Antique African Tribe LUBA/BENIN Tribal Figural Bronze Metal Axe Weapon NR yqz

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Antique African Tribe LUBA/BENIN Tribal Figural Bronze Metal Axe Weapon NR yqz:
$100.00

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See Other Listings Antique African Tribe LUBA/BENIN Tribal Figural Bronze Metal Axe Weapon NR

Gorgeous Design!

Recently a consignor of ours ended up at the beat all end all ethnographic sale, with amazing antique ethnographic artifacts from all over the world, from Pre-Columbian to African to Oceania/Papua New Guinea. Being as we are not experts and there is not provenance with these, we are describing them the best we can. If we get something wrong, let us know and when able pass your insights on. NOTE: Any that came from the collection marked Pre-Columbian or such we are putting down in the reproduction category first as we do not have the capabilities to carbon date anything. Please offer on these based on what you know and feel. These will all be going up over the next few weeks, so check back regularly if you love ethnographic items.You have to check this out! In this sale we have an antique African tribe Luba/Benin tribal figural bronze metal weapon, an axe. Again, we\'re not experts but based on the great detailed design we were able to closely match this to some pieces we

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found online by the Luba Tribe and Benin Tribe. The very base of this is a double sided mans head with a hat on. Going up the handle area is two lizards with a zig zag design in between them. The coolest part of this is up towards the ax, it has a saw tooth design coming up off of it, kind of like you would see on a sea monster. The actually ax piece has four swirled half circles at each corner on both sides. We told you this had a great design, not exactly something you\'d see every day! This whole piece measures approx. 15 5/8\" x 9 3/4\" x 1 1/2\" and doesn\'t appear to have any markings. There is some age appropriate wear throughout this piece. This is mostly just some oxidation as well as some light chips and scratches. If you like this piece keep an eye out because we\'ll have some more amazing African weapons going up around the same time. Be sure to check out all of our photos for further details. Happy offerding everyone, good luck!! Here is some information we found about the Luba Tribe and Benin Tribe online at zyama (One of our Favorites!!)The Luba number 1 million. The vast Luba territory, comprising the entire southEastern part of the DRC, as far as Tanganyika and Lake Mweru, is uniform as regards language and culture, but racially mixed. Although the history of the Luba people is one of violence and warfare, their artistic style is characterized by harmonious integration of organically related forms. The splendid artistic achievements of the Luba are due to a felicitous intermingling of different racial and cultural elements, and to the high standards prevailing at the court. Luba arts counts amongst the finest that Africa has to offer. Artists occupied a privileged place in the hierarchy. The Luba artist carried a ceremonial ax on his shoulder, an emblem of prestige and of dignity of his position. Some apprentices would be recruited from among the deformed, who could neither hunt nor be warriors and who were believed to have a close connection with magic.Among the characteristics of Luba sculpture are: intricate hair-dress, often in the form of a cross, or falling down like a cascade; a grooved diagonal band separating the hair-line from the forehead; eyes shaped like coffee-beans; small simplified ‘cat’s ears’; ornamental cicatrices in relief on the body; the surface elaborately worked and polished. The traditional carvings are for ancestor and spirit cults, for initiation, medical and divination purposes. The favorite theme in sculpture was woman since, according to the Luba myth, vilie was the first woman spirit, founder of the clan and guarantor of fertility and the lineage. Women were cult guardians, and the royal wives played an important role: sent as emissaries to the chiefs of neighboring ethnicities, they would contract profitable political alliances based on marriage. Some figures are freestanding, almost always in a frontal position, often with their hands on their breasts; others are kneeling, sitting, or standing figures whose upraised hands serve as supports for bowls, seats, and neck rests. The figures are often characterized by elaborate scarification patterns on the body. The diviner, painted white, used the mboko, a seated or crouched female figure holding a bowl robbed with kaolin. He would shake her and analyze the position of the different objects the bowl contained. In the healing ritual, the sorcerer would use the kabila, or daughter of the spirit, which consisted of a figure and receptacle, which were also placed at the entry to the house during the childbirth. The female figures are modeled in rounded forms and have what is called dodu; that is, a stylistic tendency toward plumpness. One well-known Luba sub-style has been called the \"long-face style\" of Buli. It contrasts strongly with the roundness of other Luba figures. The faces are elongated, with angular, elegant features. Many Luba statues also carry magic ingredients on the top of the head. Of the several mask types used by the Luba, one of the better known is kifwebe, a mask elaborated with whitened parallel grooves on a dark ground. The kifwebe masks, used by the secret society of the same name, originated in this territory. The Luba attribute its origins to three spirits, which emerged from a ditch near a lake. The female spirit was attracted by humans and went to live among them. The two male spirits stayed in the bush, but visited the village where they dazzled the inhabitants with their dancing to the point where the men begged to be initiated. These distinctive masks vary a great deal but in general are characterized by lineal patterns all over the face. They were worn with a raffia costume. Danced in male/female couples and representing spirits, kifwebe connect this world and the spirit world. They are used to mark important periods of social transition and transformation, appearing at the death of a chief or any other eminent person, or when a person assumes an important political title. Worn on the night of the new moon, they are also performed in honor of ancestors. They also are perceived as having healing abilities. Examples of large round kifwebe masks with broad noses, rectangular mouths, and flattened crests, entered European collections by the second half of the nineteenth century. During the first two decades of the twentieth century, the kifwebe masking tradition spread throughout the Luba and Songye regions of southwest DRC. Female masks are distinguished from male masks by geometric patterns that represent beauty, including dots, crosses, chevrons, and triangles. Entirely different are Luba masks with curved ram’s horns. Luba circular stools, carved from one tree trunk are of high artistic merit. They are usually supported by a caryatid figure of a kneeling or standing woman, the sit resting on her head and also supported by upraised arms. The headrests are also of great variety. The Luba produced ceremonial staffs and scepters of very great variety and beauty. Similar care is shown in adze and axe handles, with the blade inset like a tongue, arrow quivers, etc. In Luba sculpture, one also finds drums, pendants, shields, bellows, and pipes.The powerful ancient Benin kingdom was founded by the son of an Ife king in the early 14th century AD. It was situated in the forest area of southern Nigeria, 106 miles southeast of Ife. The art of bronze casting was introduced around the year 1280. The kingdom reached its maximum size and artistic splendor in the 15th and 16th century. For a long time the Benin bronze sculptures were the only historical evidence dating back several centuries into the West African past, and both the level of technical accomplishment attained in bronze casting, as well as the monumental vigor of the figures represented, were the object of great admiration. Benin bronzes are better known than the artworks from Ife or Owo due to their presence in Western museums since 1890s. In the thirteenth century, the city of Benin was an agglomeration of farms enclosed by walls and a ditch. Each clan was subject to the oba (king). The “Benin style” is a court art from the palace of the oba, and has nothing in common with tribal art. The Benin oba employed a guild of artisans who all lived in the same district of the city. Bronze figures ordered by the king were kept in the palace. The empire flourished until 1897, when the palace was sacked by the English in reprisal for an ambush that had cost the British vice-consul his life.The numerous commemorative brass heads, free-standing figures and groups, plaques in relief, bells and rattle-staffs, small expressive masks and plaquettes worn on the belt as emblem of offices; chests in the shape of palaces, animals, cult stands, jewelry, etc. cast by Benin metalworkers were created for the royal palace. The heads were placed on the altars of kings, of brass caster corporation chiefs and dignitaries. Occasionally, a brass head was surmounted by a carved eye-voh-rie tusk engraved with a procession of different obas. The altar functioned as a tribute to the deceased and a point of contact with his spirit. Using the bells and rattle stuffs to call the ancestor’s spirit, the oba offered sacrifices to him and to the earth on the altar. The majority of figures represented court officials, equestrian figures, queens, and roosters. Of objects in eye-voh-rie: most elaborately decorated human masks, animals, beakers, spoons, gongs, trumpets, arm ornaments, and large elephant tusks covered with bands in figured relief. The representations of these objects served above all to exalt the king, the queen mother, the princes and royal household, army commanders, shown with their arms and armor and their retainers (huntsmen, musicians), or alternatively depicted important events. When British forces entered Benin City in 1897 they were surprised to find large quantities of cast brass objects. The technological sophistication and overwhelming naturalism of these pieces contradicted many 19th-century Western assumptions about Africa in general and Benin – regarded as the home of ‘fetish’ and human sacrifice – in particular. Explanations were swiftly generated to cover the epistemological embarrassment. The objects must, it was supposed, have been made by the Portuguese, the Ancient Egyptians, even the lost tribe of Israel. Subsequent research has tended to stress the indigenous origins of West African metallurgy. Yet it was the naturalism that proved decisive. Their status was marked by the establishment of the term ‘Benin bronzes’, despite their being largely of brass.Following the bloody British punitive expedition to Nigeria, about three thousand brass, eye-voh-rie and wooden objects were consigned to the Western world. At that time, western scholars and artists were stunned by the quality and magnificence of these objects, more than 1,000 brass plaques were appropriated from the oba’s palace. Dating from the 16th and 17th centuries, these plaques were secreted in a storage room. It is thought that they were nailed to palace walls and pillars as a form of decoration or as references to protocol. They show the oba in full regalia along with his nobility, warriors and Portuguese traders. The most elaborate ones display a procession of up to nine people, while others depict only fish or birds.The majority of everyday Benin objects were made for and associated with court ceremonies. The figures of a leopard were the sole property of the oba – the leopard was the royal animal. Pectorals, hip and waist ornaments in the shape of human or animal heads were worn either by the oba or by major dignitaries. Brass staffs and clippers surmounted by birds appeared during commemorating ceremonies.Despite the disappearance of the Benin kingdom, the Yoruba people living on its territory continued to produce artwork inspired by the great royal art of Benin.

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Estimated shipping weight, (packaged) is 4 lbs 5 oz

in a 20 x 14 x 6 box

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is all we do for a living, husband and wife (Norb & Marie) working together, while we home school our kids on our farmette in Rural Delmarva. We have worked very hard to build our little business and it is very important to us. We try and do business the old fashioned way and have a rather simple outlook.

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