Das ist der Preis für die folgende Bewertung: Luba Female Figure, 1967.0

Beschreibung : Standing with the hands placed below the small high breasts, the body with scarification including a star, lunenyenye, milalo (below the umbilicus) and fish at the sides, the face with large downcast eyes, pouting mouth and keloids at the temples, the massive cruciform coiffure carved low over the nape of the neck and with a cavity for magical material at the top, dark glossy patina 32cm. high PROVENANCE Leon Eugne Joseph Ernest Van den Broeck (1863-1921) NOTES Albert Maesen ( The Art of the Congo, 1967, p.50) was among the first ethnographers to recognise that the Luba empire comprised numerous tribes of disparate origins and social organisation who share important cultural and linguistic entities. Others (e.g. Mary (Polly) Nooter and her husband Allen F. Roberts), have investigated this hegomony more recently, and all are agreed that the art that accompanied the political and trading skills spread by these remarkable peoples from their heartland in the Upembe Depression, ranks with the most sublime of the African continent. The names of the master carvers are unknown. Franois Neyt ( Luba, Paris, 1993) set out the groups of carvings with similar traits, and suggested that the greatest sculptors lived and practised to the east of the heartland area. Apart from the Master of Buli, the best known hand is the Frobenius Warua Master, whom Neyt has renamed the Master of the Court of Sopola, he is likely to be of Kunda origin - a clan that produced many artists whose works were eagerly sought, especially in the towns east of the Lualaba river. The figures, usually female in this region, are carved as caryatids for stools, headrests and arrow-rests, finials for staffs of office and, more rarely as in the case of the present example, as free-standing figures. Our figure shares many of the characteristics of Frobenius' Warua Master: the serene expression of the face with its downcast eyes, the high domed forehead, the small high breasts, crisply carved scarification marks (especially notable being lunenyenge (the lozenge between the breasts) and an elaborate cruciform coiffure. Some of these characteristics are also found in a figure, still retaining a skin loin cloth and strands of beads, deposited in the Museum fr Vlkerkunde, Munich, by Deininger (Lommel, A., Afrikanische Kunst, Munich, 1976, cat. 155, fig.55), and in the head finial of an axe from the same source. Cf. also a figure from a workshop on the Kukuga river (Neyt, op.cit., p.154). The function of the figures is nowhere fully explained, apart from brief references to them as magical figures for use in rites by some cults. Roberts and Roberts ( Luba Art and the Making of History, New York, 1996) explain that scarification patterns are first applied during a girl's initiation rites before marriage and added to throughout her lifetime, reflecting the cumulative nature of identity and memory (p.98). To both the visual and the tactile senses scarification is highly erotic. They were told by Luba men and women that a man has only to caress his lover's scarified body and they both will be instantly excited. Undoubtedly from the area to the east of the Luba heartland, this figure from a previouly unknown master is an important addition to the corpus of works from the talented artists of this region.
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