Kuba Ivory Sculpture of a King, 19th Century CE - 20th Century CE
Ivory
SP.131 (LSO)
This serene and impressive ivory figure of a seated man is a rare king figure made by the Kuba group. It is an appealing carving, depicting the figure with an...
This serene and impressive ivory figure of a seated man is a rare king figure made by the Kuba group. It is an appealing carving, depicting the figure with an unusually long trunk, short limbs, closed coffee-bean eyes and an oblong platform atop the head. The thorax, arms and forehead are decorated with linear and geometric designs that are presumably intended to represent jewellery and scarifications. There is a low plinth in front of him, which reaches up to the level of his navel. This is also decorated with incised markings. The colour and tone of the ivory indicate a certain age and degree of handling.
The Kuba are a large tribe comprised of various smaller entities including the Bushoong, Ngeende, Kete, Lele, Binji, Dengese, Mbuun and Wongo peoples. Their social systems are hereditary monarchies headed by the “Mushenge” (Nyim), who is responsible for the spiritual and material wealth of his people. The kingdom was founded in the early 17th century by a major leader named Shyaam a-Mbul a Ngoong-Shyaam, under whose guidance the polity became highly productive and very wealthy. This led to an increased artistic oeuvre and ever more elaborate royal regalia and statuary.
Kuba religion was based upon a creator god named MBoom, while more immediate concerns were the province of a being named Woot who was involved with more tangible issues; the Kuba are also known as the Children of Woot. Their artwork reflects their kingship system and is often extremely ornate: they have been described as a people who cannot bear to leave a surface without ornament. Their works are usually decorated with cowrie shells, camwood powder (tukula, or twool), and geometric and meandriform linear motifs. They are well-known for their boxes (ngedi mu ntey) and their cups, which are particularly flamboyant, usually cephalomorphic, and which were a standard means of competition among socially ambitious courtiers.
The most important works made by the Kuba are arguably the ndop “king” figures, which commemorate deceased kings and are believed to have an apotropaic function regarding successful pregnancy and birth. They are seated or kneeling, and tend to bear a knife (ikul) in the Bushoong style, in the left hand. These figures are all somewhat similar and are thus not so much portraits as evocations of their regal spirit. The only identifying mark is a symbol on the low plinth positioned before them. The emblem of King Shyaam aMbul aNgoong, founder of the Bushoong ruling dynasty, is a mancala board, while MishaaPelyeeng aNce is commemorated by a drum and Mbop Pelyeeng aNce (a renowned blacksmith) is denoted with an anvil stand. The sculptures were kept in shrines and were often rubbed with oil, which explains their striking patination.
Because these pieces are so important and are also, coincidentally, carved from very dense, hard wood, even eighteenth century examples have survived. Ivory examples are uncommon and are likely to have been extremely high status objects given the social value of ivory in almost all African tribal groups. This is a rare and attractive piece of art.
The Kuba are a large tribe comprised of various smaller entities including the Bushoong, Ngeende, Kete, Lele, Binji, Dengese, Mbuun and Wongo peoples. Their social systems are hereditary monarchies headed by the “Mushenge” (Nyim), who is responsible for the spiritual and material wealth of his people. The kingdom was founded in the early 17th century by a major leader named Shyaam a-Mbul a Ngoong-Shyaam, under whose guidance the polity became highly productive and very wealthy. This led to an increased artistic oeuvre and ever more elaborate royal regalia and statuary.
Kuba religion was based upon a creator god named MBoom, while more immediate concerns were the province of a being named Woot who was involved with more tangible issues; the Kuba are also known as the Children of Woot. Their artwork reflects their kingship system and is often extremely ornate: they have been described as a people who cannot bear to leave a surface without ornament. Their works are usually decorated with cowrie shells, camwood powder (tukula, or twool), and geometric and meandriform linear motifs. They are well-known for their boxes (ngedi mu ntey) and their cups, which are particularly flamboyant, usually cephalomorphic, and which were a standard means of competition among socially ambitious courtiers.
The most important works made by the Kuba are arguably the ndop “king” figures, which commemorate deceased kings and are believed to have an apotropaic function regarding successful pregnancy and birth. They are seated or kneeling, and tend to bear a knife (ikul) in the Bushoong style, in the left hand. These figures are all somewhat similar and are thus not so much portraits as evocations of their regal spirit. The only identifying mark is a symbol on the low plinth positioned before them. The emblem of King Shyaam aMbul aNgoong, founder of the Bushoong ruling dynasty, is a mancala board, while MishaaPelyeeng aNce is commemorated by a drum and Mbop Pelyeeng aNce (a renowned blacksmith) is denoted with an anvil stand. The sculptures were kept in shrines and were often rubbed with oil, which explains their striking patination.
Because these pieces are so important and are also, coincidentally, carved from very dense, hard wood, even eighteenth century examples have survived. Ivory examples are uncommon and are likely to have been extremely high status objects given the social value of ivory in almost all African tribal groups. This is a rare and attractive piece of art.