An important and ancient Nkisi Nkonde (or Nkisi Nkondi) "nai - Lot 138

An important and ancient Nkisi Nkonde (or Nkisi Nkondi) "nail fetish". The large statues referred to by Westerners as "nail fetishes" are clearly among the most emblematic, mythical (even mythological), terrifying or, to say the least, disturbing of all African art objects. The rediscovery of a large, previously unseen Nkisi Nkonde inevitably constitutes a certain emotion, a small event, which merits at least some mention of their origins and functions. In the ancient Bakongo tradition, whose ancient kingdom was discovered in 1482 by the Portuguese navigator Diego Cam, and which crumbled until it disappeared at the end of the 19th century, Nkisi Nkondi statues are reputedly powerful objects that create a bridge between the real and the unreal, the material and the immaterial. They have multiple powers, performing therapeutic or prophylactic functions, cancelling out the harmful effects of witchcraft, keeping evil spells at bay, but also, like "seasoned hunters", they can "ambush liars, thieves, adulterers and all sorts of people who could harm the structures of society". Indeed, the word Nkondi comes from the verb nkonda, which means "to hunt", but depending on the translation and pronunciation from one region to another, it can also mean "alliance/agreement/establish an oath". The Nganga is the guardian who watches over the Nkisi Nkondi. He played a full part in its creation, and is therefore partly responsible for its strength and powers. It is between the Nganga, who acts as healer, diviner, but also as a man of judicial and political power, and his "patients" or "clients", that these links are established, and the vows, prayers or requests whose nails, which are often rubbed into the ground and licked before being planted by the Nganga himself, are witnesses that seal this alliance or oath. The standing position, with both hands resting on the hips and elbows well clear of the body, and with the head slightly tilted forward, is called pakala, which means to prick up the ear and symbolizes the expectation of mambu in serious or legal matters, before attacking head-on. The vast majority of Nkisi Nkonde statues are sculpted asexually, even if some are clearly feminine or masculine (around 5%) or even hermaphroditic (0.8%). The vast majority (75%) of Nkisi Nkondi statues are clearly sculpted without any indication of their sex, and therefore do not represent a specific character or ancestor. A dedicated sanctuary was reserved for them, but it also seems that they may have served as guardians over the tombs of important people. The presence here of numerous old forged iron nails (in addition to imported nails from colonial times), its style and iconography (open mouth, carved teeth, outstretched tongue, beautifully sculpted ears), testify to a Bakongo art tradition that is still very old, as also attested by its beautiful patina and the resin remnants of ancient Bilongo magical reliquary charges that have since disappeared. The Nkisi Nkondi from the Alice and Henri Dupont collection obviously enriches the inventory of what is, all in all, a rather small corpus of some of the most mythical statues in African art, and stands out beyond its size for its very beautiful and truly powerful presence. See: Lehuard, Fétiches à clous du Bas- Zaïre, Arnouville 1980 and Musée Dapper, "Magies", Paris 1986. Kongo (probably Yombe), Republic of Congo or Democratic Republic of Congo, 19th century Wood, metal, nails and wrought iron, glass, resin and relics, leather, mirrors (one refixed without the charge), visible accidents, age-related cracks and erosions, very fine old patina. Height: 88cm Provenance: Alice and Henri Dupont Alice and Henri Dupont Collection, Lille, acquired c. 1960 Passed on by descent