This powerful sculpture is a Bankishi divination figure from the Luba tribe of Gabon and what was once Zaire. It portrays the elongated torso and head of a woman, on a cut-off conical base with a flat bottom. The body is very narrow yet deep, with a shallow torso in which the breasts and shoulders are essentially superimposed for extra effect, with the arms plunging directly inferiorly, the hands resting on the stomach. The neck is almost circular in cross-section and very thick, supporting a very serene and refined head. The face is enclosed by a band that runs around the chin and joins the coiffure beneath each ear. The eyes are closed, with an inverted T-bar nose, narrow brows and an open mouth. The forehead is very high and domed, the face comparatively flat. The coiffure is a very ornate sequence of horizontally-oriented cornrows, with a flat-topped, excised eminence protruding from the apex. The figure is carved frm a dark wood that has been made darker still by the addition of libations; it is also decorated with a piece of cloth tied around the apex of the conical base.
The Luba people were once the major power in this region, with over a million people paying tribute to the descendants of King Kongolo Maniema (who founded the dynasty in 1585). They were particularly reliant upon fishing and industries such as metalworking, leading to their status as a primary node on an ever-expanding trade network that wound its way throughout West Africa and as far as the Indian Ocean. They expanded enormously during the 18th and 19th centuries, but were seriously impacted upon by slaving missions and the rise of the Ovimbudu people of Angola; they were eventually subsumed into the Belgian Congo Empire in the early 20th century. The nature of their relationship with the immediately proximate Hemba people is still something of a bone of contention in African art circles.
They were governed by a combination of divine kingship and rule by council; the king (Mulopwe) ruled through a set of social notables who were collectively known as Bamfumus. These both controlled the Balopwe or “clan kings”, who governed designated areas as symbolic sons of the king. Social harmony and memory was controlled through the Bambudye (or Mbudye) secret society, whose members are obliged to remember and recite the whole history of the Luba people from their foundation, often using “lukasa” boards as aides-memoire. The Mbudye tradition states that all rulers of the Luba Empire traced their ancestry to Kalala Ilunga, a mystical hunter credited with toppling the cruel ruler known as Nkongolo. This figure is also credited with the introduction of advanced iron forging techniques to the Luba peoples. Aristocratic status is attained by the ability to trace one’s lineage to a founding member of the Luba people; although western academia might dismiss most of the early stages as myth, Mbudye memory scholars consider then to be the essence of truth. The king lists are especially important, as the divine status of rulers has had a notable effect on the arts and crafts of the Luba empire.
The Luba are renowned for their figures more than their masks, which are extremely rare and usually resemble the Kifwebe masks of the Songye group. Shrine paraphernalia such as staffs, headrests, bow stands, and royal seats are known, reflecting the divine status of the ruler and the elegant refinement of his court. Carvers display incredible flexibility in terms of their representation techniques, some of which are so distinctive that pieces can be attributed to individual artists (such as the Master of Buli, one of the few historically-recognised indigenous carvers). Mwadi – female incarnations of ancient kings – are a common characteristic of Luba art, and indeed the vast majority of known sculptures depict female rather than male figures. Women also play key roles in Luba creation myths, and are strongly associated with divination paraphernalia, such as the current piece.
This Bankishi figure has been magically charged by the addition of magic substances, or Bijimba. The sections that remain include the libation and the cloth, although it is probable that the top of the piece once held a further charge. The figure is believed to be powerless without this material, which can include human bones (for life force) or the hair of twins (for fertility). Multi-headed varietals are known, which are believed to represent increased powers of vision and clairvoyance and vision.
This is a powerful and compelling piece of magical African art, and a notable addition to any serious collection of the genre.