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拍品專文
The abstract representation and reinvention of the human body in Kota art have long exerted a profound fascination, deeply inspiring the European avantgarde in Paris and elsewhere. It has thus become customary to invoke the names of Modigliani, Picasso or Brâncuși, among others, when discussing this artistic tradition.
These sculptures occupy a fundamental role within the ancestral cult, the very basis of Kota society. Upon the passing of a chief or notable figure, descendants would affix these figures - crafted from wood and copper, a noble material - to bark or wicker baskets, thereby safeguarding the sacred relics. This act symbolized a reciprocal relationship: the offering of the living to the departed and the protection of the departed over the living. Each statue embodied a distinct spirit, which accounts for the remarkable diversity of styles characterizing Kota reliquary figures. Their uniqueness also derived from the clan motifs carved on their backs - emblems of lineage or magical symbols of protection.
Kota art is thus distinguished by stylistic currents and creative choices that occasionally give rise to veritable masterpieces, such as this effigy. This Mbulu Ngulu figure was created at the Northern Obamba workshops and exemplifies their stylistic tradition. It is notable for its geometric treatment and the pronounced schematization of the face, coupled with the elegant fluidity of its lines. The exceptional craftsmanship in metalwork is revealed through the juxtaposition of brass strips upon the cruciform facial motif, radiating from either side of the nose, as well as the repoussé patterns. Ornamental richness further manifests in the variety of striated and diamond-shaped motifs adorning the lateral headdresses, neck, and crescent-shaped crest. The precision of proportions contributes to the geometric harmony emanating from the figure.
The present statue may be closely related to three others, likely the work of the same artist or atelier: the first, published by the Chaffins (A. and F. Chaffin, L'art kota - Les figures de reliquaire, Meudon, 1979, no. 130, p. 230); the second, acquired prior to 1929 by Joseph Laporte (P. Wingert, 'Style Determinants in African Sculpture', in: African Arts, Los Angeles, Spring 1972, vol. V, no. 3, p. 43); and the last, published by Elgar (F. Elgar, Toiles d’aujourd’hui et formes africaines, Nantes, 1960, no. 89, p. 1).
These sculptures occupy a fundamental role within the ancestral cult, the very basis of Kota society. Upon the passing of a chief or notable figure, descendants would affix these figures - crafted from wood and copper, a noble material - to bark or wicker baskets, thereby safeguarding the sacred relics. This act symbolized a reciprocal relationship: the offering of the living to the departed and the protection of the departed over the living. Each statue embodied a distinct spirit, which accounts for the remarkable diversity of styles characterizing Kota reliquary figures. Their uniqueness also derived from the clan motifs carved on their backs - emblems of lineage or magical symbols of protection.
Kota art is thus distinguished by stylistic currents and creative choices that occasionally give rise to veritable masterpieces, such as this effigy. This Mbulu Ngulu figure was created at the Northern Obamba workshops and exemplifies their stylistic tradition. It is notable for its geometric treatment and the pronounced schematization of the face, coupled with the elegant fluidity of its lines. The exceptional craftsmanship in metalwork is revealed through the juxtaposition of brass strips upon the cruciform facial motif, radiating from either side of the nose, as well as the repoussé patterns. Ornamental richness further manifests in the variety of striated and diamond-shaped motifs adorning the lateral headdresses, neck, and crescent-shaped crest. The precision of proportions contributes to the geometric harmony emanating from the figure.
The present statue may be closely related to three others, likely the work of the same artist or atelier: the first, published by the Chaffins (A. and F. Chaffin, L'art kota - Les figures de reliquaire, Meudon, 1979, no. 130, p. 230); the second, acquired prior to 1929 by Joseph Laporte (P. Wingert, 'Style Determinants in African Sculpture', in: African Arts, Los Angeles, Spring 1972, vol. V, no. 3, p. 43); and the last, published by Elgar (F. Elgar, Toiles d’aujourd’hui et formes africaines, Nantes, 1960, no. 89, p. 1).