Benin Bronzes

This essay deals with the nature of a cross cultural encounter between the Benin people and Portuguese traders in the 15th and 16th centuries, which resulted in the depiction of Portuguese figures in Benin brass plaques. It will propose that this contact between people with different cultures was on the basis of 'mutual regard' (Woods, K. 2008, p. 16), and although the Portuguese had qualms about idolatry in Benin it will show that assumptions by Europeans up to the 20th century of the primitive

In December 2002, the directors of 18 museums located throughout Europe and the United States issued the Declaration of the Importance and Value of Universal Museums. The declaration is an attempt, by the directors of major Western museums, to defend against demands for restitution of museum objects by defining themselves as “universal museums” which are of value to all of humanity. This document fails as a convincing defence against restitution claims for several reasons. First, it dismisses circumstances

During the colonial age the governmental policies and the spread of Islam along new forms of education often restructured the political system. Education had been the context for creating and using art in Africa. Art forms and cultural practices adapted to the new circumstances as the artists began to introduce and improved materials; like the way Malick Sidibe did with his photography by giving these images a completely different meaning. These innovations symbolize resilience of African art and

The display of Benin art in museum and galleries reflect the attitudes and perceptions of Europeans towards non-western artefacts, especially African. Thus as European attitudes change towards non-western art since the discovery of Benin art in 1897, Benin art has been revaluated and re-categorised. Initially there was a great deal of debate about Benin art and its display, as it did not equate with the perceptions then held about Africa. Until the British conquest of Benin in 1897, little was

In this assignment we look at how the Benin is able to concept the uncivilised nature of African societies. We will also look at the relationship between the Benin Bronzes, as African art, rather than modern art in the west. We know that the Benin bronzes are known to be of ‘aesthetic’, ‘spiritual’ and ‘sentimental’ value due to its symbolic appraisal of civilisation. They are also one of the most sophisticated pieces of art. When looking into the African heritage, we can note it has a vast impact

made in matching pairs and attached to the pillars in the palace of Oba in the city of Benin. KING’S PALACE DECORATIONS Europeans who visited Benin described both the size and scale. The structure was positioned near the courtyards with galleries and supporting pillar. As previously mentioned plaques were made in pairs/series and attached to pillars. These plaques illustrate carious aspects of the life in Benin during the 16th century. This is the period when Europe first encountered West Africa

clappers on which a carving of the Bird of Prophesy is usually attached, for example, can only be understood in its own historic context. The bird is said to prophesy the future and emit a distinctive cry foretelling good or bad fortune. Esige, a Benin king who ruled from 1504 to 1550, was once advised by the Bird of Prophesy not to engage in war against the Ibo people, who posed a great threat to the kingdom. The king decided to ignore the warning, ordered the bird to be killed and went on to defeat

Europe and kingdom of Benin was on fifteenth century. Carry with it a lot of changes. One of

chamber within the pyramid and below the level of the Great Plaza. Tikal was once a city with around 90,000 people. This civilization was created during the “Classical” period of the Mayan civilization. Photo 2: Waist pendant of a Queen Mother, from Benin, Nigeria The Queen mother was also known as Queen Idia. She was the mother of Esigie, who ruled from 1504 to 1550. Idia played an important role in the rise and reign of her son. Idia was a strong warrior. As the mother of the king she had no other

Perles, Mgbaji, jigida, Giri-Giri, Yomba, Jel-Jelli, Bin Bin, Ileke idi and Djalay are all different names for waist beads throughout western Africa. This custom of wearing waist beads in the African women culture is not in secrecy, but hidden were normally women would show their jewelry. Small beads in many colors on a small string layered as thin as two or three or as many as the hips can hold. Waist beads are can be made by women or men and sold in market areas for as little as five cents to fifteen