The metalworkers of Benin were among
the finest craftsmen on the African continent,
and still rank among the very highest echelons of
ancient craftsmanship. Their grasp of complex
technological processes, combined with a
distinctive and visually stunning sense of the
aesthetic makes their works among the greatest
of African art treasures. The current specimen is
a case in point. First, it is perhaps
appropriate to
supply some social context to the Benin polity. A
small yet extremely powerful unit within the
Nigerian Yoruba empire, the Benin people were
particularly renowned for their innovative
artworks, which were mostly 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 technology of bronze and brass
smelting, 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.
This piece is a hip ornament, designed to be
worn on the left hip by aristocratic members of
the Oba’s court as evidence of their high social
status. It may have been made for and worn by
the Oba himself, as the leopard was the animal
with which the Oba was most strongly
associated. Dating is a key issue that has yet to
be fully resolved. While brass heads and plaques
are relatively diagnostic, theories concerning
what style was first have not been reconciled. To
further confuse matters, these items are mobile
and are therefore not often found associated
with any altars or other contextual information
that might date them. As a general rule,
however, fine casting with thin metal seems to
have been particularly notable in the 16th and
17th centuries, while more robust and
interpretationalist pieces are more common from
the mid 18th century onwards. The refined and
delicate work of this piece thus suggests an
earlier date.
The workmanship is
outstanding.
The piece is generally oval in shape, with the
forehead and nose forming a raised level above
the flattened lower face. The ears are almond-
shaped with raised rims and incised marking of
the iris/pupil. The mouth is in a wide grin with
the tongue – decorated with hatching –
protruding between the lips. The canine teeth are
dagger-like and meet across the lips, while the
premolars are block-shaped and fill the rest of
the mouth. Each side of the mouth gives rise to
four large whiskers that rise up to just below the
eyes in a narrow fan; this motif is also seen on
many Yoruba pieces from the same period. The
ears are extraordinary, each made up of two
separate pieces that are fused together to give a
substantial yet spatulate appearance. Further,
they are shaped and decorated to look like
leaves, with a central spar running the length of
the ear and giving rise to numerous
perpendicular lines. The whole ground is
decorated with exquisitely delicate rosettes,
comprising hollow circles made up of closed
bands, on a background of tiny indented dots.
The presence of two small holes in the midline
suggests that it originally wore a diadem or
some
form of added decoration. The pose of the lips
and nose indicate that it was in phlemen
behaviour. This characteristic, unique to large
cats, indicates a state of suspicion and
watchfulness – literally “smelling the air”. This is
perhaps some comment upon the Oba, who
would presumably have had to be ever-watchful
in the event of court intrigue. Whatever its
significance, however, it has survived in perfect
condition, with a lovely even patina
commensurate with its age. This is a superb,
magnificently conceived and beautifully executed
piece of Benin art, which would be the star of any
collection.
