• Source: Benin Altar Tusk

Benin Altar Tusks (Edo: Aken’ni Elao) are ivory artefacts from the Benin Kingdom in present-day Benin City, Edo State, Nigeria. These tusks date back to the 16th century and measure approximately 61 inches (1,500 mm) in height, 5.2 inches (130 mm) in width, 4.7 inches (120 mm) in depth, and weighing 25 kilograms (55 lb) according to a sample at the British Museum. The tusks feature carved royal figures in traditional regalia, depicting scenes of power, ritual, and at times, conflict.
In the 16th century, the Benin Kingdom engaged in trade, including with the Dutch Republic. The lower portion of the tusks displays carved depictions of Portuguese figures from that era, later representing European traders. The tusks were maintained over the centuries, including washing, bleaching, and the application of "orhue", a white clay substance. In the late 19th century, the British punitive expedition resulted in the looting of artefacts, including several Benin Altar Tusks. These items were taken to Britain and are now housed in various museums and private collections in Europe. The tusks were created by the Igbesanmwan, a royal ivory carving guild in Benin City. Today, the Benin Altar Tusks are located in museums globally. Their presence has led to debates and calls for repatriation by Nigerian authorities and cultural organisations.




History


The exact creation date of the Benin Altar Tusks is not known. They are associated with the 16th century Benin Kingdom. The tusks feature carved royal figures and scenes depicting power, ritual, and conflict. The lower portion of the tusk displays carved depictions of royal leopard faces, 16th-century Portuguese figures, and other motifs. The Kingdom of Benin engaged in trade with European nations, most notably the Portuguese Empire, which established contact with the region in 1485. This interaction facilitated the exchange of a variety of goods, including ivory. The oba controlled the supply and distribution of ivory, and commissioned the Igbesanmwan, a royal ivory carving guild, to create the tusks. The tusks were placed on the ancestral altars of the oba.
The tusks underwent maintenance and modification over the centuries. They were washed, bleached, and coated with "orhue", a white clay substance. They were sometimes recarved or repaired, adding or removing figures and motifs according to the historical and political context.
In 1897, the British punitive expedition entered Benin City, taking numerous artefacts, including several Benin Altar Tusks. The British soldiers and officers involved in the expedition sold the items to museums and private collectors in Europe. Several Benin artefacts, including altar tusks, were damaged during World War II in Europe.
The Benin Altar Tusks are now housed in museums and private collections globally, including the British Museum in London, Cleveland Museum of Art in Cleveland, Ohio, Art Institute of Chicago in Chicago, USA, Fowler Museum at UCLA in California, Metropolitan Museum of Art in New York City, National Museum of African Art in Washington, D.C., and National Museums Liverpool in Liverpool, England. Their presence has led to debates and calls for repatriation by Nigerian authorities and cultural organisations.




Description



The tusks are ivory sculptures adorned with intricate carvings that depict aspects of the Benin Kingdom's history, mythology, and rituals. Measuring about 61 inches (1,500 mm) in height, 5.2 inches (130 mm) in width, 4.7 inches (120 mm) in depth and weighing 25 kilograms (55 lb) according to a sample from the British Museum, it is a visually imposing piece of art.
The carvings on the tusk chronicle the history of the Benin Kingdom, featuring depictions of monarchs, warriors, cultural ceremonies, and daily life. At the core of the tusk's iconography is the portrayal of the oba (king) and his retinue, symbolising the monarchy's authority and its connection to the spiritual realm. The oba is often depicted with distinctive attributes, such as mudfish-like legs, conveying symbolic meanings.




Symbolism


The Benin Altar Tusk, along with other carved elephant tusks, held cultural and religious significance in the Benin Kingdom, actively participating in various rituals and ceremonies dedicated to deities and ancestral spirits.
They symbolised the connection between the ruler and the spiritual realm, emphasising the preservation of Benin traditions. Each tusk was supported by a brass-crafted pedestal resembling a crowned head, serving as a central element of shrines, which featured ritual objects and played a central role in ceremonies that bridged the material realm with the realm of spirits and ancestors in Benin's religious and ritual practices.




= Use in ancestral altars

=

Like many other altar tusks from the Benin Kingdom, this tusk is adorned with intricate relief figures, animals, and motifs, often featuring depictions of the Oba and his attendants. These elements conveyed symbolic messages, primarily intended for ancestral spirits. Based on motif-based analysis, this tusk is tentatively dated to the reign of Oba Adolo, circa 1850, suggesting its use on an altar dedicated to a former oba.




= Reading and interpreting the Tusk

=

The altar and its contents are highly revered, leading to limited access for most palace visitors. Aside from the Igbesanmwan carvers and custodians entrusted with safeguarding the Oba's treasures, the Ihogbe priests, who oversee the royal ancestors, possess the specialised knowledge needed to interpret certain carved images on the tusks. Specific details of the iconography remain confidential, but the narratives conveyed through these images are widely recognised, contributing significantly to ethical discussions within Benin.
The motifs carved into the altar tusks serve as mnemonic devices, carrying significance that can be elaborated upon to varying depths, depending on the observer's understanding. These motifs transcend ivory and manifest in various other crafts, such as brasswork, ironwork, embroidered fabrics, applique, and leatherwork.
The motifs on the altar tusks derive inspiration from the history, folklore, and religious beliefs of the Benin Kingdom. Traditionally, each generation of Igbesanmwan artists inherits specific motifs from their predecessors, who were members of the Igbesanmwan guild. Carvers also have the creative latitude to craft new figures and symbols to honour the current reigning Oba, who commissions the work. Since each ruler is associated with a particular deified predecessor, it is customary to incorporate images related to this former monarch. Additionally, specific motifs may be requested by the Oba himself for inclusion on the tusk.
Interpreting a Benin altar tusk is an enduring tradition in the Kingdom of Benin. Contrary to Western reading conventions, where one begins from the top and progresses downward and from left to right, in Benin tradition, the customary method of "reading" a Benin altar tusk involves commencing at the base and moving upward to grasp its intended significance.




Provenance


The Benin Altar Tusk was commissioned by Ọba Osemwende, who reigned from 1816 to 1848, and carved by the Igbesanmwan, a royal ivory carving guild. As per Edo tradition, it is mandatory for each newly enthroned Oba to erect an altar within the initial three years of their reign. This altar is dedicated to the deified predecessor of the Oba.
In 1897, the tusk was looted by the British Empire during the Siege of Benin, along with several other Benin Altar Tusks and artefacts. It was sold at Mess. Foster's Auction in July 1931, as part of a collection formerly owned by a member of the Benin expedition, and acquired by Sir Henry Wellcome. In 1965, it was gifted by the Wellcome Trust to the Fowler Museum (then known as the Museum and Laboratories of Ethnic Arts and Technology).
Another Benin Altar Tusk, which was also looted in 1897, was owned by Katherine White Reswick (1929–1980), who resided in Gates Mills, Ohio, US, from at least 1961 to 1968. She donated it to the Cleveland Museum of Art in 1968, where it remains part of the collection.




See also


Benin ivory mask
Benin ancestral altars
Benin Bronzes
Benin Moat




References






Bibliography






Further reading


Ezra, K. (1984). African Ivories. Metropolitan Museum of Art. ISBN 978-0-87099-372-5.
Blackmun, Barbara Winston (1997b). "Continuity and Change: The Ivories of Ovonramwen and Eweka II". African Arts. 30 (3). UCLA James S. Coleman African Studies Center: 68–96. doi:10.2307/3337502. ISSN 0001-9933. JSTOR 3337502.
Plankensteiner, Barbara (2007). "Benin: Kings and Rituals: Court Arts from Nigeria". African Arts. 40 (4). [Regents of the University of California, UCLA James S. Coleman African Studies Center]: 74–87. doi:10.1162/afar.2007.40.4.74. ISSN 0001-9933. JSTOR 20447858. S2CID 57571805 – via JSTOR.
Ben-Amos, Paula (1976). "Men and Animals in Benin Art". Man. 11 (2). [Wiley, Royal Anthropological Institute of Great Britain and Ireland]: 243–252. doi:10.2307/2800208. ISSN 0025-1496. JSTOR 2800208 – via JSTOR.




External links



Benin Altar Tusk at British Museum
Benin Altar Tusk at Fowler Museum at UCLA
Benin Altar Tusk at Cleveland Museum of Art

Kata Kunci Pencarian:

• Benin Altar Tusk
• Benin ancestral altars
• Benin ivory mask
• Art of the Kingdom of Benin
• Benin Bronzes
• Benin altars to the hand
• Barbara Blackmun
• Igbesanmwan
• Olifant (instrument)
• British Museum