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607:. The Portuguese, who had only recently arrived in the area, were a symbol of power and affluence to the royal court. Their iconography is identifiable by their long hair, hanging mustaches (often described as bearded), and domed hats. Benin art historian Barbara Blackmun interprets these crown adornments as a reference to Idia's ability to conduct the Portuguese power to her son's favor. Mudfish were a common theme in Benin royal arts, and reflected the divinity of the Oba. Edo cosmology believed that spirits crossed the ocean to reach the afterlife, where their leaders lived like gods. As creatures who could live on land and sea, the mudfish symbolized the
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904:'s Queen Mother pendant mask is considered among the museum's most celebrated works. African art historian Ezio Bassani wrote that the profile of the Met's mask was "at once delicate and strong" with a "musical rhythm", and that its use of iron and copper inlay was both "discreet and functional". He wrote that the Metropolitan and British Museum masks were among the most beautiful ivories carved in Benin, and that their artist was both refined and sensitive. Kate Ezra wrote that the mask's thinness showcased the "sensitivity and solemnity" of early Benin art.
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591:. As this orisha gives wealth and fertility, it the spirit world's equivalent of the Benin Oba. Ivory gave wealth similar to Olokun, as it enticed the Portuguese merchants who, in turn, returned wealth to Benin. The Portuguese belonged to Olokun, having arrived from the sea. The whiteness of ivory also reflects the symbolism of white chalk, whose ritual purity is associated with
1094:
424:. Their works were customized for their ruler, between the material connotations of ivory and the visual motifs in the carvings. At least two of the masks feature Portuguese imagery (although this imagery outlasted the actual Portuguese presence) and thus were likely created during Esigie's early-16th century rule (possibly
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needed for the leader's final journey, and this duality represents the seafaring
Portuguese as well. The mudfish also appear in a pattern on the Linden Museum mask's crown, while the private collection mask's crown has bird elements, also formerly present on the similar Seattle Art Museum mask. The
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marks are associated with Benin women. The masks' facial features are symmetrical and skillfully precise. Their lips are parted, nostrils slightly flared, and hair dense with tiny coils and a rectilinear hairline. The masks' expression of "impersonal coolness" reflected the stylistic conventions of
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concluded that unlike the small brass pendant masks worn at the waist by modern kings, the ivory mask was likely worn around the neck. An 1830s drawing of a similar mask worn at the breast by a neighboring ruler confirms Fagg's theory. Based on the position of the rungs, Metropolitan curator Alisa
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They are made of ivory, long and ovular in shape, and thinly carved, approaching semiopaqueness. The similar
British Museum and Metropolitan pendant masks have elaborate ornament at their hair and collar. Each mask's gaze is accentuated with iron inlay at its pupils and lower eye outline, and the
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became its director and recommended acquisitions. His argument to collect the ivory pendant mask was among his longest, at the end of 1957. He called it "the best object of its kind known, nor will any others ever turn up". Goldwater wrote that the mask was higher in quality than the similar,
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of the tiara and collar represent tiny heads of
Portuguese men in the tiara of both the Met and the British Museum examples, with eleven figures in the British Museum mask, and in the Met mask seven figures of Portuguese men alternating with six representations of mudfish, the
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443:. Ivory works from Benin were mainly for the Oba to use in ritual. The masks may have been used in ceremonies including the Ugie Iyoba commemoration of the Oba's mother, as well the Emobo purification ceremony to expel bad spirits from the land. Similar
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masks also differ in pattern along their bottom, collar edges. The collar of the Met example is similarly decorated with eleven
Portuguese men (with damage on its proper right side), while the collar of the British Museum mask is instead an abstract
431:), either during Idia's life or soon after her death. The similarities between the masks indicate that they were likely created at the same time by the same artist. Their details match the comparable carving qualities of ivory spoons and
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Four rungs on the side of the masks, above and below each ear, let the masks hang in suspension and indicate that the masks were suspended from a cord, though experts have disagreed on how they were worn. British Museum art historian
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LaGamma also affirmed the theory. Benin specialist and anthropologist Paula Ben-Amos, however, wrote that the masks were worn on the waist as pendants during the Ugie Iyoba and Emobo ceremonies. The hollow masks likely served as
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cultural festival in 1977, so that this design is often known in modern
Nigeria as the FESTAC Mask. The Nigerian government was unsuccessful in securing a loan of the work from the British Museum, and commissioned Edo artist
752:, private quarters and storerooms and many were sold in England to western museums and collectors to offset the cost of the expedition. The British Museum's pendant was purchased in 1910 from the British anthropologist Prof
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with the empire. The empire traded pepper, ivory, local textiles, and slaves for brass and coral beads. Esigie engaged in two major conflicts. First, his half-brother fought a protracted civil war over the
580:. When an elephant was killed in Benin, the Oba received one tusk as a gift and was offered the other in sale. Thus, the Oba had many tusks and controlled the ivory trade. Ivory is associated with the
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833:. Rockefeller purchased the mask at a record price and unveiled it in September 1958. The purchase solidified a policy that Goldwater believed the museum should center around permanent collections of
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beads of coral wrapped around its forehead. These red beads and red cloth, once reserved for leadership figures, have in modern times been popularly adopted as elements of Edo traditional dress.
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Ivory, both then and now, connotes royal wealth, power, and purity. Ivory, already a luxury commodity in Africa, became increasingly coveted with the growth of the
European
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1041:"The Portuguese & the Pendant Mask of Idia, First Queen Mother of Benin (in present-day Nigeria). LIyoba, XVI century. The Metropolitan Museum of Art"
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2169:. London; New York : Published for the National Museum of African Art Branch, Smithsonian Institution Libraries, Washington, DC Hans Zell.
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renowned one owned by the
British Museum. The mask, he predicted, would redefine the collection and go on permanent display, on par with the
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are mainly used in contemporary Emobo ceremonies focused on bad spirits, though the traditions of Emobo may have changed throughout history.
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eyes are slightly diverted by the eyelids. This use of inlay departed from the ways in which
Europeans used ivory. Above the eyes, the four
281:, a major pan-African cultural festival held in Lagos, Nigeria in 1977, which chose as is official emblem a replica of the mask crafted by
136:
748:, the British burned the royal palaces of the Oba and the Queen Mother and looted thousands of ivory, brass and wood artworks from the
522:("royal") beads, which it was the specially-granted privilege of the Queen Mother to wear, being usually reserved for the Oba and the
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Rockefeller founded the Museum for
Primitive Art. Its director claimed that the mask would become as recognizable as Rousseau's
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303:
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Kelly, Bernice M.; Stanley, Janet L.; Smithsonian
Institution. Libraries. National Museum of African Art Branch (1993-01-01).
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806:. The museum collected works for their artistic—and not anthropological—value, contrasting with the earlier history of
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1959:
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709:). Two additional masks from the bedchamber group were taken by the British and now reside in the collections of the
1596:"Idia: The First Queen Mother of Benin | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art"
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since 1979). He also designed a FESTAC flag with the mask as central charge on an unequally banded black-gold-black
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that would crown Esigie, the firstborn. Second, Esigie successfully defended against an invasion from the northern
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and captured their leader. Esigie rewarded his key political and mystical advisor during these trials, his mother
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Five to six masks of this type were found in a large chest in 1897 in the bedchamber of the then-reigning Oba
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The Met's mask uses iron inlay in the pupils and forehead markings, and copper inlay for the eyelid outline.
744:, the ruler at the Benin court. They were taken at a time of great civil unrest during the British punitive
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2371:"The Nelson A. Rockefeller Vision: In Pursuit of the Best in the Arts of Africa, Oceania, and the Americas"
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901:
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113:
1976:
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Kaplan, Flora Edouwaye S. (2014). "Sacrifice and Sanctity in Benin". In Olupona, Jacob Káşąhinde (ed.).
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Falola, Toyin; Ann Genova, eds. (2009-07-01). "World Black and African Festival of Arts and Culture".
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Cultural Property and Contested Ownership: The Trafficking of Artefacts and the Quest for Restitution
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and collar of symbolic beings, as well as double loops at each side for attachment of the pendant.
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Measurements are from the British Museum version; other versions have slightly different dimensions.
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404:)—the first in a tradition of Queen Mother advisors. The identification with Idia was made by Oba
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Ezra, the Metropolitan Museum of Art; introductions by Douglas Newton, Julie Jones, Kate (1987).
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to recreate the mask as a 20-foot tall bronze centerpiece for the festival (on display at the
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in Germany had such a mask in its collection. Further, there are also similar masks at the
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containers. Below the mask's collars, the ring of small loops are attachment points for
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the Oba's ivory carvers guild, with a naturalism typical of craft in early Benin art.
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The British Museum example in particular has also become a cultural emblem of modern
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took the two finest masks, which were later collected by British anthropologist
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510:("parrot's beak") hairstyle she originated, and is more clearly seen on the
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as "the only woman who went to war", is exceptional, and the very title of
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Royal Art of Benin: The Perls Collection in the Metropolitan Museum of Art
1534:
Royal Art of Benin: The Perls Collection in the Metropolitan Museum of Art
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Royal Art of Benin: The Perls Collection in the Metropolitan Museum of Art
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in 1954 after the Metropolitan Museum did not reciprocate his interest in
641:
613:
1735:
Luschan, Felix von; Ankermann, B; Arthur Baessler-Stiftung (1919-01-01).
1451:
Art of Oceania, Africa, and the Americas from the Museum of Primitive Art
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897:. A 150 kg bronze reproduction was also donated to UNESCO in 2005.
681:, the British looted a group of similar ivory masks in the Oba's palace
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Negro. Anthology made by N. Cunard, 1931-1933. [With illustrations
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or Queen Mother was created for her. The headdress forms part of the
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in 1973, and was chosen as the official emblem of the pan-Africanist
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over each eye, with inlays of a pair of iron strips highlighting the
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347:
278:
2139:
The Pan-African Nation: Oil and the Spectacle of Culture in Nigeria
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253:
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The foreheads of both masks were are inscribed with four vertical
526:(war chief). The Linden Museum mask also has a string of actual
1978:
Beyond Primitivism: Indigenous Religious Traditions and Modernity
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commissioned works from his guild of ivory and wood carvers, the
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1625:
The Oxford Encyclopedia of Women in World History: 4 Volume Set
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893:, was commissioned to carve two replica masks in ivory for the
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668:. The ivory pendant masks were looted from the Oba's bedroom.
256:
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57:
733:), and there is one in a private collection of the heirs of
232:. Both feature a serene face of the Queen Mother wearing a
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of the headdress and choker are in the form of cylindrical
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One of four related ivory pendant masks, taken during the
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557:. Iron is also used in the pupils and rims of the eyes.
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commissioned during the same period, the early period of
1741:(in German). Berlin; Leipzig: De Gruyter. Archived from
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2225:"On the occasion of the unveiling of Queen Idia's Mask"
2112:"FESTAC at 40: The history and mystery behind the mask"
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2022:
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2007:
1995:
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1391:
2419:
2340:
Heroic Africans: Legendary Leaders, Iconic Sculptures
2084:
Salami, Gitti; Visona, Monica Blackmun (2013-10-22).
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949:"Edo artist | Queen Mother Pendant Mask: Iyoba | Edo"
2166:
Nigerian artists : a who's who and bibliography
2019:
1824:. New York: Metropolitan Museum of Art. p. 84.
1575:
1503:. New York: Metropolitan Museum of Art. p. 84.
1893:Clarke, Christa; Arkenberg, Rebecca (2006-01-01).
1794:
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1701:
1458:
1298:
1181:
2410:Mask in the Metropolitan Museum of Art collection
794:The Met's mask was acquired in 1972 as a gift of
469:
439:, the phase of strongest affiliation with Ife or
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2189:
1681:. British Museum Press. 2010-01-01. p. 13.
1892:
1866:Asante, Molefi Kete; Mazama, Ama (2008-11-26).
1153:"Sotheby's cancels sale of 'looted' Benin mask"
868:version in particular was featured on Nigerian
2375:The Bulletin of the Metropolitan Museum of Art
1954:. Trustees of the British Museum. p. 29.
262:Until its restitution in 2022 to Nigeria, the
27:Pair of ivory pendant masks from Benin Kingdom
2190:Robinson, Alma; Robinson, Alma (1977-02-11).
1821:The Pacific Islands, Africa, and the Americas
1500:The Pacific Islands, Africa, and the Americas
340:National Commission for Museums and Monuments
2481:Sculptures in the Metropolitan Museum of Art
2083:
1865:
1851:: CS1 maint: multiple names: authors list (
1370:
2043:, British Museum, retrieved 1 November 2014
1896:The Art of Africa: A Resource for Educators
1600:The Met's Heilbrunn Timeline of Art History
1371:Hansen, Valerie; Curtis, Ken (2016-01-01).
1358:, British Museum, retrieved 1 November 2014
973:"Museum Insights / The Raid on Benin, 1897"
295:
216:Two almost identical masks are kept at the
2486:Ethnographic objects in the British Museum
38:
2259:Circa 1492: Art in the Age of Exploration
1447:
2476:African sculptures in the British Museum
2287:
2222:
1705:; Wiesner-Hanks, Merry E. (2008-04-15).
1581:
1095:"Collections - SAM - Seattle Art Museum"
1063:
997:"Ivory mask - Google Arts & Culture"
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2001:
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569:Detail of Portuguese merchant head and
360:In the early 16th century, the dynamic
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1974:
1926:. London: Nancy Cunard. Archived from
1919:
1175:
1173:
1030:, MetMuseum, retrieved 1 November 2014
926:, a bronze at Jesus College, Cambridge
205:by the British from the palace of the
177:is a miniature sculptural portrait in
2415:Mask in the British Museum collection
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860:The Benin Pendant Mask has become an
2516:Collection of the Seattle Art Museum
2511:Sculptures of women in New York City
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1948:Fagg, William Buller (1978-01-01).
1768:. Prestel. 2001-01-01. p. 74.
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483:
248:on the forehead, all framed by the
24:
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1612:
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808:African art in Western collections
488:The depiction of women is rare in
25:
2547:
2403:
2336:"Idia of the Ivory Pendant Masks"
2223:Matsuura, KoĂŻchiro (2005-05-25).
2192:"The Controversial Mask of Benin"
2087:A Companion to Modern African Art
1140:
1124:"Sotheby's to auction 'Oba' mask"
270:and one in a private collection.
2453:
2441:
2429:
1869:Encyclopedia of African Religion
1628:. Oxford University Press, USA.
1448:Goldwater, Robert (1969-06-01).
1218:education.nationalgeographic.org
1184:Historical Dictionary of Nigeria
1028:Queen Mother Pendant Mask: Iyoba
772:
763:
685:. The expedition's civil leader
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332:
317:
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2142:. University of Chicago Press.
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1622:Smith, Bonnie G. (2008-01-01).
1587:
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1319:
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1026:Metropolitan Museum Collection
560:
355:
2536:Sculptures of women in Nigeria
2369:LaGamma, Alisa (Summer 2014).
1899:. Metropolitan Museum of Art.
1655:. Metropolitan Museum of Art.
1537:. Metropolitan Museum of Art.
1332:. Metropolitan Museum of Art.
1116:
1087:
1057:
1033:
989:
965:
953:The Metropolitan Museum of Art
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693:and transferred to the London
470:Description and interpretation
13:
1:
2531:Sculptures of women in London
2521:Cultural depictions of queens
2241:
1708:A Companion to Gender History
1454:. Metropolitan Museum of Art.
622:
425:
411:
2136:Apter, Andrew (2008-10-01).
2053:Hauser-Schäublin, Brigitta;
1920:Cunard, Nancy (1934-01-01).
7:
1188:. Scarecrow Press. p.
1072:(in German). Archived from
907:
46:punitive expedition of 1897
10:
2552:
2344:Metropolitan Museum of Art
2309:Metropolitan Museum of Art
1594:Bortolot, Alexander Ives.
707:Metropolitan Museum of Art
310:Metropolitan Museum of Art
290:
226:Metropolitan Museum of Art
114:Metropolitan Museum of Art
2090:. John Wiley & Sons.
1951:Divine Kingship in Africa
1711:. John Wiley & Sons.
1649:Ezra, Kate (1992-01-01).
1531:Ezra, Kate (1992-01-01).
1356:British Museum Collection
1326:Ezra, Kate (1992-01-01).
1099:www1.seattleartmuseum.org
1001:Google Cultural Institute
919:Bronze Head of Queen Idia
840:
715:Principal Medical Officer
512:Bronze Head of Queen Idia
492:, though the position of
408:in the mid-20th century.
164:
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132:
109:
99:
91:
83:
75:
67:
53:
37:
32:
2288:Ben-Amos, Paula (1980).
1738:Die AltertĂĽmer von Benin
1374:Voyages in World History
1066:"Linden-Museum - Afrika"
935:
895:Nigerian National Museum
754:Charles Gabriel Seligman
746:Benin Expedition of 1897
691:Charles Gabriel Seligman
658:Benin Expedition of 1897
296:Three of the ivory masks
211:Benin Expedition of 1897
199:traditional African mask
2334:LaGamma, Alisa (2011).
2255:National Gallery of Art
2253:. In Levenson, Jay A.;
854:(pictured on the right)
800:Museum of Primitive Art
717:Robert Allman) and the
703:Museum of Primitive Art
197:, taking the form of a
2249:Bassani, Ezio (1991).
1214:"The Kingdom of Benin"
864:of Benin art, and the
857:
573:
546:
376:. He came to power as
193:) of the 16th century
2501:African queen mothers
2263:Yale University Press
1872:. SAGE Publications.
883:National Arts Theatre
848:
605:West African lungfish
568:
536:
2265:. pp. 182–183.
2041:The wealth of Africa
1981:. Psychology Press.
1377:. Cengage Learning.
914:Bronze Head from Ife
821:Museum of Modern Art
731:Augustus Pitt Rivers
396:, with the title of
378:Portuguese explorers
342:, Nigeria (formerly
244:highlighted by iron
236:headdress, a beaded
128:, private collection
95:Sixteenth century AD
2301:Ezra, Kate (1984).
2294:Thames & Hudson
2196:The Washington Post
1497:Ezra, Kate (1987).
1070:www.lindenmuseum.de
870:one Naira banknotes
701:) and the New York
2491:Ivory works of art
2346:. pp. 26–29.
2311:. pp. 14–21.
858:
796:Nelson Rockefeller
711:Seattle Art Museum
574:
547:
386:line of succession
381:first made contact
268:Seattle Art Museum
122:Seattle Art Museum
18:Ivory pendant mask
2353:978-1-58839-432-3
2272:978-0-300-05167-4
1563:, pp. 26–28.
1487:, pp. 20–21.
1199:978-0-8108-6316-3
887:vertical tricolor
798:. He founded the
695:Museum of Mankind
201:. The masks were
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16:(Redirected from
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2290:The Art of Benin
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679:Benin Expedition
674:During the 1897
644:
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514:. The depicted
484:A powerful woman
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110:Present location
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826:Sleeping Gypsy
823:'s well-known
814:art historian
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2099:
2097:9781118515051
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2066:
2063:. Routledge.
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498:Edo tradition
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445:pendant masks
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2506:Ritual masks
2378:
2374:
2342:. New York:
2339:
2307:. New York:
2303:
2289:
2258:
2231:
2218:
2207:. Retrieved
2195:
2185:
2165:
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2138:
2131:
2120:. Retrieved
2118:. 2017-02-27
2115:
2106:
2086:
2079:
2059:
2048:
2036:
2031:, p. 7.
2029:LaGamma 2014
2014:LaGamma 2014
2009:
2002:LaGamma 2014
1997:
1977:
1970:
1950:
1943:
1932:. Retrieved
1928:the original
1922:
1915:
1895:
1888:
1868:
1861:
1835:. Retrieved
1820:
1813:
1784:
1764:
1758:
1747:. Retrieved
1743:the original
1737:
1707:
1697:
1677:
1671:
1651:
1644:
1624:
1603:. Retrieved
1599:
1589:
1577:
1568:
1561:LaGamma 2011
1533:
1526:
1514:. Retrieved
1499:
1492:
1450:
1443:
1436:Bassani 1991
1421:Bassani 1991
1373:
1328:
1321:
1293:LaGamma 2011
1288:
1281:LaGamma 2011
1266:LaGamma 2011
1221:. Retrieved
1217:
1208:
1183:
1161:. Retrieved
1159:. 2010-12-29
1156:
1131:. Retrieved
1127:
1118:
1107:. Retrieved
1103:the original
1098:
1089:
1078:. Retrieved
1074:the original
1069:
1059:
1048:. Retrieved
1044:
1035:
1004:. Retrieved
1000:
991:
980:. Retrieved
976:
967:
956:. Retrieved
952:
943:
899:
891:Felix Idubor
862:iconic image
859:
853:
824:
793:
783:
739:
735:Henry Galway
673:
666:Oba of Benin
653:
651:Harry Rawson
597:
587:of the sea,
575:
561:Trade symbol
548:
542:
527:
523:
519:
505:
501:
487:
477:supraorbital
473:
466:
462:crotal bells
453:William Fagg
449:
433:salt cellars
421:
418:Oba of Benin
415:
402:Queen Mother
397:
366:Benin Empire
359:
356:Benin Empire
287:
272:
261:
215:
207:Oba of Benin
195:Benin Empire
191:Queen Mother
185:, the first
174:
172:
165:
137:1978.412.323
133:Registration
2460:Visual arts
2381:(1): 4–17.
2251:"#66: Mask"
835:masterworks
660:to capture
617:latticework
578:ivory trade
496:, known to
429: 1520
422:Igbesanmwan
224:and at the
2470:Categories
2292:. London:
2242:References
2209:2017-02-28
2122:2017-02-28
1934:2017-03-01
1837:1 November
1831:0870994611
1749:2017-03-01
1605:2017-02-24
1516:1 November
1510:0870994611
1223:2024-06-28
1163:2017-02-22
1133:2017-02-22
1109:2017-02-22
1080:2017-02-22
1050:2024-06-28
1006:2017-02-24
982:2024-06-28
958:2024-06-28
829:(1897) by
742:Ovonramwen
725:(formerly
713:(formerly
687:Ralph Moor
662:Ovonramwen
623:Provenance
551:cicatrices
507:ukpe-okhue
441:Yoruba art
412:Ritual use
406:Akenzua II
370:Edo people
364:ruled the
312:, New York
104:Benin City
100:Discovered
2387:0026-1521
2362:781712515
2327:893698097
2281:797827885
2204:0190-8286
1847:cite book
1806:Ezra 1984
1789:Ezra 1984
1485:Ezra 1984
1470:Ezra 1984
1314:Ezra 1984
874:FESTAC 77
850:Festac 77
729:and then
723:Stuttgart
705:(now the
697:(now the
614:guilloché
490:Benin art
437:Benin art
348:Stuttgart
279:FESTAC 77
145:81.17.493
2395:01624350
2257:(eds.).
908:See also
676:punitive
656:led the
600:openwork
458:amuletic
327:, London
254:openwork
54:Material
2448:Nigeria
2422:Portals
810:. The
683:bedroom
609:duality
571:mudfish
537:Modern
372:as its
368:of the
291:Origins
275:Nigeria
209:in the
155:Culture
149:F 50565
92:Created
60:, iron
2436:Africa
2393:
2385:
2360:
2350:
2325:
2315:
2279:
2269:
2232:UNESCO
2202:
2173:
2146:
2094:
2067:
1985:
1958:
1903:
1876:
1828:
1772:
1765:Africa
1715:
1685:
1659:
1632:
1541:
1507:
1381:
1336:
1196:
924:Okukor
841:Legacy
664:, the
654:(left)
593:Olokun
589:Olokun
585:orisha
528:ikiele
524:Edogun
362:Esigie
277:since
252:of an
250:flange
238:choker
234:beaded
222:London
203:looted
79:12.5cm
71:24.5cm
68:Height
2228:(PDF)
936:Notes
543:ileke
520:ileke
502:Iyoba
398:Iyoba
257:tiara
246:inlay
187:Iyoba
179:ivory
84:Depth
76:Width
62:inlay
58:Ivory
2391:OCLC
2383:ISSN
2358:OCLC
2348:ISBN
2323:OCLC
2313:ISBN
2277:OCLC
2267:ISBN
2200:ISSN
2171:ISBN
2144:ISBN
2092:ISBN
2065:ISBN
1983:ISBN
1956:ISBN
1901:ISBN
1874:ISBN
1853:link
1839:2014
1826:ISBN
1770:ISBN
1713:ISBN
1683:ISBN
1657:ISBN
1630:ISBN
1539:ISBN
1518:2014
1505:ISBN
1379:ISBN
1334:ISBN
1194:ISBN
900:The
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