Mask
Life Story
This mask’s heart-shaped facial outline, sweeping brow and narrow almond-shaped eyes indicate its origin in the densely forested region of the Congo River basin, today encompassed within the nation-states of Gabon, the Republic of Congo and the Democratic Republic of Congo. Although such stylistic patterns are evident among carvers throughout this region, the huge variety of highly localised and changing forms makes this works attribution to a specific group within the wider region difficult.
Due to its similarity to other masks and its distinctive use of silhouette and negative space, it has been suggested that this work comes from Souanké, in the north-western region of the Republic of the Congo and was made and used by the Kwele (or Kwese) people of that region [1]. If originating with this community, the mask would likely have formed part of a Be’ete masquerade performance – in which sculpted masks symbolising spiritual creatures of the forest (known as ekuk) were paraded before locals as part of ceremonies devised to ward off evil and placate tensions between communities. Though this mask is relatively simple in form, other Kwele masks have elaborate antler-like projections or protruding trunks to represent specific forest creatures [2]. This particular mask was designed to be worn (rather than merely displayed) as it has holes for attaching straps and space for attachments below the chin. Paint residue around the mask’s edge also suggest it was once painted white (as was object 246).
An alternative possible origin for this mask is with the Lega people of eastern Democratic Republic of Congo, who used similar carving techniques but for whom masks acted as mnemonic devices for recalling proverbs associated with the Bwami philosophical system [3]. Despite the geographical distance between the two cultures, both the Kwele and Lega people regarded such masks as elusive and highly sacred objects whose display and possession were circumscribed by strict social regulations. However, when such objects were taken out of Central Africa by Europeans in huge numbers during the twentieth century to become part of museum collections across Europe and North America, they took on a new non-religious meaning: becoming sources of inspiration for modernist artists such as Henry Moore – whose early figurative works drew heavily on the aesthetics of several Lega masks he encountered at the British Museum in London [4].
Theo Weiss, December 2021
[1] Steven Hooper, [ed], Robert and Lisa Sainsbury Collection catalogue. Vol. 2: Pacific, African and Native North American Art (Yale University Press, 1997), UEA 246
[2] Alisa LaGamma, ‘Eternal Ancestors: The Art of the Central African Reliquary.’ African Arts, vol. 40, no. 4 (2007) 39
[3] Elisabeth Cameron, ‘Art of the Lega: Meaning and Metaphor in Central Africa.’ African Arts, vol. 35, no. 2 (2002) 44–92
[4] Max Alfert, ‘Relationships between African Tribal Art and Modern Western Art.’ Art Journal 31.4 (1972) 391–2
Further Reading
Elisabeth Cameron, Art of the Lega: Meaning and Metaphor in Central Africa (Fowler Museum, 2001)
Leon Siroto, African Spirit Images and Identities (Catalogue of an Exhibition Held April 24-May 29) (Pace Editions, 1976)
Provenance
Formerly in the possession of Henri A. Kamer.
Purchased by Robert and Lisa Sainsbury from Henri A. Kamer in 1968.
Donated to the Sainsbury Centre, University of East Anglia in 1973 as part of the original gift.
On display
Title/Description: Mask
Born: 1900 - 1968
Materials: Wood
Measurements: h. 283 w. 180 x d. 110 mm
Accession Number: 247
Historic Period: 20th century
Production Place: Africa, Democratic Republic of Congo
Credit Line: Donated by Robert and Lisa Sainsbury, 1973
