Description of this category

Figurative kosi are portraits of spirits contained within the sculpture itself. Local conceptual definitions of such works emphasize the importance of an artist's ability to evoke lifelike qualities inspired by specific subjects. An nganga might commission the sculpture as a physical manifestation of some individual's essence, or life force, which he has captured to help him gather information in order to resolve a problem. Alternatively, the kosi may depict a victim whose case is under investigation. The fact that women are most frequently the subjects of kosi reflects the common perception that they are especially vulnerable to being controlled or victimized by members of their extended families. Women of alluring beauty present especially desirable subjects, since kosi also function as ruses or traps (diele), whose magnetic powers irresistibly attract culprits.

The subject of such a representation is mystically directed by the nganga, who sends it on missions, enabling him to pursue justice no matter what the geographical distances involved. Both the artist's and the nganga's contributions to its basic properties reinforce each other in essential ways. While the artist is concerned with achieving a convincingly lifelike likeness, the nganga who owns it invests it with a dynamic essence.

This elegantly poised female figure was at once a diviner's most sophisticated investigative agent and a portrait of idealized beauty. Rendered with extreme naturalism, its features are articulated with exacting precision within its smooth, fluid contours. The figure is enhanced extensively through classical forms of bodily ornamentation from the nineteenth century that are no longer in use. These include an ornate helmetlike coiffure that frames the face, crowned by a prominent sagittal crest, as well as facial and bodily cicatrization markings. Lozenge motifs appear on the forehead, temples, and stomach, while two rows of V's extend across the chest. The figure's graceful stance, with knees bent, long and slender arms extended downward, and hands holding medicinal gourds, suggests that the artist has depicted her dancing. This lifelike quality is further reinforced by her penetrating gaze, which is intensified through additions of glass inlay. Collected during the late 1800s, this work was acquired by Carl Steckelmann of Columbus, Indiana, an agent for an English trading company.