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Lot Essay
The imposing figure in elaborate regalia must be that of an oba rather than a chief because the form of the beaded crown with the lateral flanges curving forward is traditionally held to have been introduced by Oba Osamwede (c.1815-c.1850) and used for the memorial heads on his altars. With the introduction of additional ornament to the oba's costume he may well have had such figures cast to display on the altars of his father, Oba Ogbebo. Philip Dark lists eight figures with the large loop; viz. the British Museum, cat. 97-550 (P.J.C. Dark, Benin Art, 1960, pl.61-62); Lt.Gen. A.H.L.F. Pitt-Rivers, Antique Works of Art from Benin, 1900, pl.31, figs.232-234; two in Liverpool (Bulletin of the Liverpool Museum, p.62 and 63); Chicago (P. Ben Amos, The Art of Benin, London, 1995, p.92.fig.73); the Smithsonian Institution on loan from the Hirshhorn Museum, with the loop missing, (Freyer, Royal Benin Art, Washington, D.C., 1987, pl.4); and the Kimball Art Museum, Fort Worth, (P. Ben Amos, Benin Art, 1980, p.66, fig.70). Of these only that in the British Museum has the hand outstretched as in the present figure. In the others the oba holds an elaborate staff with cast figures in the form of the idiophones of the sixteenth century.
In a personal communication Dr. Barbara Blackmun has informed us that "the ceremony represented is fairly certain. In most examples, the figure holds a unique staff that is used during Emobo. In this case, and in the British Museum figure, the left hand is outstretched, palm down. This is probably another reference to the same ceremony.
"From time to time during Emobo, the Oba makes a repeated motion, with both hands held palms down. It looks as though he is patting the air, or pushing it away from himself. Since Emobo is the ritual that sends away all the spiritual forces that have been invited into Benin's palace during the long period of Igue, this seems to be a gesture of dismissal."
The disproportionate size of the loop above the figures has not been explained satisfactorily. Paula Ben Amos (op. cit., 1980, p.66) was informed by Chief Ihama that the loop above enabled the easy removal of the figure for polishing but the cruciform cross section would make it uncomfortable to hold and a handle would have been a more practical solution. The function may have had a dual purpose, both to enable the figure to be carried and to protect the cylindrical projection at the top of the head which probably had spiritual connotations.
In a personal communication Dr. Barbara Blackmun has informed us that "the ceremony represented is fairly certain. In most examples, the figure holds a unique staff that is used during Emobo. In this case, and in the British Museum figure, the left hand is outstretched, palm down. This is probably another reference to the same ceremony.
"From time to time during Emobo, the Oba makes a repeated motion, with both hands held palms down. It looks as though he is patting the air, or pushing it away from himself. Since Emobo is the ritual that sends away all the spiritual forces that have been invited into Benin's palace during the long period of Igue, this seems to be a gesture of dismissal."
The disproportionate size of the loop above the figures has not been explained satisfactorily. Paula Ben Amos (op. cit., 1980, p.66) was informed by Chief Ihama that the loop above enabled the easy removal of the figure for polishing but the cruciform cross section would make it uncomfortable to hold and a handle would have been a more practical solution. The function may have had a dual purpose, both to enable the figure to be carried and to protect the cylindrical projection at the top of the head which probably had spiritual connotations.