This serene piece is a caryatid stool from what
was once Zaire, made by a master carver of the
Hemba tribe. It is a traditional piece, depicting a
kneeling woman supporting the stool’s seat
through her fingers and a post in the apex of her
coiffure. The face is very composed, with lidded
eyes, a prominent nose and a slightly
downturned mouth, all rendered in rather low
relief. The torso is short and squat, with
elongated arms and especially fingers stretching
up to support the seat. She is naked, with pert
breasts and a hatched loins area. She has a
prominent umbilicus and a triangular
scarification on her upper abdomen. It is
unpainted, but the surface of the wood has
attained a glossy age and use patina, especially
on the seat and the arms where the piece was
carried about. Stools such as this were used to
assert status in many African tribal groups; only
elites, and especially chiefs, were allowed to use
them. Very often they were not sat upon, but
were just displayed as regalia. This explains the
often spindly and somewhat insubstantial
construction of earlier examples. The symbolism
is apparent – early chiefs were gods, and were
often literally supported by their subjects so that
they never touched the ground.
The Hemba are an agriculturally-based group
living on the banks of the Lualaba River, in what
was once Zaire. They are arranged into large
groups which approximate to clans, each of
which has a common ancestor, and is headed by
an elder known as the Fuma Mwalo. He is
responsible for justice, receives tribute from his
subordinates; his power is counterbalanced by
secret societies called Bukazanzi (for men) and
Bukibilo (for women).
The Hemba were long believed to be contiguous
with the Luba, and only achieved sociocultural
independence in the eyes of western African art
history in the 1970s. The Luba and the Hemba
are socioculturally and artistically similar in many
respects. However, artistic production can be
differentiated in terms of the delicacy
(enthusiasts would describe it as “refinement”) of
the carving. They are known for their decoration
of secular and utilitarian objects, notably caryatid
stools, headrests and instruments; Masks are
highly distinctive – either monkey masks, or
perfectly symmetrical plain masks with slit eyes
that are reminiscent of Lega pieces – although
their social role is currently unclear. In general
terms, figure features tend to be sharper, with
more peripheral detailing (such as hair and
beards) and a subtle geometric quality.
One
of the very few indigenous artists known
specifically to western art historians was a
member of the Hemba group; the “Master of
Buli” is known for his unique rendering of human
features in an elongated, somewhat simian
manner. Hemba figures – singiti – usually
represent male ancestors, naked figures standing
on circular bases, with elongated torsos, hands
resting on the stomach (usually protuberant,
perhaps representing wealth or prosperity),
beards, and coiffure drawn back and formed into
the shape of a cross. Warrior figures confer
power, and are usually kept by the Fuma Mwalo;
they usually have an encrusted patina as animals
(usually chickens) are sacrificed to them during
ceremonies to recall the glories of their lives. The
Fuma Mwalo also keeps small Janus figures
known as kabejas, which are made magical by
the addition of substances to small depressions
in their heads; their role is to protect the village,
and also receive libations to ensure they do so
adequately. It is perhaps the caryatid stools that
have received the greatest attention, however.
This is a well-rendered and elegant piece of
African secular art, and would be a striking
addition to any collection or sophisticated
domestic setting.
