisi was used for curing illness, combating witchcraft, punishing criminals, and solving other problems. Some minkisi act by being violent, but others more kindly. [1]
[1] Wyatt MacGaffey, Kongo Political Culture: The Conceptual Challenge of the Particular (Bloomington, NY: Indiana University Press, 2000), 90-110.
2nd half of 19th century
Wood, metal, resin, enamel
46 in. high
(Photo from Metropolitan Museum of Art)
The Nkisi n' Konde is a powerful sculpture that is used to control and contain a spiritual force. The name of this sculpture refers to its power to track down offenders, in an aggressive manner. Wood, metal, glass, fabric, fiber, cowrie shells, bone, leather, gourds, and feathers compose this sculpture. The nails were put into the figure to destroy an evil force and the cowrie shells and bone are used to enhance its ability to attract a spirit. For centuries, the nkisi was used for curing illness, combating witchcraft, punishing criminals, and solving other problems. Some minkisi act by being violent, but others more kindly. [1]
[1] Wyatt MacGaffey, Kongo Political Culture: The Conceptual Challenge of the Particular (Bloomington, NY: Indiana University Press, 2000), 90-110.