Statue féminine, Métoko, République Démocratique du Congo

Willy Mestach, Bruxelles
Alvin Abrams, Greenwich
Sotheby's, New York, 18 mai 1992, n°213
Acquise de la galerie Entwistle, Londres

Reproduite dans:
Bacquart, The Tribal Arts of Africa, 1998 : 145, n°9

Very good condition overall, wear consistent with age and use within the culture: nicks and scratches, two age cracks on the reverse between the top of the head and the shoulders; loss to the back of the right foot; heels abraded. Fine aged medium brown patina.
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La statuaire des Métoko est rare et très peu documentée. Selon Biebuyck (in Tervuren, 1995 : 382 et 1976 : 52), elle relève de la société politique et religieuse du Bukota, dont la structure est équivalente à celle du Bwami des Léga voisins. Les statues de grande dimension étaient la possession exclusive de ses membres les plus hauts gradés, dont elles signifiaient à la fois le rang et le statut. Utilisées durant les rites d'initiation, elles étaient également placées un temps sur la tombe des hauts initiés (idem).

La rareté du corpus rend complexe la définition de styles nucléaires ou d'ateliers. Toutes relèvent d'une même esthétique associant - à l'instar de la statuaire des Léga, Mbole et Lengola voisins - schématisation des formes, visage en cœur résumé à ses traits essentiels, volumes anguleux et ornements corporels en lignes pointillées. Celle-ci constitue l'un des témoins les plus aboutis de leur saisissante modernité conceptuelle. Elle se distingue par la dynamique de la pose - associant tension et abandon -, par le rythme des volumes dont  les méplats tranchent avec la rondeur apparente des formes, et par la prégnance du visage - aux yeux en pastilles et dépourvu de bouche. Selon Neyt (2010 : 82), l'absence de bouche rappellerait "avec insistance aux initiés la nécessité du secret". Sa patine profonde, brun rouge, atteste son ancienneté.     

cf. Clarke (2001 : 147) pour une statue féminine très apparentée, probablement du même atelier, provenant de l'ancienne collection Lawrence Gussman, aujourd'hui conservée au Neuberger Museum of Art (inv. n° 1999.06.138) ; et Neyt (2010 : n° 39 et 43) pour deux autres rares statue Métoko, présentées dans l'exposition Fleuve Congo.

Metoko figure, Democratic Republic of the Congo

Metoko statuary is rare and little has been written to place these sculptures in their original context. According to Biebuyck (in Tervuren, 1995 : 382 and 1976 : 52), the sculptures belong to the political and religious Bukota society, whose structure is similar to the Bwami of the neighbouring Lega. Large full size statues were the exclusive property of its highest-ranking members and were evidence of their position and status. They were used during initiation rituals and also placed in the tombs of eminent initiates (ibid).

The limited corpus makes the definition of stylistic regions or schools difficult. All the known figures are connected by similar aesthetics -in the vein of the neighbouring Lega, Mbole and Lengola statuaries- combining simplified forms, heart-shaped faces pared down to their essential lines, angular outlines and stippled body adornments. The offered statue is one of the most accomplished testaments to the startling modernity of the carver's eye. The balance of its' posture –between tension and repose - the rhythm of the outline - flat planes cutting across the apparent rotundity of its shapes- and the force of the face –with its lozenge-shaped eyes and lack of mouth, make the figure stand out.     

cf. Clarke (2001 : 147) for a similar female figure, probably from the same atelier, formerly in the Lawrence Gussman collection, now at the Neuberger Museum of Art (inv. n° 1999.06.138) ; and Neyt (2010 : n° 39 and 43) about two other rare Metoko statues, displayed in the Fleuve Congo exhibition.