#: locale=en
## Action
### URL
LinkBehaviour_D8C64505_C9A4_4BA3_41E0_6288DFFB15F8.source = https://museum.ng/
LinkBehaviour_A6B00C29_B5E7_0E93_41D8_E2BE8708C1D8.source = https://museum.ng/
LinkBehaviour_7287E608_7CBE_F14B_418F_B2633313DE38.source = https://museum.ng/
LinkBehaviour_A1C41192_B5E1_19A1_41E1_42D99667DA7D.source = https://www.ihstowers.com/ng-en
LinkBehaviour_72875BA4_7CBF_D77A_41DA_73630FAF0C7C.source = https://www.ihstowers.com/ng-en
## Hotspot
### Text
QuadHotspotPanoramaOverlayTextImage_C7B8BBAC_EF24_DCC1_41C2_A6B18A58D51B.text = IFE ART
QuadHotspotPanoramaOverlayTextImage_8BAAE44C_7C53_31CB_41C2_18340A8029F2.text = IFE ART
QuadHotspotPanoramaOverlayTextImage_C81D2BCC_EF3B_3C42_41D8_5EF7152179D6.text = IFE ART
QuadHotspotPanoramaOverlayTextImage_C803D0AD_EF27_CCC3_41EA_8C2ED27CFA49.text = IFE ART
QuadHotspotPanoramaOverlayTextImage_879E45EC_7C57_32CB_4181_B10432B678ED.text = IFE ART
QuadHotspotPanoramaOverlayTextImage_C6EFF3F4_EF3F_CC41_41DF_A6906F6CFD64.text = IFE ART
QuadHotspotPanoramaOverlayTextImage_830465E5_7C71_D2C5_41D3_4815397B2419.text = IFE ART
QuadHotspotPanoramaOverlayTextImage_CFA9E89B_F16B_48F5_41BE_DA1A73B1B480.text = NOK ART
QuadHotspotPanoramaOverlayTextImage_9A43EEB6_7C53_7147_41D0_54F688A0BF1E.text = NOK ART
QuadHotspotPanoramaOverlayTextImage_82E88581_7C51_533A_41D2_673C6AC016A8.text = NOK ART
QuadHotspotPanoramaOverlayTextImage_C9490B44_EF2B_DC41_4199_E70CE2894448.text = NOK ART
QuadHotspotPanoramaOverlayTextImage_FC5959D7_EF4C_85F7_41E6_1B5047BB7744.text = OWO ARTEFACTS
QuadHotspotPanoramaOverlayTextImage_A8958B06_7CCE_D747_41C6_B3DD2BCDD48F.text = OWO ARTEFACTS
QuadHotspotPanoramaOverlayTextImage_8357E0F6_7C72_F2C7_41D4_120DB5858F88.text = OWO ARTEFACTS
QuadHotspotPanoramaOverlayTextImage_DAA42DD9_F12C_C875_41D6_15F2A288EC90.text = THE BENIN BRONZES
QuadHotspotPanoramaOverlayTextImage_D43416FC_F165_F833_41E0_C795ABE92B13.text = THE BENIN BRONZES
QuadHotspotPanoramaOverlayTextImage_D9688C66_F11B_485F_41EC_1D62F074F61F.text = THE BENIN BRONZES
QuadHotspotPanoramaOverlayTextImage_DF040B43_CF76_6E5C_41DC_02688117B617.text = THE BENIN BRONZES
QuadHotspotPanoramaOverlayTextImage_DDE17623_F12F_5BD6_41EE_1A6972828C9B.text = THE BENIN BRONZES
QuadHotspotPanoramaOverlayTextImage_DC8DA7E0_F11B_F852_41E6_A4A9DB834B33.text = THE BENIN BRONZES
## Media
### Audio
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### Audio Subtitles
### Image
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### Popup Image
### Title
model_9EB86C13_F1AE_2164_41C3_F89A5B186897.label = A01 Nok terracotta head
model_9EB18D69_F1AE_23A4_41B4_8C62F52AA74E.label = A02 Nok terracotta head
model_9ECCBE1E_F1AE_219D_41C0_042211703DF6.label = A03 Chipped Nok palm
model_9EC93E9E_F1AE_3E9D_41D2_57911D81708E.label = A04 NOK coil snake
model_9EC59F1D_F1AE_3F9F_41D9_ECD8AD7D3677.label = A05 terracotta figure
model_9F850461_F1AD_E1A6_41D6_78071B117BC6.label = A052 Igbo Ukwu bronze bowl
model_9F9E153A_F1AD_E3A5_41C6_E0285A3063CC.label = A053 Igbo-ukwu Bronze roped pot
model_9F99B5B2_F1AD_E2A5_41E2_E2CE0B7564D1.label = A054 Bronze equestrian figure
model_9F95E606_F1AD_E16D_41C2_B26118AD1873.label = A057 Igbo Ukwu bronze head pendant
model_9F91267D_F1AD_E19F_41D5_118266DC833C.label = A058 Igbo-ukwu Bronze spiral ornament
model_9FACE6F1_F1AD_EEA7_41E0_73BFAA1EF7DC.label = A059 Igbo-ukwu spiral ring
model_9EC1DF99_F1AE_3F66_41C5_A818DAE9581C.label = A06 elephant head
model_9EDE6012_F1AE_2165_41BB_88E46A1F88CE.label = A07 Terracotta kneeling figure
model_9EDA0093_F1AE_2164_41D9_47DAF44C0AEE.label = A08 Nok head
model_9ED610FC_F1AE_229C_41D6_D09F22B8DC10.label = A09 Nok terracotta Head
model_282FD9A0_647F_23D9_41D6_6B0F2B7698DF.label = A100 Benin Bronze alter ring
model_76734DA5_6457_D716_41DA_21E327DFCFB1.label = A1000 Benin bronze crocodile plaque
model_28E43061_647E_E15B_41CB_8494B4B04129.label = A101 Benin bronze candle stand
model_28E0E0A2_647E_E1DE_41D4_76D2365309C6.label = A102 Benin bronze bell
model_282D09E5_647F_235A_41C4_34F191FF80A8.label = A103 Benin Bronze lid
model_2829CA26_647F_2126_41D3_22880321D1A2.label = A104 Benin Bronze alter ring
model_76734C9D_6457_D536_41A5_26CC3DB92AFD.label = A105 Benin metal barrel
model_2837AA69_647F_212A_41A8_981C899203D7.label = A106 Benin ivory Gong
model_284986CF_647F_2166_41DA_B6C88EA0995C.label = A107 Benin ivory Gong
model_2856B70F_647F_20E7_41B6_84D0B81F2C0A.label = A108 Benin ivory staff
model_2853A76A_647F_2F2E_41C3_4A87FD0ED1B5.label = A109 Benin ivory pendantglb
model_9ED24181_F1AE_2364_41DA_457E6B3C28EF.label = A11 Nok Terracotta Head
model_285087AB_647F_2F2F_41CD_CC5EC371F6E4.label = A110 Benin ivory lidded receptacle
model_285F07F4_647F_2F3A_41D5_E30F3196CEFB.label = A112 Benin ivory jewelry box
model_28FE929E_647E_E1E6_41CE_001158D5393C.label = A114 Benin bronze pendant
model_9FA9175D_F1AD_EF9F_41C3_39C0359454A9.label = A115 Mumuye Figure
model_9FA4B7CB_F1AD_EEFB_41D8_5D15103CC6CF.label = A116 Mumuye Figure
model_9FA0B83C_F1AD_E19D_41E0_58404158DE65.label = A117 Wooden seated male figure(ikenga)
model_9FBC78B1_F1AD_E2A7_41E8_50877724C617.label = A118 Wooden seated human figure(ephiri)
model_9FB7B92C_F1AD_E3BC_41EC_9A81C54C6957.label = A119 Ogboni Figure (nile0
model_9EECB238_F1AE_21A5_41D0_9C738579A841.label = A12 NOK
model_9FB129E8_F1AD_E2A4_41B7_089A0F188D15.label = A120 Mama headdress
model_9FCACAA8_F1AD_E6A4_41D7_C48C7D950B4E.label = A121 Masqurade Headdress (mama)
model_9FC6BB24_F1AD_E7AD_4190_0FC94968D272.label = A122 wooden head dress(mama)
model_9FC09BE0_F1AD_E6A5_41D4_7F677CAEE8FE.label = A124 Gelede headdress
model_33F380BC_5CC6_F85E_4186_31EB6475EB19.label = A126 Chamba Headdress
model_9FDB5C62_F1AD_E1A4_41A7_6AA32146906D.label = A127 Chamba Masqurade
model_9FD73CE5_F1AD_E2AC_41E4_1BE1D64C2E4E.label = A128 painted wooden face mask(chamba)glb
model_9FD34D56_F1AD_E3ED_41D8_16A101DCCD66.label = A129 igala
model_9EE8F29E_F1AE_269C_41A0_CD855338CB30.label = A13 Terracotta Male bust
model_9FEF0DC9_F1AD_E2E7_41E8_D057656CCE3C.label = A130 Wooden Headdress(ojuegun)
model_9FEA9E38_F1AD_E1A5_41CD_EED1A8BCE29C.label = A131 Masqurade Headdress
model_9FE6EEA2_F1AD_FEA5_41EA_E737DF4C7202.label = A132 Wooden facemask
model_9FE29F14_F1AD_FF6D_41E9_00F2795DE3EC.label = A135 Masqurade Headdress (Agboghommawu)
model_9FFDBF8F_F1AD_FF7B_41E8_0BC92CC07C60.label = A137 Ekpe face mask
model_9FF77053_F1AD_E1E4_41E5_07056F423E57.label = A138 A wooden facemask AFIKPO
model_D9EAE644_54FB_82E4_41D0_849F8D1AEBA2.label = A139 painted wooden face mask
model_9EE572FC_F1AE_269D_41EA_8EB72962D992.label = A14 Male Genuflect Terracotta
model_9FF370CE_F1AD_E2FC_41E3_E3A41AEF987C.label = A140 Masqurade headdress
model_9F0CA184_F1AD_E36C_41D3_8CD3212F7B3B.label = A143 Masqurade Headdress
model_9F06022D_F1AD_E1BF_41D1_167BA44FCCA5.label = A143 Urhobo Headdress
model_9F1EF2EC_F1AD_E6BD_419E_FC5B5F1F142D.label = A144 Maqurade Headdress
model_9F1A8364_F1AD_E7AD_41D8_EBE9A4218078.label = A145 Masqurade Headdress
model_9F13C421_F1AD_E1A4_41E6_F09271C42218.label = A148 ekpu ancestral figure
model_9F298552_F1AD_E3E5_41E9_8F5CD36B39EE.label = A149 Wooden headdress (epa mask)
model_9EE16368_F1AE_27A5_41E5_12447D7D1BE1.label = A15 male terracotta head
model_9F2415D9_F1AD_E2E4_41CB_6979ECDABD09.label = A150 Ifa divination bowl
model_9F3FB64E_F1AD_E1FC_41DD_EAD1331D44E1.label = A153 tsoede bronze human figure
model_9EFD43D0_F1AE_26E5_41E3_B33B9BDF7116.label = A16 NOK snake fragment
model_9EF9A42B_F1AE_21BB_41E5_359BDA289F45.label = A18 Terracotta coiled snake
model_9EF594A5_F1AE_22AF_41D7_8FD498B6EC27.label = A19 Terracotta Head
model_9EF22513_F1AE_236B_41D2_84E30DDA245B.label = A20 Nok terracotta head
model_9E0DF57C_F1AE_239D_41A6_0F41608007D7.label = A21 Nok Terracotta Head
model_9E077635_F1AE_21AF_41E7_E9F122DB9E1B.label = A22 Genuflect figure
model_9E0306A7_F1AE_2EAC_41E0_6484FFCC1669.label = A23 oNi figure
model_9E1EB71A_F1AE_2F65_41CA_BBD97520DC8C.label = A24 ife bronze mask (obalufon)
model_9E1AA793_F1AE_2F64_41CA_4901807C8CDB.label = A25 Ife bronze Ritual receptacle
model_9E16A800_F1AE_2165_41E3_946B84BC9716.label = A26 Ooni head
model_9E125872_F1AE_21A4_41D6_F4C3F8DE3696.label = A27 Ife terracotta head
model_9E2E98D9_F1AE_22E4_41DD_CC3B659EC98A.label = A28 Ife bronze head(olori Olokun)
model_9E2AF947_F1AE_23EC_41DC_50C98FA4FE0A.label = A29 Ife bronze memorial head
model_9E25C9D3_F1AE_22EB_41D1_3216CE0285B8.label = A30 Ife bronze Heads
model_9E219A36_F1AE_21AD_41E7_858769207284.label = A31 Ife bronze Heads
model_9E3E2AA6_F1AE_26AD_41CA_632013F6E82C.label = A32 Ife terracotta fragmented human face
model_9E39CB11_F1AE_2767_41EB_8D7064EDE10E.label = A33 terracotta ife standing female figure
model_9E359B7F_F1AE_279C_41DF_05B17D348E84.label = A35 Ife terracotta head
model_9E4EBC5D_F1AE_219F_41D2_D3E596298832.label = A36 ife head (lajuwa)
model_9E475D22_F1AE_23A5_419A_30FD2AFF5C74.label = A37 Ife human Head
model_9E432DA9_F1AE_22A7_41AE_05674D678075.label = A38 Ife terracotta hippopotamus
model_9E5D2E61_F1AE_21A7_41E5_23E767CCD91C.label = A39 Fragmented face
model_9E593ED2_F1AD_DEE5_41D4_4150AE224BC2.label = A40 Fragmented Hand
model_9E54EF3E_F1AD_DF9D_41E3_7EF85FA8A867.label = A41 owo terracotta head glb
model_9E50DFB8_F1AD_DEA4_41EC_8F0D70DC8E37.label = A42 Ife head
model_9E6B9038_F1AD_E1A4_41C4_745FB4297BDE.label = A43 Owo terracotta ritual pot
model_9E6760B6_F1AD_E2AD_41B3_E24506A4F446.label = A44 Owo terracotta leopard
model_9E63F12A_F1AD_E3A4_41C5_D317ED286D28.label = A45 Owo Terracotta Fragmented Arm
model_9E7D81E1_F1AD_E2A4_41C5_E40B83BD5CA4.label = A46 Owo terracotta female headless body
model_9E79924F_F1AD_E1FB_41D7_012A153FCC0F.label = A47 Owo terracotta human bust
model_9E7522BB_F1AD_E69B_41E4_2E4F80A19E3F.label = A48 Owo fragmented terracotta Hen
model_9E716310_F1AD_E764_41DC_7089A4F96F26.label = A49 Wooden Ram head (osamasimi)
model_9F8D1386_F1AD_E76D_41BC_A0E814D770BB.label = A50 Esie soap stone 2
model_9F8983F2_F1AD_E6A5_41E4_47EB88C9D9F0.label = A51 Esie soap stone
model_2833DAAD_647F_212A_41D2_A480D8EFCF5C.label = A60 Benin Bronze leopard head pendant
model_285C48AA_647F_2129_4197_270719106636.label = A61 Benin Bronze Leopard Head pendant
model_28311AEE_647F_2129_41C8_C91D4F8813CB.label = A62 Benin Bronze altar bell
model_283E5B32_647F_273E_41B5_0347136EBD30.label = A64 Benin Bronze ritual pot
model_283B6B76_647F_2739_41D2_65AD5E962A72.label = A65 Benin Bronze jug
model_28385BB7_647F_2726_41C4_C847B57E8E6B.label = A66 Benin Bronze leopard
model_28063BFC_647F_2729_41B7_2E3BEB160588.label = A67 Benin Bronze Hat
model_285848E8_647F_212A_4193_C181A27967D6.label = A68 Benin Bronze Mud Fish Stool
model_28EE30E1_647E_E15B_419E_40A944623697.label = A69 Benin Bronze lamb figure
model_2802FC39_647F_212A_41C7_99C94699D2DE.label = A70 Benin Bronze Queen mother head (Queen Idia)
model_280CCCBB_647F_212E_419F_F3EEB136A01F.label = A71 benin bronze memorial head
model_281F4E77_647F_2126_41DA_69E2F9424E43.label = A72 Alter Ring
model_28EC4122_647E_E0DE_41AE_B8EA733C47D9.label = A73 Benin bronze alter ring
model_76734CEB_6457_D511_41D5_DF2611263370.label = A78 Benin bronze plaque
model_28E8A1C9_647E_E36B_41BC_E50D8470E45E.label = A80 Benin bronze plaque
model_28150CFC_647F_212A_41BA_8785F06E6FF0.label = A81 Benin Bronze mud fish plaque
model_28177D42_647F_2359_41D7_EE09B1EF4E6E.label = A82 Benin Bronze plaque
model_28140D80_647F_23D9_41C8_0465BA84376E.label = A83 Benin Bronze Leopard Head
model_283CE0A2_6477_21D9_41D5_2B2869CE9B59.label = A84 Benin bronze plaque
model_2812FDBD_647F_232A_41D0_07650606E31E.label = A85 Benin Bronze equestrian figure
model_28FBD2DA_647E_E169_41CD_7F071F268335.label = A87 Benin bronze alter stand
model_280FFC7D_647F_212B_41B0_9054BCFD2DCD.label = A88 Benin Bronze equestrian figure
model_76734B1C_6457_D336_41C3_70F03F9531AD.label = A89 Benin Bronze cock (okpa)
model_28F9A30D_647E_E0EB_41D1_28871B43777F.label = A90 Benin bronze lidded bird leceptacle
model_281DFEB9_647F_212A_41D8_BB7E9BE82342.label = A91 Benin bronze plaque
model_281C0EFC_647F_2129_41B1_4E414E641940.label = A92 Palace Guard
model_287A94FA_647F_2129_41B3_76DED0926D16.label = A93 Benin bronze gun powder container
model_2825A922_647F_20DE_41B8_7E0AA1CD7269.label = A94 Benin bronze Humanoid Rattle
model_284CB68E_647F_21E9_41C8_A9D9887166AC.label = A95 Benin bronze container
model_28F6D207_647E_E0E6_41B8_0062F840DA00.label = A96 Benin bronze pendant
model_28F2A255_647E_E17B_41C3_408F3BF352AE.label = A97 Benin bronze pendant
model_2818AFAD_647E_DF2B_41C8_EC8ECD457748.label = A98 Benin bronze pendant
model_28229960_647F_235A_41C6_FF074B24F529.label = A99 Benin Bronze Plaque
panorama_3F020E43_31EA_F37F_4186_221AA8B2CD51.label = ATRIUM 1
panorama_3F023A63_31EA_B33F_41BA_0DBC21DBDD36.label = ATRIUM 2
panorama_3F03C771_31EA_9118_41BF_8A97EA727D92.label = ATRIUM 3
panorama_3F023374_31EA_F118_41C6_2D172BAF6686.label = ATRIUM 4
panorama_3F02300B_31EA_8F08_41C7_E3494A79BFBA.label = ATRIUM ENTRANCE
model_77CBE4AF_64B6_D511_41D0_329CA26B6643.label = B100 Wooden lidded receptacle(sango receptacle)
model_77CBDFC8_64B6_F31E_41D0_54388168E1D5.label = B101 Wooden receptacle
model_77CBE508_64B6_D71E_41D2_93E8059EE8E7.label = B103 A Wooden lidded ritual bowl
model_77CBE2BD_64B6_CD71_41AA_DB1BBD949D5A.label = B104 Ekoi Masqurade Headdress
model_77CBE1C8_64B6_CF1E_41DC_EBBD66FFCEC0.label = B105 Maqurade headdress
model_77CBE217_64B6_CD32_41C8_3A4DCC109684.label = B114 Masqurade Headdress
model_78D68B0E_6C51_5312_41D2_FC549383539E.label = B150 Conical Heads
model_77CBE45E_64B6_D532_41C0_3E81FAA439AD.label = B167 wooden human bust
model_77CBE40B_64B6_D512_41C4_CED1E673F737.label = B179 Wooden face
model_77CBE268_64B6_CD1E_41C1_3CFEEC17A9E0.label = B181 Masqurade Face Mask
model_78D68A9C_6C51_5D37_41CB_1E052F3376FA.label = B36 Terracotta chameleon
model_77CBE30E_64B6_D313_41C5_BED81C905A12.label = B91 Wooden stool
model_77CBE366_64B6_D312_41BB_F38952A60FFB.label = B92 Yoruba lidded Bowl.
model_77CBE3B7_64B6_D372_41AE_A4AAC4E9130E.label = B96 Wooden divination tray (opon ifa)
model_78C04C64_6CB1_D517_4179_D7FDD1D6ED72.label = B99 Wooden Kneeling female figure(arugba sango)
panorama_3E334868_31E9_FF09_41BA_1B8E5FA29422.label = BENIN ROOM 1
panorama_3F0F2100_31E9_8EF8_41B1_FA776F194202.label = BENIN ROOM 2
panorama_3F0F09DA_31E9_9109_41B2_AC3E477BCF35.label = BENIN ROOM 3
panorama_3F0F2285_31E9_B3FB_41C8_85E255096758.label = BENIN ROOM 4
panorama_3EB35601_31EE_92FB_41C0_240C01E5F12A.label = ENTRANCE
panorama_3F3AC39C_31EE_F108_41BB_439964D4E231.label = ENTRANCE 2
panorama_3F1F6EB4_31EA_F319_41A6_B439C14BBAE2.label = IFE ROOM 1
panorama_21EC778A_31EA_F109_419D_F2DFCBAEA21D.label = IFE ROOM 2
panorama_3F1FE5DE_31EA_9109_41B4_D386CBCEB91E.label = IFE ROOM 3
panorama_3F1F4D18_31EA_9108_4199_DB24802EAD60.label = IFE ROOM 4
panorama_21F471E2_31EA_9138_41C0_86B2CA0131F1.label = MAIN ATRIUM
panorama_3E0C4409_31EB_9708_41B0_D4ADF14E2AF6.label = MASQUERADE ROOM 1
panorama_3F1CC351_31EA_7118_41BC_B903244A1817.label = MASQUERADE ROOM 2
panorama_3F02964C_31EB_9308_41C4_75295DBAF065.label = NOK ROOM 1
panorama_3F1E5E8B_31EB_B30F_41BC_508893527E64.label = NOK ROOM 2
panorama_3F372D35_31EE_911B_41C4_151830F72E88.label = OWO ROOM
photo_7E75C33D_6452_D97C_41D2_79D15860C24C.label = benin
photo_7EB2768A_64D1_BB07_41CB_4AF9DF4D54C3.label = ife
photo_7EA30F2F_64F7_691D_41D1_3D3CA8DD992F.label = nok
photo_7E86D11B_64BE_F904_419D_93037330262A.label = owo
## Popup
### Body
htmlText_DEFF6C61_CF7E_2A5C_41DF_516504D2E82D.html = A FACE MASK CARVED IN THE FORM OF A COW HEAD PAINTED IN BLACK, RED AND WHITE COLOUR.
The Chamba tribe are settled on the Southern banks of the Benue River in Nigeria, in the mountainous region on the border with Cameroon. The ethnic group is mainly known for its buffalo marks. Their statuary, however is less famous and represents the kona ancestors, primordial couple, or a figure of protection.
Settled since the 17th century on the South bank of the Benue, the Chamba have resisted the attempts of conquest by the Fulani, nomads who settled in large numbers in the North of Nigeria.
They are known for their famous buffalo marks with its two flats jaws extending from the head. The statuary, less frequent, is divided into protective figures (tauwa, sing, and tau) which are kept in a hut located to the left of the entrance to the reception, and into the statues of ancestors, kona.
REGION: ADAMAWA STATE
A BENIN BRONZE PLAQUE WITH A SEATED OBA AND TWO ATTENDANTS’ PART OF THE METAL IS BROKEN OFF.
REGION: BENIN, EDO STATE.
A BOWL ON A CYLINDRICAL BASE, CAST ON THE BODY ARE IMAGES OF INSECTS AND KNOBS. IT IS GEOMETRIC DESIGNS.
REGION: IGBO UKWU.
A BRONZE ALTAR RING WITH AN OPENING AT THE TOP WITH FOUR STANDING HUMAN FIGURES ON THE BODY.
REGION: BENIN, EDO STATE.
A BRONZE ALTAR RING WITH AN OPENING AT THE TOP WITH FOUR STANDING HUMAN FIGURES ON THE BODY.
REGION: BENIN, EDO STATE.
A BRONZE CIRCULAR ALTAR RING WITH GEOMETRIC DESIGNS ROUND THE BODY.
REGION: BENIN, EDO STATE.
A BRONZE CIRCULAR ALTAR RING WITH RAM HEAD CASTED AROUND THE BODY.
REGION: BENIN, EDO STATE.
A BRONZE COCK ON A SQUARE BASE AND COVERED IN GEOMETRIC DESIGNS.
REGION: BENIN, EDO STATE.
A BRONZE HOLLOW HEAD WITH AN ORNAMENT. IT HAS A KELOID ON THE NOSE.
REGION: BENIN, EDO STATE.
A BRONZE HORSE AND RIDER ON A BASE.
REGION: BENIN, EDO STATE.
A BRONZE HORSE AND RIDER ON A BASE.
REGION: BENIN, EDO STATE.
A BRONZE HORSE AND RIDER ON A RECTANGULAR BASE.
REGION: BENIN, EDO STATE.
A BRONZE IFE HEAD WITH A CROWN AND AN ELONGATED CREST. IT HAS VERTICAL SCARIFICATIONS.
REGION: IFE, OSUN STATE.
A BRONZE IFE HEAD WITH A CROWN AND AN ELONGATED CREST. IT HAS VERTICAL SCARIFICATIONS.
REGION: IFE, OSUN STATE.
A BRONZE IFE HEAD WITH CRESTED CROWN WITH SCARIFICATION ON THE FACE.
REGION: YORUBA, IFE, OSUN STATE.
A BRONZE IFE MASK WITH PERFORATION ROUND THE HEADLINE, CHEEK, MONTH AND NECK.
REGION: IFE, OSUN STATE.
A BRONZE LEOPARD HEAD PENDANT.
REGION: BENIN, EDO STATE.
A BRONZE LEOPARD HEAD PENDANT.
REGION: BENIN, EDO STATE.
A BRONZE LEOPARD HEAD. IT HAS WHISKERS ON BOTH CHEEKS AND THE TEETH ARE PRONOUNCED.
REGION: BENIN, EDO STATE.
A BRONZE LEOPARD PENDANT WITH WHISKERS ON THE CHEEKS AND PRONOUNCED DENTITION.
REGION: BENIN, EDO STATE.
A BRONZE LEOPARD. IT HAS WHISKERS ON BOTH CHEEKS AND PRONOUNCED DENTITION.
REGION: BENIN, EDO STATE.
A BRONZE LIDDED BIRD RECEPTACLE ON A BASE.
REGION: BENIN, EDO STATE.
A BRONZE OONI STANDING FIGURE IN FULL REGALIA.
REGION: IFE, OSUN STATE .
A BRONZE PLAQUE DEPICTING THREE ROYAL HUMAN FIGURES WITH PRONOUNCED GENITALS AND GEOMETRIC DESIGNS ON THEIR BODY.
REGION: BENIN, EDO STATE.
A BRONZE PLAQUE WITH A HUMAN FIGURE HOLDING A STAFF IT HAS FLOWER ENGRAVED ON BOTH SIDES.
REGION: BENIN, EDO STATE.
A BRONZE QUEEN HEAD WITH CONICAL CROWN ON A TRIANGULAR BASE. ON THE FOREHEAD ARE TWO VERTICAL GAPS, BESIDES THEM ARE STRIATIONS. THE NECK IS DECORATED WITH SHALLOW INCISED LINES.
REGION: BENIN, EDO STATE.
A BRONZE RAM HEAD PENDANT.
REGION: BENIN, EDO STATE.
A BRONZE RECTANGULAR PLAQUE DEPICTING MUD FISH.
REGION: BENIN, EDO STATE.
A BRONZE ROPED POT WITH PART OF THE BASE CHIPPED OFF.
REGION: IGBO-UKWU, ANAMBRA STATE.
A BRONZE STAFF HEAD SURMOUNTED WITH AN EQUESTRIAN FIGURE WITH GEOMETRIC DESIGNS ON THE BASE.
REGION: IGBO-UKWU, ANAMBRA STATE.
A BRONZE STANDING PALACE GUARD IN FULL REGALIA HOLDING A STAFF ON THE RIGHT HAND WITH LONG PROJECTION IN-BETWEEN THE LEGS.
REGION: BENIN, EDO STATE.
A CARVED STANDING MALE FIGURE HOLDING THE HORNS ATTACHED TO THE HEAD.
On the forehead are vertical line striations. It is coloured white, red and indigo. It has hollowed eyes, broad nose, fang-like teeth and beards.
REGION: IGBO, SOUTH EAST NIGERIA.
A CHAMELEON SURMOUNTED ON AN OVAL SHAPED BASE.
REGION: IFE, OSUN STATE.
A CONICAL SHAPED HAT CAST IN PORTUGUESE STYLE DEPICTING FOREIGN INFLUENCE.
REGION: BENIN, EDO STATE.
A CONICAL SHAPED HAT CAST IN PORTUGUESE STYLE DEPICTING FOREIGN INFLUENCE.
REGION: BENIN, EDO STATE.
A CONTAINER IN THE SHAPE OF A FISH.
REGION: BENIN, EDO STATE.
A CROCODILE ON A PLAQUE.
REGION: BENIN, EDO STATE.
A CROCODILE ON A PLAQUE.
REGION: BENIN, EDO STATE.
A CYLINDRICAL ALTAR RING WITH HUMAN FIGURES ALL AROUND IT.
REGION: BENIN, EDO STATE.
A CYLINDRICAL HEADDRESS WEARING A HELMET LIKE HAT AND IT HAS A GREY-COLOURED BEARD
Igala tribe are found in the extreme East of former Kwara State. The River Benue and Niger form their Northern and Western boundaries and they share their Eastern border with the Idoma and the Southern with the Onitsha Igbo. The Igala are related linguistically to the Yoruba. Their principal town is Idah and their chief is Atah. The principal cult called Egu, is connected with the ancestors who are remembered during yam harvest. The Egu (spirit of the dead) maybe represented by the mask and headdress called Ojuegu.
REGION: IGALA, KOGI STATE.
A CYLINDRICAL SHAPE BRONZE BELL WITH HOLES IN THE MIDDLE.
REGION: BENIN, EDO STATE.
A CYLINDRICAL SHAPE BRONZE BELL WITH HOLES IN THE MIDDLE.
REGION: BENIN, EDO STATE.
A DIVINATION TRAY WITH HUMAN FACES, ENGRAVED ON IT AND MOTIFS.
REGION: YORUBA, SOUTH-WEST NIGERIA.
A FACE MASK CARVED IN THE FORM OF A COW HEAD PAINTED IN BLACK, RED AND WHITE COLOUR.
The Chamba tribe are settled on the Southern banks of the Benue River in Nigeria, in the mountainous region on the border with Cameroon. The ethnic group is mainly known for its buffalo marks. Their statuary, however is less famous and represents the kona ancestors, primordial couple or a figure of protection. Settled since the 17th century on the South bank of the Benue, the Chamba have resisted the attempts of conquest by the Fulani, nomads who settled in large numbers in the North of Nigeria.
They are known for their famous buffalo marks with its two flats jaws extending from the head. The statuary, less frequent, is divided into protective figures (tauwa, sing, tau) which are kept in a hut located to the left of the entrance to the reception, and into the statues of ancestors, kona.
REGION: ADAMAWA STATE.
A FACE MASK WITH A KNOB ON THE HEAD, CREST PROJECTION ON THE FORE HEAD AND TRIBAL MARKS ALL OVER THE FACE. IT IS ATTACHED WITH RAFFIA AND TEXTILE.
REGION: IGALA, KOGI STATE.
A FOUR-LEGGED STOOL WITH GEOMETRIC DESIGNS.
REGION: IGBO, SOUTH EAST NIGERIA.
A FRAGMENTED TERRACOTTA FOLDED HAND WITH STRINGS OF BEADS ROUND THE WRIST.
REGION: NOK, KADUNA STATE.
A FRAGMENTED TERRACOTTA HEAVILY BEADED HAND.
REGION: OWO, ONDO STATE.
A FRAGMENTED TERRACOTTA HEN IN A SQUATTING POSITION.
REGION: OWO, ONDO STATE.
A FRAGMENTED TERRACOTTA WITH HUMAN FACE WITH SNAKE GUSHING OUT FROM THE NOSTRIL.
REGION: IFE, OSUN STATE.
A HANDLESS TERRACOTTA IFE MALE BUST WITH CHARMS ON THE BODY.
REGION: YORUBA, IFE, OSUN STATE.
A HEADDRESS WITH HUMAN FACE AT THE TOP AND THE BOTTOM, ATTACHED WITH RAFFIA AT THE BASE.
Ekpo masquerade is an ancestral masquerade that originated from the Ibibio speaking language ethnic group of Akwa Ibom State, South South region of Nigeria. Ibibio ethnic group is divided into Ibibio proper and the Annang. Ekpo which literally means “dead ancestors” and their masquerade performances or festival is considered as a link between the ancestors even after their death.
The most awesome and dangerous of the Ekpo masks is that of the spirit of the ghosts `Ekpo Ndem’. Wearing this mask is a form of ordeal and only a descendant of the society’s founder can do it without suffering misfortune. The initiate who wears the Ekpo Ndem mask sleeps in the forest`Akai’ for seven nights, where he must not eat food cooked by a woman. He will pour libations on the graves of seven` wicked’ people, people of `ugly character’ and he will consume roots known as `Adung Abasi’ that is `root of god’ that make him feel a high sense of possession which exceeds that expressed by other Ekpo players. Ekpo Ndem is differentiated in other symbolic forms including the way the masked performer is tied at the waist with palm-tapper rope to prevent him from attacking onlookers and the way he circulates around the performance space clockwise by the left-hand side. Beauty masks representing good spirit `Mfon Ekpo’ are worn on the opening and closing performances of the masquerade in the market, and portray the face in a human form which stresses fertility, often with a series of smaller, children’s faces carved upon the forehead. Ugly masks, in contrast, contain exaggerated and distorted features representing malevolent, wandering spirits `Idiok Ekpo’. They are usually smaller, with non-human features such as jagged teeth, and sometimes represent disfiguring diseases such as gangosa.
However, the activities of the men`s society which was labelled as a secret society was reduced after an Irish missionary, Samuel Bill arrived at the mouth of Qua Iboe river and established Christianity. Ekpo masquerade is dated back to 18th century A.D, and is only performed by males.
REGION: IBIBIO, IKOT EKPENE,
AKWA IBOM.
A HEADDRESS WITH JANUS FACE, ATTACHED ARE MIRRORS, GOURD AND SNAKES.
The water spirit head dress originated from the Urhobo ethnic group, Delta state Niger Delta region of Nigeria. It depicts a single creative such as a crocodile, while others combine a number of features such as antelope horns, curved rams’ horns, with reptiles and birds.
This head dress comprises of stylized columnar bodies, muscular legs and almost cylindrical heads with angular features, projecting mouths, with bored teeth, and leaf-shaped keloid scar marks on their foreheads, which point to their Edo origins, of which Delta state was created from. However, the Urhobo ethnic group lies among the rivers and creeks of the Niger Delta and their livelihood is defined through their relationship with these water ways and with the sea.
This sculpture is used mainly to capture those spirits to maintain the well-being of the community and also counted on to promote prosperity through trade. Still, water spirits who control the fertility and well-being of the land and the people, are recognized and honoured with the performance of masks. This headdress is used in the masquerade cult performances. Water spirits headdress is dated back to 20th century A.D.
REGION: URHOBO, DELTA STATE.
A HEADDRESS WITH JANUS FACE, ATTACHED ARE MIRRORS, GOURD AND SNAKES.
The water spirit head dress originated from the Urhobo ethnic group, Delta state Niger Delta region of Nigeria. It depicts a single creative such as a crocodile, while others combine a number of features such as antelope horns, curved rams’ horns, with reptiles and birds.
This head dress comprises of stylized columnar bodies, muscular legs and almost cylindrical heads with angular features, projecting mouths, with bored teeth, and leaf-shaped keloid scar marks on their foreheads, which point to their Edo origins, of which Delta state was created from. However, the Urhobo ethnic group lies among the rivers and creeks of the Niger Delta and their livelihood is defined through their relationship with these water ways and with the sea.
This sculpture is used mainly to capture those spirits to maintain the well-being of the community and also counted on to promote prosperity through trade. Still, water spirits who control the fertility and well-being of the land and the people, are recognized and honoured with the performance of masks. This headdress is used in the masquerade cult performances. Water spirits headdress is dated back to 20th century A.D.
REGION: URHOBO, DELTA STATE.
A HEADLESS BODY HOLDING A SACRIFICIAL COCK IN THE RIGHT HAND
REGION: OWO, ONDO STATE.
A HEADLESS SEATED FEMALE FIGURE WITH DECORATIVE ORNAMENT ON THE NECK, HANDS, WAIST AND LEGS.
REGION: KADUNA STATE.
A HEAVILY ORNAMENTED ARM WITH CLINCHED FIST.
REGION: OWO, ONDO STATE.
A HUMAN FACE WITH TWO VERTICAL STRIATIONS ON THE FOREHEAD AND WHISKERS LIKE MARKS ON BOTH CHEEKS.
REGION: IFE, OSUN STATE.
A HUMAN HEAD SURMOUNTED BY A HUMAN FIGURE. IT HAS KELOIDS ON THE FOREHEAD AND TWO DOUBLE HEADED SNAKES AROUND IT.
REGION: BENIN, EDO STATE.
A HUMAN HEAD WITH A TRADITIONAL HAIRDO.
REGION: NOK, OSUN STATE.
A HUMAN HEAD WITH VERTICAL SCARIFICATIONS ON THE FACE.
REGION: IFE, OSUN STATE.
A HUMAN HEAD WITH VERTICAL SCARIFICATIONS ON THE FACE.
REGION: IFE, OSUN STATE.
A KNEELING FEMALE FIGURE WITH A BARE CHEST, CARRYING A LIDDED BOWL ON THE HEAD.
REGION: YORUBA, SOUTH-WEST NIGERIA.
A KNEELING TERRACOTTA HEAVILY MALE BEADED FIGURE.
REGION: GBAGYI (FCT).
A LEOPARD HEAD WITH WHISKERS ON BOTH CHEEKS, PRONOUNCED DENTITION AND LOOPS ROUND THE NOSE. ON THE FACE ARE KELOIDS THAT DEPICTS ANIMAL SPOT.
REGION: BENIN, EDO STATE.
A LIDDED BOWL WITH CARVINGS DEPICTING VARIOUS HUMAN ACTIVITIES.
REGION: YORUBA, SOUTH-WEST NIGERIA.
A LIDDED BOWL WITH ENGRAVEMENT DEPICTING VARIOUS HUMAN ACTIVITIES.
REGION: YORUBA, SOUTH WEST NIGERIA.
A LIDDED CANDLE STAND WITH AN ANIMAL FIGURE KNOB CHAIN AND FOUR CANDLE HOLDER. IT HAS GEOMETRIC DESIGNS ON THE BODY.
REGION: BENIN, EDO STATE.
A LIDDED IVORY JEWELRY BOX WITH GEOMETRIC DESIGN.
REGION: BENIN, EDO STATE.
A LIDDED RECEPTACLE WITH CARVED HUMAN FIGURE ROUND THE BODY.
REGION: YORUBA, SOUTHERN NIGERIA.
A LIDDED WITH A HUMAN FIGURE, KNOB AND FOUR HUMAN LEGS.
REGION: BENIN, EDO STATE.
A MASQUERADE HEADDRESS DEPICTING A SEATED FEMALE FIGURE ON A BASKET BASE.
The water spirit head dress originated from the Urhobo ethnic group, Delta state Niger Delta region of Nigeria. It depicts a single creative such as a crocodile, while others combine a number of features such as antelope horns, curved rams’ horns, with reptiles and birds.
This head dress comprises of stylized columnar bodies, muscular legs and almost cylindrical heads with angular features, projecting mouths, with bored teeth, and leaf-shaped keloid scar marks on their foreheads, which point to their Edo origins, of which Delta state was created from. However, the Urhobo ethnic group lies among the rivers and creeks of the Niger Delta and their livelihood is defined through their relationship with these water ways and with the sea.
This sculpture is used mainly to capture those spirits to maintain the well-being of the community and also counted on to promote prosperity through trade. Still, water spirits who control the fertility and well-being of the land and the people, are recognized and honoured with the performance of masks. This headdress is used in the masquerade cult performances. Water spirits headdress is dated back to 20th century A.D.
REGION: URHOBO, DELTA STATE NIGERIA.
A MASQUERADE HEADDRESS WITH ELABORATE HAIRDO, POINTED NOSE AND TRIBAL MARKS ON THE CHEEKS.
Agbogho Mmuo is a maiden spirit mask that is common amongst the Northern Igbos, precisely Anambra state, South East region of Nigeria. It is an emerging dance masquerade that depict a symbol of femininity and art of African dance. Agbogho mmuo is one of the most celebrated indigenous Igbo masquerades. However, even though it represents womanhood or goddess, it is only played by men once a year during dry season in honour of the goddess, so as to usher in fertility and maternal blessings on the land to ensure productivity in the next season.
The men imitate the character of adolescent girls by exaggerating their beauty and movements as they perform during the festival. The men’s performance is always accompanied by musicians who sing and play tributes to both humans and spirits.
Even so, Agbogho Mmuo masquerade, which was used to invoke the presence of a maiden spirit during festivals and ceremonies often have elaborate hair-styles, adorned with crests, coiled plaits and combs and they wear tight-fitting, vibrantly coloured and patterned decorative designed costumes. It dates back to 20th century A.D.
REGION: IGBO, SOUTH EAST, NIGERIA.
A METAL CYLINDRICAL BARREL WITH HEADLESS HUMAN FIGURE ON TOP. THE BODY IS DESIGNED WITH HUMAN FACE AND GEOMETRIC DESIGNS.
REGION: BENIN, EDO STATE.
A METAL SPIRAL RING.
REGION: IGBO-UKWU, ANAMBRA STATE.
A NOK TERRACOTTA GENUFLECTING MALE FIGURE WITH AN OBLONG FACE RESTING ON THE KNEE. IT HAS PIERCED EYES AND NOSE.
REGION: KASTINA ALA, BENUE STATE.
A NOK TERRACOTTA GENUFLECTING MALE FIGURE WITH AN OBLONG FACE RESTING ON THE KNEE. IT HAS PIERCED EYES AND NOSE.
REGION: KASTINA ALA, BENUE STATE.
A NOK TERRACOTTA LEG DECORATED WITH ORNAMENT.
REGION: NOK, KADUNA STATE.
A PENDANT WITH THREE HUMAN STANDING FIGURES.
REGION: BENIN, EDO STATE.
A PLAQUE DEPICTING THE INTERTWINED MUD FISH.
REGION: BENIN, EDO STATE.
A PLAQUE DEPICTING THE OBA OF BENIN.
REGION: BENIN, EDO STATE.
A PLAQUE DEPICTING THE OBA OF BENIN.
REGION: BENIN, EDO STATE.
A PLAQUE WITH A HUMAN FIGURE. IT HAS AN ELABORATE HAIRDO, WEARING AN ARMLET AND HOLDING A HORN. THE GENITAL IS PRONOUNCED.
REGION: BENIN, EDO STATE.
A POT WITH SNAKE HANDLE. ON THE BODY ARE IMAGES OF HUMANS, SNAILS AND TORTOISE.
REGION: BENIN, EDO STATE.
A POT WITH SNAKE HANDLE. ON THE BODY ARE IMAGES OF HUMANS, SNAILS AND TORTOISE.
REGION: BENIN, EDO STATE.
A RAM WITH ORNAMENTED HORNS.
REGION: BENIN, EDO STATE.
A RATTLE WITH TWO HUMAN HEADS; ONE AT THE TOP CARRYING A CALABASH AND THE OTHER AT THE BASE.
REGION: BENIN, EDO STATE.
A RECEPTACLE ON A CIRCULAR BASE WITH THE FIGURE OF THE KING OF OONI BODY COILED AROUND IT.
REGION: IFE, OSUN STATE.
A SEATED FEMALE FIGURE WITH TWO HORNS. IT HAS BULGY EYES, BROAD NOSE AND WIDE LIPS. THE NECK IS BEADED, THE BREASTS ARE BARE, HANDS CLINCHED ON TOP OF EACH OTHER AND THE GENITAL IS PRONOUNCED.
Onile sculptures are symbols of the osugbo society, an important group composed of the eldest and wisest members in a community. Onile is a free-standing male or female brass figure serving an entire osugbo cult. The figure is seated holding a scepter in the right hand (symbol of royal authority) and a small ritual object in the left hand. His head is larger in proportion to the body, emphasizing the Yoruba believe that the ‘spirit’ of a person emanate from the head.
The figure’s crown is topped by a bird, another symbol of kingship, and also to empower the king over witches of the night who take the form of birds. Onile is dated between 1,500 CE-1900 CE.
REGION: SOUTH -WEST, NIGERIA .
A SEATED FEMALE FIGURE WITH TWO HORNS. IT HAS BULGY EYES, BROAD NOSE AND WIDE LIPS. THE NECK IS BEADED, THE BREASTS ARE BARE, HANDS CLINCHED ON TOP OF EACH OTHER AND THE GENITAL IS PRONOUNCED.
Onile sculptures are symbols of the osugbo society, an important group composed of the eldest and wisest members in a community. Onile is a free-standing male or female brass figure serving an entire osugbo cult. The figure is seated holding a scepter in the right hand (symbol of royal authority) and a small ritual object in the left hand. His head is larger in proportion to the body, emphasizing the Yoruba believe that the ‘spirit’ of a person emanate from the head.
The figure’s crown is topped by a bird, another symbol of kingship, and also to empower the king over witches of the night who take the form of birds. Onile is dated between 1,500 CE-1900 CE.
REGION: SOUTH -WEST, NIGERIA.
A SEATED HUMAN FIGURE WITH ELABORATE HAIRDO HOLDING A SWORD IN HIS RIGHT HAND
Esie is a small Igbomina Yoruba town Southeast of Ilorin in Kwara state. . It was here in this small historic town that Leo Frobenius, the German ethnographer collected some stone figures in 1911. It was reported that Frobenius himself had not gotten to Esie, where in 1933, some 800 stone sculptures were piled up in a horse-shoe fashion encircled by sacred Pere gun trees (a specie of dracaena) at a spot overgrown with grass outside Esie town.
REGION: ESIE, KWARA STATE.
A SEATED HUMAN FIGURE WITH TWO ATTENDANTS BY THE SIDES
Iphri sculptures are associated with human aggression. The gaping mouth is seen as the focal point. The figures are involved in self-defense from outside attack and the focusing of individual hostility on external enemies.
Iphiri is associated with successful and aggressive male warrior whose descendants take over the care of the place. Such works accumulate dangerous power that are controlled only with the difficulties. The possession of such an object is an assertion of status. The figure combines human, animals and bird-like qualities in a single complex figure. It stands on four massive legs that supports the creature that is little more than the rest, gaping mouth, curving incisors and rows of sharp teeth.
REGION: URHOBO, DELTA STATE.
A SEATED MALE FIGURE WITH CONCENTRIC HORNS, A MACHETE IN THE RIGHT HAND AND STAFF ON THE LEFT HAND. ITS GENITAL IS PRONOUNCED.
Ikenga objects are stylized wood carvings from Igbo, Igala (okenga) Benin (Ikengobo) ethnic groups otherwise known as cult of the right hand. These are shrine objects found in ancestral altars. The common features are human head, human figures, knives in the right hand and sacrificial offering in the left hand. There is a community and personal Ikenga.
REGION: IGBO, SOUTH EAST.
A SEATED TERRACOTTA LEOPARD WITH A HUMAN LEG IN ITS MOUTH.
REGION: OWO, ONDO STATE.
A SKIN COATED HEADDRESS WITH TWISTED HAIR-DO. IT HAS BLACK SPOT ON BOTH SIDE OF THE FACE WITH WOVEN BASE.
Igala tribe are found in the extreme East of former Kwara State. The River Benue and Niger form their Northern and Western boundaries and they share their Eastern border with the Idoma and the Southern with the Onitsha Igbo. The Igala are related linguistically to the Yoruba. Their principal town is Idah and their chief is Atah. The principal cult called Egu, is connected with the ancestors who are remembered during yam harvest. The Egu (spirit of the dead) maybe represented by the mask and headdress called Ojuegu.
REGION: IGALA, KOGI STATE.
A SKIN COATED MALE HEAD MASK WITH CROSS-LIKE CAP, WITH THREE BLACK SPOTS ON BOTH FACE AND CANE BASE.
Igala tribe are found in the extreme East of former Kwara State. The River Benue and Niger form their Northern and Western boundaries and they share their Eastern border with the Idoma and the Southern with the Onitsha Igbo. The Igala are related linguistically to the Yoruba. Their principal town is Idah and their chief is Atah. The principal cult called Egu, is connected with the ancestors who are remembered during yam harvest. The Egu (spirit of the dead) maybe represented by the mask and headdress called Ojuegu.
REGION: IGALA, KOGI STATE.
A SQUARE STAND WITH A SQUARE OPENING IN THE CENTER, IT HAS GEOMETRIC DESIGNS.
REGION: BENIN, EDO STATE.
A STANDING FEMALE FIGURE HOLDING ANIMAL HORNS ON EACH HAND, CLOSE TO HER BREAST
REGION: IFE, OSUN STATE.
A STANDING MALE WOODEN FIGURE WITH A RED WOOL TIED ON THE NECK, IT HAS FLAPPY EAR.
The Mumuye are found in the Muri division of Adamawa State. They believe in the protective and guiding power of their ancestors who are represented in pole structures with abstract characteristics.
The sculptures were usually hidden in the house and offering were made to them on a regular basis. Their duties included to protect the household against enemies and diseases, also to punish offenders.
REGION: ADAMAWA.
A STANDING WOODEN HUMAN FIGURE WITH CREST ON THE HEAD, FLAPPED EAR AND PROTRUDING NAVEL.
The Mumuye are found in the Muri division of Adamawa State. They believe in the protective and guiding power of their ancestors who are represented in pole structures with abstract characteristics.
The sculptures were usually hidden in the house and offering were made to them on a regular basis. Their duties included to protect the household against enemies and diseases, also to punish offenders.
REGION: ADAMAWA
A TERRACOTTA CONICAL HEAD WITH HORIZONTAL LINES RUN THROUGH THE TOP DOWN THE NOSE. IT HAS BOTH OVAL SHAPED EYES AND CLOSED LIPS.
REGION: IFE, OSUN STATE.
A TERRACOTTA HUMAN BUST WITH AN ELABORATE BEAD ON THE NECK. THE HANDS ARE PARTLY CHIPPED OFF.
REGION: OWO, ONDO STATE.
A TERRACOTTA HUMAN HEAD WITH A CAP.
REGION: IFE, OSUN STATE.
A TERRACOTTA HUMAN HEAD WITH A WELL-DEFINED HAIRLINE. IT HAS PIERCED EYES, NOSE AND A PROTRUDING MOUTH.
REGION: JOS/PLATEAU STATE.
A TERRACOTTA HUMAN HEAD. IT HAS ELABORATE HAIRDO, PIERCED EYES, BROAD NOSE AND A GAPING MOUTH, PART OF THE HAIRDO IS MISSING.
REGION: NOK, KADUNA STATE.
A TERRACOTTA IFE HUMAN HEAD WITH VERTICAL SCARIFICATION MARKS.
REGION: IFE, OSUN STATE.
A TERRACOTTA NOK HEAD WITH HAIR DO. IT HAS TRIANGULAR SHAPED, PIERCING EYES AND EVERTED LIPS.
REGION: JEMAA, KADUNA STATE.
A TERRACOTTA NOK HEAD WITH HAIR DO. IT HAS TRIANGULAR SHAPED, PIERCING EYES AND EVERTED LIPS.
REGION: JEMAA, KADUNA STATE.
A TERRACOTTA NOK HEAD WITH TRIANGULAR SHAPED /PIERCED EYES, FLAT NOSE, SLIGHTLY OPEN LIPS, AND LEFT-HAND RESTING ON THE HEAD.
REGION: JEMAA, PLATEAU STATE.
A TERRACOTTA NOK HEAD WITH TRIANGULAR SHAPED /PIERCED EYES, FLAT NOSE, SLIGHTLY OPEN LIPS, AND LEFT-HAND RESTING ON THE HEAD.
REGION: JEMAA, PLATEAU STATE.
A TERRACOTTA POT CONTAINING SACRIFICIAL HEADS.
REGION: OWO, ONDO STATE.
A WOODEN DIVINATION BOWL, CARVED WITH A BIRD SURMOUNTED WITH A BOWL ON A ROUND BASE.
A divination bowl is a container used in ritual to divine prophecy or fate. The bowls are usually carried in the shape of a woman head which represent the ‘Ori’ The bowls stored divination tools including beads, cowries’ shells and palm nuts. Prominent among the carvings is the face of the messenger god ESU (top, center), who always appear on divination trays, Ifa priest would have to consult Orumila – the god of wisdom through the divination apparatus, opele, a divination chain and the palm nut. The priest usually holds an iron to symbolize his office.
REGION: YORUBA, SOUTH WEST, NIGERIA.
A WOODEN FACE MASK PAINTED WITH BLACK, YELLOW AND CREAM COLOUR. IT HAS VERTICAL LINES ON THE FOREHEAD AND SMALL SNAKE ON BOTH SIDES OF THE HEAD. IT HAS A FABRIC ATTACHED TO THE BACK.
Ekpo masquerade is an ancestral masquerade that originated from the Ibibio speaking language ethnic group of Akwa Ibom State, South South region of Nigeria. Ibibio ethnic group is divided into Ibibio proper and the Annang. Ekpo which literally means “dead ancestors” and their masquerade performances or festival is considered as a link between the ancestors even after their death.
The most awesome and dangerous of the Ekpo masks is that of the spirit of the ghosts `Ekpo Ndem’. Wearing this mask is a form of ordeal and only a descendant of the society’s founder can do it without suffering misfortune. The initiate who wears the Ekpo Ndem mask sleeps in the forest`Akai’ for seven nights, where he must not eat food cooked by a woman. He will pour libations on the graves of seven` wicked’ people, people of `ugly character’ and he will consume roots known as `Adung Abasi’ that is `root of god’ that make him feel a high sense of possession which exceeds that expressed by other Ekpo players. Ekpo Ndem is differentiated in other symbolic forms including the way the masked performer is tied at the waist with palm-tapper rope to prevent him from attacking onlookers and the way he circulates around the performance space clockwise by the left-hand side. Beauty masks representing good spirit `Mfon Ekpo’ are worn on the opening and closing performances of the masquerade in the market, and portray the face in a human form which stresses fertility, often with a series of smaller, children’s faces carved upon the forehead. Ugly masks, in contrast, contain exaggerated and distorted features representing malevolent, wandering spirits `Idiok Ekpo’. They are usually smaller, with non-human features such as jagged teeth, and sometimes represent disfiguring diseases such as gangosa.
However, the activities of the men`s society which was labelled as a secret society was reduced after an Irish missionary, Samuel Bill arrived at the mouth of Qua Iboe river and established Christianity. Ekpo masquerade is dated back to 18th century A.D, and is only performed by males.
REGION: IBIBIO, IKOT EKPENE,
AKWA IBOM.
A WOODEN FACE MASK WITH CONCENTRIC HORNS, HOLLOW EYES AND WIDE MOUTH WITH TONGUE STICKING OUT.
Afikpo (Ehugbo) is primarily agrarian society located South of Abakaliki, Ebonyi State of Nigeria. The Afikpo are an Ibo group with a rich cultural heritage that hold a strong influence from the Efik and Ibibio people and others. Afikpo mask are an aesthetic fusion of spirituality, family and community life.
The elaborate mask and masquerading tradition of Afikpo is a treasure parts of Ibo art and has been considered a modern of African culture. Carved from wood featuring eyebrows, forehead and eyebolts for facial destination. The masks are won during initiation festival, community rites and celebration to mark the harvest period of the year. The Afikpo headdress is made of wood, calabash and net.
REGION: IGBO, SOUTH-EAST.
A WOODEN FACE MASK WITH MULTI COLOUR HAIR-DO. THE FACIAL FEATURES ARE WELL PRONOUNCED.
REGION: AGINIOMA.
A WOODEN FACE MASK WITH PROTRUDING FOREHEAD AND EXPOSED TEETH.
REGION: IGBO, SOUTH EAST NIGERIA.
A WOODEN HEAD DRESS DEPICTING AN ANIMAL-LIKE HEAD, WITH TWO HORNS AND A PROTRUDING MOUTH
These are the abstract sculptures from north central part of Nigeria (Nasarawa). These head masks are in stylized animal form. The head mask or sculpture are mainly representation of bush cows with horns used in fertility rites.
REGION: NASARAWA STATE.
A WOODEN HEADDRESS CARVED IN ANIMAL HEAD FORM WITH JOINT HORN, BULGING EYES AND OPEN MOUTH.
REGION: BAUNA, NASSARAWA STATE.
A WOODEN HEADDRESS PAINTED RED AND BLACK WITH A HAIR-DO. THREE TRIBAL MARKS ON THE FOREHEAD BOTH CHEEKS AND PRONOUNCED FACIAL FEATURES.
Gelede masquerade is commonly associated with Yoruba people of West African. It is performed to curry favor with the mother (Iya Nla) and her disciple `the powerful Mother’. The Gelede masquerade clan believed that it has a spiritual power over the continuation of the community to ensuring’s fertility of Women, Agriculture and the respectful law-abiding behavior of community members.
During the public spectacles, performers wear elaborate costumes and headdresses, caravel in form of human heads it’s super structures often depicting birds, serpents and human activities. These headdresses represent the ideals of the Gelede society. The Gelede headdresses come in various forms and shapes, depicting the beauty of the woman, hairdo, tribal marks.
Everything about Gelede masquerade speaks spectacular. It is also highlighting the important role in women in society and power of motherhood as a beacon that shines the light of progress, development and growth.
REGION: YORUBA, SOUTH-WEST NIGERIA
A WOODEN HEADDRESS WITH ANIMAL HEAD. THE HORNS ARE JOINED TOGETHER AND RAFFIA IS ATTACHED ON IT.
These are the abstract sculptures from north central part of Nigeria (Nasarawa). These head masks are in stylized animal form. The head mask or sculpture are mainly representation of bush cows with horns used in fertility rites.
REGION: NASSARAWA.
A WOODEN HEADDRESS WITH CONICAL HEAD CAP, BULGY EYES, BROAD NOSE AND PROTRUDING MOUTH. IT IS PAINTED GREEN, YELLOW, RED AND WHITE.
The water spirit head dress originated from the Urhobo ethnic group, Delta state Niger Delta region of Nigeria. It depicts a single creative such as a crocodile, while others combine a number of features such as antelope horns, curved rams’ horns, with reptiles and birds.
This head dress comprises of stylized columnar bodies, muscular legs and almost cylindrical heads with angular features, projecting mouths, with bored teeth, and leaf-shaped keloid scar marks on their foreheads, which point to their Edo origins, of which Delta state was created from. However, the Urhobo ethnic group lies among the rivers and creeks of the Niger Delta and their livelihood is defined through their relationship with these water ways and with the sea.
This sculpture is used mainly to capture those spirits to maintain the well-being of the community and also counted on to promote prosperity through trade. Still, water spirits who control the fertility and well-being of the land and the people, are recognized and honoured with the performance of masks. This headdress is used in the masquerade cult performances. Water spirits headdress is dated back to 20th century A.D.
REGION: URHOBO, DELTA STATE.
A WOODEN HEADDRESS WITH HORN-LIKE HAIRDO.
REGION: EKOI, CROSS RIVER STATE.
A WOODEN HEADDRESS WITH TWO HORNS, AND A PROTRUDING OPENING FROM THE HEAD.
The Chamba tribe are settled on the Southern banks of the Benue River in Nigeria, in the mountainous region on the border with Cameroon. The ethnic group is mainly known for its buffalo marks. Their statuary, however is less famous and represent the kona ancestors, primordial couple or a figure of protection.
Settled since the 17th century on the South bank of the Benue, the Chamba have resisted the attempts of conquest by the Fulani, nomads who settled in large number in the North of Nigeria. They are known for their famous buffalo marks with its two flats jaws extending the head. The statuary, less frequent, is divided into protective figures (tauwa, sing, tau) which are kept in a hut located to the left of the entrance to the reception, and into the statues of ancestors, kona.
REGION: ADAMAWA STATE.
A WOODEN HEADDRESS WITH TWO HORNS
The Chamba tribe are settled on the Southern banks of the Benue River in Nigeria, in the mountainous region on the border with Cameroon. The ethnic group is mainly known for its buffalo marks. Their statuary, however is less famous and represent the kona ancestors, primordial couple or a figure of protection.
Settled since the 17th century on the South bank of the Benue, the Chamba have resisted the attempts of conquest by the Fulani, nomads who settled in large number in the North of Nigeria. They are known for their famous buffalo marks with its two flats jaws extending the head. The statuary, less frequent, is divided into protective figures (tauwa, sing, tau) which are kept in a hut located to the left of the entrance to the reception, and into the statues of ancestors, kona.
REGION: ADAMAWA STATE.
A WOODEN OBJECT DEPICTING A CROCODILE WITH GEOMETRIC DESIGNS.
REGION: BENIN, EDO STATE.
A WOODEN PAINTED HEADDRESS WITH AN ELABORATE HAIRDO. BLACK STAR MARK ON THE FOREHEAD, ICHI MARK ON BOTH SIDE OF THE EARS ATTACHED WITH WOOL AT THE BASE.
Ekpe is a traditional secret society ritual that originated with ekoi tribe in Nigeria. The word ekpe means ‘leopard’ in Efik and Ibibio, symbolize authority, power and mystery. It serves as a spiritual medium between the living and the dead. It is most common in Calabar and the Oron. The masquerade includes the use of nsibidi symbols inscribed on the membership attire. It is founded in Havana in the 1830s by captured leaders of Cross River villages.
REGION: MILIKI, CALABAR, CROSS RIVER STATE.
A WOODEN RAM HEAD ON CIRCULAR BASE WITH GEOMETRIC DESIGNS ROUND THE BASE.
Ram images appear to be ancient and wide spread symbols of power and leadership in many cultures in Nigeria notably in Nok, among Yorubas of Ife, Owo and their neighbors, and the Benin people. It is usually placed on ancestral altars and shrines. Through the powerful visual and verbal elements of the Arts of Osanmasimi, communication with the ancestor is made possible on a firm and regular basis.
REGION: OWO, ONDO STATE.
A WOODEN STANDING MALE FIGURE ON A WOODEN BASE WITH CAP-LIKE ON THE HEAD AND A LONG-TWISTED BEARD.
Ekpu figure is an ancestral figure that is significant to the Oron people in Akwa Ibom, South-South region of Nigeria. It depicts the deceased male ancestors of the Oron clan. These ancient carved wooden figures were made from ‘oko’ tree, a very dense hard wood ‘Pterocarpus auxin’ which is resistant to termite attack.
The Ekpu figures were kept within the Obio Ekpe, the lodge of the men’s leopard spirit cult, Ekpe and was guarded by the eldest member of the clan, who over saw the shrine that honors as many as 14 generations of their forebearers. The uniqueness and importance of this figure was immediately recognized by K.C. Murray when he first saw it in 1938, and he thought the first thing was to do was to collect them into the safety of a museum, which this idea led to the birth of a Nigerian Museum. Ekpu figure is dated back to 18 century A. D
REGION: ORON, AKWA IBOM STATE.
A WOODEN STANDING MALE FIGURE ON A WOODEN BASE WITH CAP-LIKE ON THE HEAD AND A LONG-TWISTED BEARD.
Ekpu figure is an ancestral figure that is significant to the Oron people in Akwa Ibom, South-South region of Nigeria. It depicts the deceased male ancestors of the Oron clan. These ancient carved wooden figures were made from ‘oko’ tree, a very dense hard wood ‘Pterocarpus auxin’ which is resistant to termite attack.
The Ekpu figures were kept within the Obio Ekpe, the lodge of the men’s leopard spirit cult, Ekpe and was guarded by the eldest member of the clan, who over saw the shrine that honors as many as 14 generations of their forebearers. The uniqueness and importance of this figure was immediately recognized by K.C. Murray when he first saw it in 1938, and he thought the first thing was to do was to collect them into the safety of a museum, which this idea led to the birth of a Nigerian Museum. Ekpu figure is dated back to 18 century A.D.
REGION: ORON, AKWA IBOM STATE.
A WOODEN STANDING MALE FIGURE ON A WOODEN BASE WITH CAP-LIKE ON THE HEAD AND A LONG-TWISTED BEARD.
The Ekpu figure is an ancestral figure that is significant to the Oron people in Akwa Ibom, South-South region of Nigeria. It depicts the deceased male ancestors of the Oron clan. These ancient carved wooden figures were made from the ‘oko’ tree, a very dense hard wood ‘Pterocarpus auxin’ which is resistant to termite attacks. The Ekpu figures were kept within the Obio Ekpe, the lodge of the men’s leopard spirit cult, Ekpe and was guarded by the eldest member of the clan, who over saw the shrine that honors as many as 14 generations of their forebearers. The uniqueness and importance of this figure was immediately recognized by K.C. Murray when he first saw it in 1938, and he thought the first thing to do was to collect them into the safety of a museum, which this idea led to the birth of a Nigerian Museum. Ekpu figure is dated back to 18 century A.D.
REGION: ORON, AKWA IBOM STATE
AN IVORY GONG DEPICTING THE KING (OBA) AND HIS SERVANTS.
REGION: BENIN, EDO STATE.
AN IVORY GONG DEPICTING THE KING (OBA) AND HIS SERVANTS.
REGION: BENIN, EDO STATE.
AN IVORY LIDDED CYLINDRICAL RECEPTACLE WITH GEOMETRIC DESIGNS.
REGION: BENIN, EDO STATE.
AN IVORY PENDANT DEPICTING THE KING AND TWO SERVANTS.
REGION: BENIN, EDO STATE.
AN IVORY STAFF DEPICTING A STANDING KING (OBA) IN FULL REGALIA.
REGION: BENIN, EDO STATE.
AN ORNAMENTED HIPPOPOTAMUS HEAD WITH GEOMETRIC DESIGNS.
REGION: IFE, OSUN STATE.
AN OVAL SHAPE GUN POWDER CONTAINER WITH GEOMETRIC DESIGNS.
REGION: BENIN, EDO STATE.
Afikpo (Ehugbo) is primarily an agrarian society located South of Abakaliki, Ebonyi State of Nigeria. The Afikpo are an Ibo group with a rich cultural heritage that hold a strong influence from the Efik and Ibibio people and others.
Afikpo masks are an aesthetic fusion of spirituality, family and community life. The elaborate mask and masquerading tradition of Afikpo is a treasured part of Ibo art and has been considered a modern form of African culture. Carved from wood featuring eyebrows, forehead and eyebolts for facial destination.
The masks are worn during initiation festivals, community rites and celebrations to mark the harvest period of the year. The Afikpo headdress is made of wood, calabash and net.
REGION: IGBO, SOUTH-EAST.
Benin court art is perhaps the best known with the most numerous sculptures in bronze in Black Africa.
Benin City is the capital of Edo kingdom in the southern part of Nigeria. It is believed the court Art of Benin came into existence in 1400A.D. Also, Benin Bronze casting was already established when the Portuguese arrived in the 15th century.
Benin court Art is so named because the Oba (king) had a monopoly of the works. He maintained specialist guilds of bronze smiths, bead workers, wood and ivory carvers. Knowledge of Benin bronzes reached the outside world after a punitive expedition was carried out by British troops against Benin kingdom in 1897. Consequently, Benin art pieces are now in various museums and in private collections abroad.
Bronze was considered a precious metal which only the Oba (king) could possess, although the Oba sometimes gave gifts of bronze objects to favored subjects. Tradition holds that bronze casters were taught their craft by an artist from Ife in the late 14th century. While the early bronze heads are similar to Ife work, it is obvious Benin had its own artistic style. Most Ife Art is naturalistic in style while Benin Court Art is more stylized. There is no radiocarbon test on the dating of Benin bronze, but students of Benin art have divided the bronzes into three periods. The earliest phase (C.1400A.D) is represented by thinly cast heads, the thicker heads, the plaques and the leopards belong to the middle period (1500A.D. to 1700A.D.). The third period (post 1700A.D.) shows a deterioration in quality.
REGION: BENIN, EDO STATE.
Benin court art is perhaps the best known with the most numerous sculptures in bronze in Black Africa.
Benin City is the capital of Edo kingdom in the southern part of Nigeria. It is believed the court Art of Benin came into existence in 1400A.D. Also, Benin Bronze casting was already established when the Portuguese arrived in the 15th century.
Benin court Art is so named because the Oba (king) had a monopoly of the works. He maintained specialist guilds of bronze smiths, bead workers, wood and ivory carvers. Knowledge of Benin bronzes reached the outside world after a punitive expedition was carried out by British troops against Benin kingdom in 1897. Consequently, Benin art pieces are now in various museums and in private collections abroad.
Bronze was considered a precious metal which only the Oba (king) could possess, although the Oba sometimes gave gifts of bronze objects to favored subjects. Tradition holds that bronze casters were taught their craft by an artist from Ife in the late 14th century. While the early bronze heads are similar to Ife work, it is obvious Benin had its own artistic style. Most Ife Art is naturalistic in style while Benin Court Art is more stylized. There is no radiocarbon test on the dating of Benin bronze, but students of Benin art have divided the bronzes into three periods. The earliest phase (C.1400A.D) is represented by thinly cast heads, the thicker heads, the plaques and the leopards belong to the middle period (1500A.D. to 1700A.D.). The third period (post 1700A.D.) shows a deterioration in quality.
REGION: BENIN, EDO STATE.
Benin court art is perhaps the best known with the most numerous sculptures in bronze in Black Africa.
Benin City is the capital of Edo kingdom in the southern part of Nigeria. It is believed the court Art of Benin came into existence in 1400A.D. Also, Benin Bronze casting was already established when the Portuguese arrived in the 15th century.
Benin court Art is so named because the Oba (king) had a monopoly of the works. He maintained specialist guilds of bronze smiths, bead workers, wood and ivory carvers. Knowledge of Benin bronzes reached the outside world after a punitive expedition was carried out by British troops against Benin kingdom in 1897. Consequently, Benin art pieces are now in various museums and in private collections abroad.
Bronze was considered a precious metal which only the Oba (king) could possess, although the Oba sometimes gave gifts of bronze objects to favored subjects. Tradition holds that bronze casters were taught their craft by an artist from Ife in the late 14th century. While the early bronze heads are similar to Ife work, it is obvious Benin had its own artistic style. Most Ife Art is naturalistic in style while Benin Court Art is more stylized. There is no radiocarbon test on the dating of Benin bronze, but students of Benin art have divided the bronzes into three periods. The earliest phase (C.1400A.D) is represented by thinly cast heads, the thicker heads, the plaques and the leopards belong to the middle period (1500A.D. to 1700A.D.). The third period (post 1700A.D.) shows a deterioration in quality.
REGION: BENIN, EDO STATE.
Benin court art is perhaps the best known with the most numerous sculptures in bronze in Black Africa.
Benin City is the capital of Edo kingdom in the southern part of Nigeria. It is believed the court Art of Benin came into existence in 1400A.D. Also, Benin Bronze casting was already established when the Portuguese arrived in the 15th century.
Benin court Art is so named because the Oba (king) had a monopoly of the works. He maintained specialist guilds of bronze smiths, bead workers, wood and ivory carvers. Knowledge of Benin bronzes reached the outside world after a punitive expedition was carried out by British troops against Benin kingdom in 1897. Consequently, Benin art pieces are now in various museums and in private collections abroad.
Bronze was considered a precious metal which only the Oba (king) could possess, although the Oba sometimes gave gifts of bronze objects to favored subjects. Tradition holds that bronze casters were taught their craft by an artist from Ife in the late 14th century. While the early bronze heads are similar to Ife work, it is obvious Benin had its own artistic style. Most Ife Art is naturalistic in style while Benin Court Art is more stylized. There is no radiocarbon test on the dating of Benin bronze, but students of Benin art have divided the bronzes into three periods. The earliest phase (C.1400A.D) is represented by thinly cast heads, the thicker heads, the plaques and the leopards belong to the middle period (1500A.D. to 1700A.D.). The third period (post 1700A.D.) shows a deterioration in quality.
REGION: BENIN, EDO STATE.
Benin court art is perhaps the best known with the most numerous sculptures in bronze in Black Africa.
Benin City is the capital of Edo kingdom in the southern part of Nigeria. It is believed the court Art of Benin came into existence in 1400A.D. Also, Benin Bronze casting was already established when the Portuguese arrived in the 15th century.
Benin court Art is so named because the Oba (king) had a monopoly of the works. He maintained specialist guilds of bronze smiths, bead workers, wood and ivory carvers. Knowledge of Benin bronzes reached the outside world after a punitive expedition was carried out by British troops against Benin kingdom in 1897. Consequently, Benin art pieces are now in various museums and in private collections abroad.
Bronze was considered a precious metal which only the Oba (king) could possess, although the Oba sometimes gave gifts of bronze objects to favored subjects. Tradition holds that bronze casters were taught their craft by an artist from Ife in the late 14th century. While the early bronze heads are similar to Ife work, it is obvious Benin had its own artistic style. Most Ife Art is naturalistic in style while Benin Court Art is more stylized. There is no radiocarbon test on the dating of Benin bronze, but students of Benin art have divided the bronzes into three periods. The earliest phase (C.1400A.D) is represented by thinly cast heads, the thicker heads, the plaques and the leopards belong to the middle period (1500A.D. to 1700A.D.). The third period (post 1700A.D.) shows a deterioration in quality.
REGION: BENIN, EDO STATE.
Benin court art is perhaps the best known with the most numerous sculptures in bronze in Black Africa.
Benin City is the capital of Edo kingdom in the southern part of Nigeria. It is believed the court Art of Benin came into existence in 1400A.D. Also, Benin Bronze casting was already established when the Portuguese arrived in the 15th century.
Benin court Art is so named because the Oba (king) had a monopoly of the works. He maintained specialist guilds of bronze smiths, bead workers, wood and ivory carvers. Knowledge of Benin bronzes reached the outside world after a punitive expedition was carried out by British troops against Benin kingdom in 1897. Consequently, Benin art pieces are now in various museums and in private collections abroad.
Bronze was considered a precious metal which only the Oba (king) could possess, although the Oba sometimes gave gifts of bronze objects to favored subjects. Tradition holds that bronze casters were taught their craft by an artist from Ife in the late 14th century. While the early bronze heads are similar to Ife work, it is obvious Benin had its own artistic style. Most Ife Art is naturalistic in style while Benin Court Art is more stylized. There is no radiocarbon test on the dating of Benin bronze, but students of Benin art have divided the bronzes into three periods. The earliest phase (C.1400A.D) is represented by thinly cast heads, the thicker heads, the plaques and the leopards belong to the middle period (1500A.D. to 1700A.D.). The third period (post 1700A.D.) shows a deterioration in quality.
REGION: BENIN, EDO STATE.
Benin court art is perhaps the best known with the most numerous sculptures in bronze in Black Africa.
Benin City is the capital of Edo kingdom in the southern part of Nigeria. It is believed the court Art of Benin came into existence in 1400A.D. Also, Benin Bronze casting was already established when the Portuguese arrived in the 15th century.
Benin court Art is so named because the Oba (king) had a monopoly of the works. He maintained specialist guilds of bronze smiths, bead workers, wood and ivory carvers. Knowledge of Benin bronzes reached the outside world after a punitive expedition was carried out by British troops against Benin kingdom in 1897. Consequently, Benin art pieces are now in various museums and in private collections abroad.
Bronze was considered a precious metal which only the Oba (king) could possess, although the Oba sometimes gave gifts of bronze objects to favored subjects. Tradition holds that bronze casters were taught their craft by an artist from Ife in the late 14th century. While the early bronze heads are similar to Ife work, it is obvious Benin had its own artistic style. Most Ife Art is naturalistic in style while Benin Court Art is more stylized. There is no radiocarbon test on the dating of Benin bronze, but students of Benin art have divided the bronzes into three periods. The earliest phase (C.1400A.D) is represented by thinly cast heads, the thicker heads, the plaques and the leopards belong to the middle period (1500A.D. to 1700A.D.). The third period (post 1700A.D.) shows a deterioration in quality.
REGION: BENIN, EDO STATE.
Benin court art is perhaps the best known with the most numerous sculptures in bronze in Black Africa.
Benin City is the capital of Edo kingdom in the southern part of Nigeria. It is believed the court Art of Benin came into existence in 1400A.D. Also, Benin Bronze casting was already established when the Portuguese arrived in the 15th century.
Benin court Art is so named because the Oba (king) had a monopoly of the works. He maintained specialist guilds of bronze smiths, bead workers, wood and ivory carvers. Knowledge of Benin bronzes reached the outside world after a punitive expedition was carried out by British troops against Benin kingdom in 1897. Consequently, Benin art pieces are now in various museums and in private collections abroad.
Bronze was considered a precious metal which only the Oba (king) could possess, although the Oba sometimes gave gifts of bronze objects to favored subjects. Tradition holds that bronze casters were taught their craft by an artist from Ife in the late 14th century. While the early bronze heads are similar to Ife work, it is obvious Benin had its own artistic style. Most Ife Art is naturalistic in style while Benin Court Art is more stylized. There is no radiocarbon test on the dating of Benin bronze, but students of Benin art have divided the bronzes into three periods. The earliest phase (C.1400A.D) is represented by thinly cast heads, the thicker heads, the plaques and the leopards belong to the middle period (1500A.D. to 1700A.D.). The third period (post 1700A.D.) shows a deterioration in quality.
REGION: BENIN, EDO STATE.
Benin court art is perhaps the best known with the most numerous sculptures in bronze in Black Africa.
Benin City is the capital of Edo kingdom in the southern part of Nigeria. It is believed the court Art of Benin came into existence in 1400A.D. Also, Benin Bronze casting was already established when the Portuguese arrived in the 15th century.
Benin court Art is so named because the Oba (king) had a monopoly of the works. He maintained specialist guilds of bronze smiths, bead workers, wood and ivory carvers. Knowledge of Benin bronzes reached the outside world after a punitive expedition was carried out by British troops against Benin kingdom in 1897. Consequently, Benin art pieces are now in various museums and in private collections abroad.
Bronze was considered a precious metal which only the Oba (king) could possess, although the Oba sometimes gave gifts of bronze objects to favored subjects. Tradition holds that bronze casters were taught their craft by an artist from Ife in the late 14th century. While the early bronze heads are similar to Ife work, it is obvious Benin had its own artistic style. Most Ife Art is naturalistic in style while Benin Court Art is more stylized. There is no radiocarbon test on the dating of Benin bronze, but students of Benin art have divided the bronzes into three periods. The earliest phase (C.1400A.D) is represented by thinly cast heads, the thicker heads, the plaques and the leopards belong to the middle period (1500A.D. to 1700A.D.). The third period (post 1700A.D.) shows a deterioration in quality.
REGION: BENIN, EDO STATE.
Benin court art is perhaps the best known with the most numerous sculptures in bronze in Black Africa.
Benin City is the capital of Edo kingdom in the southern part of Nigeria. It is believed the court Art of Benin came into existence in 1400A.D. Also, Benin Bronze casting was already established when the Portuguese arrived in the 15th century.
Benin court Art is so named because the Oba (king) had a monopoly of the works. He maintained specialist guilds of bronze smiths, bead workers, wood and ivory carvers. Knowledge of Benin bronzes reached the outside world after a punitive expedition was carried out by British troops against Benin kingdom in 1897. Consequently, Benin art pieces are now in various museums and in private collections abroad.
Bronze was considered a precious metal which only the Oba (king) could possess, although the Oba sometimes gave gifts of bronze objects to favored subjects. Tradition holds that bronze casters were taught their craft by an artist from Ife in the late 14th century. While the early bronze heads are similar to Ife work, it is obvious Benin had its own artistic style. Most Ife Art is naturalistic in style while Benin Court Art is more stylized. There is no radiocarbon test on the dating of Benin bronze, but students of Benin art have divided the bronzes into three periods. The earliest phase (C.1400A.D) is represented by thinly cast heads, the thicker heads, the plaques and the leopards belong to the middle period (1500A.D. to 1700A.D.). The third period (post 1700A.D.) shows a deterioration in quality.
REGION: BENIN, EDO STATE.
ELEPHANT HEAD PENDANT WITH ELABORATE DESIGNS.
REGION: IGBO-UKWU, ANAMBRA STATE.
Epa is a masked festival for cultural heroes and ancestors among northern Yoruba people of Ekiti, South West Nigeria. The festival commemorates the deeds of heroic ancestral warriors, whose faces are fashioned at the bottom of the mask, and are celebrated annually around the harvest period in Ekiti. However female figures are a common theme on these masks representing the power of women in varieties of way.
More so, Epa mask comprises of helmet, the platform and the superstructure. The equestrian figure carved on a mask depicts the celebration of a powerful king or ruler whose reign was peaceful. They are seen either holding the reign of their horses and horse whisk or staff of office ‘Opa Ase’; while some depict dexterity of a warrior. The Epa mask is dated back to 20 century A.D.
REGION: EKITI, ONDO STATE
IFE BRONZE HEAD WITH CREST ON THE FOREHEAD AND SCARIFICATION MARKS ON THE FACE.
REGION: IFE, OSUN STATE.
IFE TERRACOTTA HEAD WITH CAP-LIKE AND SCARIFICATION MARKS ON THE FACE.
REGION: IFE, OSUN STATE.
INTERTWINED MUD FISH STOOL ON A CIRCLE BASE.
REGION: BENIN, EDO STATE.
Ile-Ife in South-west Nigeria is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
Ile-Ife in South-west Nigerian is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
Ile-Ife in South-west Nigerian is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
Ile-Ife in South-west Nigerian is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
Ile-Ife in South-west Nigerian is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
Ile-Ife in South-west Nigerian is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
Ile-Ife in South-west Nigerian is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
Ile-Ife in South-west Nigerian is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
Ile-Ife in South-west Nigerian is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
Ile-Ife in South-west Nigerian is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
Ile-Ife in South-west Nigerian is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
Ile-Ife in South-west Nigerian is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
Ile-Ife in South-west Nigerian is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
Ile-Ife in South-west Nigerian is the acclaimed traditional home of the Yoruba. According to some oral traditions, Ife is the place from where all men originated. The accepted ancestor of all Yoruba, Oduduwa, the first Ooni (king) of Ife is believed to have been semi-divine.
The art of Ife combines terracotta, bronze and stone sculptures. Ife art gained worldwide attention in 1910 after a German ethnographer, Leo Frobenius , discovered some exquisite Terracotta and stone sculptures at a sacred groove, the discovery included the bronze Ori- olokun, the image of the Yoruba god of seas and wealth.
More extraordinary bronze heads and a half figure similar in style to the Ori Olokun were also accidentally dug up at Wunmonije compound believed to have been the real traditional burial place of the Kings of Ife. Also, other terracotta and bronze sculptures were discovered through excavations at Ita-Yemoo, Lafogido and Obara’s land.
Ife terracotta are very naturalistic and idealized in portraits of important individuals.
Ife art is without doubt connected with nobility, rituals and ceremonies. Some of the heads have been used as funeral effigies while other sculptures were used as tomb or temple furniture.
Radiocarbon tests indicate that the art of Ife flourished between the 12th and the early 15thcenturies. It appears at some point in time, the art of bronze casting was introduced probably for a select group, but only flourished for a while before it was discontinued. The bronze and terracotta era came to an end before the 16th century.
REGION: IFE, OSUN STATE.
KNEELING TERRACOTTA FIGURE WITH BROKEN RIGHT LEG.
REGION: NOK, KADUNA STATE.
MALE TERRACOTTA BUST HEAVILY BEADED WITH HAND PLACED BEHIND THE HEAD.
REGION: KADUNA STATE.
NOK TERRACOTTA ELEPHANT HEAD.
REGION: NOK. KADUNA STATE.
NOK TERRACOTTA ELEPHANT HEAD.
REGION: NOK. KADUNA STATE.
NOK TERRACOTTA HEAD WITH ELABORATE HAIRDO.
REGION: NOK, KADUNA STATE.
NOK TERRACOTTA MALE HEAD WITH CLEFT LIP. IT HAS PIERCED EYES AND NOSE.
REGION: NOK, KADUNA.
SKIN COVERED WOODEN MASQUERADE HEADDRESS WITH ELABORATE HAIRDO.
REGION: EKOI, CROSS RIVER STATE.
TERRACOTTA COILED SNAKE.
REGION: NOK, KADUNA STATE.
TERRACOTTA FRAGMENT OF A COILED SNAKE.
REGION: NOK, KADUNA STATE.
TERRACOTTA HAND HOLDING A HUMAN HEAD.
REGION: NOK, KADUNA STATE.
TERRACOTTA HEAD WITH ELABORATE HAIR DO AND BROKEN FACE.
REGION: JEMAA, KADUNA STATE.
THREE ENTANGLED SNAKE FIGURES WITH BROKEN PART.
REGION: NOK, KADUNA STATE.
TWO HEADS WITH GAZED MOUTH ON AN OVAL STAND.
REGION: IFE, OSUN STATE.
TWO HEADS WITH GAZED MOUTH ON AN OVAL STAND.
REGION: IFE, OSUN STATE.
The Mumuye are found in the Muri division of Adamawa State. They believe in the protective and guiding power of their ancestors who are represented in pole structures with abstract characteristics.
The sculptures were usually hidden in the house and offering were made to them on a regular basis. Their duties included to protect the household against enemies and diseases, also to punish offenders.
REGION: ADAMAWA.
The Nok culture is a population whose material remains are named after the Ham village of Nok in southern Kaduna State of Nigerian where their terracotta sculptures were first discovered by chance in 1944 by a tin miner at a farm in Jemaa some 140 kilometers south of Jos. These terracotta works of art are unlike anything that is known in sub-Saharan Africa, they were finely crafted depictions of people and animals. Nok provides the earliest evidence of naturalistic work in Africa.
Laboratory tests on the charcoal collected at Nok sites indicate that the culture flourished between 900 B. C. and A. D. 200 (i.e more than 2000 years ago).
Terracotta means baked clay; the “baking” is done after the modelling is over. The clay is fired to a very high temperature that it becomes very hard. The firing of clay sculptures to produce terracotta requires a certain amount of technological knowledge, which involves mastery of the properties of clay.
Not all Nok pieces can be put in one category. Almost all the heads whether that of the classical or a sub style complex, incorporate the common characteristic of the formation of the eyes (always triangular or semicircular with a hole for the pupil). The nostrils, mouth and ears in the bigger heads are pierced, possibly as a technical device for the escape of air when the objects were fired.
REGION: NOK, KADUNA STATE.
The Nok culture is a population whose material remains are named after the Ham village of Nok in southern Kaduna State of Nigerian where their terracotta sculptures were first discovered by chance in 1944 by a tin miner at a farm in Jemaa some 140 kilometers south of Jos. These terracotta works of art are unlike anything that is known in sub-Saharan Africa, they were finely crafted depictions of people and animals. Nok provides the earliest evidence of naturalistic work in Africa.
Laboratory tests on the charcoal collected at Nok sites indicate that the culture flourished between 900 B. C. and A. D. 200 (i.e more than 2000 years ago).
Terracotta means baked clay; the “baking” is done after the modelling is over. The clay is fired to a very high temperature that it becomes very hard. The firing of clay sculptures to produce terracotta requires a certain amount of technological knowledge, which involves mastery of the properties of clay.
Not all Nok pieces can be put in one category. Almost all the heads whether that of the classical or a sub style complex, incorporate the common characteristic of the formation of the eyes (always triangular or semicircular with a hole for the pupil). The nostrils, mouth and ears in the bigger heads are pierced, possibly as a technical device for the escape of air when the objects were fired.
REGION: NOK, KADUNA STATE.
The Nok culture is a population whose material remains are named after the Ham village of Nok in southern Kaduna State of Nigerian where their terracotta sculptures were first discovered by chance in 1944 by a tin miner at a farm in Jemaa some 140 kilometers south of Jos. These terracotta works of art are unlike anything that is known in sub-Saharan Africa, they were finely crafted depictions of people and animals. Nok provides the earliest evidence of naturalistic work in Africa.
Laboratory tests on the charcoal collected at Nok sites indicate that the culture flourished between 900 B. C. and A. D. 200 (i.e more than 2000 years ago).
Terracotta means baked clay; the “baking” is done after the modelling is over. The clay is fired to a very high temperature that it becomes very hard. The firing of clay sculptures to produce terracotta requires a certain amount of technological knowledge, which involves mastery of the properties of clay.
Not all Nok pieces can be put in one category. Almost all the heads whether that of the classical or a sub style complex, incorporate the common characteristic of the formation of the eyes (always triangular or semicircular with a hole for the pupil). The nostrils, mouth and ears in the bigger heads are pierced, possibly as a technical device for the escape of air when the objects were fired.
REGION: NOK, KADUNA STATE.
The Nok culture is a population whose material remains are named after the Ham village of Nok in southern Kaduna State of Nigerian where their terracotta sculptures were first discovered by chance in 1944 by a tin miner at a farm in Jemaa some 140 kilometers south of Jos. These terracotta works of art are unlike anything that is known in sub-Saharan Africa, they were finely crafted depictions of people and animals. Nok provides the earliest evidence of naturalistic work in Africa.
Laboratory tests on the charcoal collected at Nok sites indicate that the culture flourished between 900 B. C. and A. D. 200 (i.e more than 2000 years ago).
Terracotta means baked clay; the “baking” is done after the modelling is over. The clay is fired to a very high temperature that it becomes very hard. The firing of clay sculptures to produce terracotta requires a certain amount of technological knowledge, which involves mastery of the properties of clay.
Not all Nok pieces can be put in one category. Almost all the heads whether that of the classical or a sub style complex, incorporate the common characteristic of the formation of the eyes (always triangular or semicircular with a hole for the pupil). The nostrils, mouth and ears in the bigger heads are pierced, possibly as a technical device for the escape of air when the objects were fired.
REGION: NOK, KADUNA STATE.
The Nok culture is a population whose material remains are named after the Ham village of Nok in southern Kaduna State of Nigerian where their terracotta sculptures were first discovered by chance in 1944 by a tin miner at a farm in Jemaa some 140 kilometers south of Jos. These terracotta works of art are unlike anything that is known in sub-Saharan Africa, they were finely crafted depictions of people and animals. Nok provides the earliest evidence of naturalistic work in Africa.
Laboratory tests on the charcoal collected at Nok sites indicate that the culture flourished between 900 B. C. and A. D. 200 (i.e more than 2000 years ago).
Terracotta means baked clay; the “baking” is done after the modelling is over. The clay is fired to a very high temperature that it becomes very hard. The firing of clay sculptures to produce terracotta requires a certain amount of technological knowledge, which involves mastery of the properties of clay.
Not all Nok pieces can be put in one category. Almost all the heads whether that of the classical or a sub style complex, incorporate the common characteristic of the formation of the eyes (always triangular or semicircular with a hole for the pupil). The nostrils, mouth and ears in the bigger heads are pierced, possibly as a technical device for the escape of air when the objects were fired.
REGION: NOK, KADUNA STATE.
The Nok culture is a population whose material remains are named after the Ham village of Nok in southern Kaduna State of Nigerian where their terracotta sculptures were first discovered by chance in 1944 by a tin miner at a farm in Jemaa some 140 kilometers south of Jos. These terracotta works of art are unlike anything that is known in sub-Saharan Africa, they were finely crafted depictions of people and animals. Nok provides the earliest evidence of naturalistic work in Africa.
Laboratory tests on the charcoal collected at Nok sites indicate that the culture flourished between 900 B. C. and A. D. 200 (i.e more than 2000 years ago).
Terracotta means baked clay; the “baking” is done after the modelling is over. The clay is fired to a very high temperature that it becomes very hard. The firing of clay sculptures to produce terracotta requires a certain amount of technological knowledge, which involves mastery of the properties of clay.
Not all Nok pieces can be put in one category. Almost all the heads whether that of the classical or a sub style complex, incorporate the common characteristic of the formation of the eyes (always triangular or semicircular with a hole for the pupil). The nostrils, mouth and ears in the bigger heads are pierced, possibly as a technical device for the escape of air when the objects were fired.
REGION: NOK, KADUNA STATE.
The Nok culture is a population whose material remains are named after the Ham village of Nok in southern Kaduna State of Nigerian where their terracotta sculptures were first discovered by chance in 1944 by a tin miner at a farm in Jemaa some 140 kilometers south of Jos. These terracotta works of art are unlike anything that is known in sub-Saharan Africa, they were finely crafted depictions of people and animals. Nok provides the earliest evidence of naturalistic work in Africa.
Laboratory tests on the charcoal collected at Nok sites indicate that the culture flourished between 900 B. C. and A. D. 200 (i.e more than 2000 years ago).
Terracotta means baked clay; the “baking” is done after the modelling is over. The clay is fired to a very high temperature that it becomes very hard. The firing of clay sculptures to produce terracotta requires a certain amount of technological knowledge, which involves mastery of the properties of clay.
Not all Nok pieces can be put in one category. Almost all the heads whether that of the classical or a sub style complex, incorporate the common characteristic of the formation of the eyes (always triangular or semicircular with a hole for the pupil). The nostrils, mouth and ears in the bigger heads are pierced, possibly as a technical device for the escape of air when the objects were fired.
REGION: NOK, KADUNA STATE.
The Nok culture is a population whose material remains are named after the Ham village of Nok in southern Kaduna State of Nigerian where their terracotta sculptures were first discovered by chance in 1944 by a tin miner at a farm in Jemaa some 140 kilometers south of Jos. These terracotta works of art are unlike anything that is known in sub-Saharan Africa, they were finely crafted depictions of people and animals. Nok provides the earliest evidence of naturalistic work in Africa.
Laboratory tests on the charcoal collected at Nok sites indicate that the culture flourished between 900 B. C. and A. D. 200 (i.e more than 2000 years ago).
Terracotta means baked clay; the “baking” is done after the modelling is over. The clay is fired to a very high temperature that it becomes very hard. The firing of clay sculptures to produce terracotta requires a certain amount of technological knowledge, which involves mastery of the properties of clay.
Not all Nok pieces can be put in one category. Almost all the heads whether that of the classical or a sub style complex, incorporate the common characteristic of the formation of the eyes (always triangular or semicircular with a hole for the pupil). The nostrils, mouth and ears in the bigger heads are pierced, possibly as a technical device for the escape of air when the objects were fired.
REGION: NOK, KADUNA STATE.
The city of Owo is located half - way between Ife and Benin; and its culture shows influences from these cities.
As the classical period of the Ife terracotta and bronze came to an end, the art of Owo emerged. The 1971 discovery of some terracotta at Owo seem to suggest that Owo forms the bridge between the art of Ife and Benin. In Owo, both Ife and Benin styles have been found in one cultural context. Characteristics of Owo terracotta range from the Ife-like striated heads to the fragmented pottery with a face whose nostrils have snakes issuing from them, and to works wearing typical Benin ethnic marks. Other Benin influences can be seen in architecture, politics, religion, rituals; yet Owo managed to retain the tradition of making terracotta sculpture in the style of Ife whence they claim to have migrated. Radiocarbon tests indicate that the art flourished around 1435. The Benin Empire rose to prominence about 15th century but exercised sovereignty over some parts of eastern Yoruba land. It is possible that Owo, though a Yoruba town came under the influence of Benin, thus showing Benin art style super-imposed on it.
Ram images appear to be ancient and wide spread symbols of power and leadership in many cultures in Nigeria notably in Nok, among Yorubas of Ife, Owo and their neighbors, and the Benin people. It is usually placed on ancestral altars and shrines. Through the powerful visual and verbal elements of the Arts of Osanmasimi, communication with the ancestor is made possible on a firm and regular basis.
REGION: OWO, ONDO STATE.
The city of Owo is located half - way between Ife and Benin; and its culture shows influences from these cities.
As the classical period of the Ife terracotta and bronze came to an end, the art of Owo emerged. The 1971 discovery of some terracotta at Owo seem to suggest that Owo forms the bridge between the art of Ife and Benin. In Owo, both Ife and Benin styles have been found in one cultural context. Characteristics of Owo terracotta range from the Ife-like striated heads to the fragmented pottery with a face whose nostrils have snakes issuing from them, and to works wearing typical Benin ethnic marks. Other Benin influences can be seen in architecture, politics, religion, rituals; yet Owo managed to retain the tradition of making terracotta sculpture in the style of Ife whence they claim to have migrated. Radiocarbon tests indicate that the art flourished around 1435. The Benin Empire rose to prominence about 15th century but exercised sovereignty over some parts of eastern Yoruba land. It is possible that Owo, though a Yoruba town came under the influence of Benin, thus showing Benin art style super-imposed on it.
Ram images appear to be ancient and wide spread symbols of power and leadership in many cultures in Nigeria notably in Nok, among Yorubas of Ife, Owo and their neighbors, and the Benin people. It is usually placed on ancestral altars and shrines. Through the powerful visual and verbal elements of the Arts of Osanmasimi, communication with the ancestor is made possible on a firm and regular basis.
REGION: OWO, ONDO STATE.
The city of Owo is located half - way between Ife and Benin; and its culture shows influences from these cities.
As the classical period of the Ife terracotta and bronze came to an end, the art of Owo emerged. The 1971 discovery of some terracotta at Owo seem to suggest that Owo forms the bridge between the art of Ife and Benin. In Owo, both Ife and Benin styles have been found in one cultural context. Characteristics of Owo terracotta range from the Ife-like striated heads to the fragmented pottery with a face whose nostrils have snakes issuing from them, and to works wearing typical Benin ethnic marks. Other Benin influences can be seen in architecture, politics, religion, rituals; yet Owo managed to retain the tradition of making terracotta sculpture in the style of Ife whence they claim to have migrated. Radiocarbon tests indicate that the art flourished around 1435. The Benin Empire rose to prominence about 15th century but exercised sovereignty over some parts of eastern Yoruba land. It is possible that Owo, though a Yoruba town came under the influence of Benin, thus showing Benin art style super-imposed on it.
Ram images appear to be ancient and wide spread symbols of power and leadership in many cultures in Nigeria notably in Nok, among Yorubas of Ife, Owo and their neighbors, and the Benin people. It is usually placed on ancestral altars and shrines. Through the powerful visual and verbal elements of the Arts of Osanmasimi, communication with the ancestor is made possible on a firm and regular basis.
REGION: OWO, ONDO STATE.
The city of Owo is located half - way between Ife and Benin; and its culture shows influences from these cities.
As the classical period of the Ife terracotta and bronze came to an end, the art of Owo emerged. The 1971 discovery of some terracotta at Owo seem to suggest that Owo forms the bridge between the art of Ife and Benin. In Owo, both Ife and Benin styles have been found in one cultural context. Characteristics of Owo terracotta range from the Ife-like striated heads to the fragmented pottery with a face whose nostrils have snakes issuing from them, and to works wearing typical Benin ethnic marks. Other Benin influences can be seen in architecture, politics, religion, rituals; yet Owo managed to retain the tradition of making terracotta sculpture in the style of Ife whence they claim to have migrated. Radiocarbon tests indicate that the art flourished around 1435. The Benin Empire rose to prominence about 15th century but exercised sovereignty over some parts of eastern Yoruba land. It is possible that Owo, though a Yoruba town came under the influence of Benin, thus showing Benin art style super-imposed on it.
Ram images appear to be ancient and wide spread symbols of power and leadership in many cultures in Nigeria notably in Nok, among Yorubas of Ife, Owo and their neighbors, and the Benin people. It is usually placed on ancestral altars and shrines. Through the powerful visual and verbal elements of the Arts of Osanmasimi, communication with the ancestor is made possible on a firm and regular basis.
REGION: OWO, ONDO STATE.
The city of Owo is located half - way between Ife and Benin; and its culture shows influences from these cities.
As the classical period of the Ife terracotta and bronze came to an end, the art of Owo emerged. The 1971 discovery of some terracotta at Owo seem to suggest that Owo forms the bridge between the art of Ife and Benin. In Owo, both Ife and Benin styles have been found in one cultural context. Characteristics of Owo terracotta range from the Ife-like striated heads to the fragmented pottery with a face whose nostrils have snakes issuing from them, and to works wearing typical Benin ethnic marks. Other Benin influences can be seen in architecture, politics, religion, rituals; yet Owo managed to retain the tradition of making terracotta sculpture in the style of Ife whence they claim to have migrated. Radiocarbon tests indicate that the art flourished around 1435. The Benin Empire rose to prominence about 15th century but exercised sovereignty over some parts of eastern Yoruba land. It is possible that Owo, though a Yoruba town came under the influence of Benin, thus showing Benin art style super-imposed on it.
Ram images appear to be ancient and wide spread symbols of power and leadership in many cultures in Nigeria notably in Nok, among Yorubas of Ife, Owo and their neighbors, and the Benin people. It is usually placed on ancestral altars and shrines. Through the powerful visual and verbal elements of the Arts of Osanmasimi, communication with the ancestor is made possible on a firm and regular basis.
REGION: OWO, ONDO STATE.
The city of Owo is located half - way between Ife and Benin; and its culture shows influences from these cities.
As the classical period of the Ife terracotta and bronze came to an end, the art of Owo emerged. The 1971 discovery of some terracotta at Owo seem to suggest that Owo forms the bridge between the art of Ife and Benin. In Owo, both Ife and Benin styles have been found in one cultural context. Characteristics of Owo terracotta range from the Ife-like striated heads to the fragmented pottery with a face whose nostrils have snakes issuing from them, and to works wearing typical Benin ethnic marks. Other Benin influences can be seen in architecture, politics, religion, rituals; yet Owo managed to retain the tradition of making terracotta sculpture in the style of Ife whence they claim to have migrated. Radiocarbon tests indicate that the art flourished around 1435. The Benin Empire rose to prominence about 15th century but exercised sovereignty over some parts of eastern Yoruba land. It is possible that Owo, though a Yoruba town came under the influence of Benin, thus showing Benin art style super-imposed on it.
Ram images appear to be ancient and wide spread symbols of power and leadership in many cultures in Nigeria notably in Nok, among Yorubas of Ife, Owo and their neighbors, and the Benin people. It is usually placed on ancestral altars and shrines. Through the powerful visual and verbal elements of the Arts of Osanmasimi, communication with the ancestor is made possible on a firm and regular basis.
REGION: OWO, ONDO STATE.
A BELL WITH GEOMETRIC DESIGNS ON THE BODY, SURMOUNTED WITH AN ELEPHANT, PART OF THE BODY IS CHIPPED OFF.
REGION: BENIN, EDO STATE.
A BRONZE STANDING MALE FIGURE ON A SQUARE-BASE, WITH A CAP-LIKE ON THE HEAD. THE NECK IS BEADED WITH A STAFF ON THE HAND AND FABRIC AROUND THE WAIST.
The Tsoede bronzes which were the most monumental bronzes in African were discovered in Nupe villages along the River Niger. According to the myths of the Nupe people where the bronzes were found, the objects were transported up the River Niger by Tsoede the founder of the Nupe kingdom sometime in the 16th century. Tsoede was said to have been the son of the king of Idah, but was banished by his father’s kingdom and founded the Nupe kingdom; he left Idah in a bronze canoe with the bronzes. There was originally a group of nine of these sculptures but one has been stolen and taken out of the country.
The bronzes can be divided into four groups. The first group consists of three Gara figures which appear related to Benin. The second group consist only of the seated figure in Ife tradition; the third consists of two more recent figures. The fourth group is represented by two ostriches and an elephant.
REGION: TADA, KWARA, NIGERIA
A KNEELING MALE FIGURE WITH HIS RIGHT HAND ON THE CHEST AND THE LEFT ON THE THIGH. HIS GENITAL IS PRONOUNCED
Esie is a small Igbomina Yoruba town Southeast of Ilorin in Kwara state. . It was here in this small historic town that Leo Frobenius, the German ethnographer collected some stone figures in 1911. It was reported that Frobenius himself had not gotten to Esie, where in 1933, some 800 stone sculptures were piled up in a horse-shoe fashion encircled by sacred Pere gun trees (a specie of dracaena) at a spot overgrown with grass outside Esie town.
REGION: ESIE, KWARA STATE.
A BRONZE COILED SNAKE .
REGION: IGBO-UKWU, ANAMBRA STATE.
A BRONZE RECTANGULAR PLAQUE DEPICTING A CROCODILE.
REGION: BENIN, EDO STATE.
A HUMAN BUST WITH A CREST-LIKE HAIRDO. IT HAS TRIBAL MARKS ON BOTH SIDES OF THE FACE.
REGION: YORUBA.