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Nkisi (power figure)

19th–first half of 20th century
On view at The Met Fifth Avenue in Gallery 344
This work was the product of an intense collaboration between a sculptor and the initiated priest "nganga," who controlled its use in his professional practice. After an artist completed carving the artifact, the "nganga" transformed it into an object capable of healing illness, settling disputes, safeguarding the peace, and punishing wrongdoers. Each work of this kind or "nkisi" is associated with a spirit, that is subjected to a degree of human control. The term "nkisi" may relate to a wide spectrum of physical receptacles, including cloth packets, filled vessels, as well as the carved wood sculptures studied by art historians. This piece is especially admired for its reflective inward expression.

Among the many amulets and bound bundles attached to this "nkisi," are a finely carved anthropomorphic cross and a small gong. The cross alludes to the division between the land of the living and the land of the dead and represents the meeting place of these two worlds, or the "crossroads." The gong and other musical instruments of this type are believed to sound in the land of the dead and are therefore used to call the spirit of the "nkisi." The "nkisi's" power is further enhanced by the addition of two miniature "minkisi," one with a cowry embedded in its stomach and the other encrusted with a thick layer of medicines.

Cloth and tied bundles, like those seen in abundance on this "nkisi," have multiple interpretations. Knots and the act of tying are associated with the binding and capturing of a spirit. Additionally, cloth as a cherished commodity represents a generous financial offering made to the "nkisi" in gratitude for its assistance. Finally, cloth taken from intimate garments seals the connection between a supplicant and the "nkisi."
This nkisi has been a highlight of the Rockefeller collection since its acquisition in 1952.

Artwork Details

Object Information
  • Title: Nkisi (power figure)
  • Artist: Kongo artist and nganga
  • Date: 19th–first half of 20th century
  • Geography: Democratic Republic of the Congo
  • Culture: Kongo
  • Medium: Wood, pigment, resin, iron, brass, tin, cloth, plant fiber cord, beads, cowrie shells, bone or ivory, arrows, leather, seeds, animal horn
  • Dimensions: H. 23 1/8 x D. 10 1/4 x W. 10 in. (58.8 x 26 x 25.4 cm)
  • Classification: Wood-Sculpture
  • Credit Line: The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979
  • Object Number: 1979.206.127
  • Curatorial Department: The Michael C. Rockefeller Wing

More Artwork

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Nkishi (community power figure), Songye artist and nganga (ritual specialist), Wood, copper, brass, iron, fiber, snakeskin, leather, fur, feathers, mud, resin, Songye peoples
Nkishi (community power figure)
Songye artist and nganga (ritual specialist)
19th–first half of 20th century
Lupona (royal seat), Ngongo ya Chintu, formerly known as the "Buli Master" (ca. 1810-1870, Kateba region, Democratic Republic of the Congo) Democratic Republic of Congo, Wood, metal studs
Lupona (royal seat)
Ngongo ya Chintu, formerly known as the "Buli Master" (ca. 1810-1870, Kateba region, Democratic Republic of the Congo)
ca. 1840–1870
Bwanga (power object), Luluwa artist and mpaka manga (ritual specialist) (?), Wood, horn, seeds, cowrie shells, shotgun shells, teeth, metal, fiber, pigment, tar(?), Luluwa peoples
Bwanga (power object)
Luluwa artist and mpaka manga (ritual specialist)
19th–first half of 20th century
Laket mishiing hat, Kuba artist, Raffia palm fiber, glass beads, cowrie shells, Kuba peoples
Laket mishiing hat
Kuba artist
ca. 1850–1920
Crucifix with Saint Anthony of Padua, Kongo artist, Brass, wood, lead-tin alloy sheet, plant fiber cord, Kongo
Crucifix with Saint Anthony of Padua
Kongo artist
16th–18th century (pendant figure); 19th century (cross)

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