Benin Wooden Doors, c. 1800 to 1900 CE
Wood
197 x 103 cm
77 1/2 x 40 1/2 in
77 1/2 x 40 1/2 in
LI.3507
A pair of stunning doors in wood from the palaces of Oba of Benin representing previous Obas. The Oba was traditionally referred to as “the leopard of the house”, and...
A pair of stunning doors in wood from the palaces of Oba of Benin representing previous Obas. The Oba was traditionally referred to as “the leopard of the house”, and representations of beautiful, majestic, and fierce leopards appear frequently in the royal art of Benin.
The vast majority of Benin’s artworks are designed to honour the achievements and/or memory of the Obas, the divine rulers of the Benin polities. Until the late 19th century, the Benin centres were a ruling power in Nigeria, dominating trade routes and amassing enormous wealth as the military and economic leaders of their ancient empire. This changed with the appearance of the British forces, which coveted the wealth of the royal palaces and found a series of excuses to mount a punitive expedition against the Oba’s forces in 1897. It was only at this point, the moment of its’ destruction, that the true achievements of the Benin polities became apparent to western scholars.
The palaces were a sprawling series of compounds, comprising accommodation, workshops and public buildings. As it grew, the buildings pertaining to previous Obas were either partially refurbished or left in favour of newer constructions; this led to a long history of royal rule written in sculptural works that rank among the finest that African cultures have ever produced.
Among the scenes represented, an Oba with two supporters (attendants), a specific iconography related to the annual apparition of the Oba outside the palace, when he presented himself to his people flanked by attendants. This particular ceremonial is attested since at least the 17th century.
Another important iconography represented on the doors is the one of the Royal heads: wood, brass or bronze Oba heads were used to honour the memory of a deceased king. Typically, the son of the dead king – the new Oba – would pay tribute to his father by erecting an altar in his memory. These altars, low platforms of mud that were arrayed around the perimeter of the royal courtyards, were decorated with various artefacts alluding to the Oba’s achievements in life. Further decorations included spears, statues, cast brass altars depicting the Oba and his followers, brass bells to awaken the spirits, rattle-staffs (ukhurhe) and magical objects that included Neolithic celts (known as “thunder stones”). The new king would pay homage to his father in this way, guaranteeing the succession and demonstrating the continuity of divine kingship. Among the Edo peoples of Benin, the head represents the character and destiny of the individual, and freestanding heads like the one represented here were placed on the shrines as symbols of the qualities and leadership of the previous ruler. Together with carved tusks, staffs and other artefacts, they served as the focal point for a living monarch's communication with his ancestor. This practice was a powerful reminder of the legitimacy and longevity of the ruling dynasty.
Of great interest is also the representation of the Oba on a leopard. The Oba was traditionally referred to as “the leopard of the house”, and representations of beautiful, majestic, and fierce leopards appear frequently in the royal art of Benin. The symbolical meaning of the royal iconography of the leopard implied two different aspects: the first one was that the Oba was able to dominate wilderness with his strength, and therefore protect his people; secondly, the leopard embodied the fierceness and majesty of the King of Benin, who was deemed by his people to be almost supernatural figure, placed above the worldly cares and limitations of human nature.
The knocker / handle is skilfully realised in metal, a superb example of Benin's refinement in working metals such as bronze and copper. Indeed in Benin smelting, forging and cire perdue (lost wax) metalworking methods exceeded the quality seen in Europe until the 19th century.
The vast majority of Benin’s artworks are designed to honour the achievements and/or memory of the Obas, the divine rulers of the Benin polities. Until the late 19th century, the Benin centres were a ruling power in Nigeria, dominating trade routes and amassing enormous wealth as the military and economic leaders of their ancient empire. This changed with the appearance of the British forces, which coveted the wealth of the royal palaces and found a series of excuses to mount a punitive expedition against the Oba’s forces in 1897. It was only at this point, the moment of its’ destruction, that the true achievements of the Benin polities became apparent to western scholars.
The palaces were a sprawling series of compounds, comprising accommodation, workshops and public buildings. As it grew, the buildings pertaining to previous Obas were either partially refurbished or left in favour of newer constructions; this led to a long history of royal rule written in sculptural works that rank among the finest that African cultures have ever produced.
Among the scenes represented, an Oba with two supporters (attendants), a specific iconography related to the annual apparition of the Oba outside the palace, when he presented himself to his people flanked by attendants. This particular ceremonial is attested since at least the 17th century.
Another important iconography represented on the doors is the one of the Royal heads: wood, brass or bronze Oba heads were used to honour the memory of a deceased king. Typically, the son of the dead king – the new Oba – would pay tribute to his father by erecting an altar in his memory. These altars, low platforms of mud that were arrayed around the perimeter of the royal courtyards, were decorated with various artefacts alluding to the Oba’s achievements in life. Further decorations included spears, statues, cast brass altars depicting the Oba and his followers, brass bells to awaken the spirits, rattle-staffs (ukhurhe) and magical objects that included Neolithic celts (known as “thunder stones”). The new king would pay homage to his father in this way, guaranteeing the succession and demonstrating the continuity of divine kingship. Among the Edo peoples of Benin, the head represents the character and destiny of the individual, and freestanding heads like the one represented here were placed on the shrines as symbols of the qualities and leadership of the previous ruler. Together with carved tusks, staffs and other artefacts, they served as the focal point for a living monarch's communication with his ancestor. This practice was a powerful reminder of the legitimacy and longevity of the ruling dynasty.
Of great interest is also the representation of the Oba on a leopard. The Oba was traditionally referred to as “the leopard of the house”, and representations of beautiful, majestic, and fierce leopards appear frequently in the royal art of Benin. The symbolical meaning of the royal iconography of the leopard implied two different aspects: the first one was that the Oba was able to dominate wilderness with his strength, and therefore protect his people; secondly, the leopard embodied the fierceness and majesty of the King of Benin, who was deemed by his people to be almost supernatural figure, placed above the worldly cares and limitations of human nature.
The knocker / handle is skilfully realised in metal, a superb example of Benin's refinement in working metals such as bronze and copper. Indeed in Benin smelting, forging and cire perdue (lost wax) metalworking methods exceeded the quality seen in Europe until the 19th century.