In the 13th-14th century A.D., a state emerged
in what is today Nigeria. By the 15th century,
the state of Benin had become a powerful warrior
kingdom, with the divine kingship at the center
of its political, religious, and social life. Nearly
all art was created to honor the king or Oba, who
claimed descent from a legendary prince of the
earlier Yoruba Kingdom of Ife.
The court of Benin were the acknowledged
masters of African metalwork, as this superb
sculpture demonstrates. In the city of Benin,
skilled artisans turned out magnificent metal
sculptures for the patronage of the royal court.
Using the lost wax process, Benin brass and
bronzes frequently depict personages of
importance.
This splendid sculpture portrays a man with the
proud bearing of a chief or king. Through his
elaborate head and face decoration lends a
flowing abstract line of symbolism and
mysticism, there is, however, a strong
undercurrent of realism in this piece. The
symbolism of the creatures represented reefers
to the mystical and magical aspects of kingship
so emphasized by the eighteenth-century Obas.
The birds and snakes are attributes of Osun, the
power inherent in leaves and herbs found in the
forest. The birds are similar to those depicted on
the top of the palace and have the same
protective powers. Snakes are symbolic of the
warriors of Osun. Their representation issuing
from nostrils refers to the belief that those who
are magically powerful vomit out snakes when
setting out to destroy their enemies. The celts,
or "thunder-stones" are associated with Ogiuwu,
bringer of death, who whirls them on his
enemies.
It is very possible that it is the actual portrait of
an Oba.
- (PF.4488)
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