SONGYE JANIFORME STOOL DEMOCRATIC REPUBLIC OF THE CONGO Wood 24 x 16.2 x 16 cm (9¹?? × 6? × 6¹?? in.) (Restoration) A Songye janiform stool, Democratic Republic of the Congo Provenance: Karel Plasmans Collection, Belgium Paul Gilman, Liège Philippe Laeremans, Brussels Didier Claes, Brussels Pierre Dartevelle (1940–2022), Brussels Collection of Jean-Jacques Rotthier (1932–2009), Brussels, then passed down through the family Bibliography: Neyt (François), Songye. The Impressive Songye Sculpture of Central Africa, Antwerp: Fonds Mercator, 2004, p. 363 This important Luba-Songye seat forms part of a body of prestigious seats associated with political and spiritual authority. Its Janus-like base embodies a dual vision. The two faces evoke the transition between dawn and dusk, the visible and invisible worlds, as well as the realms of the living and the ancestors, thereby ensuring the balance and continuity of the community. As Pemberton (2011: 38) has pointed out, Songye caryatid chairs are unmistakably Songye in style, whilst forming part of a Luba-Songye artistic tradition identified as early as the 1940s by Olbrechts (Petridis 2001: cat. 48). Among the Luba, caryatid chairs supported by female figures—whether kneeling, standing or seated—were among the principal symbols of power and were reserved for chiefs and high-ranking dignitaries. In Songye examples, such as this one, the rounded, naturalistic style characteristic of Luba sculpture gives way to a more abstract and geometric aesthetic. The heavily rimmed eyes, the triangular nose with a prominent bridge and the prominent square chin are strongly reminiscent of the distinctive features of Kifwebe masks, which are among the most iconic expressions of Songye art. A SONGYE JANIFORM STOOL DEMOCRATIC REPUBLIC OF THE CONGO Wood 9¹?? × 6? × 6¹?? in. (Restoration) Provenance: Karel Plasmans Collection, Belgium Paul Gilman, Liège Philippe Laeremans, Brussels Didier Claes, Brussels Pierre Dartevelle (1940–2022), Brussels Jean-Jacques Rotthier Collection (1932–2009), Brussels, then by descent Bibliography: Neyt (François), Songye. La Redoutable Statuaire Songye d’Afrique Centrale, Antwerp: Fonds Mercator, 2004, p. 363 This important Luba-Songye stool belongs to a group of prestigious seats associated with both political and spiritual authority. Its Janus-headed support embodies a dual vision, gazing simultaneously in opposite directions. The two faces evoke the transition between dawn and dusk, the visible and invisible worlds, and the realms of the living and the ancestors, thereby safeguarding the balance and continuity of the community. As Pemberton (2011, 38) observed, Songye caryatid stools are unmistakably Songye in style, yet they also reflect a Luba-Songye artistic tradition first identified by Olbrechts in the 1940s (Petridis, 2001: cat. 48). Among the Luba, caryatid stools supported by kneeling, standing or seated female figures were among the foremost symbols of kingship and were reserved for chiefs and other high-ranking dignitaries. In Songye examples such as this one, the rounded naturalism characteristic of Luba sculpture gives way to a more abstract and geometric aesthetic. The heavily lidded eyes, high-bridged triangular nose, and projecting square chin closely resemble the distinctive features of Kifwebe masks, which are among the most emblematic expressions of Songye art.