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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 .
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]
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Visser's name is linked primarily with Kongo "fetishes" (minkisi, or power figures; sing. nkisi) that are now in various American (the Art Institute of Chicago, the Detroit Institute of Arts) and German collections. Visser was not only a dedicated collector of ethnographica but also an avid photographer.
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 ...
Nkisi had a square pouch of lion's skin filled with shells, stones, iron bells and other ingredients. It was portable; travelers and merchants carried such a pouch with them on their journeys. In the town of Kiko there was the nkisi called Lykikoo, which was a wooden statue in the shape of a man.
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 ...