This remarkable vessel, which takes the form of an anthropomorphic head, (or cephalomorphic cup), carved from wood by artists of the Kuba kingdom (Democratic Republic of Congo) belongs to a group of palm wine cups intended for members of the aristocracy. Its pronounced stylization seamlessly blends with a naturalism of great formal and ornamental beauty, exuding a remarkable expressiveness. Palm wine, a beverage consumed during festivals, funerals, and various secular social events, held an important role in male ritual initiations.Adorning the surface of this receptacle, featuring a top opening, are numerous incisions that embellish it, forming a variety of ornamental patterns. The hair and headdress take on the appearance of a basket, while the facial features exhibit a geometric precision, notably, the almond-shaped eyes, crowned by thick incised eyebrows arranged in rhythmic parallel and herringbone lines separated by four vertical parallel lines in the middle of the forehead. The triangular nose and double-pointed mouth convey strength and symmetry to the head, enhancing the serenity and regality of the face; the facial scarifications - identity marks for the community - further reinforce its overall symmetry. On the reverse, a forearm-shaped wing extends from the neck to the nape of the neck, with a closed hand.The geometric patterns visible on this cup share a connection to the kingdom's textile art, as do other sculptures and objects adorned with designs reminiscent of the luxurious velvety raffia fabrics, which were employed in royal and initiation ceremonies. The intertwined knots, known as nnaam, and the raised faceted diamond pattern present in the hair area, are prevalent in the decorative arts of this community, as is the zig-zag – a royal symbol - in architecture. Furthermore, the parallel lines in the centre of the forehead are indicators of the elevated social status of the figure portrayed.Each pattern carries a name derived from the analogy between the design and various forms found in nature. The isolated geometric shapes, incised on the face and nape of the neck, or featured on the neck and handle in a zig-zag pattern, hold individual significance. According to Vansina, these isolated elements are signs, such as the double knot inscribed in a square, referred to as imbol, which when used behind a mask, establishes a connection to the king. While some historians connect the closed hand motif - also found on drums - to emblems of the warrior society symbolizing a dead enemy and possibly associated with a war event in the late 19th century, others link it to rituals with no definitive evidence for either interpretation . However, interestingly, in other sub-Saharan African kingdoms like Benin (in present-day Nigeria), the representation of the hand is closely tied to the Portuguese, associated with the metal “manilhas” (bracelets) – brought by them to trade with the Edo peoples - having been introduced into ritual objects of royal art. Furthermore, the handle of the object evokes European ewers, replicating their shape seen in silverware or Portuguese faience, which featured various forms, including animals and human figures.Kuba artists are celebrated for their inventive approach to adorning practical items like cups and goblets, with a surge in sculptural specialization starting in the 1890s. Human-shaped pieces (head or entire body), stand out as the most prestigious objects, considered to be genuine sculptures, whose virtuosity is clearly visible in this piece. Typically, the heads represent titled officers, individuals who have attained their status through personal merit, since among the Kuba, titles are not hereditary.Similar cups can be found in the British Museum in London, identified by the inventory number Af1949,46.399, and in the Metropolitan Museum of Art in New York, with the inventory number AN1979.206.108, both dating from the 19th - 20th centuries. However, the São Roque cup distinguishes itself among these surviving examples through its refined aesthetics. The cup's sophisticated shape and decoration serve - beyond its utilitarian purpose - as a visual reminder of its owner, undoubtedly a person of significance, standing as a symbol of wealth and prestige.