Tanzanian Male Figure (Nyamezi?), 20th Century CE
wood, Wire and teeth
70
DV.025 (LSO)
This extremely imposing piece was probably made by the Nyamezi of Tanzania. It represents an elongated, slim male form with long legs and torso, an elongated neck bound with wire,...
This extremely imposing piece was probably made by the Nyamezi of Tanzania. It represents an elongated, slim male form with long legs and torso, an elongated neck bound with wire, short arms and a rounded head with a triangular nose, drilled eyes (from which the inlay has fallen) and an open mouth with real (probably bovid) teeth. There are also blocks of wire wound around each wrist, each ankle, and around the waist to about 1/3 up the abdomen. The phallus, unusually, is extremely pronounced. The finish is weathered rather than patinated.
East African sculptures are stylistically highly distinct from their West African counterparts, especially in terms of proportions, surface treatment and adornment; furthermore, they are considerably more homogenous than western styles, which vary between even tiny areas of forest and grassland. While the reasons behind these distinctions are unclear, it may be partly attributable to the open nature of the environment and the resultantly high level of mobility between areas. This outstanding piece is certainly Tanzanian, and could have been made by the Nyamezi, Sukuma or even Zigua people; the former is the most likely, and a summary of the culture is described below.
The Nyamezi of Central- to North-West Tanzania number about 500,000 and are largely agrarian farmers with cultural links to the Sukuma, the Sumbwa, the Kimbu, the Konongo and the Kerebe/Kerewe. Their name is of Swahili origin, and literally means “Men of the West” (or “Men of the Moon”); they used to call themselves the Wanyamwezi. Their society is based around small chiefdoms presided over by paramount chiefs responsible for material wealth, assisted by a sorcerer who takes care of the populace’s spiritual health. Status is inherited, or gained by being a good tracker – especially of elephants.
Skilled carvers produce secular items – notably anthropomorphic thrones and stools – as well as paraphernalia for water divining (elongated stick-figures) and other traditional religious practices. While they have a detailed pantheon of deities and spirits (including Likube [High God], Limi [the Sun] and Liwelolo [the Universe]) ancestor worship is a more common affair. This takes the form of offerings of animals to one’s predecessors, having first invoked the help of Likube.
The canons of Nyamezi art are varied but follow certain tendencies. Most figures are comparatively tall and almost invariably standing, with long torsos and slender/nugatory arms. Heads are usually rounded, contrasting with an often angular body. The eyes are usually inlaid with beads, and some figures also have hair and inlaid teeth. The large phallus on this piece is unusual but not rare – bared phalluses are usually something of an offensive gesture in African groups, unless the piece is specifically linked to fertility or ancestry. Their sometimes simplistic construction is offset by an ebullience and dynamism that makes the Nyamezi one of East Africa’s most notable sculpting groups.
This is a beautiful and important piece of African art.
East African sculptures are stylistically highly distinct from their West African counterparts, especially in terms of proportions, surface treatment and adornment; furthermore, they are considerably more homogenous than western styles, which vary between even tiny areas of forest and grassland. While the reasons behind these distinctions are unclear, it may be partly attributable to the open nature of the environment and the resultantly high level of mobility between areas. This outstanding piece is certainly Tanzanian, and could have been made by the Nyamezi, Sukuma or even Zigua people; the former is the most likely, and a summary of the culture is described below.
The Nyamezi of Central- to North-West Tanzania number about 500,000 and are largely agrarian farmers with cultural links to the Sukuma, the Sumbwa, the Kimbu, the Konongo and the Kerebe/Kerewe. Their name is of Swahili origin, and literally means “Men of the West” (or “Men of the Moon”); they used to call themselves the Wanyamwezi. Their society is based around small chiefdoms presided over by paramount chiefs responsible for material wealth, assisted by a sorcerer who takes care of the populace’s spiritual health. Status is inherited, or gained by being a good tracker – especially of elephants.
Skilled carvers produce secular items – notably anthropomorphic thrones and stools – as well as paraphernalia for water divining (elongated stick-figures) and other traditional religious practices. While they have a detailed pantheon of deities and spirits (including Likube [High God], Limi [the Sun] and Liwelolo [the Universe]) ancestor worship is a more common affair. This takes the form of offerings of animals to one’s predecessors, having first invoked the help of Likube.
The canons of Nyamezi art are varied but follow certain tendencies. Most figures are comparatively tall and almost invariably standing, with long torsos and slender/nugatory arms. Heads are usually rounded, contrasting with an often angular body. The eyes are usually inlaid with beads, and some figures also have hair and inlaid teeth. The large phallus on this piece is unusual but not rare – bared phalluses are usually something of an offensive gesture in African groups, unless the piece is specifically linked to fertility or ancestry. Their sometimes simplistic construction is offset by an ebullience and dynamism that makes the Nyamezi one of East Africa’s most notable sculpting groups.
This is a beautiful and important piece of African art.