Ivory pendant in the shape of a miniature mask

There are various interpretations of its function in the literature. One emphasizes the protective and healing influence of the pendant on the wearer. The other states that the pendants were mainly worn as jewellery to enhance the beauty and style of the wearer. However, one need not exclude the other.‖ Biebuyck summarizes it as follows: miniature masks are worn by men, women, and children as protective, symbolic, or evil-repelling devices (1985:228). \Miniatures are a unique Pende artistic form of expression. Women and children in Pende society must be protected from the tools of their husbands and fathers. For example, the wife of a xylophone player wears a miniature xylophone around her neck. The family members of mask makers and protectors wear miniature masks. Men do not need this protection but wear miniatures as jewelry next to other pendants. After successful treatment by a mask in a particular ritual, the patient receives a miniature of the mask containing a piece of the raffia from the large mask. This increases the healing effect of the miniature. There is a close relationship between the miniature masks and healing (idem:244). The most famous miniature masks are derived from the most important healing masks.‖ Field research has shown that experienced carvers make the majority of ivory and bone pendants to serve as ornaments and enhance their clients' sense of beauty and style (Phillips 1995: 262).‖ The indigenous name 'Ikhoko' literally means 'carved or cut things'. The distinctive three-pointed hair adornment is called 'Mukote'. Masks with this type of adornment are called 'fumu'. \The Pende inhabit a vast area from the western Lutshima River to the Kasai Rivers in the east. They are believed to have entered the area from Angola. In the 19th century, the Chokwe invaded Pendeland. The vast majority Pende fled and later returned. This history explains the versatility of the Pende art forms. Three major artistic areas can be distinguished on a geographical basis: the westernmost Pende on the left bank of the Kwilu River with some overlaps on the right bank; the central Pende between the Kwilu and Loange rivers, and the eastern Pende between the Loange and Kasai rivers (Biebuyck, 1985: 225-226). Miniature masks are found throughout Pendeland, but the finest ivory and wood specimens are generally from the Gatundo area (idem:244). \Manufacture According to ancient information, the mask is made of horn, however, given the structure, it is ivory from an elephant stand. Carvers prefer elephant horn because of its fine texture, and if properly carved it will not crack with age. The soft bones of a hippo femur are also used. These are very similar to ivory in appearance and texture, but split much more easily and also show grooves from the muscle and tendon attachments. Cutters therefore often treat the material with certain preparations against splitting before processing (Phillips 1995: 262). \Cutters give the miniature masks the same sharp facial features as the large wooden masks. Over time, these flatten greatly due to the way they are worn. For example, they are washed daily with the entire body during bathing, using river sand as an exfoliating agent. The Pende love the light ivory color and to keep it as long as possible, the pendants are cleaned daily. \All ivory Ikhoko belong to the eastern Pende style, commonly called Katundu style. Ikhoko were not found on the west bank of the Kwilu, but were found further east at the Kasai-Pende. The centre of the Katundu style is situated in the village Nioka-Kitamba near Mukedi. The style is very old and probably goes back to contacts with the Portuguese in Angola.