Crown jewels are the objects of metalwork and jewellery in the regalia of a current or former monarchy. They are often used for the coronation of a monarch and a few other ceremonial occasions. A monarch may often be shown wearing them in portraits, as they symbolize the power and continuity of the monarchy. Additions to them may be made, but, since medieval times, the existing items have been typically passed down unchanged, symbolizing the continuity of a monarchy.
The Oba of Benin is the traditional ruler and the custodian of the culture of the Edo people and all Edoid people. The then Kingdom of Benin has continued to be mostly populated by the Edo.
The Benin Bronzes are a group of several thousand metal plaques and sculptures that decorated the royal palace of the Kingdom of Benin, in what is now Edo State, Nigeria. The metal plaques were produced by the Guild of Benin Bronze Casters, now located in Igun Street, also known as Igun-Eronmwon Quarters. Collectively, the objects form the best examples of Benin art and were created from the fourteenth century by artists of the Edo people. The plaques, which in the Edo language are called Ama, depict scenes or represent themes in the history of the kingdom. Apart from the plaques, other sculptures in brass or bronze include portrait heads, jewellery, and smaller pieces.
Most African sculpture from regions south of the Sahara was historically made of wood and other organic materials that have not survived from earlier than a few centuries ago, while older pottery figures are found from a number of areas. Masks are important elements in the art of many peoples, along with human figures, often highly stylized. There is a vast variety of styles, often varying within the same context of origin depending on the use of the object, but wide regional trends are apparent; sculpture is most common among "groups of settled cultivators in the areas drained by the Niger and Congo rivers" in West Africa. Direct images of African deities are relatively infrequent, but masks in particular are or were often made for traditional African religious ceremonies; today many are made for tourists as "airport art". African masks were an influence on European Modernist art, which was inspired by their lack of concern for naturalistic depiction.
Oba is a pre-nominal honorific for kings in Yorubaland, a region which is in the modern republics of Benin, Nigeria and Togo. Examples of Yoruba bearers include Oba Ogunwusi of Ile-Ife, Oba Aladelusi of Akure, and Oba Akiolu of Lagos. An example of a Bini bearer is Oba Ewuare II of Benin.
Benin art is the art from the Kingdom of Benin or Edo Empire (1440–1897), a pre-colonial African state located in what is now known as the Southern region of Nigeria. Primarily made of cast bronze and carved ivory, Benin art was produced mainly for the court of the Oba of Benin – a divine ruler for whom the craftsmen produced a range of ceremonially significant objects. The full complexity of these works can be appreciated through the awareness and consideration of two complementary cultural perceptions of the art of Benin: the Western appreciation of them primarily as works of art, and their understanding in Benin as historical documents and as mnemonic devices to reconstruct history, or as ritual objects. This original significance is of great importance in Benin. In terms of specific imagery, leopards are identifying figures to represent the Oba of Benin as a competent and dominant force in their territory.
The Yoruba of West Africa are responsible for a distinct artistic tradition in Africa, a tradition that remains vital and influential today.
The Kingdom of Benin, also known as Great Benin or Benin Kingdom is a kingdom within what is now considered southern Nigeria. It has no historical relation to the modern republic of Benin, which was known as Dahomey from the 17th century until 1975. The Kingdom of Benin's capital was Edo, now known as Benin City in Edo State, Nigeria. The Benin Kingdom was one of the oldest and most developed states in the coastal hinterland of West Africa. It grew out of the previous Edo Kingdom of Igodomigodo around the 11th century AD; it was annexed by the British Empire in 1897.
Nigerian traditional rulers often derive their titles from the rulers of independent states or communities that existed before the formation of modern Nigeria. Although they do not have formal political power, in many cases they continue to command respect from their people and have considerable influence in their community.
Erediauwa was the 39th Oba of Benin, traditional ruler of the Edo people in Benin City, Edo State, Nigeria. Formerly known as Prince Solomon Akenzua, Oba Erediauwa's full title was His Royal Majesty Omo n'Oba n'Edo Uku Akpolokpolo Erediauwa I. He was succeeded by Ewuare II.
The Akure Kingdom is a traditional state with headquarters in Akure, Ondo State, Nigeria. It is the successor to an ancient Yoruba city state of the same name. The ruler bears the title "Deji of Akure".
Coronations in Africa are held, or have been held, in or amongst the following countries, regions and peoples:
An Oba's crown represents the highest level of authority vested in Yoruba rulers. Referred to as an Adé, the bead-embroidered crown is the foremost attribute of the ruler and the greatest mark of honour and sanction of divine authority together with the "Opa Ase" and the Odigba/Ejigba . An Oba's crown may also be referred to as an Adé ńlá, literally: Big Crown. Ade in Yorubaland are elaborate conical head gears that feature a heavily beaded veil and fringes that shields or obscure the face.
In Edo culture, the creation of Benin ancestral altars plays a vital role in honoring deceased relatives, preserving family legacies, and facilitating communication with the spirit world. This practice was and remains widespread throughout Edo society, with commoners, chiefs and the Oba of Benin, or divine king, all establishing some form of family shrine. The origins of ancestral altars in Edo culture are believed to trace back to the early era of Kingdom of Benin, though the exact timeline is unclear. Royal ancestral altars, in particular, held great significance, as they were deeply intertwined with the Oba's succession to the throne and the consolidation of his power. These altars were often decorated with sacred objects, such as altar tableaus, commemorative heads, carved tusks, and musical instruments, which not only enshrined the legacies of rulers but also facilitated communication between the world of the living and the spirit realm. The ceremonial objects placed on these altars are considered some of the finest examples of Benin art and are revered for their cultural and spiritual importance.
Court and ceremonial art makes up a vital corpus of Benin art. Private and public ceremonies mark many of the important moments in Benin’s yearly calendar. In the past, an elaborate series of rites were performed throughout the year to secure otherworldly support for the kingdom’s well-being and to celebrate decisive events in its history.
Chief Solomon Osagie Alonge (1911–1994) was a self-taught photographer and pioneer of Nigerian photography. He was the first official photographer for the royal court of Benin City, Nigeria, and a chief in the Iwebo palace society. Alonge's record of Nigerian royalty and social class is one of the most extensive and well-preserved collections from the period.
The Nigerian Chieftaincy is the chieftaincy system that is native to Nigeria. Consisting of everything from the country's monarchs to its titled family elders, the chieftaincy as a whole is one of the oldest continuously existing institutions in Nigeria and is legally recognized by its government.
Benin Altar Tusks are ivory artefacts from the Benin Kingdom in present-day Benin City, Edo State, Nigeria. These tusks date back to the 16th century and measure approximately 61 inches (1,500 mm) in height, 5.2 inches (130 mm) in width, 4.7 inches (120 mm) in depth, and weighing 25 kilograms (55 lb) according to a sample at the British Museum. The tusks feature carved royal figures in traditional regalia, depicting scenes of power, ritual, and at times, conflict.
The Igbesanmwan is a hereditary guild of ivory carvers in the Benin Kingdom, a pre-colonial African state located in present-day Edo State, Nigeria. Members of the Igbesanmwan guild hold the responsibility of crafting ivory items, including masks, tusks, staffs, leopards, and various other symbols denoting royal authority and eminence, for the Oba (king) and the royal court. In addition to their ivory craftsmanship, the Igbesanmwan possess proficiency in working with a range of other materials, such as wood, brass, and coral. This guild is recognised as one of the most ancient and esteemed in Benin, with their artistic work being widely appreciated for its aesthetic appeal and technical mastery.
Ewedo, originally known as Prince Efabo, was the fourth Oba of the Kingdom of Benin who reigned from c. 1255 AD – c. 1280 AD. He was the only son and successor of Ehenmihen. He is credited with moving the seat of his government from Usama to the present palace site, introducing various gods and laws, and changing the name of the country from Ile or Ile-Ibinu to Ubini (Benin). He also reformed the political and administrative system of the kingdom, established a palace bureaucracy, and expanded the territory and influence of Benin.
