This beautifully-constructed brass vessel was
made by the Ashante (or Asanti), from modern-
day Ghana. It is shaped as a pedestal vessel,
with a base section comprises numerous vertical
strips of metal joining the base ring to the cup-
shaped body. The sides are vertical, capped by a
flat-topped lid that overlaps the top of the body
to provide a tight fit. The lid is attached to the
body with a simple hinge, and adorned with a
pair of eyelets supporting an integrated loop
handle. The lid can be further secured by the
strap-and-hoop locking arrangement on the front
of the piece. The ground is plain, decorated with
beaded strapwork in vertical striped, and the
edges of the body and lid decorated with raised
cordage designs. The top of the lid bears a
circular swirl pattern. The metal bears signs of
usage, both encrusted and burnished. Condition
is excellent.
The Ashanti/Asante are one of the many tribes
that makes up the Akan polity. The Akuapem, the
Akyem, the Ashanti, the Baoulé, the Anyi, the
Brong, the Fante and the Nzema all share general
cultural trends while maintaining separate tribal
identities. Their society is highly ritualised, with
numerous gods under a main deity who varies
according to the group in question (Onyame – the
Supreme One – is the Asante deity), and a host of
lesser gods (Abosom) who are mostly connected
with the natural world (earth, ocean, rivers,
animals etc). The society is ruled by Asantahenes,
and a host of minor chiefs who claim royal status
through their connection with the land and the
founders of villages upon it. One factor that
unites the Akan is the fact that they took a golden
stool as their emblem and rose up against the
European invaders in the 18th century. The
Ashanti live in the central portion of the country,
and are arguably one of the most important
groups from the artistic point of view. Their
Akuaba dolls are one of the most recognisable
forms on the continent, while their fascination
with gold (which the Akan consider a physical
manifestation of life’s vital force, or “kra”) has
given rise to a plethora of artefactual and artistic
production.
This vessel is known as a “kuduo”, which is cast
using the lost wax process, and not to be
confused with sheet-brass “forowa” vessels
(which are used for containing food and fat,
among other substances). Their use seems to
have been variable, but they are always
associated with elite personages within Asante
society. Recorded uses include expensive items
such as gold dust, gold weights and pearls, while
other sources cite their use in religious
ceremonies. They are very variable in terms of
design, with an assortment of zoomorphic,
anthropomorphic and geometric motifs which are
assumed to have relevance for the different
subgroups which produced them.
This is an attractive and even usable piece of
African art, and a beautiful addition to any
collection or sophisticated domestic setting.
Arthur, G. and Rowe, R. 1999-2001. Akan Metal
Casting. Downloaded from
http://www.marshall.edu/akanart/abrammoo.html
Bacquart, J-B. 2000. The Tribal Arts of Africa:
Surveying Africa’s Artistic Heritage. Thames and
Hudson, London.
T. Garrard, 1989. 'Gold of Africa'. Prestel-Verlag
Publishing, Munich
