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Results for terms:ancestor figures

56 UMMA Objects (page 1/5)
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Small, carved male figure, seated atop a block, with legs crossed. The naturalism with which the expressive face is carved, the high crested coiffure (or chiefly cap?) and the progressive foreshortening of the body show the importance given to the head in Yombe aesthetics. The figure's eyes are mirrored glass, and the upper body, face and head are studded with brass tacks. A slight vertical crack can be seen at the figure's sternum.<br />
The Yombe figure was identified for UMMA by Allen Roberts and Mary (Polly) Nooter Roberts. There was a discrepency regarding the dating of the piece: the export paperwork said "circa 1830", but the dealer's catalogue said early 19th c. When asked to help resolve the dating, Polly Nooter Roberts replied: "As for the Yombe figure, I can tell you with certainty that it is NOT early 20th century, and is definitely from the 19th century, if not earlier. I cannot confirm the 1830 date, but I would be more inclined to believe that than the early 20th century. So, I think you can co
Yombe;Kongo (Yombe (culture or style);Kongo (culture or style))
Seated Male Figure
1825 – 1875
Museum purchase made possible by the David L. Chambers and John G. Crane Fund for Acquisitions
1999/1.94

Bamana (Bamana)
Sculpture for Jo or Gwa Society
20th century
Museum Purchase assisted by the Friends of the Museum of Art
1971/2.16
Standing human figure with arms in front of the body and slightly bent knees. The head is round with minimal detail. There is a large crack through the center front of the figure. 
Standing Figure
1915 – 1925
Gift of Harold W. Geisel, U.S. Foreign Service
1982/1.275

Dogon (Dogon (culture or style))
Female Ancestor Figure
1900 – 1971
Museum Purchase assisted by the Friends of the Museum of Art
1971/2.24
Wood-carved, standing figure with knees slightly flexed, prominent gentalia, naturalistic face, pointed beard and eyes inset with a white material, probably small ceramic fragments. The feet are missing. It wears a metal ring around its neck, and a string with metal fragments, glass beads and a small metal bell is attached across its chest, from arm to arm. A vertical crack on the front right side of the figure is filled with a gauzy material.
Beembe (Kongo)
Power figure
1865 – 1875
Gift of Candis and Helmut Stern
2005/1.189
Female figure with crossed legs, breastfeeding a child. The large mother figure is decorated with scarifications on her breasts, shoulders and back. She bears filed teeth, is wearing an elaborate headdress and her face has been decorated with three brass tacks. Mirror fragments were used to evoke eyes. On the back of the sculpture a mirror covers a raised addition containing unknown elements. The figures are seated on a rectangular base with geometric decorations. 
Yombe (Yombe (culture or style))
Mother and child figure
1885 – 1895
Gift of Candis and Helmut Stern
2005/1.187

Asmat
Ancestor Figure
Museum Purchase assisted by the Friends of the Museum of Art
1971/2.52
Carved wooden figure of a human. The umbilicus protrudes and is concave, which would have held magical/medicinal substances. The figure is posed with crossed legs and one hand supporting the head. The face is detailed, with glass eyes. A metal ring was placed around the neck of the figure. The top of the head is empty, but possibly contained magical substances as well. 
Vili (Kongo) (Vili)
Power Figure
1845 – 1855
Gift of Candis and Helmut Stern
2005/1.183
This male standing figure is holding a weapon and has detailed scarifications on his chest and abdomen. The eyes are inserted porcelain chips and the figure shows a beard and an asymmetrical hairstyle. 
Beembe (Kongo)
Ancestor figure
1865 – 1875
Gift of Candis and Helmut Stern
2005/1.190
This male figure has a powerful body, with a smooth, bare chest that stands with knees flexed and arms bent next to the sides of the abdomen. The elaborate coiffure is styled as a braid forming concentric circles at the back of the head. The figure exhibits many of the facial traits characteristic of the Chokwe expansionistic style including half-closed eyes set in large, concave ocular cavities; small nose; arched ears; large, rectilinear mouth with fleshy lips; and a prominent disk-shaped chin. The figure dons pants depicting shredded fiber worn by masked dancers. It has large feet that lack toes; the fingers are also not shaped. Notably, the figure has several cavities: one on the top of the head, one in the middle of the abdomen, and another between its legs. These openings held medicinal ingredients which were either placed on their own or contained in a horn. The figure&#39;s body features honey coloration and a black coating, characteristics frequently seen in figures of the neighboring Lwena people.
Hamba (ancestor) figure
1915 – 1925
Gift of Candis and Helmut Stern
2005/1.206
This wooden&nbsp;figure depicts a female with a strikingly large, balloon-shaped animal skin sack tied above the crown of her head. An animal horn has been embedded within this massive sack. Representative of the northern style of Kusu carvings which is known to have sharp, angular forms, this&nbsp;<em>kakudji</em>&nbsp;features an ovoid head; a rounded, convex face and forehead; large ears; prominent cheekbones; coffeebean-shaped eyes within large ocular cavities; a well-defined, pointed nose; an elliptical mouth with slightly parted lips; a long, cylindrical neck; arms bent at the elbow, forming a 90-degree angle at the waist; and breasts that are situated nearly at shoulder level. The figure possesses a swollen belly, indicating pregnancy, and hence, representing the themes of maternity, fertility, and the continuation of the lineage. Animal skin enshrouds the female&rsquo;s lower body. Tukula powder, derived from the camwood tree and used to consecrate&nbsp;<em>kakudji</em>, appears on the figure&rsquo;s
Kusu (Kusu (Luba region style))
Power Figure
1915 – 1925
Gift of Candis and Helmut Stern
2005/1.223
Figure with a head atop a rectangle with a horizontal hole in the neck. 
Ndengese (Ndengese)
Figure
20th century
Gift of Robert M. and Lillian Montalto Bohlen in memory of Nancy Turner Bohlen
2015/2.184
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