Mask, Teke/Tsaye; Republic of Congo (Brazzaville)
Wood, pigment; H. 14"
Originally adorned with a ring of
feathers and a collar of raffia fiber, this variety
of mask was worn in acrobatic performances. The
circular mask is divided into two parts at the level
of the eye slits–an upper half that protrudes
slightly outward and a sunken lower half–yet
the overall dynamic relief pattern disguises the
two levels. Thus, this mask relies on a set of graphic
design elements to convey its identity. It is certainly
possible that the original prototypes for such masks
were simply painted disks, as the mask bears a more
"painterly" sensibility. The raised motifs
are variously named: designating a crocodile pattern
on the forehead and a python or venomous insect
pattern rising from the bottom and both dominated
by large eyes that unite the two planes and various
facial features with scarification or lunar crests
arching along the edges. The mask and its performance
are said to have originated in the mid-nineteenth
century with an individual named Moukassa a Touomo,
following his apprenticeship in the south of Teke
country from which he arrived "with empty hands."
However, Lehuard's study of forty-three Tsaye masks
suggests a strong influence from Mbamba reliquary
figures. (1972:12-36) It is also interesting to
note that with the exception of the brow ridge,
this mask is almost perfectly flat with low relief
carving. This example is among the finest known;
the iconographic elements are bold and primal, while
their juxtaposition creates a unified design. Additionally,
this mask, unlike many others, displays excellent
signs of age and use.
