Lot Essay
We cannot do better than to quote (in translation) Marie-Louise Bastin when she describes this superb mask in the Lisbon catalogue.
A very beautiful dance mask pwo, idealised symbol of Woman, source of life. On the face, treated with exceptional care, even to the carving of the usual scarifications of the most classic kind, the sculptor has been resoundingly successful in conveying a suggestive expression, sensitive at the same time as being subtly enigmatic. That is what makes for the originality of this creation, which is accompanied by a refined sumptuousness in the ornaments of the traditional hairdo, with its rows of little curls. Dating approximately to the years 1920-30. Obtained in 1969 from Alfredo Tshitombeno, who inherited it from his uncle Samulengue, a professional dancer, from the Mwangambe kingdom, near the river Tambe around Saurimo (Southern Lunda).
The sublime expression, the fine surface, the unusual ornaments and the excellent state of preservation of the coiffure make it an outstanding work of art which may well have been carved during the last century. The date of 1920-30 in the Lisbon catalogue was originally suggested to Madame Bastin by the present owner, who based the date on that of the coin in the coiffure, a macutas of 1927 (macutas were minted for distribution in Angola). But as the coin could have been added at any time, we believe that the mask is of greater antiquity than he had previously supposed and Madame Bastin now agrees that a 19th century date is certainly not impossible.
The tails of large antelopes, usually from the black-tailed gnu Connochaetes taurinus, were used for the fly whisks of chiefs and were therefore symbolic of power. The addition of mwana to pwo identifies the dancer as a young woman, rather than just a woman
We are indebted to Madame Bastin and the owner for their kind assistance in compiling this entry
A very beautiful dance mask pwo, idealised symbol of Woman, source of life. On the face, treated with exceptional care, even to the carving of the usual scarifications of the most classic kind, the sculptor has been resoundingly successful in conveying a suggestive expression, sensitive at the same time as being subtly enigmatic. That is what makes for the originality of this creation, which is accompanied by a refined sumptuousness in the ornaments of the traditional hairdo, with its rows of little curls. Dating approximately to the years 1920-30. Obtained in 1969 from Alfredo Tshitombeno, who inherited it from his uncle Samulengue, a professional dancer, from the Mwangambe kingdom, near the river Tambe around Saurimo (Southern Lunda).
The sublime expression, the fine surface, the unusual ornaments and the excellent state of preservation of the coiffure make it an outstanding work of art which may well have been carved during the last century. The date of 1920-30 in the Lisbon catalogue was originally suggested to Madame Bastin by the present owner, who based the date on that of the coin in the coiffure, a macutas of 1927 (macutas were minted for distribution in Angola). But as the coin could have been added at any time, we believe that the mask is of greater antiquity than he had previously supposed and Madame Bastin now agrees that a 19th century date is certainly not impossible.
The tails of large antelopes, usually from the black-tailed gnu Connochaetes taurinus, were used for the fly whisks of chiefs and were therefore symbolic of power. The addition of mwana to pwo identifies the dancer as a young woman, rather than just a woman
We are indebted to Madame Bastin and the owner for their kind assistance in compiling this entry