Object Assessment: M.0049 – Shrine of the Hand (“ikegobo” in Edo language)

This shrine was collected by Dr. R. E. Bradbury, the first social anthropologist to conduct extensive in-depth research in the Benin culture, probably in his last Benin tour in Nigeria in 1956-1961 (Gore, 2007, p.3; Bradbury, 1971, 1961). Carved by an Igbesanbhan, wood carvers who served the king of Benin, this shrine belonged to a wealthy, prestigious Bini warrior chief in Benin city. It is an endangered craft and a documentation of the local Cult of the Hand practices, in the times of dramatic social-political and change under British colonization (after 1897) and the independence of Nigeria in 1960.

A cylindrical, dark brown wooden sculpture with a dimension of 24 cm (H) x 22.2cm (D), it is carved from a block of heartwood of an unknown species of hardwood (might be kola nut tree or afzelia) (Ben-Amos, 1979, p.322, 1971, pp.79–80; Dark, 1973, pp.58–59). It is decorated with human figures and motifs on its top and vertical side with chisels, knives and a comb-like tool, mainly divided into 4 zones (Fig 1a-h): (i) a rectangular motif divided by a line in the middle (Fig. 1a), (ii) a main band of human figurines and motifs (Fig. 1c-h), (ii) a zigzag pattern of isosceles triangles with called ‘cloth of Ijebu’, (iii) a guilloche design of two wave-like ropes called ‘oba iri eva’, meaning guilloche with two ropes and continuous.

Fig. 1a Top of the shrine

Fig. 1b Bottom of the shrine

Fig. 1c Left side of shrine. An attendant consecutively supporting his master’s hand and holding a fan that symbolises accumulation of power and wealth.

Fig. 1d Front (centre) of the shrine. A chief is depicted in chains of crossed straps of coral beads and a wrapper, carrying a sword of authority in his right hand (The Museum of Primitive Art, 1974, p.10; Ezra, 1992, p.108). His hands are held by two attendants on each side. A bottle of palm wine, which a symbol of wealth, is carved next to him.

Fig. 1e Right side of shrine. An attendant is supporting his master’s hand while holding a shield with two spears in another hand.

Fig. 1f Right side of the shrine. A third attendant in the same outfit is carved. He has a sword in one hand and a spear impaling a human head on another hand.

Fig. 1g Back of the shrine. The upright, clenched right fist with an outward pointing thumb is the main motif of the cult of the hand symbolising ‘gathering up riches into one’s own hand’ (Ben-Amos, 1980, p.60).

Fig. 1h Back of the shrine. A feather of the vulturine fish eagle (igan-oghohon no-k’uhumw’ivie-), the feather worn by the chiefs on their beaded headbands, symbolizing high rank (Bradbury, 1961, p.136).

Unlike other type B ikegobo (Fig. 2a & 2b)(Bradbury, 1961), it does not come with a base or a peg on its top for supporting a tusk. It is generally stable with signs of previous pest infestations, multiple cracks, missing chips and other damages due to abrasion and usage (Fig. 3a-c). A dead larva or skin of an unknown pest is found in a large hole near the bottom (Fig. 4).

At the area of missing chip at the rim, a lighter reddish brown is revealed (Fig. 5). This darkening of colour on the surface of the wood might be due to prolonged exposure to UV, wood toning (e.g. wax or oil), or polishing with shoe polish (Unger et al., 2001, p.47; Florian et al., 1990, p.98).

No significant fluorescence, evidence of use of pyro technology (e.g. burn or charred marks), sign of separate material or previous repair (e.g. adhesive) is found under visual and UV examination (Fig. 6a-d). Tool marks remained on its uneven surface under raking light and no parallel or concentric grooves of sanding with sandpaper is found (Fig. 5)(Florian et al., 1990, pp.87–88).

Fig. 2a Original reference quoted by Bradbury’s type B ikegobo (Pitt-Rivers, 1900, Plate 43, ills. 333-5)

Fig. 2b  A type B shrine of the hand on a polished, whitened mud platform in the second public room of the house of a traditional chief. Photo by Joseph Nevadomsky.(Ezra, 1992, p.108, fig. 38)

Fig. 3a Back of the shrine. Orange boxes – Areas of missing chips Green boxes – Multiple cracks. Large cracks split through the motifs. Blue boxes - Pest damages of various sizes and shapes. Box A – An example of large hole made by previous pest infestation. Box B - A dead larva or skin of an unknown pest is found.

Fig. 3b Close-up of Box A in Fig. 3a. Damage made by unknown pest.

Fig. 3c Close-up of at the thumb of the hand motif in Fig. 3a. Small circular entrance and exit holes possibly made by woodboring beetles.

Fig. 4 Larva or skin of an unknown pest inside a hole at the guilloche motif. Close-up of Fig. 3a (25X)

Fig. 5 A lighter reddish brown is revealed at the area of missing chip at the rim. Tool marks remained on its uneven surface under raking light.

Fig. 6a & 6b (Above) White accretion at the bottom under UV light;  (Below) under visual examination

Fig. 6c & 6d (Above) Weak green fluorescence at the bottom under UV light ; (Below) under visual examination (close up of Fig. 1f)

Reference

Ben-Amos, P. (1979) ‘“A la Recherche du Temps Perdu”: On Being an Ebony-Carver in Benin’, in N H H Graburn (ed.) Ethnic and Tourist Arts: Cultural Expressions from the Fourth World. University of California Press. pp. 320–333.

Ben-Amos, P. D. (1971) Social change in the organization of wood carving in Benin City, Nigeria. Indiana University.

Bradbury, D. R. E. (1971) University of Birmingham Staff Papers: Papers of Robert Elwyn Bradbury.

Bradbury, R. E. (1961) Ezomo’s Ikegobo and the Benin Cult of the Hand. Man. [Online] 61129–138. [online]. Available from: http://www.jstor.org/stable/2796732.

Dark, P. J. C. (1973) An introduction to Benin art and technology. 1st edition. Oxford: Oxford University Press.

Ezra, K. (1992) Royal Art of Benin - The Perls Collection. New York: Metropolitan Museum of Art.

Florian, M.-L. E. et al. (1990) The conservation of artifacts made from plant materials. Dale Paul Kronkright & Ruth E Norton (eds.). Marian del Rey: Getty Conservation Institute.

Gore, C. (2007) ‘Introduction’, in Art , Performance and Ritual in Benin City. Edinburgh: Edinburgh University Press. pp. 1–8.

Pitt-Rivers, A. H. L.-F. (1900) Antique works of art from Benin collected by Lieutenant-General Pitt Rivers. London: Harrison & Sons.

The Museum of Primitive Art (1974) Gods of Fortune - The Cult of the Hand in Nigeria. New York: The Museum of Primitive Art.

Unger, A. et al. (2001) Conservation of wood artifacts : a handbook. Arno P Schniewind & Wibke Unger (eds.). Berlin: Springer.