Reliquary statuette of the Kota ethnic group, of the mbulu-ngulu type, made by the southern groups, the most classic being that of the obamba. It is made of carved wood, covered with sheets of brass and copper. The metal is hammered and fixed to the wood with nails. It is a figure of geometric structure and abstract execution, characteristic of Kota art, whose artistic manifestations stand out for their spiritual symbolism. The combination of wood and metal creates a powerful visual contrast. The head has a stylized shape, with a geometric design reminiscent of a heart or an elongated oval, vertically divided into two symmetrical halves. The metallic surface is engraved with linear patterns, such as horizontal and vertical lines, which add texture and symbolism. The face is minimalist: the eyes are represented by two small protruding discs, the nose is a slightly triangular straight line and there is no mouth.
It is characterized by a kind of croissant that crowns the head, like large ears or lateral fins from which cylinders hang on both sides. The back, made of unlaminated wood, is engraved with geometric signs.
The body, situated on the same plane as the face, is schematic: a long, cylindrical neck connects the head to a rhombus-shaped structure representing the torso. This section up to the middle of the rhombus is also covered in metal engraved with linear patterns. The base is a piece of carved wood, possibly for inserting the figure into a stand.
These reliquary figures have a religious justification based on the worship of ancestors; they are guardians that were placed on top of the boxes or baskets containing the relics of said ancestors. The place where they were kept depended on each town.
The Kota guarded them in huts on the outskirts of the village. Only initiates could visit them. At the end of the initiation rites, one of the most important ceremonies was the dance, during which the chief held these reliquaries in his hands.
The abstract conception of these reliquaries had a decisive influence on great Western artists.
The piece is presented on an iron base with a stand.
Condition: Very good overall condition, minor signs of wear on the metal, minimal darkened and oxidized areas. Wood in good condition. Very good patina.
"It shines for its profound spirituality and impeccable craftsmanship"
RELICARY FIGURE KOTA BAKOTA MBULU-NGULU
Gabon 19th-20th centuries
Museums with similar pieces:
Quai Branly - Jacques Chirac Museum (Paris, France): It has an important collection of Kota art, including mbulu-ngulu figures with similar characteristics.
Metropolitan Museum of Art (New York, USA): Houses several Kota reliquary figures, some with more elaborate metallic patterns.
Royal Museum for Central Africa (Tervuren, Belgium): Given the Belgian colonial past in the region, this museum has an extensive collection of Kota art.
British Museum (London, United Kingdom): It also features Kota figures, often displayed alongside other African ritual objects.
RELICARY FIGURE KOTA BAKOTA MBULU-NGULU
Gabon 19th-20th centuries
