Mangbetu Large Terracotta Decanter or Vessel, 20th Century CE
Terracotta
DV.003 (LSO)
This unusual anthropomorphic vessel was made by the Mangbetu group. The body of the vessel doubles as the corpulent body of the figure whose head constitutes the apex of the...
This unusual anthropomorphic vessel was made by the Mangbetu group. The body of the vessel doubles as the corpulent body of the figure whose head constitutes the apex of the pot. The face is scarred with the triple scars that usually denote a Yoruba piece. The eyes are prominent and blank, reminiscent of Yoruba Ijebu pieces. The figure is female, and has long, spindly arms and legs folded across the front of the pot. The figure and pot are covered with recurring lines and patches of incised scarifications.
The Mangbetu moved to the Congo region from Sudan in the 1700s, and live in societies that revolve around a court system. They are particularly renowned for their professional musicians, and also for their extravagant dancing and ceremonial pageantry. Their artworks were produced for the royal court families, and ranged from architecture to objects of religious/spiritual significance and secular items decorated with pleasing motifs and designs.
Mangbetu art is perhaps most recognizable for the inverted-cone coiffures of the (usually female) figures that tend to adorn it. This is seen in the rare wooden figures, as well as in ceramics. The coiffure – exaggerated by cranial deformation during infancy – was worn by women until the 1950s. Most of the pieces found their way to the royal courts. Kings were originally believed to be semi-divine, able to control natural resources using magical objects such as leopard parts. Mangbetu resistance to European rule had serious socioeconomic repercussions, but by the time that the European hold on the area had solidified, the Mangbetu were in the habit of trading and exchanging prestige goods – notably ornate ceramics – between chiefly courts and to colonials.
The role of these pieces is uncertain. The Mangbetu creator god is named Noro (also Kilima), but there is little sculptural abstraction in Mangbetu art that hints at an aim beyond the representational, or the secular decorative. They may also represent ancestors, which the kings usually command be revered. It is possible that the decorations on such pieces are designed to repel the negative effects of ‘Likundu’ – evil spirits – or witchery, which is a major concern in Mangbetu society.
It is certainly true that this piece is not a secular object, or at least not purely so. The care with which it has been conceived and executed suggests that it was a significant object in the eyes of the contemporary population, and that it held an important place in some religious or ritual context.
The Mangbetu moved to the Congo region from Sudan in the 1700s, and live in societies that revolve around a court system. They are particularly renowned for their professional musicians, and also for their extravagant dancing and ceremonial pageantry. Their artworks were produced for the royal court families, and ranged from architecture to objects of religious/spiritual significance and secular items decorated with pleasing motifs and designs.
Mangbetu art is perhaps most recognizable for the inverted-cone coiffures of the (usually female) figures that tend to adorn it. This is seen in the rare wooden figures, as well as in ceramics. The coiffure – exaggerated by cranial deformation during infancy – was worn by women until the 1950s. Most of the pieces found their way to the royal courts. Kings were originally believed to be semi-divine, able to control natural resources using magical objects such as leopard parts. Mangbetu resistance to European rule had serious socioeconomic repercussions, but by the time that the European hold on the area had solidified, the Mangbetu were in the habit of trading and exchanging prestige goods – notably ornate ceramics – between chiefly courts and to colonials.
The role of these pieces is uncertain. The Mangbetu creator god is named Noro (also Kilima), but there is little sculptural abstraction in Mangbetu art that hints at an aim beyond the representational, or the secular decorative. They may also represent ancestors, which the kings usually command be revered. It is possible that the decorations on such pieces are designed to repel the negative effects of ‘Likundu’ – evil spirits – or witchery, which is a major concern in Mangbetu society.
It is certainly true that this piece is not a secular object, or at least not purely so. The care with which it has been conceived and executed suggests that it was a significant object in the eyes of the contemporary population, and that it held an important place in some religious or ritual context.