GENERAL DESCRIPTION
Though rare, female power figures assume the same pose as the male, with hands at either side of the belly, and both serve the same function: to provide protection, healing, or therapy for its owner. Here, the empowering consecrated substances are packed into the figure's belly and belt. This nkishi displays the raised scarification on the breasts and around the belly that used to be a common body modification and adornment for Songye women. The figure was probably owned by a household or an association. Due to repeated anointments many decades ago, the nkishi continues to exude oil.
Adapted from
- Roslyn A. Walker, Label text, Arts of Africa, 2015.
- Roslyn A. Walker, The Arts of Africa at the Dallas Museum of Art (New Haven and London: Yale University Press, 2009), 164-165.
NOTES
I deviated a little from the language of the label here because Gail found the reference to scarification unclear. That sentence previously read: "This nkishi displays the raised scarification on the breasts and around the belly that Songye women used to have." - CLC, June 1, 2018.
I deviated a little from the language of the label here because Gail found the reference to scarification unclear. That sentence previously read: "This nkishi displays the raised scarification on the breasts and around the belly that Songye women used to have." - CLC, June 1, 2018.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
n.d.: Oldman Collection
n.d.: Clark and Frances Stillman Collection, Dallas, Texas/New York
1969: Dallas Museum of Fine Arts, gift of Eugene and Margaret McDermott [1]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1969.S.174
Category
rules_operator
AND
General Description
Though rare, female power figures assume the same pose as the male, with hands at either side of the belly, and both serve the same function: to provide protection, healing, or therapy for its owner. Here, the empowering consecrated substances are packed into the figure's belly and belt. This nkishi displays the raised scarification on the breasts and around the belly that used to be a common body modification and adornment for Songye women. The figure was probably owned by a household or an association. Due to repeated anointments many decades ago, the nkishi continues to exude oil.
Adapted from
- Roslyn A. Walker, Label text, Arts of Africa, 2015.
- Roslyn A. Walker, The Arts of Africa at the Dallas Museum of Art (New Haven and London: Yale University Press, 2009), 164-165.
Fun Facts
Archival Resources
Web Resources
Notes
I deviated a little from the language of the label here because Gail found the reference to scarification unclear. That sentence previously read: "This nkishi displays the raised scarification on the breasts and around the belly that Songye women used to have." - CLC, June 1, 2018.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
n.d.: Oldman Collection
n.d.: Clark and Frances Stillman Collection, Dallas, Texas/New York
1969: Dallas Museum of Fine Arts, gift of Eugene and Margaret McDermott [1]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1969.S.174
source file
object_notes_3_a-0490.xml.nores