P O W E R - F I G U R E

Power Figure (Nkisi N’Kondi: Mangaaka), mid to late nineteenth century, wood, paint, metal, resin, ceramic, 46 7/16″ / 118 cm high, Democratic Republic of Congo (The Metropolitan Museum of Art), Image Source.

The Kongo Peoples (Democratic Republic of Congo) have many beliefs when it comes to sacred medicines and protection. Some of these traditions of the Kongo people are still used in today's society. The Kongo believe that the first sacred nkisi was brought to them by a god they refer to as Ne Kongo. Nkisi,is similar to the concept of a "spirit" and is usually represented through a type of container such as pottery or vessels. Inside the pottery or vessels are sacred substances such as medicinal herbs which are thought to help cure physical or social illnesses. There are other forms of minkisi (plural for Nkisi), such as bundles, shells and wooden figures. Although some of these objects were referred to as evidence of sorcery and "fetish" objects by the Europeans in the 15th century, power figures were important objects used to keep oaths and to uphold contracts made between the Kongo people.

An example of a nkisi is in power figures, such as nkisi nkondi. Power figures of Central Africa were created by Kongo sculptors and ritual spiritualists. A power figure is a charm that is carved to resemble a human being, The purpose of a power figure is to hold and let go spiritual forces that can have a negative or positive impact upon the Kongo people who are near that power figure. Power figures such as nkisi nkondi can be used to handle disputes, to seek revenge, and to deal with evil spirits. This specific mkisi nkondi above is a Mangaaka power figure, which might have been used to deal with disputes or lawsuits. The role of materials and rituals correlates to how a power figure serve its' function. Although it might seem strange to place pegs, nails, and glass on certain parts of  the power figure, each placement and material used symbolically represent something more meaningful. The spiritualist, or nganga, will place these insertions into the power figure. The severity of the lawsuit or dispute, will determine the materials being used. Deeply inserted nails are used to represent issues that are much more serious. Before the nails are inserted, the parties of the lawsuit, or dispute lick the nails. Their saliva is what solidifies the function of the power figure, which can be considered  a type of contract or oath. Thus, this would mean that this particular power figure must have been used for a lawsuit or dispute that dealt with a very serious issue or evil. If the oath was broken between either party, the power figure would be activated by chants or prayers, which would then either carry out its task in protection or destruction. 

To the Kongo. the form and power of the figure was important to depict. For example, this particular power figure is meant to represent an individual who is of great importance and hold greats power. The headdress that is carved on the power figure was often worn by priests or chiefs, which suggest that the power figure represents either of the two. The leaning posture of the figure and the placement of the hands on the hips is suppose to represent the aggressive attitude of the person. The nails are also placed along the jawline, which is meant to represent a beard, a symbol for seniority. This power figure represented an individual who possessed a lot of power and who was a witness and enforcer of the contract made when creating this power figure. Thus, the form of the power figure, the materials used, and the person being represented are all significant components when it comes to depicting power. However, because these objects were confiscated by the European missionaries in the 15th century, their value and power have been depleted and referred to as being a form of heathenism. Nonetheless, these traditions have survived and made its way through the Americas and the Caribbean. Despite the stigma and superstition behind power figures that was encouraged by racist outsiders, power figures have served the Kongo people as a functioning charm, or even contract.

Dr. Shawnya L. Harris and Dr. Peri Klemm, "Power Figure (Nkisi Nkondi), Kongo peoples," in Smarthistory, August 9, 2015, accessed February 28, 2021, https://smarthistory.org/nkisi-nkondi-kongo-people/.

"Power Figure (Nkisi N'Kondi: Mangaaka) | Kongo Peoples, Yombe Group." The Metropolitan Museum of Art., accessed Feb 28, 2021, https://www.metmuseum.org/art/collection/search/320053.

L A N D S C A P E S

 

detail, Huang Gongwang, Dwelling in the Fuchun Mountains,
1350, handscroll, ink on paper,  Image Source

Attributed to Tosa Mistunobu, Bamboo in the Four Seasons, 

late 15th to early 16th century, ink, color and gold leaf on paper,  Image Source

   One painting tells a story of survival and perspective, while the other painting tells a story of passage of life through the seasons. "Dwelling in the Fuchun Mountains"  is a well-thought out piece that took many years to complete. "Bamboo in the Four Seasons" uses both Chinese and Japanese art style and literature to depict an illusion of time using the transformation of bamboo through the seasons. While both artworks are different and similar respectively, there are more differences between the two artworks that contribute to the success of these compositions such as the usage of lines, perspective, textures, and shapes.

    The purpose of "Dwelling in the Fuchun Mountains" by Huang Gongwang was to depict a journey through visuals of landscapes that might represent the changes or various perspectives Gongwang experienced  in his life while completing this artwork. Gongwang took about three years to complete this piece because he only worked on it spontaneously or when he felt it was the right time. It was also a form of Gongwang's self-expression, spirit, temperament, and is meant for the viewer to follow Gongwang on this journey. This handscroll has found its way through many others hands within history and has created its own stories as it flowed through time. When handscrolls are viewed, they are meant to be opened and read in a specific manner. The method in which handscrolls are read are a vital component in how the story or journey ought to be depicted. "Dwelling in the Fuchun Mountains" was burned and separated into two parts, however it is intended to be viewed as one piece. Gongwang did not create this handscroll simply for aesthetic purposes, but rather Gongwang used landscape to show passage through time and space. Gongwang does this by showing different perspectives of the mountains such as looking from above or looking from eye-level. He incorporated trees, shrubs, and rivers. Gongwang also shows changes by utilizing a lot space one moment and very little space the next moment within the journey. Gongwang uses shading and bold lines to create depth within his imagery, which allows the viewers to gain a 3-D perspective of the landscape. He incorporated specific techniques to create the mountains, such as hemp-fiber textural strokes and alum-head textual strokes. These techniques can produce either long, thin, or angular strokes alongside the mountains and can help create boulder-like shapes. Even though this handscroll was a form of self-expression, Gongwang did pay tribute to earlier masters. Furthermore, there are many interpretations of what the handscroll is depicting. However, Gongwang might have intended it to be this way in order to allow the viewers to understand that the journey is different for everyone depending on how you view it.

     The purpose of "Bamboo in the Four Seasons" attributed to Tosa Mistunobo was to show the birth and maturation of bamboo through the four seasons, starting with Spring and ending in Winter. It is intended for the viewer to view the screen from right to left. The screen is a mixture of both Chinese and Japanese characteristics. Certain elements of the art itself is also a mixture of Chinese and Japanese characteristics. For example, bamboo is more familiar within the Chinese art style; however, the representation of the passage of time through the seasons is more familiar within Japanese art and literature. Starting from the right, Springtime, there are bamboo shoots, violets and shepherd's purse grouped together towards the bottom of the screen, which are meant to show the beginning of new life in the Springtime. These plants also represent elements of a renga poem, which is a type of Japanese poetry. It also relates to waka poetry, which is a type of love poem. The gold leaf that was incorporated in the background was used to form bands of clouds, or mist that help with the transition from season to season throughout the screen in order to create a well-flowing composition. The bamboo progresses through the Summer season, which is represented by the growing bamboo shoots and the young bamboo leaves that are beginning to flourish. Autumn is shown by the ivy growing from the bamboo branches and the disappearance of bamboo shoots. Lastly, Winter is depicted at the end of the screen, which shows full-grown bamboo trees covered in snow. The passage of time is shown through the seasons by the usage of space. For example, the bamboo leaves from each seasons are almost touching each other, which create a sense of closeness amongst the seasons. Meanwhile, the passage of time is also shown through the growth of bamboo throughout the seasons. It is a visual representation of the passing of time through the seasons. The bamboo starts out as bamboo shoots near the bottom of the screen, and progresses into young bamboo leaves in the middle of the screen and finally into full grown bamboo trees which touch the top of the screen. Thus, not only can the viewer see change horizontally throughout the screen, but vertically as well. While it may seem that painting is depicting the transition between seasons, there seems to be a more complex meaning within the composition that might represent the passage of life through time. The traditional qualities of Chinese and Japanese art and literature incorporated within this composition provide a visual representation and a written representation of the human experience and the cultural history behind it.  

    When comparing these two paintings, there are a few similarities and differences when it comes to the way the artists used their perspective, lines, shapes, and textures. In the Dwelling in the Fuchun Mountains, the artist used various perspectives amongst the mountains showing a front view, a aerial view, etc.,. In the Bamboo in the Four Seasons, the artist placed bamboo all in the front of the canvas. The artists showed a different perspective of the bamboo through the seasons. However, the artist never placed the bamboo out of the frontal view. Thus, the viewer only saw one side of the bamboo, rather than seeing what a bamboo tree might look like if one were to be looking from beneath. There is also a difference in the way the artists used lines and shapes. For example, in Dwelling in the Fuchun Mountains, there are many types of lines such as diagonal lines, vertical lines and horizontal lines, which provide a sense of variety and rhythm. The shapes that are used vary from the jagged edges of the mountains to the roundness of the boulders. However, in Bamboo in the Four Seasons, there is a common usage of horizontal lines and not a variety usage of lines. Some of the shapes that seen are from the shape of the leaves. Although Bamboo in the Four Seasons does not have as much variety as Dwelling in the Fuchun Mountains, there is a great use of texture that is present in this composition. For example, the texture in the leaves and and plant life are well detailed. The usage of color in the bamboo and ivy also create texture within the composition. Both compositions have their own strengths and weaknesses when it comes to lines and other elements. Even though both compositions pertain to the passage of time, they are very different when it comes to certain characteristics and techniques. However, the elements and principles incorporated within both artworks contribute to the balance and rhythm of the compositions.

Sources

"Attributed to Tosa Mitsunobu | Bamboo in the Four Seasons | Japan | Muromachi Period (1392–1573)."The Metropolitan Museum of Art., accessed Feb 14, 2021,, https://www.metmuseum.org/art/collection/search/45258.

Dr. Sonia Coman and Dr. Steven Zucker, "Bamboo in the Four Seasons: painting and poetry in Japan," in Smarthistory, March 16, 2018, accessed February 14, 2021, https://smarthistory.org/tosa-mistunobu/.

Hung Sheng, "Huang Gongwang, Dwelling in the Fuchun Mountains," in Smarthistory, November 28, 2015, accessed February 14, 2021, https://smarthistory.org/huang-gongwang-dwelling-in-the-fuchun-mountains/.