User:Bucket00016/Benin ancestral altars
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In Edo culture, the creation of ancestral altars plays a vital role in honoring deceased relatives, preserving family legacies, and facilitating communication with the spirit world. This practice was and remains widespread throughout Edo society, with commoners, chiefs and the Oba of Benin, or divine king, all establishing some form of family shrine. The origins of ancestral altars in Edo culture are believed to trace back to the early era of Kingdom of Benin, though the exact timeline is unclear. Royal ancestral altars, in particular, held great significance, as they were deeply intertwined with the Oba's succession to the throne and the consolidation of his power. These altars were often decorated with sacred objects, such as altar tableaus, commemorative heads, carved tusks, and musical instruments, which not only enshrined the legacies of rulers but also facilitated communication between the world of the living and the spirit realm. The ceremonial objects placed on these altars are considered some of the finest examples of Benin art and are revered for their cultural and spiritual importance.
Role of Benin ancestral altars
The creation of ancestral altars serves to honor and affirm family lineage, celebrate the life and achievements of the deceased relatives, and preserve their memory through the display of symbolic objects placed on shrines.[1][2] These objects placed on the altars strategically recount how the deceased fulfilled their social destiny and cemented the memory of their social identity. [ADD FOOTNOTE; then delete this note] Typically the responsibility of establishing, decorating, and dedicating these ancestral shrines falls onto the eldest son, especially if the deceased is his father. [ADD FOOTNOTE; then delete this note] The success of the altar in conveying that the ancestor fulfilled their social purpose plays a crucial role in determining the fate of their soul. [ADD FOOTNOTE; then delete this note] If the altar does not effectively communicate this, it is believed that the soul will be condemned to wander between the spirit world and the realm of the living.[ADD FOOTNOTE; then delete this note] However, if the altar successfully reflects the legacy of the deceased, the soul is believed to be able to enter the spirit world and, eventually be reincarnated.[2] In addition to preserving the memory of the ancestors, these altars also act as a conduit for the deceased ancestors to communicate with and continue to guide the living family members from the spirit realm.[1]
History of ancestral altars
The precise origins of establishing traditional ancestral altars remains unclear, due to the oral nature of the Edo culture.[3] However, a 2008 publication by the Art Institute of Chicago theorized that the practice of creating ancestral altars most likely originated during the earliest periods of the Benin Kingdom.[1] It was not until the arrival of the Portuguese, sometime between 1472 and 1485, to the Kingdom of Benin that written records of Edo history emerge.[3][4][5]
The Portuguese were on a mission to acquire natural resources and treasures as well as spread Christianity throughout new continents, when they encountered the Kingdom of Benin.[3][4][5] They encountered an organized society that was ruled over by an absolute monarch, the Oba, who was supported by an aristocratic court and bureaucratic system of rule.[5] With the Oba's succession and success dependent on the practice of ancestor worship, the Portuguese gained little traction in their efforts to Christianize the peoples of Benin.[4] However, they did establish a prosperous trade relationship with the Oba who possessed sole control of opening the trading markets.[ADD FOOTNOTE; then delete this note] This relationship with the Portuguese resulted in a surplus of lead brass in the form of manillas (or bracelets) that in turn resulted in the expansion of the practice of brass casting in Benin art.[3] The Oba's trade monopoly over the market made Benin a difficult trading partner for the Portuguese, especially because they [CLARIFY: THE PORTUGUESE?] were required to participate in time consuming court ceremonies.[ADD FOOTNOTE; then delete this note] The Benin market became unprofitable for the Portuguese and they abandoned their trading posts due to this difficulty, along with the crippling impact of disease and the competition of the spice trade, specifically pepper.[2]
After the Portuguese presence diminished, the Kingdom of Benin remained independent from European presence for many years. At the end of the nineteenth century, European powers began pressuring the Kingdom of Benin to open up more of the region for European commerce specifically the forests.[6] In 1897, the Kingdom of Benin was conquered by the British and incorporated into a British colony that eventually became the modern nation of Nigeria. This episode is referred to as the Punitive Expedition of 1897. Oba Ovonramwen, who was crowned in 1888 as the thirty-fifth ruler in his lineage, was sent into lifelong exile. The British confiscated [I KNOW THIS IS NOT YOUR TEXT BUT I WOULD CHANGE THE WORD CONFISCATED TO LOOTED OR STOLEN] all of the objects from Benin City that they associated with divine kingship, and sent them back [AGAIN: REPLACE "SENT THEM BACK" TO "TOOK THE OBJECTS" to London to be sold. The British believed that by removing all the sacred objects from the Kingdom it would break the ancestral power of the ruler in the eyes for the Edo people and the practice of human sacrifice would stop.[6] Unfortunately, no records were kept of their original location, context, or ownership. In this way, thousands of complex artworks were removed from Benin and dispersed in museums and private collections.
Before the conquest and plundering of the Punitive Expedition in 1897, there were eighteen altars dedicated to previous Obas. [ADD FOOTNOTE; then delete this note] After the British exiled Oba Ovonramwen (r. c. 1888 – c. 1897), residents from Benin City escaped into the villages including many of the artisans and craftsman who had worked for the Oba. [ADD FOOTNOTE; then delete this note] For many years without the Oba's patronage, art and sacred objects were not produced in the Kingdom of Benin. [ADD FOOTNOTE; then delete this note] In 1914, when the British allowed the monarchy to be reinstated, a new Oba appointed. [ADD FOOTNOTE; then delete this note] He began to rebuild palaces, revive Benin artwork and resume the practice of ancestral worship.[6] The new Oba reactivated [IS REACTIVATED THE BEST WORD? RECREATED?] four ancestral shrines that were dedicated to his last four predecessors and a communal shrine was created for all the other previous Obas.[7] In 1976, robbers stole the contents of these [recreated = REBORN OR REVIVED?] ancestral shrines and the ruler at that time, Oba Erwdiauwa (r. 1979 –2016), moved the ancestral altars inside the palace walls and [refurbished =REPLACED?] all the stolen contents.[2]
Royal ancestral altars
In order to ensure dynastic continuity, a newly appointed Oba is responsible for creating an altar dedicated to his father and predecessor. Different from the commoner or chiefly altars, royal altars are made out of white clay and round instead of rectangular. These sacred surfaces display symbolic objects that are believed to be reserved for royal use only. These altar holds objects commissioned to honor the leader being commemorated, and thus are adorned and activated on a regular basis with libations of food or animal blood. Sacrifices to these commemorative objects on the altar function to increase the oba's power with spiritual aid from his predecessors.[6]
In addition to his father, the oba also commissions an ancestral altar for his late mother, know as the iyoba or queen mother. This honor is given because, by giving birth to the new oba, she holds special distinction among the other queens.[8] It is commonly believed that by being the one to succeed and give birth to the oba the queen mother possessed supernatural powers.[4] By dedicating altars to the iyoba and honoring her through sacrifices, the oba could harness his mothers these supernatural powers and receive support and guidance from her during his reign.[8][4][9] Unlike the commemorative court ceremonies to his predecessor, the sacrificial rites given to the iyoba are private and therefore not a state affair.[4]
Altar tableaus
Unique to royal ancestral shrines, altar tableaux function to illustrate and commemorate the position and prestige that the ruler once held.[9] Centered on top of the round clay altars, these rectangular brass casted tableaus depicted a royal figure surrounded by attendants and court officials.[6] The ruler that the tableau was dedicated to was typically the center of the altarpiece and differentiate from the courtiers by royal ceremonial attire and symbols.[2]
Commemorative heads
Oral tradition, suggests that the creation of royal commemorative heads may have began as early as the 14th century or possibly even earlier. These heads were placed on ancestral altars to both mark the reign of the new oba and honor the legacy of the previous ruler.[4] Creating these commemorative heads became a privilege and a responsibility of the oba, symbolizing the continuity of the monarchy and the rulers connection to his ancestors.[6] In Edo culture, the oba's head is especially symbolic, representing the pivotal role the monarch played in guiding the kingdom and ensuring success during his reign.[9] The commemorative heads were not meant to be portraits of the past oba's. Instead they served as generalized representations, crafted from materials like brass, terracotta and wood.[9][4] Less is known about terracotta and wood heads but some surviving examples still remain.[4]
Though the exact timing of the earliest brass casting practices is unclear, it seems that the arrival of the Portuguese coincided with the increased production of brass royal commemorative heads.[3] Brass was valued for its durability, and along with ivory, it was considered an ideal material for preserving the legacy of the monarchy.[4] Traditionally, these brass heads were regularly polished to maintain their shiny red color, which held symbolical significance. The red hue was believed to repel evil forces, adding an extra layer of protection to the royal lineage.[2][6] Additionally, sumptuary laws were enacted to restrict the use of brass, ensuring that it was reserved for royal commemoration, emphasizing the power and status of the oba and his family.[2][4]
These brass commemorative heads typically feature high coral collars, often resemble brickwork patterns around their neck.[6] Coral beads were used in royal regalia because they were believed to possess protective and healing powers, marking the wearers royal status.[2] Atop of these heads, a crown made of coral beads is often seen, accompanied by a latticework cap which has strings of what appears to be coral or decorative beads hanging down.[2][6] Queen mother commemorative heads share similar features, such as the coral crown and hanging beads, but they are distinguished by a unique coiffure know as the "chicken's beak," a hairstyle that signifies their rank.[6][10] Additionally, brass heads often have a hole in the crown, into which carved ivory tusks were placed.[2][1]
Carved tusks
The practice ivory carving is believed to have originated in Benin tradition in the Ogiso dynasty, which began around the year 1300 AD. However, the tradition of placing intricately carved tusks on top of the brass commemorative heads appears to have emerged only around mid 18th century. The size and quantity of these tusks placed on the altar varied but often times most royal ancestral altars consisted of five to twelve carved tusks. These tusk played an important role not only in depicting the oba's life but also was an significant spiritual symbol.[4] Each tusk placed on the royal altars conveys a unique story which highlights the political, economic, and and spiritual conditions of the deceased oba's reign.[9]
Aligned with the coral beaded crown on the top of the brass head these tusks protruded upward and serve to connect the world of the living to the spirit realm of the ancestors.[2] These tusks functioned as a visual bridge between the two worlds and they were so important that only high ranking male dignitaries could touch them.[4] The utilization of ivory on these altars was a deliberate choice. Since the oba had a monopoly over the ivory trade, ivory symbolically illustrated his political power and wealth.[4] Since ivory came from elephants, the tusks associated the attributes of an elephant such as wisdom, leadership, and physical power to the oba's reign.[9] The whiteness of the tusks was also significant because the color looked like the kaolin clay, which used in rituals and represented joy, prosperity, purity, and peace.[9] It was important to maintain the purity of this whiteness after each ritual sacrifice so blood and food was continually cleaned off of them.[4]
Instruments
Rattle Staffs
Ukhurue, or also known as rattle staffs, played an important role in commemorating and communicating with the deceased royal ancestors in ritual ceremonies.[10][4] Often seen lined at the back of the ancestral altars, they were believed to contain the collective authority of the ancestors.[10][11] Typically made out of wood, modified branches or twigs, rattle staffs were segmented wood staffs that had a hollow chamber with a trapped wood block that would rattle when shaken.[10][4] Sometimes these staffs were seem being made out of ivory and brass but was only a rite that the royal family was allowed.[4] Carved and decorated, the rattle staffs were usually seen with heads or figures carved at the top and covered with royal iconographic power motifs such as the mudfish, leopards and crocodiles.[11] Not only were these rattle staffs decorative symbols of remembrance but they also held an important role in communicating and summoning the ancestors during ceremonial rituals.[4] In ceremonial use these staffs would have been take down and rattled and hit on the ground to communicate with the ancestors in the spirit realm.[4]
Brass bells
Although less is known about them, brass bells, or Eroro, were typically placed on the front of Benin royal ancestral altars. During ceremonial rituals, these bells are picked up and rung to signal the commencement of the ceremony or to call the spirits to accept and partake in the sacrifice.[4][12]
References
- ^ a b c d "The Royal Altars | The Art Institute of Chicago". archive.artic.edu. 2013. Retrieved 2024-10-29.
- ^ a b c d e f g h i j k Plankensteiner, Barbara (2007). Benin Kings and Rituals Court Arts from Nigeria. Ghent Belgium: Snoeck Publishers. ISBN 978-9053496268.
- ^ a b c d e Gore, Charles (2007). Art, Performance and Ritual in Benin City. Edinburgh University Press. doi:10.3366/j.ctt1r2ccp. ISBN 978-0-7486-3316-6.
- ^ a b c d e f g h i j k l m n o p q r s t u Ben-Amos, Ben-Amos, ed. (1983). The Art of Power; The Power of Art; Studies in Benin Iconography (Nineteen ed.). Museum of Cultural History: UCLA: Regents of the University of California.
{{cite book}}: CS1 maint: date and year (link) - ^ a b c Levenson, Jay, ed. (1992). Circa 1492 Art in the Age of Exploration. New Haven and London: National Gallery of Art, Washington Yale University Press. ISBN 0-300-05167-0.
{{cite book}}: CS1 maint: date and year (link) - ^ a b c d e f g h i j Duchâteau, Armand (1994). Benin Royal Art of Africa from Museum für Völkerkunde, Vienna. Germany: Museum Fine Arts Houston, Cleveland Museum of Art, Baltimore Museum of Art, and Seattle Museum of Art. ISBN 3791313681.
- ^ Blackmun, Barbara Winston (1997). "Icons and Emblems in Ivory: An Altar Tusk from the Palace of Old Benin". Art Institute of Chicago Museum Studies. 23 (2): 149–198. doi:10.2307/4104381. ISSN 0069-3235.
- ^ a b Kaplan, Flora Edowaye S. (September 1993). "Iyoba, The Queen Mother of Benin: Images and Ambiguity in Genre and Sex Roles in Court Art". Art History. 16 (3): 386–407. doi:10.1111/j.1467-8365.1993.tb00533.x. ISSN 0141-6790.
- ^ a b c d e f g Ezra, Kate (1992). Royal Art of Benin: The Perls Collection in The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art. ISBN 0810964147.
{{cite book}}: CS1 maint: date and year (link) - ^ a b c d "Ukhurhẹ". Digital Benin. Retrieved 2024-11-20.
- ^ a b Vogel, Susan Mullin (January 1978). "Art and Politics: A Staff from the Court of Benin, West Africa". Metropolitan Museum Journal. 13: 87–100. doi:10.2307/1512713. ISSN 0077-8958.
- ^ "Digital Benin - Ẹroro". digitalbenin.org. Retrieved 2024-12-02.