irn
111567
Edo designations
English designations
Pendant Mask
Categories
Ceremonial Regalia
Location
Parkes Pl E, Parkes ACT 2600, Australia
Loading...

Iconographies

1 annotations
Ewi
Mudfish

Depictions of Ewi (mudfish) are among the most frequent motifs in the Emwin Arhe (royal treasures). Mudfish hold an important place in Edo belief, both as representations of the god Olokun and as symbols of royalty (Plankensteiner 2007, p. 410), as well as of “prosperity, peace, well-being and fertility” (Ben-Amos 1976, p. 245). Mudfish are also particularly common animals for sacrifice, and mudfish-shaped Orhiẹvbẹ (kola-nut boxes) were used to make offerings or store kola nuts.

Yet, the appearance of Ewi across the Emwin Arhe is not consistent, and it has been argued that different species of mudfish were depicted by Edo artists, each with different qualities and capabilities. For example, the electric shock of Malapterurus electricus resembles the fierceness of the Ọba, while the liminal qualities of the Synodontis clarias mudfish, which lives both on land and in water, similarly reflect the Ọba’s rule over land and sea (Gallagher 1983, p. 93). With these different qualities in mind, the mudfish is an important symbol of Benin kingship and royalty.

Sometimes the Ọba was depicted by artists with mudfish rather than legs (see Ọba with Mudfish Legs).

1 annotation
Ewi

Provenance

5 events
Production
unknown to February 22, 1897 (day approximate)
The object was produced by Unknown member(s) of the Igun-Ẹrọnmwọn guild in Benin City.
Looted
February 22, 1897 (day approximate) to June 1899 (year approximate)
The object was looted by Unknown member of the British colonial military campaign on Benin - February 1897 from Benin Kingdom.
Unknown
February 22, 1897 (day approximate) to 1981
The object is known to have come into contact with de la Burde Collection.
Unknown
1968 to February 1981
The object is known to have come into contact with Lance & Roberta Entwistle, later in Paris.
Purchase
February 1981
The object was purchased by the National Gallery of Australia from Entwistle Gallery and Lance & Roberta Entwistle from Paris to Canberra.

Institution data

National Gallery of Australia
The data was transferred directly by the institution.
Last updated: 2021-10-26
Language: english
Institution fieldValue
irn
object id
111567
Main Title
designation
object type
Hip mask
Materials and Technique
material
casting (lost wax method)
Dimensions
dimensions
29.2 x 33.2 x x cm
Date Created
date made
mid-17th century
Creators
producer
likely Oyo craftsman, working at the Court of Benin, Yoruba people
Place Of Creation
production place
Northern Niger Delta, Nigeria
Provenance
provenance
possibly de la Burde collection, according to Douglas Newton; to Entwistle Gallery, Paris; whence bought by the Australian National Gallery, Canberra, February 1981 The collecting history of this work of art is partial. The National Gallery of Australia welcomes further information regarding its history of ownership.
Credit Line
accession date
Purchased 1981
Exhibited
exhibition history
Literature
bibliography
Robert Bleakley, African masks, New York: St. Martin's Press 1978, cat.20, illus. col. [no p. no.] as ‘Owo craftsmen working in Benin’ and collection Lance Entwistle’
Accession Number
811087
Sensitive Content

Digital Benin collates digital material from institutions, and some of this material is inherently colonial and contains words, terms and phrases that are inaccurate, derogatory and harmful towards African and African diasporic communities. Catalogue transcriptions, book titles, exhibition titles and museum titles may contain harmful terms. We recognise the potential for the material to cause physical and mental distress as well as evoke strong emotions. Owing to the scale of the collection’s data, a process to implement sensitive-content warnings in the displayed data is still incomplete. The material within the catalogue does not represent Digital Benin’s views. Digital Benin maintains a strong anti-colonial, anti-racist position and affirms its support for centring the humanity of historically marginalised and disenfranchised communities. Read more about the background of this statement here