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Nkisi Mangaaka power figure in Manchester Museum. Minkisi and the afflictions associated with them are generally classified into two types; the "of the above" and the "of the below". The above minkisi are associated with the sky, rain, and thunderstorms. The below minkisi are associated with the earth and waters on land.
Because they are aggressive, many nkondi with human figures are carved with their hands raised, sometimes bearing weapons. The earliest representation of an nkisi in this pose can be seen in the coat of arms of the Kingdom of Kongo, designed around 1512 and illustrated between 1528 and 1541, where a broken "idol" is shown with this gesture at the base of the shield. [5]
Mangaaka Power Figure (Nkisi N’Kondi), Kongo artist and Nganga, Yombe group, Second half of the 19th century. The prehistory of Central Africa spans from the earliest human presence in the region until the emergence of the Iron Age in Central Africa.
Male Power Figure (Nkisi), Kongo artist and nganga, late19th–mid-20th century, Democratic Republic of the Congo. Supernatural objects that were reduced to the derogatory term, fetishes, by the Portuguese were said to be inhabited by nature spirits or deified people who embodied the extraordinary power of the spiritual world. These objects or ...
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Songye power figure in the Indianapolis Museum of Art. Height 84 cm. Mankishi (singular: Nkishi) are spirits of the dead that can influence the world of men. These spirits can be malevolent spirits causing infertility, bad harvests and sickness or benevolent spirits bringing good health and prosperity in the hunt and field.
The Vili culture is rich in a secular history, a Matrilineality society which is the foundation of a Vili language full of nuances where proverbs have a prominent place; of an original measurement system, [1] of a spirituality whose Nkisi, [2] Nkisi Konde or nail fetishes are the famous physical representation. These artifacts are "commentaries ...
S/he then kills a chicken, which causes the death of a hunter who has been successful in killing game and whose captive soul subsequently animates the nkondi figure. [6] Based on this process, Gell writes that the nkondi is a figure an index of cumulative agency, a "visible knot tying together an invisible skein of spatio-temporal relations" of ...