An archetype of my Early Modern period maternal progenitor
Precious yellow brass, wood darkened by wear, white pigment, red powder, geometric designs, and copper nails are some of the constitutive parts of Kongo crucifixes. Illustrated here is one of an almost endless variety of Christian objects created in the west central African kingdom of Kongo between the sixteenth and the nineteenth centuries. Elaborately crafted artworks,
Crucifix | Kongo peoples; Kongo Kingdom | The Met
Kongo Across the Waters: Amazon.co.uk: Susan Cooksey, Robin Poynor, Hein Vanhee: 9780813049458: Books
This representation of Christ powerfully distills certain features to endow the figure with a highly expressive character. Both the arms that extend outward at the summit and the legs that are joined at the base terminate in flattened star-like appendages
(c. 1456–1542) Born Mvemba a Nzinga, was the sixth ruler of the Kingdom of Kongo from the Lukeni kanda dynasty (historical kingdom in west-central Africa) and ruled in the first half of the 16th century. He reigned over the Kongo Empire from 1509 to late 1542 or 1543. He was the son of Nzinga a Nkuwu, the first Christian king of Kongo. Alfonso developed a strong trade relationship with the Portuguese and adopted Catholicism as a result of this relationship.
Nzinga-a-Nkuwu João I (né Nzinga-a-Nkuwu) was the 5th ManiKongo of the Kingdom of Kongo (Kongo: Kongo-dia-Ntotila) between 1470 and 1509. He voluntarily converted to Roman Catholicism. He was baptized on 3 May 1491 and took the Christian name of João. Soon after, ManiKongo Nzinga-a-Nkuwu João I abandoned the new faith for a number of reasons, one of them being the Roman Catholic Church's requirement of monogamy. Politically, he could not afford to abandon polygamy and embrace monogamy, a cultural shift that the king could not contemplate as power in Kongo was elective, rather than hereditary as in Europe; as Kongo culture followed a matrilineality structure, where the elder son of the king is not automatically the next king.
Kongo torta
Kongo šnite. Ultimativno čokoladne i sočne kongo šnite odlikuje nježan biskvit s mljevenim orasima i bogata čokoladna krema u kojima će svi uživati.
Coll.G,F.Vesely
Art by Mie Kongo
🇦🇴 Mbanza-Kongo(also known as São Salvador in modern-day Angola) was the Capital of the Kongo Kingdom. In 1659, at its heght, the town has over 60,000 inhabitants. Its inhabitants were mostly of the highest and rulling class, they included the king, the royal council, judges, military offices, personal servants and other noble men. It was also the seat of the Catholic Church in Kongo in the 16th century. 🔎 Do you want to contribute to this entry? DM us to find out more.
starblazers
Ako volite kombinaciju jabuka, cimeta i čokolade obožavati će te ove kolače; jednostavni su i brzi a iznimno sočni! :)
The Kingdom of Kongo, in central Africa, officially became Christian in the late 1400s, after the baptism of its king. This opened the door to Catholic missionaries, and the Christian ideas and icons that began circulating through the kingdom soon found their way into Kongo art and religious thought. The crucifix was the foremost of these icons, a potent symbol of the new faith that happened to mirror the indigenous “cosmogram,” a cross-like symbol conveying the Kongo concept of a two-way passage between the world of the living and the world of the dead. These two crucifixes were powerful aids to piety and ritual. One was attached to a wooden cross, now missing, while the other is made entirely of metal. The small figures in postures of prayer on the cross-bar and on the bottom of the cross are Kongo inventions, possibly representing mourners or ancestors.
