Benin Altar Tusk

The Benin Altar Tusk, referred to as Aken’ni Elao in the Edo language, is an ivory artefact with historical, cultural, and religious significance. This tusk, which measures 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) as determined by a sample at the British Museum, originates from the Benin Kingdom in present-day Benin City, Edo State, Nigeria and dates back to the 16th century.

Benin Altar Tusk
Aken’ni Elao
A photograph of the Benin Altar Tusk
The Benin Altar Tusk, an artefact from the Benin Kingdom.
An altar decorated with Benin Altar Tusks, brass-crafted pedestals resembling a crowned head and other items.
MaterialIvory
Height156 centimetres (61 in)
Width13.3 centimetres (5.2 in)
Depth12 centimetres (4.7 in)
Weight25 kilograms (55 lb)
WritingCarved with registers of relief figures, animals and motifs.
CreatedCirca 16th century
DiscoveredBenin City, Edo State, Nigeria
Present location
Identification1979,01.4554
CultureEdo, Benin Kingdom
Measurements are from the British Museum version; other versions have slightly different dimensions.

Commissioned during the reign of Ọba Osemwende, a notable ruler of the Benin Kingdom, the Benin Altar Tusk served both as a connection to ancestral heritage and as a symbol of the monarch's authority. It features carved royal figures in traditional regalia, depicting scenes of power, ritual, and occasionally conflict. These symbols have historical and cultural significance that evolved as the Benin Kingdom's history unfolded. During the 16th century, the Benin Kingdom experienced economic growth through trade, particularly with the Dutch. Notably, the lower portion of the tusk displays carved depictions of Portuguese figures from that era, later symbolising European traders more broadly. This transformation reflects the changing dynamics of international interactions in subsequent periods.

Over the centuries, the Benin Altar Tusk underwent regular care and maintenance practices, including washing, bleaching, and the application of "orhue," a white clay substance with cultural significance, symbolising peace, purity, and prosperity in Benin society. However, the late 19th century saw the British punitive expedition, leading to the subjugation of Benin City and the looting of artefacts, including several Benin Altar Tusks. These treasures were taken to Britain as part of the spoils of war, eventually finding a home in the British Museum and dispersing among various museums and private collections in Europe. The tusk's creation was facilitated by the Igbesanmwan, a renowned royal ivory carving guild in Benin City.

Today, the Benin Altar Tusk is housed in the British Museum. Its presence has sparked debates and calls for repatriation by Nigerian authorities and cultural organisations, igniting discussions about the possession of colonial-era artefacts and their cultural significance.

History

Origin and creation

The exact date of the Benin Altar Tusk's creation remains uncertain. It reflects the artistic and cultural vibrancy of the Benin Kingdom during the 16th century.[1][2] Traditionally attributed to commission by Ọba Osemwende, a prominent ruler of the Benin Kingdom, the tusk served to connect with his ancestors and symbolise his authority as a monarch.[3] A tusk features carved royal figures in regal attire and scenes depicting power, ritual, and occasional conflict. These symbols evolved in meaning over time with Benin's changing history.[4][5]

During Osemwende's reign, the Benin Kingdom prospered economically through trade, notably with the Dutch.[4] The lower portion of the tusk features intricately carved depictions of 16th-century Portuguese figures, representing European traders.[4][6]

Over time, the tusk's surface likely displayed signs of regular care and maintenance, including washing, bleaching, and the application of a white clay substance known as "orhue," associated with ideals of peace, purity, and prosperity in Benin society.[4][7]

British punitive expedition

In 1897, the British punitive expedition led to the subjugation of Benin City and the looting of artefacts, including those associated with divine kingship.[8][9] This military campaign aimed to remove the Oba of Benin and establish British control.[3][10][11] As a result, several Benin Altar Tusks, along with other treasures, were taken to Britain as war spoils, eventually becoming part of the British Museum's collection and dispersing among museums and private collections in Europe.[12][10]

Current location

The Benin Altar Tusk is currently housed in several museums, 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, DC, and National Museums Liverpool in Liverpool, England, etc.[13] However, its presence has sparked debates and calls for repatriation by Nigerian authorities and cultural organisations, raising questions about the possession of colonial-era artefacts.[14][10]

Description
A carved motif of a notable palace figure, probably a palace warrior.

The Benin Altar Tusk is an ivory sculpture adorned with intricate carvings that depict aspects of the Benin Kingdom's history, mythology, and rituals.[2] 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.[15][9]

The carvings on the tusk chronicle the history of the Benin Kingdom, featuring depictions of monarchs, warriors, cultural ceremonies, and daily life.[1][16]

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.[2] The oba is often depicted with distinctive attributes, such as mudfish-like legs, conveying symbolic meanings.[2][6]

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.[1][9]

They symbolised the connection between the ruler and the spiritual realm, emphasising the preservation of Benin traditions. These tusks, adorned with carvings, provide insights into the cultural heritage of the Benin Kingdom.[3][17] 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.[18][19][20]

Use in ancestral altars
Main article: Benin 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.[21][22]

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.[10][23][22]

Reading and interpreting the Tusk
View of carved motifs in a Benin Altar Tusk in Manchester Museum in Manchester, England

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.[4] Specific details of the iconography remain confidential, but the narratives conveyed through these images are widely recognised, contributing significantly to ethical discussions within Benin.[4][24]

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.[4] These motifs transcend ivory and manifest in various other crafts, such as brasswork, ironwork, embroidered fabrics, applique, and leatherwork.[4][25][6]

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.[4] Carvers also have creative latitude to craft new figures and symbols to honour the current reigning Oba, who commissions the work.[4] 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.[4][26]

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.[4][27][22]

Provenance

In the 1820s, the Benin Altar Tusk was commissioned by Ọba Osemwende, who reigned from 1815 to 1850. The tusk's creation was facilitated by the Igbesanmwan, a renowned royal ivory carving guild.[28]

After 1850, the Benin Altar Tusk remained in the possession of Ọba Osemwende and was housed in the Royal Palace of the Oba of Benin in Benin City. It was subsequently passed down through generations within the royal family, ultimately coming into the possession of Ovọnramwẹn (Ovọnramwẹn Nogbaisi, circa 1857–1914), who ruled from 1888 to 1897.[28]

In 1897, during the aftermath of the Siege of Benin, several Benin Altar Tusk were taken to Europe as part of the spoils of war.[28]

Fowler Museum

In July 1931, the tusk was sold at Mess. Foster's Auction as part of a collection formerly owned by a member of the Benin expedition, later becoming part of the Sir Henry Wellcome Collection. 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).[28]

Cleveland Museum of Art

By at least 1961–1968, the tusk was in the possession of Katherine White Reswick (1929–1980), who resided in Gates Mills, Ohio, US. During this period, it was eventually given to the Cleveland Museum of Art.[29][30]

Since 1968, the Benin Altar Tusk has been part of the collection at the Cleveland Museum of Art in Cleveland, Ohio.[29]

See also

References
  1. Bankes 1978, pp. 3–8.
  2. Blackmun 1992.
  3. Denk 2021, p. 110.
  4. Blackmun 1997a.
  5. Walker 2010, p. 68.
  6. Belozerskaya, M. (2005). Luxury Arts of the Renaissance. J. Paul Getty Museum. ISBN 978-0-89236-785-6. Archived from the original on 21 September 2023. Retrieved 21 September 2023.
  7. "This Art Was Looted 123 Years Ago. Will It Ever Be Returned?". The New York Times. 23 January 2020. Archived from the original on 17 September 2023. Retrieved 21 September 2023.
  8. College Art Association of America 1988, p. 130.
  9. Ezra 1992, p. 51.
  10. Burton 2006, p. 113.
  11. "Benin Art: Patrons, Artists and Current Controversies (article)". Khan Academy. 25 December 2018. Archived from the original on 24 January 2023. Retrieved 21 September 2023.
  12. Lundén, Staffan (3 October 2016). "Displaying Loot. The Benin objects and the British Museum". Academia.edu. Archived from the original on 28 September 2022. Retrieved 21 September 2023.
  13. Gbadamosi, Nosmot (12 October 2021). "Stealing Africa: How Britain looted the continent's art — History". Al Jazeera. Archived from the original on 21 September 2023. Retrieved 21 September 2023.
  14. "altar tusk | British Museum". The British Museum. Archived from the original on 2022-06-29. Retrieved 2023-09-21.
  15. Ben-Amos & Rubin 1983.
  16. Cuno 2012, p. 17.
  17. Hau & Institut français d'Afrique noire 1964, p. 56.
  18. Dark 1982.
  19. Roth, H.L. (1903). Great Benin; Its Customs, Art and Horrors. Metro Books. ISBN 978-0-8411-0075-6. Archived from the original on 21 September 2023. Retrieved 21 September 2023.
  20. Art Institute of Chicago 1997.
  21. Maurer 1977, pp. 6–9.
  22. Petridis 2020, p. 97.
  23. Phillips 2021.
  24. African Studies Center, University of California, Los Angeles 2003, p. 86.
  25. Lifshitz 2009, p. 86.
  26. Ross 1992, p. 179.
  27. "X65.9129 Altar tusk". Fowler Museum at UCLA. 28 May 2021. Archived from the original on 8 June 2023. Retrieved 21 September 2023.
  28. "Ancestral Altar Tusk". Cleveland Museum of Art. 24 August 2023. Archived from the original on 15 August 2022. Retrieved 21 September 2023.
  29. Cleveland Museum of Art 1994.

Bibliography
  • African Arts. African Studies Center, University of California, Los Angeles. 2003. Archived from the original on 21 September 2023. Retrieved 21 September 2023.

Further reading
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