Throughou history, the concept of mother and child united together has been a poten symbol; the source of works of art depicting universal images of fecundity an nourishment.  Kongo maternit figures, called , are among the most celebrated works of Africa art because of their easily recognizable theme, their classical form and thei fine workmanship.  Furthermore,
their full meaning and roll in Kongo society has not been determined wit certainty because of the wealth of traditional content of the sculpture, bot historic and symbolic. Therefore, today there is doubt that the model was th virgin and child, first introduced by missionaries in the 16th Century.



 


This sculpture helped to promote fertility, s crucial to the future of any tribe. As the mother sits cross-legged, she hold her baby carefully, in preparation for the child to suckle her breast. The figure wears a knitted bonnet, or , that suggests high ran and is generally associated with a chief.  Th diagonal grid pattern covering her upper torso, shoulders, and back migh represent either a woven shawl or else the raised patterns of decorativ scarification that were considered marks of her sexuality and rank. Her face shows also great expression with her mouth held slightly ajar,
revealing four teeth.  With he headdress, necklace, bracelets and the infant (possibly an heir), the sculpto suggests this woman is a high-ranking member of Kongo society. Such statues wer probably used by the ancestral cult. In the past, similar sculptures have bee considered funeral figures.  This
is especially remarkable for its tremendous size. With the smoothness of the wood and the care taken in creating thi expressive sculpture, we realize the importance that these pieces had on th lives of people and the care that these people took in creating and reverin them.