Composed with understated authority, this Botolo hat from the Ekonda people of the Democratic Republic of the Congo rises in a clear, seven-tiered spiral—its measured verticality evoking natural cycles of time, regeneration, and social ascent. Acquired in Kinshasa in the early 1970s from a young prince of noble lineage, the hat’s clean geometry and subtle textural gradation echo the organic repetition found in forest flora, termite mounds, and the coiled bark of sacred trees.

In Ekonda cosmology, the number seven often signifies spiritual completeness and ancestral harmony. Each level of this headdress metaphorically marks a phase in the life of a chief (nkumu): from birth, initiation, and leadership, to death and transcendence. The structure itself is a ceremonial map—ritually worn to signal the chief’s role as intermediary between the living and the ancestors.

Woven entirely from forest-harvested vegetal fibers, the hat bears soft traces of camwood powder and oil residue used to bless and protect the regalia. The lowermost tier is broad and grounded, while the uppermost is narrow and elevated—visually and spiritually mirroring the human journey from the earth toward the spirit realm.

Though free from brass ornamentation, its simplicity is profound. As Biebuyck and Van den Abbeele note in The Power of Headdresses (1984), Botolo hats are less about spectacle and more about encoded prestige—each contour and tier conveying status, story, and spiritual proximity.

This piece is ideal for collectors, scholars, and curators interested in the poetic abstraction of African sacred objects and their philosophical links to nature.