Dignified and grounded, this Botolo hat from the Ekonda people of the Democratic Republic of the Congo offers a masterful balance of vertical form and circular symbolism. Acquired in Kinshasa in the early 1970s from a young prince of noble heritage, it is characterized by five proportionally descending tiers and a full cylindrical base encircled by a repeating orb motif—evocative of celestial rhythms and ancestral cycles.

The five-tier format in Ekonda cosmology may represent cardinal points and the central ancestral axis—a symbolic geography that maps the chief’s role as a stabilizing force in the social and spiritual order. Each level of this structure stands as a stage of transformation, culminating in the wide final brim that symbolizes the chief’s reach across the community.

What makes this hat particularly rare is its boldly patterned skirt. The repeated circular medallions—faded but discernible in soft earth reds and ash hues—evoke eclipses, moons, or ancestral eyes watching over the living. The repetition of form not only underscores visual harmony but affirms the Ekonda belief in time as a loop: ancestral return, rebirth, and continuity.

The woven fiber construction is thick and resilient, with a deep, smoke-darkened patina indicative of its time housed in a sacred enclosure. Though this hat lacks a metallic disc, its base functions as an iconographic register—transforming it into a wearable cosmogram, meant to declare lineage and spiritual jurisdiction in ritual space.

As documented in The Power of Headdresses (Biebuyck & Van den Abbeele, 1984), such works are not merely decorative but deeply encoded objects of power and continuity.