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The Benin bronze sculpture tradition is thought to have derived from or been influenced by that of the older nearby Kingdom of Ife in southwest Nigeria. [5] [6] [7] While the collection is known as the Benin Bronzes, [18] like most West African "bronzes" the pieces are mostly made of brass of variable composition.
The royal arts of the Benin Kingdom of southern region Nigeria affirm the centrality of the Oba, or divine king, portraying his divine nature. While recording the kingdom's significant historical events and the Oba's involvement with them, they also initiate the Oba's interactions with the supernatural and honor his deified ancestors, forging a continuity that is vital to the kingdom's well-being.
Okukor is the name given to a bronze statue of a cock from West Africa, held by Jesus College, Cambridge, from 1905 to 2021. One of the Benin bronzes, it was taken from the Kingdom of Benin during the Benin Expedition of 1897, a punitive expedition dispatched to punish the Oba of Benin after a Royal Niger Company delegation was ambushed and killed.
A Benin Bronze depicts a Portuguese soldier with manillas in the background. Some sources attribute their introduction to the ancient Phoenicians [7] who traded along the west coast of Africa or even early Carthaginian explorers and traders. [8] The Egyptians have also been suggested as they used penannular money. One suggestion is that ...
The Benin Bronzes are really brass, and the Romanesque Baptismal font at St Bartholomew's Church, Liège is described as both bronze and brass. In the Bronze Age, two forms of bronze were commonly used: "classic bronze", about 10% tin, was used in casting; and "mild bronze", about 6% tin, was hammered from ingots to make sheets.
Features of the Glendonwyn Collection include multiple Benin and Igbo-Ukwu bronze sculptures, The Benin Massacre bronze sculpture (a magnificent representation of the massacre of the Phillips expedition), Oba the Warrior (a representation of an Oba, which appears in the front page of the first book of the collection), multiple 6th century BC ...
Alongside other Benin Bronzes, they have been the subject of calls for their repatriation. A Queen Idia ivory mask held in the British Museum became the symbol of the Second World Black and African Festival of Art and Culture FESTAC held in Nigeria in 1977.
Benin plaque with warriors and attendants; 16th–17th century; brass; 47.6 cm (18 3 ⁄ 4 in.) height; Metropolitan Museum of Art. The Benin Bronzes led to a greater appreciation in Europe of African culture and art.