Pendentif : Saint Antoine de Padoue. La culture : les peuples Kongo ; Royaume Kongo. Dimensions : H. 4. (10,2 cm). Date : 16ème-19ème siècle. Ce pendentif en laiton de Saint Antoine de Padoue tenant l'enfant Christ est un exemple exceptionnel de la prouesse de casting artistes Kongo. La petite taille de cette objet en laiton et la boucle posé à l'extrémité de son capot triangulaire inversé indiquent que c'est un pendentif. A l'origine en fonte avec détails nets des parties de la figure sont maintenant brillant et usé, ce qui suggère que le pendentif est entré en contact avec la peau par Active wear, ou qu'il a été maintes fois traités.
Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.
Pendant: Saint Anthony of Padua. Culture: Kongo peoples; Kongo Kingdom. Dimensions: H. 4 in. (10.2 cm). Date: 16th-19th century. This brass pendant of St. Anthony of Padua holding the infant Christ is an exceptional example of the casting prowess of Kongo artists. The diminutive size of this brass object and the loop posited at the tip of its inverted triangular hood indicate that it is a pendant. Originally cast with crisp detail, portions of the figure are now shiny and worn, suggesting that the pendant came into contact with the skin through active wear, or that it was repeatedly handled. Altogether, the saint's impression is one of calm alertness, like that of the wide-eyed Christ child, who looks forward as he stretches out his arm across the chest of the elder saint, gesturing towards the outlined crucifix in the saint's right hand. Though only an infant, Christ is half the size of the saint, emphasizing his importance in Christian theology. His physical proximity to the cross alludes to his future sacrifice, as does the goldfinch he holds, a symbol of both his crucifixion and resurrection. He stands upon an open book, an allusion to a story in which Christ is said to have appeared out of the book that St. Anthony was meditating over. Each figure has bare feet, and wears a robe whose folds have been indicated by carefully incised parallel lines. The toes and fingers are articulated with simple lines. St. Anthony stands feet shoulder width apart, toes pointed out, on a circular base with vertical hatching. His habit has been carefully observed and replicated, from the double-band at the neck to the sweeping cape that falls to his feet, framing the garment beneath. The detail of his triple-knotted belt shows not only the sculptor's powers of observation, but also hold symbolic power as representations of the three vows of the Franciscan order (poverty, chastity, and obedience). The saint's eyes are formed by circular outlines framed by high arching eyebrows tha
