Benin Bronze Mask Fragment, 16th Century CE - 18th Century CE
bronze
10
DB.017 (LSO)
This striking brass mask fragment was created in the shadow of two mighty Nigerian empires. These were the Yoruban polity – which remains the most powerful indigenous entity in Nigeria,...
This striking brass mask fragment was created in the shadow of two mighty Nigerian empires. These were the Yoruban polity – which remains the most powerful indigenous entity in Nigeria, if not Africa – and the eminent kingdom of Benin. This polity can justifiably lay claim to having produced the finest artists and craftsmen in the history of the African continent. Yet this heritage was scarcely recognised until the British punitive expedition of 1897, which destroyed and looted the ancient city compounds and in so doing brought the achievements of Benin to the world’s attention (Bacquart 1998).
The mask is highly unusual. It depicts a broad-faced individual with hollow eyes, full cheeks and a rounded chin, surmounted by a leopard-head headdress (resembling the rare Benin leopard hip masks) that appears to have been added as a second casting (see rear view). The face is extraordinary for two reasons. The first is the four-dash “ikharo” scarifications over each eye. While not rigid in terms of definition, these are associated with women, and also with foreigners (representations of Benin males typically have 2 x 3 marks). The second notable characteristic is the trefoil arrangements of “whiskers” emanating from each corner of the mouth, matched by the more rectilinear arrangements originating in the lateral aspect of each eye. The surface of the mask is otherwise smooth, with an irregular outline caused by damage in the historic period. There are some perforations that might be attributable to holes pierced for wearing of the mask, but the condition of the piece does not allow a definite identification of this. The nose is an inverted T, with each nostril standing clear from the nose’s central axis. The bridge of the nose merges seamlessly with the centre of the forehead, which is a feminine characteristic unlike the large supraorbital torus usually displayed by men. The eyes have thin raised rims, and the mouth is set in a decidedly jaunty suppressed smile with a central cleft in both upper and lower lips. The leopard is attached in such a way that the face is looking upwards. It has a simplified oval mouth with bared teeth, almond eyes and whiskers that match those of the main face. The surface detailing is in low relief, with the rosettes denoted by smooth circles, and the “ground” denoted by closely-packed tiny dots.
The kingdom of Benin can justifiably lay claim to having produced the finest artists and craftsmen in the history of the African continent. Yet this heritage was scarcely recognised until the British punitive expedition of 1897, which destroyed and looted the ancient city compounds and in so doing brought the achievements of Benin to the world’s attention (Bacquart 1998). The foundation of the Benin peoples was contemporary with the European late mediaeval period, when the kingdom of Benin was founded by a descendent of an Ife king in c.1180 AD. In the 15th and 16th centuries AD the power of the empire stretched across most of West Africa, and those areas not under their control were indirectly influenced by the effect of their trade networks and material culture styles. 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. The power of this empire was unequalled in its time, and the full extent of the rulers’ wealth only became apparent in the aftermath of its destruction.
Benin art is primarily based around a court context, and was designed to venerate the achievements and/or memory of the Obas, the divine rulers of the Benin polities. The artists and craftsmen were typically attached to a specific court, and charged with manufacture of objects solely for their ruler. Their work in bronze and copper, ironworking and sculpting in a range of materials that particularly included ivory was extremely refined and effective; indeed, smelting, forging and cire perdue (lost wax) metalworking methods exceeded any seen in Europe until the 19th century. Obas were immortalised as one or several bronze/brass heads, which were used as supports for holding elephant tusks in a crescent across the top of commemorative altars. Brass leopards, spears, statues, tableaux (depicting the Oba and his followers) bells (to awaken the spirits) and rattle-staffs (ukhurhe) are also known, although it is perhaps for the famous brass plaques that Benin artistic heritage is best known. In them it is possible to read the history of the Benin peoples, from the earliest kings to the arrival of the Portuguese explorers in the 15th century, to lion/leopard hunts and war scenes, populated by the Oba and his family, regal attendants, musicians, soldiers, noblemen and priests. However, the range of objects made by Benin artists and craftsmen is astounding, as demonstrated by the current piece.
This piece is highly enigmatic. There is no coverage of metal masks in any of the standard Benin texts, and it is therefore likely that it is a result of cultural fusion, as also indicated by its numerous stylistic peculiarities. These specifically include the “whiskers”, the trefoil lines at the corners of the eyes, the apparent sex of the individual, and the leopard. Elongated “whiskers” are not a common stylistic mannerism in Benin art, for although leopards often have them, humans generally do not. The few pieces that do exist tend to represent either Obas or high-ranking court officials; however it is vanishingly rare for a female face to bear them. A similar issue surrounded Barakat Gallery piece LSO.566, but while this Benin-inspired piece represented a female with whiskers, they were in a group of 4 (rather than 3) and swept up the face rather than out to the sides. The face is also more fully Yoruban, while the current mask is not strongly oriented in either direction. The fact that the eyes are hollow does tend to confirm that it is a mask, rather than a damaged Iyoba (queen mother) altar head; however it would clearly seem to be a woman of considerable status, judging from the fact that she has the status “whiskers” as well as the leopard headdress. Leopards are usually closely associated with the Oba, and are symbols of his speed and ferocity. Unless this piece was added later – which is a possibility in very long-lived court art – this was a woman of considerable importance. This is tangentially supported by the evidently well-nourished appearance of the face, as high levels of nutriment and thus obesity are/were evidence of wealth and therefore status in many non-western and prehistoric societies.
This piece is therefore something of an enigma. As it is essentially unique, it is almost impossible to date. XRF analysis of the metal might indicate something about its age, as magnesium levels were higher in 19th century pieces than earlier examples. It would also help to ascertain whether the leopard head was originally intended to be part of the mask, or if it was a later addition. In terms of educated guesswork, the colour and patina of the piece would seem to suggest a late 18th to early 19th century date, but this is necessarily a subjective judgment. If the mask was treated unusually – given libations, for example – its appearance would be altered beyond its years. Whatever its age, however, it is remarkable in its rarity and sculptural presence. This is a fine piece of Benin court art.
The mask is highly unusual. It depicts a broad-faced individual with hollow eyes, full cheeks and a rounded chin, surmounted by a leopard-head headdress (resembling the rare Benin leopard hip masks) that appears to have been added as a second casting (see rear view). The face is extraordinary for two reasons. The first is the four-dash “ikharo” scarifications over each eye. While not rigid in terms of definition, these are associated with women, and also with foreigners (representations of Benin males typically have 2 x 3 marks). The second notable characteristic is the trefoil arrangements of “whiskers” emanating from each corner of the mouth, matched by the more rectilinear arrangements originating in the lateral aspect of each eye. The surface of the mask is otherwise smooth, with an irregular outline caused by damage in the historic period. There are some perforations that might be attributable to holes pierced for wearing of the mask, but the condition of the piece does not allow a definite identification of this. The nose is an inverted T, with each nostril standing clear from the nose’s central axis. The bridge of the nose merges seamlessly with the centre of the forehead, which is a feminine characteristic unlike the large supraorbital torus usually displayed by men. The eyes have thin raised rims, and the mouth is set in a decidedly jaunty suppressed smile with a central cleft in both upper and lower lips. The leopard is attached in such a way that the face is looking upwards. It has a simplified oval mouth with bared teeth, almond eyes and whiskers that match those of the main face. The surface detailing is in low relief, with the rosettes denoted by smooth circles, and the “ground” denoted by closely-packed tiny dots.
The kingdom of Benin can justifiably lay claim to having produced the finest artists and craftsmen in the history of the African continent. Yet this heritage was scarcely recognised until the British punitive expedition of 1897, which destroyed and looted the ancient city compounds and in so doing brought the achievements of Benin to the world’s attention (Bacquart 1998). The foundation of the Benin peoples was contemporary with the European late mediaeval period, when the kingdom of Benin was founded by a descendent of an Ife king in c.1180 AD. In the 15th and 16th centuries AD the power of the empire stretched across most of West Africa, and those areas not under their control were indirectly influenced by the effect of their trade networks and material culture styles. 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. The power of this empire was unequalled in its time, and the full extent of the rulers’ wealth only became apparent in the aftermath of its destruction.
Benin art is primarily based around a court context, and was designed to venerate the achievements and/or memory of the Obas, the divine rulers of the Benin polities. The artists and craftsmen were typically attached to a specific court, and charged with manufacture of objects solely for their ruler. Their work in bronze and copper, ironworking and sculpting in a range of materials that particularly included ivory was extremely refined and effective; indeed, smelting, forging and cire perdue (lost wax) metalworking methods exceeded any seen in Europe until the 19th century. Obas were immortalised as one or several bronze/brass heads, which were used as supports for holding elephant tusks in a crescent across the top of commemorative altars. Brass leopards, spears, statues, tableaux (depicting the Oba and his followers) bells (to awaken the spirits) and rattle-staffs (ukhurhe) are also known, although it is perhaps for the famous brass plaques that Benin artistic heritage is best known. In them it is possible to read the history of the Benin peoples, from the earliest kings to the arrival of the Portuguese explorers in the 15th century, to lion/leopard hunts and war scenes, populated by the Oba and his family, regal attendants, musicians, soldiers, noblemen and priests. However, the range of objects made by Benin artists and craftsmen is astounding, as demonstrated by the current piece.
This piece is highly enigmatic. There is no coverage of metal masks in any of the standard Benin texts, and it is therefore likely that it is a result of cultural fusion, as also indicated by its numerous stylistic peculiarities. These specifically include the “whiskers”, the trefoil lines at the corners of the eyes, the apparent sex of the individual, and the leopard. Elongated “whiskers” are not a common stylistic mannerism in Benin art, for although leopards often have them, humans generally do not. The few pieces that do exist tend to represent either Obas or high-ranking court officials; however it is vanishingly rare for a female face to bear them. A similar issue surrounded Barakat Gallery piece LSO.566, but while this Benin-inspired piece represented a female with whiskers, they were in a group of 4 (rather than 3) and swept up the face rather than out to the sides. The face is also more fully Yoruban, while the current mask is not strongly oriented in either direction. The fact that the eyes are hollow does tend to confirm that it is a mask, rather than a damaged Iyoba (queen mother) altar head; however it would clearly seem to be a woman of considerable status, judging from the fact that she has the status “whiskers” as well as the leopard headdress. Leopards are usually closely associated with the Oba, and are symbols of his speed and ferocity. Unless this piece was added later – which is a possibility in very long-lived court art – this was a woman of considerable importance. This is tangentially supported by the evidently well-nourished appearance of the face, as high levels of nutriment and thus obesity are/were evidence of wealth and therefore status in many non-western and prehistoric societies.
This piece is therefore something of an enigma. As it is essentially unique, it is almost impossible to date. XRF analysis of the metal might indicate something about its age, as magnesium levels were higher in 19th century pieces than earlier examples. It would also help to ascertain whether the leopard head was originally intended to be part of the mask, or if it was a later addition. In terms of educated guesswork, the colour and patina of the piece would seem to suggest a late 18th to early 19th century date, but this is necessarily a subjective judgment. If the mask was treated unusually – given libations, for example – its appearance would be altered beyond its years. Whatever its age, however, it is remarkable in its rarity and sculptural presence. This is a fine piece of Benin court art.