Diviner's Mask
Artist/Maker
Yombe peoples
, Democratic Republic of the Congo
Date20th century
MediumWood
DimensionsOverall: 14 × 11 1/2 × 6 1/2 in. (35.6 × 29.2 × 16.5 cm)
Mount: 16 1/4 × 8 × 8 in. (41.3 × 20.3 × 20.3 cm)
Mount: 16 1/4 × 8 × 8 in. (41.3 × 20.3 × 20.3 cm)
Credit LineGift in honor of Alexandra Gould (OC 2011)
Object number2011.26.45
Status
Not on viewAmong the Kongo peoples, diviners known as Nganga utilized masks for healing rites and possibly for initiation rites as well. Masks were used by the Yombe and Vili sub-groups during these ritual processes, although their exact role is not clearly understood.
One theory is that the Nganga would take on aspects of the spirit the mask depicted and retrieve the stolen or damaged soul of the individual who had been sickened by witchcraft.
Some masks occasionally imitated the naturalistic carving of the chiefly power figures, and the powerful yet delicate and naturalistic features look quite similar.
However, as in the case of this mask, possibly those linked to individuals not associated with high rank or chieftainship, the canon of style was far less dogmatic with wide variations existing both regionally and sub-regionally. In stark contrast to the facial carving of other Yombe works, this mask appears to reference a different tradition entirely; the surface being of natural brown wood and of almost crude form rather than the heightened naturalism usually seen in Yombe art.
It may be that the masks used by such ritualists had a very broad canon of style. Another possibility is that the masks were carved by the individual diviners themselves on occasion--this would account for the tremendous variation in quality and form.
ProvenanceGerald Dannenberg Estate; purchased by Mohammed Kaba; acquired by Peter G. Gould and Robin M. Potter, Haddonfield, NJ; by gift 2011 to Allen Memorial Art Museum, Oberlin, OHExhibition History
One theory is that the Nganga would take on aspects of the spirit the mask depicted and retrieve the stolen or damaged soul of the individual who had been sickened by witchcraft.
Some masks occasionally imitated the naturalistic carving of the chiefly power figures, and the powerful yet delicate and naturalistic features look quite similar.
However, as in the case of this mask, possibly those linked to individuals not associated with high rank or chieftainship, the canon of style was far less dogmatic with wide variations existing both regionally and sub-regionally. In stark contrast to the facial carving of other Yombe works, this mask appears to reference a different tradition entirely; the surface being of natural brown wood and of almost crude form rather than the heightened naturalism usually seen in Yombe art.
It may be that the masks used by such ritualists had a very broad canon of style. Another possibility is that the masks were carved by the individual diviners themselves on occasion--this would account for the tremendous variation in quality and form.
Engaging Spirits, Empowering Man: Sculpture of Central and West Africa
- Allen Memorial Art Museum, Oberlin, OH (February 1, 2009 - December 23, 2009 )
Collections
- African & Oceanic
The AMAM continually researches its collection and updates its records with new findings.
We welcome additional information and suggestions for improvement. Please email us at AMAMcurator@oberlin.edu.
We welcome additional information and suggestions for improvement. Please email us at AMAMcurator@oberlin.edu.
20th century
18th–19th century
n.d.
20th century
19th century
20th century
20th century
20th century
20th century
late 19th–early 20th century