Figurine, Kingdom of Benin; Nigeria (15th-16th
C.)
Ivory, lead inlays; H. 7"
Of this lovely and extremely old Benin
ivory, Dr. Justine Cordwell has written:
"Evidence of its age [is] revealed
in the physical condition of the material itself.
Ivory ages so that the layers of enamel of the ‘tooth'
are revealed. Polished surfaces with designs carved
in them have raised ridges at each layer of ‘enamel.'
This figurine is an old piece going back four or
five centuries. It is not a recent carving
done from an old piece of ivory. The proof of this
lies in parts of the figure that were once smooth,
but are now ridged, such as underparts of the cheek
or on the legs, protected by the overhang of the
skirt. The second indication of age is in the costume,
which I estimate to be 15th Century (second half
or middle). The cap in particular is similar to
those in this period or earlier.
"The careful planning of the
figure's design in relation to the tusk of a young
elephant reveals the work of a master carver. This
was made from a small tusk of a young elephant.
Normally, larger were used, but younger elephants
can rampage through vital produce gardens; and thus
must be destroyed in order to save precious food
supplies. The tusks were always sent to the Oba.
. . . The carver of this piece carefully planned
the figure so that the smallest diameter of the
cap of beads would coincide with the tip of the
tusks' nerve pulp. The open top of the cap or crown
must have been deliberately planned for this opening.
. . . The importance of the hollow top becomes apparent
in reviewing sacrificial customs of the Bini and
the importance of inserting medicine into the ritual
scalp cut. The insertion of protective medicines
into the top of crowns … is copied from the
early teaching of the Yoruba. … This piece,
the carved figurine, has some truly adroit carving.
This piece shows an experienced artisan and designer
in the layout of the design, the blocking out of
the form and in the detail work of the face, hands,
arms, and legs and feet. The attention to detail
is excellent…Barbara Blackmun… put forward
the hypothesis that the upraised hands with palms
outwards were part of a ceremony she accidentally
witnessed on one of her own field trips to Benin
City. She happened to be near the palace one day
when she saw the Oba and his retinue emerge in a
kind of parade from the palace. The Oba was using
his hands in the same position as the ivory figure
to rhythmically push them forward and back from
his body. When she asked some bystanders what the
king was doing, they told her he was pushing the
evil spirits out of the city. The Yoruba employ
the Egungun to whip the evil spirits from a town.
Certainly, if this figure represents
the Oba himself, it is hinted at by the well-fed
look of a rather portly gentleman with overhanging
stomach and jowls — dignified, of course.
My final comment concerns the costume
of the figure. Keep in mind that in the early plaques
of brass that the Oba, supported by his two attending
high titled chiefs, was dressed almost the same
as they were; and that the headdress of all three,
at that time were identical. Thus a single figure
such as this one of an early age, could well be
the Oba himself and not a priest or titled chieftain"
(Justine Cordwell).
