Benin Bronze Head

The vast majority of Benin’s artworks are 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 palaces were a sprawling series of compounds, comprising accommodation, workshops and public buildings. As it grew, the buildings pertaining to previous Obas were either partially refurbished or left in favour of newer constructions; this led to a long history of royal rule written in sculptural works that rank among the finest that African cultures have ever produced. The technology of bronze and copper 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. Brass or bronze Oba heads such as this one were used to honour the memory of a deceased king. Typically, the son of the dead king – the new Oba – would pay tribute to his father by erecting an altar in his memory. These altars, low platforms of mud that were arrayed around the perimeter of the royal courtyards, were decorated with various artefacts alluding to the Oba’s achievements in life. These heads were typically arranged in pairs, each supporting an elephant’s tusk that was inserted through the hole in the top of the head. Further decorations included spears, statues, cast brass altars depicting the Oba and his followers, brass bells to awaken the spirits, rattle-staffs (ukhurhe) and magical objects that included Neolithic celts (known as “thunder stones”). The new king would pay homage to his father in this way, guaranteeing the succession and demonstrating the continuity of divine kingship.

The piece in question is a magnificently formed and executed casting of a youthful, well- nourished male. The hair is in fact a beaded crown that is cut to the temples across the forehead, then dips once to the level of the ears. It is comprised of five bands of overlapping beadwork in the rear, and three bands at the front. The apex of the head is missing, to allow the introduction of a tusk. The forehead is prominent, acting as a shelf over the eyes, and decorated with a central double scar indentation and four “pellets” arranged in two groups on either side. The eyes are unobscured, large pointed ovals distinct peripheral rims and distinct irises that were originally inlaid with iron. The nose is long and elegant, with a broad trilobate end. The lips are fine, yet full and well- formed with a naturalistic fovea above the top lip. The rounded chin hints at the prosperity that the dead Oba doubtless enjoyed through his life. The ears are portrayed as delicate swirls in a faintly molluscan format, and the entire head sits upon a series of fine, sectorial neck rings that do not extend up onto the face. This is a fascinating object from historical, social and artistic perspectives. The importance of the Benin polity to the development of African and even world art cannot be overestimated. – (CK.0064)