idno
Z 12112
Edo designations
English designations
Pot
Categories
Altar & Shrine Objects
Containers
Location
Downing St, Cambridge CB2 3DZ, United Kingdom
Loading...

Iconographies

2 annotations
Ikan Aro
Incised forehead markings

Ikan Aro are two linear markings in the centre of the forehead, located in between the eyes. These are usually inset with iron on depictions otherwise made of brass, bronze, ivory or wood.The use of iron was significant due the association of this metal with Ogun, who is god of iron and metal. These markings appear on both men and women, however are a common feature of representations of Iy'Oba Idia. Flora Kaplan (1993, 59) argued these are not tattoos, unlike the Ikharo. According to Nevadomsky (1986, 42), these incisions "signify determination, firmness, resolve, or even maturity". Kaplan (1993, 59) has also made a link between these markings and oral history told to her by Oba Erediauwa describing the events leading up to Idia (before she was Iy’Ọba) becoming the wife of Ọba Ozolua, whereby her parents tried to disfigure her to “repel” the Ọba. According to this history, the Ọba “sensing something was wrong”, called his doctors to intervene and treat her quickly, and as so she still became his wife.

1 annotation
Ikan Aro
tribal marks
Iwu
Facial and Body Markings

Iwu are facial and body markings (scarifications) that were historically worn by Edo men and women. However, since the 1960s, the practice has been nearly extinct (Aisien 2011). In the past, Iwu were used as a way of proving that one was an Edo citizen, and the ceremony of having Iwu completed was an important rite of passage for men and women. The Osiwu, who also practised circumcision and other surgical procedures, would carry out the procedure of adding Iwu. There are different types of Iwu: ‘blades’ worn on the torso (Iwu-eko), and those worn on the face, such as Ikharo (three or four markings above the eyebrows), Irho (two narrow ‘blades’ worn on each cheek), Ovbihue (nasal ‘blades’), Ovbi-agbanmwen (chin ‘blade’), and Igho-okpa/Ukpgho (three forehead ‘blades’) (Aisien 2011, p. 22).

The number of Iwu also varied depending on the identity of the person wearing them. For example, royal men would wear six ‘blades’ on their torso, whilst men who were not royal would wear seven ‘blades’. Meanwhile, the Ọba’s female children would wear fifteen ‘blades’, and all other women would wear sixteen (Aisien 2011).

1 annotation
Iwu

Provenance

3 events
Production
unknown to 1913
The object was produced by Unknown imakhe in Edo State.
Unknown
1909 to 1913
The object is known to have come into contact with Northcote Whitridge Thomas, in Edo State.
Purchase
1911 to 1914
The object was purchased by the Museum of Archaeology and Anthropology, University of Cambridge from Northcote Whitridge Thomas through Anthony Ashley Bevan with its destination in Cambridge.

Institution data

Museum of Archaeology and Anthropology, University of Cambridge
The data was transferred directly by the institution.
Last updated: 2022-07-18
Language: english
Institution fieldValue
idno
object id
Z 12112
local
edo designation
oluebo
Physical description/0
description
Pot (oluebo) used as olokum. [different hand] This is large and has 3 big and 2 little strap handles and the moulded figure of a seated woman forming a fourth large handle. [different hand in pencil] This was broken; not boxed; awaited repair.
Physical description/1
description
Large ceramic vessel, only partially fired, with rounded base, three vertical strap handles and two horizontal loop handles. There is a large seated, female figure at the front of the vessel with a platform under the splayed, amphibian-like feet. The head is disproportionately large for the body and shows scarification marks and an elaborate headdress. The entire vessel is decorated with incised lines, indented dots and modelled snakes on the vertical handles.
Physical description/2
description
Physical description/3
description
Physical description/4
description
d_Description Name
description
Large ceramic vessel, only partially fired, with rounded base, three vertical strap handles and two horizontal loop handles. There is a large seated, female figure at the front of the vessel with a platform under the splayed, amphibian-like feet. The head is disproportionately large for the body and shows scarification marks and an elaborate headdress. The entire vessel is decorated with incised lines, indented dots and modelled snakes on the vertical handles.
height
dimensions
405 mm
length
dimensions
320 mm
width
dimensions
345 mm
weight
weight
Inscription
inscriptions
Labels - Markings/0
inscriptions
Luggage tag bagged and tied on with string. Broken into several pieces, too deteriorated to read writing.
Labels - Markings/1
inscriptions
Labels - Markings/2
inscriptions
Labels - Markings/3
inscriptions
Labels - Markings/4
inscriptions
Labels - Markings/5
inscriptions
period
date made
maker
producer
d_Place
production place
Africa; West Africa; Nigeria; Edo State; Benin City [Bini]
Other owners
prior source
source
prior source
Thomas, Northcote Whitridge [field collector]; Bevan, Anthony Ashley (Prof.) [monetary donor]
Collection or Excavation Year
date collected
culture group
ethnic attribution
Edo
source date
accession date
Amendments - updates/0
notes
Pot has been broken into numerous pieces and repaired. [T.Cotterill]
Amendments - updates/1
notes
Record updated as part of the Museum Affordances project 2018-2020
Amendments - updates/2
notes
Amendments - updates/3
notes
Amendments - updates/4
notes
Exhibition/0
exhibition history
Brunei Gallery, SOAS, London, 14/10/2020 to 19/12/2020, [Re:]Entanglements
Exhibition/1
exhibition history
Reference Numbers
bibliography
Z 12112 Other: 105 [Thomas Collection number - 1st Catalogue]; 1177 [Label for Thomas field photograph]
References/0
bibliography
These objects are mentioned in the [Re:]Entanglements blog post, 'Meeting themselves again. An object-oriented perspective?' which can be found at: https://re-entanglements.net/object-oriented-perspective/?fbclid=IwAR2XfOVA_90O-PC4eo6fexBAjlC8RBcceI-8W-hdsOBtCxF4go9h4WnXk9Y
References/0 2
bibliography
References/1
bibliography
Related Documents/0
bibliography
See E 1910.118 and E 1913.3 records for further details about the Thomas Collection from Nigeria. [T.Cotterill]
Related Documents/1
bibliography
Numbered '105' in the Thomas Collection, 1st Catalogue.
Related Documents/2
bibliography
Sticky label originally on rear handle reads: 'DON'T HOLD BY THIS HANDLE'
Related Documents/3
bibliography
Related Documents/4
bibliography
Related Documents/5
bibliography
Related Documents/6
bibliography
Acquisition Details/0
Acquisition Details/1
Acquisition Details/2
Analysis/0
Department of Conservation, UCL Institute of Archaeology, 31-4 Gordon Square, London WC1H 0TY , 27/02/2020 to 30/06/2020, Museum Affordances Project
Analysis/1
Archaeology
Auction - Sale/0
Auction - Sale/1
CMS Context/0
CMS Description
Catalogue
Display/0
Display/1
Display/2
Display/3
Field_collection/0
The vessel Z 12112 was photographed by Thomas during fieldwork and is shown in P.29327.NWT, Image 336441.
Field_collection/1
Found_together - assemblage
Colour photograph found with object depicts it on a table in front of a window with numerous other African objects, at least some of which are in the UCMAA collection. [T.Cotterill]
Freezing
Online Only
Basu, Paul (2018) Meeting themselves again. An object-oriented perspective? . ; . https://re-entanglements.net/object-oriented-perspective/?fbclid=IwAR2XfOVA_90O-PC4eo6fexBAjlC8RBcceI-8W-hdsOBtCxF4go9h4WnXk9Y
Other/0
Other/1
Production - use
Anthropomorphic African pots usually have religious significance. [T.Cotterill]
Remedial/0
CON.2020.4357 | Remedial
Remedial/1
Surface Clean
unknown
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