Art of benin essay sample

O. J. Eboreime counter’s Spring’s argument, maintaining that Benin’s extraordinary art holds significance in its place of origin, reflecting “ the history of the Benin kingdom…court life…from…the middle 16th century to the” early “ 17th century” (Eboreime, 2000, in Reading 2. 7: ‘ Recontextualising the Horniman’s collection of Benin bronzes’, in Loftus and Wood, 2008, ‘ The Art of Benin…’, p. 85). Eboreime describes the plaque in Plate 3. 2. 28 (Unknown Artist, ‘ relief plaque showing Ezomo Agban, deputy commander in chief of the Benin Army…’, AA100 Illustration Book, Plates for Books 3 and 4, p. 59) based on his “ Edo background” and his knowledge of “ Edo historical and ritual discourse”, giving a detailed interpretation of the plaque’s symbolism in Benin culture at that time, comparing it to “ living traditions and rituals” seen at “ annual Igue festivals” (Eboreime, 2000, in Reading 2. 7: ‘ Recontextualising the Horniman’s collection of Benin bronzes’, in Loftus and Wood, 2008, ‘ The Art of Benin…’, p. 85).

These “ festivals” included celebratory “ songs”, rituals” and customs (Eboreime, 2000, in Loftus and Wood, 2008, p. 85), validated in Plate 3. 2. 28 (Unknown Artist, ‘ relief plaque showing Ezomo Agban…’, p. 59), where “ the deputy commander…Ezomo Agban” is in “ ceremonial war regalia” (Eboreime, 2000, in Loftus and Wood, 2008, p. 85), commemorating the conquest of his rivals. Eboreime portrays African culture with respect and dignity by highlighting the specific role of this plaque within Benin culture, giving authenticity to his interpretation by drawing on his own cultural heritage to validate his case. Eboreime places higher cultural value on Benin art, illustrating its place in centuries of tradition as the legacy of the Benin people. Controversy lies in the clash of ideas represented by Spring and Eboreime as they stand for a wider conflict in terms of the perceived superiority of each culture, depending on perspective. Therefore, the location and ownership of the Benin art is a complicated issue.

A high-ranking individual grasping a leopard in either hand is depicted to represent a person of strength. The elaborate belt also suggests an authoritative and decorated figure, while the rigid, ornate and detailed neck beading portrays wealth. This is indicative of attention to detail that can only be found in a complex, highly-skilled and practised people. The intricate detail of the headdress also shows expert craftsmanship, suggesting it to be a powerful image like that of “ a God or king” (Read and Dalton, 1898, in Loftus and Wood, 2008, p. 84). Therefore, it is still controversial to see the Benin Bronzes as just extraordinary pieces in western museums and could undervalue the importance they hold to their culture in place of origin.