Benin Art

Altar to the Hand (Ikegobo) of Ezomo Ehenua
18th–19th century
Nigeria; court of Benin
Brass

Here we have an interesting piece from modern day Nigeria. Press play for a formal description, the historical background, and an explanation of the meaning of various aspects of this object.
Formal Description: This sculpture is truly a remarkable work in many senses. As a whole, it is sculpted in the round. The figures on top of the piece are also sculpted in the round. The figures surrounding the circular base, however, are carved in high relief. Regardless, each part of the sculpture possesses meticulous detail. The work displays symmetry and balance, reflecting the emphasis that Benin artists placed on harmony and interdependence
It is an Ikegobo, or “altar to the hand.” These were created to celebrate the accomplishments of particularly celebrated individuals.2 Receiving an Ikegobo was one of the highest honors attainable in Benin society. Though they were usually celebrating an Oba, this particular work depicts the heroism of Ehenua, the military commander of Oba Akenzua I. It was given to Ehenua by Akenzua to recognize the commander’s success in defending the kingdom on Benin from opposing tribes. In the early eighteenth century, many rebellious chiefs challenged Oba Akenzua's control over Benin and threatened to usurp his leadership. Ehenua, Akenzua's ezomo, or military commander, played a central role in defeating these various tribes and in maintaining order in the kingdom.2 Behind Ehenua, among the smaller soldiers who circle the figure, stand Portuguese soldiers. Not only were the Portuguese trading materials with the Edo, they were also supplying them with weapons and even mercenaries to battle their enemies. After order was restored in Benein, Oba Akenzua was understandably grateful to his great commander. He then commissioned this Ikegobo to honor the deeds of his ezomo.
For one, it explains the hierarchical scale. As mentioned earlier, the giant warrior at the base of the sculpture is Ehenua. As this was a tribute to him, it is sensible that he is the center of the piece instead of the Oba. That being said, Akenzua does maintain his status by sitting over the commander. It is as if the Oba was reminding Ehenua that ultimately, he still held power over the commander. The poses of both major figures also fit their roles in society. Ehenua is depicted standing tall in a strong, aggressive pose holding his eben sword. This emphasizes his place as a fierce warrior. Oba Akenzua, on the other hand, is seated in a pose of leadership and royalty, giving a sense of quiet leadership, radiating confidence and poise. This reinforces his role and the political and spiritual leader of Benin. The Oba is depicted on his throne making offerings to the ancestors to ensure the success of his ezomo's campaign.2 With this in mind, the guards discussed earlier could be an embodiment of ancestors in animal form, rather than nature deities. The forms of the figures are not clear. The inclusion of Akenzua performing sacrifices shows Ehenua that it was not solely he who was responsible for the victory; Akenzua also played a part in defeating his enemies. The Portuguese soldiers standing around Ehenua also have meaning. Their presence portrays the extent to which the