This remarkable sculpture of a human figure is both very old and highly inscrutable. It is truncated at the knee, with a massive, powerful torso, almost no neck and very short arms. The head is very large, with a highly expressive face, and is slightly asymmetrical and tilted to the left. The ears are very large, the brows high-arched and the mouth opened in an “O”.
The sculpture strongly resembles Palaeolithic works from Europe and Asia Minor, which are preoccupied with “fertility” symbolism that usually revolves around corpulent, schematically simplified women with highly exaggerated breasts and buttocks. This and other related pieces in the Barakat collection have been classified as Bongo, but there are issues with this classification. The Bongo are linguistically, historically and archaeologically attested to have come to Sudan from the area currently known as Chad during the 16th century, thus post-dating this piece by between 500 and 2000 years. We are thus talking about an unexplored culture. The similarities in style with Bongo art may be coincidence, but it is more probable that the Bongo people acquired their distinctive art styles from the previous inhabitants of the area in the manner of the Dogon and the Tellem.
As stated, nothing is known of this culture. Even the age of the piece is uncertain: the span we have provided is inevitably wide, but it is most likely to lie within the first millennium BC to the first millennium AD. The art itself does imply a society of considerable complexity, and thus settled, agricultural and socially stratified. The function of the piece is unknowable at present. However, the size of the object exceeds personal talismanic functions, and is more likely to be a social/religious focus that represents an ancestor either real or mythical.
This is a rare and fascinating piece of ancient African art.