ID
210642
English designations
Salt Cellar
Categories
Containers
Contextual Objects: Benin-Portuguese Ivories
Location
Schloßpl., 10178 Berlin, Germany
Loading...
Salt Cellar
Salt Cellar
Salt Cellar
Salt Cellar
Salt Cellar

Iconographies

3 annotations
Asoro
Spears

Asoro (spears) were used as weapons in battle and for hunting ( ; Ọbazee 2025, p. 37). According to , there were two types: long and short. Figures holding Asoro are often depicted on Ama-Ẹrọnmwọn (bronze relief plaques), sometimes in battle scenes and at ceremonies and festivals.

1 annotation
Asoro
Ọyanyan
Horse

Ọyanyan (horses), along with their riders, are significant motifs in the visual language of the Emwin Arhe (royal treasures), appearing across various media and periods. Although the Benin Kingdom lies in the tropical region of West Africa affected by the tsetse fly, according to oral tradition, a small, stocky breed of horses introduced via trade routes from Nupe and Hausa was known in the kingdom from the 13th century (Dolz in Plankensteiner 2007, cat. no. 215, p. 434).

In 1505, King Manuel of Portugal sent a horse, alongside other luxurious gifts such as satin and Indian silk, to one of the Ọbas, most likely Ẹsigie, as a gift (Ryder 1969, p. 41). An account believed to have been written by the Dutch traveller Dierick Ruiters in 1602 described how he travelled from the port of Ughoton to Benin City on horseback (Blackmun in Plankensteiner 2007, cat. no. 138, p. 367). In the same account, Ruiters also described how the Ọba and his courtiers rode on horseback as part of ceremonial processions (Blackmun in Plankensteiner 2007, cat. no. 221, p. 441). A scene of this kind is also featured in the view of the city of Benin in Olfert Dapper’s Description of Africa (1668).

Ọyanyan therefore embody themes relating to military power, foreign interaction, and royal authority (Nevadomsky 1986), as well as “dignity and achievement” (Curnow in Plankensteiner 2007, cat. no. 115, p. 351).

1 annotation
Ọyanyan
Ikpotoki
Portuguese Figure

Ikpotoki figures (Portuguese figures) are easily distinguished by their European-style clothing, including hats and helmets, as well as by their facial features, particularly their thin, straight noses and straight hair. The objects Ikpotoki figures are shown wearing or holding provide further indications of their relationship with the Benin Kingdom. When they hold or are positioned alongside Ugianran (manillas), for example, they indicate trade, commerce, and wealth, while weaponry such as firearms, swords, or spears indicates their role as mercenaries in the service of the Ọba. In 1515, Ọba Ẹsigie went to war against the Attah of Idah, the ruler of a neighbouring kingdom. Portuguese mercenaries and weapons assisted the Edo in winning the battle, enabling the further expansion of the Kingdom. Ẹsigie’s reign was particularly important for strengthening ties between the Benin Kingdom and the Portuguese Empire, and he is believed to have spoken fluent Portuguese. With Ẹsigie’s encouragement, Portuguese missionaries established churches in the Benin Kingdom ( ; ), while Portuguese trading factories were also established ( ). Ọba Ẹsigie allowed his son to be baptised and sent him to Portugal to be educated; following his return, he became Ọba Orhogbua ( ).

1 annotation
Ikpotoki

Provenance

3 events
Production
1500 (approximate) to 1550 (approximate)
The object was produced by Unknown member(s) of the Igbesamwan guild in Benin City.
Unknown
unknown to 1890
The object is known to have come into contact with Kunstkammer der Kurfürsten von Brandenburg, later in Berlin.
Transfer
1890 (approximate)
The object was transferred from Königliche Preußische Kunstkammer to the Ethnologisches Museum, Staatliche Museen zu Berlin in Berlin.

Related archival documents

1 documents
See all
Museum Catalogue
Staatsbibliothek zu Berlin
Die Altertümer von Benin
Date
January 1, 1919 at 12:00:00 AM

Institution data

Ethnologisches Museum, Staatliche Museen zu Berlin
The data was transferred directly by the institution.
Last updated: 2021-06-14
Language: german
Institution fieldValue
ID
object id
210642
Sachbegriff
designation
Sachbegriff: Deckel; Sachbegriff: Salzgefäß
Titel
designation
Objektref.
description
E 925/1891, Inhalt/Enthält: Dr. Felix von Luschan Notiz über neue Inventarisierung von Elfenbeinobjekten aus Westafrika von I. A. nach III C., 1891, Felix von Luschan (11.8.1854 - 7.2.1924); VIII A 10694, Positiv, SW, Teil eines Gewürzgefässes, Kurt Grunst (*04.04.1921); I A 88 f,g, Elfenbeingefäß, Königliche Preußische Kunstkammer, Ethnografische Abteilung (1801 - 1873)
Texte Online
description
Online Beschreibung, Elfenbein in unbearbeiteter Form, aber auch kunstvolle, aus Elfenbein geschnitzte Gegenstände wie Salzgefäße oder Löffel, waren begehrte Handelsprodukte für den europäischen Markt. Ihre Produktion durch westafrikanische Künstler begann unmittelbar nach dem Erscheinen der Portugiesen an der westafrikanischen Küste in der zweiten Hälfte des 15. Jahrhunderts. Der Deckel dieses Salzgefäßes hat die Form einer Halbkugel, auf der sich ein zweites kugelförmiges Gefäß befindet. Die Seiten werden von je einem portugiesischen Reiter gebildet. An der Rückseite steht ein Portugiese mit einer Manilla in der erhobenen Hand. [Benin_Königreich]
Material / Technik
material
Material: Elfenbein; Ausgabe: Elfenbein
Material / Technik // Alle
material
Elfenbein, Elfenbein
Maße
dimensions
13,00 x 8,50 x 8,50 cm (Teil a und b); < 2,00 kg
Objekttyp
object type
Allgemein
Sachbegr. Ausgabe
object type
Salzgefäß (saltcellar) mit Deckel
Anzahl Teile
object count
2
Datierung
date made
16. Jh.
Geogr. Bezüge
production place
Nigeria ( Land ); Benin ( Königreich )
Geogr. Bezüge // Alle
production place
Benin, Nigeria
Beteiligte
prior source
Kunstkammer der Kurfürsten von Brandenburg (16. Jh. - Ende 18 Jh.), Vorbesitzer; Königliche Preußische Kunstkammer, Ethnografische Abteilung (1801 - 1873), Vorbesitzer
Beteiligte // (Name, Sortierung=kleinste)
prior source
Kunstkammer der Kurfürsten von Brandenburg
Veräußerer
prior source
null
Erwerb. Notiz
provenance
Notiz: Rückführung Wiesbaden; Ausgabe: 16. Jh, im Auftrag gegeben worden, wahrscheinlich im Königreich Benin; vor 1890 in der Königlich-Preußischen Kunstkammer im Königlichen (jetzt Neuem Museum); ca. 1890 an das Königliche Museum für Völkerkunde übermittelt.
Verw. Institution
department and institution
Ethnologisches Museum, Staatliche Museen zu Berlin
Erwerb. Datum
accession date
Besitzart
accession method
Eigentum
Erwerbungsart
accession method
Digital Assets
images
Vorlage; Vorlage; Vorlage; Vorlage; Vorlage; Vorlage; Vorlage; Vorlage; Vorlage; Vorlage; Vorlage; Vorlage; Vorlage; Vorlage; Vorlage; Vorlage; Vervielfältigung; Vervielfältigung; Vervielfältigung; Vervielfältigung; Vervielfältigung; Vervielfältigung; Vervielfältigung; Vervielfältigung; III C 4890 a,b.doc, Office; III C 4890 a,b.jpg, Repro Digitalisat; Vorlage; III C 4890.jpg, Repro Digitalisat; III C 4890 a,b -A.jpg, Repro Digitalisat; III C 4890 a,b -B.jpg, Repro Digitalisat
Erwerb. Nr.
Ident. Nr.
III C 4890 a,b
Ident. Nr. // (Sortiernr.)
0003 C 04890 a,b
Obj. Status
vorhanden
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