74-581: The Dynasty of Igodo , also known as the Ogiso Dynasty , was the earliest known ruling dynasty of the Edo people founded by Igodo, the first Ogiso of Igodomigodo . The dynasty began around 900 AD and lasted until the early 12th century, when it was succeeded by the Oba Dynasty . The Ogiso Dynasty significantly influenced the early sociopolitical structure of the region by introducing centralised governance and laying
148-620: A cohesive entity. The settlement of Udo, located northwest of present-day Benin City, is believed to have been the initial capital of the Ogiso Dynasty. Some historical accounts suggest that the first Ogiso may have come from the Yoruba town of Ife, bringing the concept of monarchy and centralised governance. The transition from chiefdoms to a more organised kingdom under the Ogiso was a significant development in
222-468: A community known to the Binis as Uhe ( Ife ), where he adopted the name Oduduwa . Following Ogiso Owodo's death without an heir, the kingdom entered a period of interregnum. During this interregnum, Evian assumed the role of kingdom administrator. However, his successor, Ogiamien, sought to extend Evian's influence over Benin, leading to further instability. In an effort to restore the tradition of primogeniture,
296-748: A decline in patronage and diminished prestige. Colonial policies aimed at discouraging traditional art forms and promoting Western education and Christianity further weakened the Igbesanmwan guild. Nevertheless, the Igbesanmwan guild exhibited resilience, adapting to the changing times. Some Igbesanmwan carvers persevered in their craft, passing it on to their descendants. Others diversified into alternative forms of art or sought various occupations. A segment of Igbesanmwan carvers actively participated in nationalist movements advocating for Nigeria's independence from British colonial rule in 1960. Post-independence, certain Igbesanmwan carvers reestablished connections with
370-463: A distinct impact on the dynasty's history. Ogiso Ere, the son of Igodo, succeeded his father and worked to further consolidate the kingdom. Ere was noted for his administrative skills and efforts to maintain peace and unity among the Bini people. He introduced cultural and technological advancements, including the royal throne (ekete), rectangular stool (agba), and round leather fan (ezuzu). His reign also saw
444-543: A key role in developing and preserving the Benin Kingdom's artistic heritage and identity. Their ivory art is widely recognised for its quality, diversity, originality, and sophistication, making it a notable example of African art. This artistic tradition has also left its mark on and served as a source of inspiration for other artists and cultures, including the Yoruba, Portuguese, Dutch, British, and French. Additionally, scholars, collectors, museums, and tourists from around
518-405: A multicolored striped fabric. There are options with other patterns. The choice of headdress depends on the preferences of a man. Some men even prefer to wear black hats as part of their traditional attire. It is also popular to choose a carved walking stick that makes a groom look like a true gentleman. Wearing a wrapper around the waist is also a tradition for many men. The cultural attire
592-545: A prince from Ife to restore order, thus beginning the Oba Dynasty. The legacy of the Ogiso Dynasty remains in the cultural and historical consciousness of the Benin people, reflected in their traditions, folklore, and archaeological findings. The origins of the Ogiso Dynasty date back to around the 10th century AD. The dynasty is believed to have been founded by the first Ogiso, Igodo. According to oral tradition and historical records,
666-470: A profound setback when the British invaded and pillaged the Benin Kingdom, resulting in the destruction of numerous cultural and historical monuments. The British also confiscated a multitude of ivory objects from the royal palace, subsequently selling them to museums and collectors worldwide. Tragically, many Igbesanmwan carvers lost their lives or were exiled during the invasion, while survivors contended with
740-531: A range of purposes, including masks, tusks, staff, leopards, and other objects. Ivory masks created by the Igbesanmwan often depict the Oba or his ancestors, particularly his mother. These masks are utilised during ceremonies and rituals, including the Igue festival , which celebrates the Oba's divine kingship. They also serve as symbols of royal authority and protection, sometimes displayed in shrines or altars. Notably, one of
814-494: A range of symbols to convey their identity and values. These symbols are integrated into their ivory objects to communicate meanings or messages to viewers or users. They also utilise symbols on their bodies or clothing to indicate their status or affiliations. Some of the key symbols used by the Igbesanmwan are: The Igbesanmwan guild has made an impact on the history and culture of the Benin Kingdom and beyond. They have played
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#1732851633175888-434: A series of events that led to his downfall. Owodo struggled to address the kingdom's issues, leading to a loss of authority and control. Domestic problems, including the barrenness of his wives and the banishment of his only son, Ekaladerhan, further weakened his power. A plot believed to be divine will was devised to eliminate Ekaladerhan. However, the executioners, sensing deceit, spared his life. Ekaladerhan fled westward to
962-496: A significant role within the political and social structure of the Benin Kingdom. They were esteemed members of the Uzama (kingmakers) and occupied seats in the Ogiso (council of elders). The Igbesanmwan guild was further involved in trade and diplomacy, accompanying the Oba during his travels and presenting ivory gifts to foreign rulers and dignitaries. In 1897, the Igbesanmwan guild faced
1036-486: A spiral manner, with each section representing a different theme or story. Ivory staffs carved by the Igbesanmwan symbolise the Oba's power and prestige. These staffs are held by the Oba or his officials during processions or ceremonies, including coronations and funerals. They can also serve as tools or weapons during times of both war and peace. The staffs are adorned with various motifs and figures, including animals, plants, humans, or deities. Ivory leopards crafted by
1110-399: A strict code of conduct governing member behaviour and ethics. This includes showing respect to the Oba and elders, maintaining loyalty and discretion, avoiding plagiarism and rivalry, and paying homage to ancestors and deities. The Igbesanmwan guild specialises in ivory art that reflects various aspects of the history, culture, and religion of the Benin Kingdom. They craft ivory objects for
1184-450: A variety of spiritual forces that have an impact on their lives and craftsmanship. They offer reverence to the Olokun , the deity of the sea and the patron of ivory carvers. They also show devotion to other gods and goddesses, including Osanobua , the supreme creator; Ogun , the god of iron and war; Orunmila , the god of wisdom and divination; Oshun , the goddess of love and beauty; and Esu,
1258-464: A very rich and flamboyant traditional fashion style. This is usually prominent during ceremonies such as weddings, coronation and the liked. When it comes to cultural attire, the Edo people maintain a unique way of dressing. Coral bead accessories are a true passion for Edo women and men. Common includes coral beads , anklets , raffia work and so on. The men usually wear a white T-shirt or shirt and above it,
1332-399: Is a Portuguese corruption, ultimately from the word "Ubini", which came into use during the reign of Oba (ruler) Ewuare , c. 1440. "Ubini" is an Edo word meaning "livable", used by Pa Idu, the progenitor of the Edo people, to describe the area found as a livable locale during their sojourn from lower Egypt. Ubini was later corrupted to Benin by the mixed ethnicities living together at
1406-615: Is believed to be present everywhere and at all times. Traditional Edo art consists of widely identifiable sculptures, plaques and masks which reflect various spiritual and historical aspects of their cultural traditions. Some of the notable Edo art pieces include the mask of the Queen Mother Idia and a vast collection of historical Edo art pieces called the Benin Bronzes which can be found not only in Nigeria but further dispersed around
1480-421: Is evident in the cultural traditions and ceremonies observed by the Edo people today. The Ogiso Dynasty is known for its contributions to the arts and crafts, which were significant in the kingdom's cultural development. Skilled craftsmen and artisans emerged during this period, producing intricate works of art, including wood carvings and bronze sculptures. During Ogiso Ere's reign, groups of craftsmen, such as
1554-451: Is made out of coral beads as well the Ekpa-ivie. In the traditional religion of the Edo, there exists, besides the human world, an invisible world of supernatural beings acting as interceders for the human world. Offerings are made to them in their respective shrines. Osanobua is the creator and Supreme God. His son/daughter Olokun is ruler of all bodies of water and is responsible for
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#17328516331751628-528: Is usually accompanied by a cap or hat. The caps are often called headdress and are made either of a mesh of coral beads or of fabric. The women tie beautiful wrappers made from a variety of fabrics including Velvet , lace and george. They also wear the Ewu-ivie, a beaded cape or blouse. Women adorn their necks with coral beads known as Ivie-uru and wear the Ivie-obo on their hands and beaded earrings. Their handbag
1702-496: The Ogiso s were regarded as divine rulers, often referred to as "kings from the sky" or "kings of the sky." The establishment of the Ogiso Dynasty marked the beginning of a centralised political structure in the region now known as Benin. Igodo, the first Ogiso, played a significant role in laying the foundations for the kingdom's administrative and political systems. He governed various Bini chiefdoms and communities, integrating them into
1776-658: The Benin people , are an Edoid-speaking ethnic group . They are prominently native to seven southern local government areas of Edo State , Nigeria . They are speakers of the Edo language and are the descendants of the founders of the Benin Kingdom , Ogiso Igodo. They are closely related to other Edoid ethnic groups, such as the Esan , the Etsakọ , the Isoko and Urhobo as well as other southern ethnic groups The name "Benin" (and "Bini")
1850-545: The Mid-Western Region, Nigeria . This region's influence and culture reflects that of the Edo, Urhobo, Esan and other Edo related peoples. There are also 18 local government areas in Edo. These are: Akoko Edo, Egor , Esan central , Esan west , Esan south-east , Esan north-east , Igueben, Ikpoba oka , Estako east, Estako west , Estako central , Oredo , Owan East , Owan west , Ovia north-east , Ovia south-west , uhunmwode , Orhionmwon The Edo people have
1924-543: 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. The exact origins of the Igbesanmwan guild remain somewhat unclear, but historical accounts suggest its establishment dates back to
1998-475: The 13th century, concurrent with the founding of the Benin Kingdom by Eweka I . In accordance with oral tradition, Eweka I, the son of Oranmiyan , a Yoruba prince from Ile-Ife, and Erimwinde, a princess from the Edo kingdom of Igodomigodo , inherited the ivory carving skills from his father. Eweka I subsequently imparted these skills to his son, Ewedo , who ascended as the second Oba of Benin . Under Ewedo's rule, select relatives and loyalists were appointed as
2072-557: The Benin Kingdom's political and social structure and institutions, such as the Oba , the Uzama , and the Ogiso . The Igbesanmwan guild has encountered and surmounted various challenges and changes in their environment and circumstances. They have withstood colonialism, imperialism, slavery, war, looting, exploitation, and discrimination. To adapt to evolving materials, markets, audiences, and tastes, they have innovated their ivory art. They have also diversified their artistic output and explored other forms of art and occupations. Today,
2146-487: The Benin Kingdom. The concept of divine kingship, where the ruler was seen as a mediator between the people and the spiritual world, became a central aspect of Ogiso governance. The Ogiso Dynasty experienced the reign of many influential kings and queens who contributed to the early development of the Benin Kingdom. These rulers included Ogiso Igodo, Ere, Orire, Akhuankhuan, Ekpigho, Oria, Emose, Orhorho, Oriagba, Odoligie, Uwa, Henenden, Obioye, Arigho, and Owodo. Each ruler had
2220-726: The Benin Kingdom. These include horns, bells, combs, bracelets, pendants, spoons, boxes, chess pieces, musical instruments, and more. The Igbesanmwan employ a variety of techniques and styles to craft their ivory objects. They utilise tools such as knives, chisels, files, drills, saws, and more to cut, shape, smooth, polish, and engrave their ivory pieces. Additionally, they use pigments, dyes, metals, beads, shells, feathers, and various materials for colouring, embellishing, or adorning their ivory works. Their styles encompass realism, abstraction, symbolism, and geometric patterns, allowing them to express their artistic vision and cultural identity. They also draw inspiration from other cultures, including
2294-494: The Igbesanmwan guild is open to individuals belonging to the Edo ethnic group , tracing their lineage back to the original Igbesanmwan carvers initially appointed by Oba Ewedo . Membership is hereditary and patrilineal, with the passage from father to son. While women are not eligible for formal membership, they can partake in specific aspects of the carving process, such as polishing, painting, or decorating, often assisting their husbands or fathers. The Igbesanmwan guild adheres to
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2368-460: The Igbesanmwan represent the Oba's strength and courage. These leopards are often placed on pedestals or platforms in front of the Oba's throne or in his palace. They can also be used as offerings or sacrifices to the gods or ancestors. The leopards are carved with meticulous attention to detail, featuring spots, whiskers, claws, and teeth. The Igbesanmwan guild also creates various other ivory objects that hold diverse functions and meanings within
2442-480: The Oba Dynasty. These rulers significantly influenced the early history of the Benin Kingdom through their contributions and challenges. Their reigns saw important cultural, social, and political developments that laid the foundation for the region's future prosperity. The Ogiso Dynasty was characterised by centralised governance, bringing various Bini chiefdoms and communities under a single political structure. The kings, known as Ogiso, were key figures in administering
2516-420: The Ogiso Dynasty to the Oba Dynasty was a significant turning point in the history of the Benin Kingdom. Following the period of instability and the rejection of Evian's attempt to establish his own dynasty, the people of Benin sent emissaries to Ife to request a prince who could restore order and legitimacy to their throne. Oranmiyan, a prince from Ife, was invited to become the ruler of Benin. His arrival marked
2590-470: The Ogiso period. The lost-wax casting technique created detailed bronze sculptures and plaques depicting various aspects of the kingdom's life, including portraits of rulers, deities, and important events. The artistic heritage of the Ogiso Dynasty is evident in the architectural achievements of the period. The construction of town walls, particularly those of Udo, showcases the kingdom's architectural skill. These walls were functional for defence and reflected
2664-511: The Onwina (carpenters) and Igbesanmwan (carvers), and were respected for their expertise and craftsmanship. Their work was integral to the kingdom's religious and cultural practices, producing items used in rituals and daily life. The common people formed the majority of the population, engaging in occupations such as farming, fishing, and trade, contributing to the kingdom's economy. The social structure emphasised cooperation and interdependence among
2738-446: The Onwina (carpenters) and Igbesanmwan (carvers), were established. These groups produced items used in royal ceremonies and daily life, such as wooden plates, bowls, mortars, pestles, and wooden heads placed on ancestral shrines. Ere also introduced the royal throne (ekete), rectangular stool (agba), and round leather fan (ezuzu), symbols of authority and governance. Bronze casting was another significant art form that flourished during
2812-421: The Yoruba town of Ife , introducing the concept of monarchy. Throughout its existence, the Ogiso Dynasty had thirty-one rulers, each contributing to the development and consolidation of the kingdom. Notable among them were Ogiso Igodo, the first ruler, and Ogiso Ere, who implemented several administrative and cultural reforms. This era saw the establishment of settlements, the integration of various chiefdoms, and
2886-433: The Yoruba, Portuguese, Dutch, British, and French, influencing their ivory art. The Igbesanmwan guild encompasses not only an artistic group but also a cultural and religious community with its own traditions, values, beliefs, and practices that influence their way of life and perspective. Some of these aspects include: The Igbesanmwan deeply respect their ancestors, attributing the origins of their ivory carving skills and
2960-458: The beginning of the new dynasty and the establishment of the title "Oba" for the rulers of Benin. Oranmiyan's acceptance of the throne was seen as a continuation of the divine and legitimate lineage that the people of Benin desired. His rule brought a renewed sense of stability and order to the kingdom, ending the period of turmoil that had characterised the final years of the Ogiso Dynasty. Edo people The Edo people , also referred to as
3034-600: The centre; and further corrupted to Benin around 1485, when the Portuguese began trade relations with Oba Ewuare giving them coral beads. in Nigeria (green) Edo people can be found in Nigeria's Edo State , which got its name from the primary inhabitants of the region's most notable historical conglomeration , Benin City , which is also the central capital homeland of the Edo people. Edo people also have many related groups in their immediate surroundings also encompassed by
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3108-465: The classes, ensuring the kingdom's smooth functioning. Slavery was also part of the social structure, with slaves performing labour-intensive tasks. Slaves were often captured during wars and raids or acquired through trade. They were considered the property of their owners and had limited rights and freedoms. However, slaves could sometimes earn their freedom through exceptional service or by being granted manumission. The Ogiso Dynasty's social structure
3182-478: The current Benin Dynasty. The decline of the Ogiso Dynasty resulted in a power vacuum and chaos within the kingdom. The lack of central authority and continued conflicts among the nobility exacerbated the situation, testing the kingdom's unity and stability. Despite Evian's efforts to maintain order, the need for a lasting solution to the leadership crisis led to the invitation of Oranmiyan from Ife. The transition from
3256-450: The deities and seek their blessings. The ancestor cult was significant, with rituals honouring deceased ancestors and seeking their guidance. Mythology and oral traditions shaped the people's belief systems. The Bini people viewed the Ogiso era as a period of social creation, comparable to the creation of the land itself. Legends and myths about the origins of the Ogiso and their divine lineage were passed down through generations, reinforcing
3330-462: The early Benin Kingdom. His reign marked the beginning of centralised governance, uniting various chiefdoms and communities under a single political entity. Igodo's leadership is often associated with semi-mythical qualities, emphasising his perceived divine origin as a "king from the sky." Igodo established the initial capital of the Ogiso Dynasty at Udo, northwest of present-day Benin City. Udo served as
3404-583: The elders embarked on a mission to locate Ekaladerhan, the legitimate heir of Ogiso Owodo. The elders, led by Oliha, aimed to bring Ekaladerhan back to assume his rightful position. Upon finding him in Ife, Ekaladerhan expressed reluctance to return but entrusted his son Oranmiyan to the care of Oliha, who assured his protection. Oranmiyan's reign in Benin was brief due to resistance from Ogiamien and cultural clashes. On his journey back to Ife, Oranmiyan stayed at Ego , where he fathered Eweka I , who would later establish
3478-411: The emergence of proto-urban centers and the integration of various cultural and social practices that would later influence the development of the Benin Kingdom. The reign of the Ogiso is characterised by the establishment of important cultural and religious practices, some of which continue to be observed in modern Benin. Ogiso Igodo, the first king of the Ogiso Dynasty, played a key role in establishing
3552-462: The establishment of Onwina and Igbesanmwan , traditional groups of carpenters and carvers. Queens such as Emose and Orhorho were also significant figures. Emose was involved in governance, while Orhorho's rule was marked by conflict. Orhorho's oppressive reign ultimately led to her demise. Ogiso Odoligie and Ogiso Uwa expanded the kingdom's influence and integrated various chiefdoms into a centralised administration. Their reigns focused on strengthening
3626-486: The foundations for the Benin Empire . The Ogiso rulers were believed to have descended from the heavens, indicating the semi-mythical status they held among their subjects. The term " Ogiso " translates to "king of the sky" or "king from the sky," highlighting the divine status attributed to these monarchs. The origins of the dynasty are somewhat mysterious, with some accounts suggesting the first Ogiso may have come from
3700-435: The growth of proto-urban centers, with Udo and Benin City being prominent examples. The decline of the Ogiso Dynasty began with the rule of the last Ogiso, Owodo, whose reign was marked by internal conflict and public dissatisfaction. This led to his banishment and a period of interregnum, during which the nobleman Evian attempted to establish his own line of succession. However, the people eventually rejected this, inviting
3774-422: The guardianship of their guild to them. They pay homage to their ancestors through rituals, sacrifices, and the preservation of genealogical records. In addition, they create ivory objects that portray or commemorate their ancestors, such as masks or staffs. The Igbesanmwan believe that their ancestors have the power to bestow blessings or curses based on their actions and attitudes. The Igbesanmwan hold beliefs in
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#17328516331753848-631: The guild's administration is the Iyase n'Igbesanmwan, overseeing matters such as rule-setting, dispute resolution, resource allocation, and external representation. The present Ineh n'Igbesanmwan is Chief David Omoregie. The hierarchy extends below the Ineh n'Igbesanmwan with various ranks of carvers, including the Ogie n'Igbesanmwan (king of ivory carvers), Enogie n'Igbesanmwan (duke of ivory carvers), Edion n'Igbesanmwan (elder of ivory carvers), Omo n'Ogie n'Igbesanmwan (son of
3922-452: The inaugural Igbesanmwan carvers, endowing them with exclusive rights to craft ivory pieces designated for the royal court. Throughout the rule of subsequent Obas of Benin, the Igbesanmwan guild enjoyed a period of prosperity. They were actively patronised by the Obas and tasked with producing a diverse array of ivory artifacts for ceremonial and ritual purposes. Notably, the Igbesanmwan guild held
3996-465: The introduction of practices that would later be integral to the Benin Kingdom. Historical records and oral traditions provide insights into Igodo's contributions, despite the mythical elements of his rule. His leadership emphasised diplomacy and the incorporation of diverse cultural elements into the kingdom's administration. Igodo's reign also saw the beginnings of important cultural practices and religious observances that continued to be significant in
4070-446: The king of ivory carvers), and Omo n'Edion n'Igbesanmwan (son of the elder of ivory carvers). These rankings depend on the quality and quantity of a carver's work, in addition to the number and status of apprentices under their tutelage. Higher-ranked carvers assume more privileges and responsibilities, including receiving substantial commissions, supervising lower-ranked carvers, and instructing newcomers in new techniques. Membership in
4144-467: The kingdom's cultural and artistic achievements. The social structure of the Ogiso Dynasty was hierarchical, with clear roles and responsibilities among the classes. At the top was the Ogiso, holding supreme authority as both a political and religious leader. The Ogiso was supported by a council of chiefs and nobles who assisted in administration and governance. The council of chiefs included influential leaders from different regions and communities within
4218-457: The kingdom's political and cultural institutions. Ogiso Henenden's rule brought stability and growth to the region, resulting in a significant population increase in Benin City. The last Ogiso, Owodo, faced internal strife and public dissatisfaction, which led to his banishment. His reign marked the end of the Ogiso Dynasty and the beginning of a transitional period that led to the establishment of
4292-474: The kingdom, overseeing both political and religious affairs. The capital, initially located at Udo , was later moved to Benin City , which became the political and cultural center. The administrative framework established by the Ogiso included a hierarchy of officials and nobles who assisted in governance. These officials were responsible for justice, taxation, and military matters. Chiefs were appointed to oversee different regions, ensuring effective control over
4366-425: The kingdom. The judicial system was based on customary laws and practices, upheld by the Ogiso and appointed officials. This system was essential in maintaining social harmony and order. Religious practices were integral to the kingdom's administration, with the Ogiso viewed as divine rulers mediating between the spiritual and physical worlds. This divine status was reinforced through rituals and ceremonies emphasising
4440-456: The kingdom. These chiefs oversaw local governance, ensuring the implementation of the Ogiso's directives and maintaining law and order. The council advised the Ogiso on important state matters and served as a link between the central authority and local communities. The social structure also included skilled artisans and craftsmen who contributed to the kingdom's economy and cultural development. These individuals were organised into guilds, such as
4514-497: The political and administrative borders of Edo state. Most of these groups have traced their history back to the historical city center off the Benin people, Benin City . Examples of such adjacent groups include various Afemai sub-groups, the Esan people of Edo state and the Akoko Edo people situated on the state's northern borders. Edo state was formerly part of the old Bendel state of early post-colonial Nigeria, also known as
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#17328516331754588-434: The political and cultural hub during the early years of his reign. His efforts to integrate various Bini chiefdoms and promote unity among the people were crucial in consolidating the kingdom. Under Igodo's rule, the kingdom experienced growth and development. He implemented administrative and social reforms that facilitated governance of the unified territory. These reforms included the establishment of proto-urban centers and
4662-512: The prosperity and fertility of his/her human followers. Another son Ogun , is the patron god of metalworkers . The epithet Osanobua Noghodua mean God Almighty . The word Osanobua encompasses a large number of divine principles - including the divine state of being merciful, timeless, goodness, justice, sublimity, and supreme. In the Edo belief system, Osanobua has the divine attributes of omnipresence ( orhiole ), omniscience ( ajoana ), and omnipotence ( udazi ). The Supreme Deity
4736-420: The region's history, leading to the growth and expansion of settlements such as Udo and Benin City . The period of the Ogiso Dynasty is seen as a time of social creation and development, comparable to the creation of the land itself in the perception of the Bini people. Despite the semi-mythical nature of the Ogiso period, archaeological evidence and oral traditions provide insights into this era. The dynasty saw
4810-454: The restored Oba of Benin and received support from the Nigerian government and cultural institutions. The Igbesanmwan guild maintains a hierarchical structure primarily based on seniority, skill, and lineage. Leading the guild is the Ineh n'Igbesanmwan (leader of ivory carvers), who is appointed by the Oba of Benin from the ranks of the most experienced and senior carvers. Responsible for
4884-435: The sacred nature of kingship. Belief in the Ogiso's supernatural powers and their connection to the gods strengthened their authority as rulers. The religious and mythological practices during the Ogiso period laid the foundation for the Benin Kingdom's spiritual and cultural identity. Many of these practices evolved and were integrated into the subsequent Oba Dynasty's religious framework. These practices' enduring significance
4958-421: The sacred nature of kingship. Temples and shrines dedicated to various deities played central roles in religious life, with the Ogiso performing rituals to ensure prosperity and well-being. Religion and mythology were central to the Ogiso Dynasty, shaping the cultural and societal framework of the kingdom. The Ogiso were considered divine rulers, intermediaries between the spiritual and physical realms. This status
5032-567: The territory. This centralisation of power was crucial in maintaining order and fostering the kingdom's growth and development. During Ogiso Ere's reign, traditional groups of craftsmen, such as Onwina (carpenters) and Igbesanmwan (carvers), were established. These groups played significant roles in the economy and cultural development. Ere also introduced symbols of authority, including the royal throne (ekete), rectangular stool (agba), and round leather fan (ezuzu). The Ogiso exercised judicial authority, resolving disputes and ensuring justice within
5106-669: The trickster and messenger. Furthermore, they acknowledge the influence of nature spirits, which encompass trees, rivers, mountains, and animals. The Igbesanmwan engage in various rituals to establish a connection with the spiritual realm and seek its favour. These rituals encompass activities like prayer, fasting, purification, offering, chanting, dancing, and singing. The Igbesanmwan perform these rituals before, during, and after carving ivory objects. Additionally, rituals are conducted during significant life events or guild-related occasions, including births, deaths, initiations, promotions, festivals, or periods of conflict. The Igbesanmwan employ
5180-498: The well-known ivory masks is that of Queen Idia, the mother of Oba Esigie , who played a crucial role in his victory over his brother in a 16th-century civil war. The Igbesanmwan craft ivory tusks that feature scenes from the history, mythology, and cosmology of the Benin Kingdom. These tusks are typically mounted on wooden or brass stands and placed on either side of the Oba's throne or in his palace. They also serve as gifts or tribute to other rulers or allies. The tusks are carved in
5254-531: The world have taken an interest in and admired their ivory art. The Igbesanmwan guild has also been instrumental in promoting and preserving the cultural and historical heritage of the Benin Kingdom. Through their ivory art, they have documented and conveyed the history, mythology, cosmology, and values of the Benin Kingdom. They have upheld these traditions, rituals, beliefs, and practices through their guild organisation and code of conduct. Furthermore, they have supported efforts to restore and revive key elements of
5328-454: The world, including in museums such as New York's Metropolitan Museum of Art . Igbesanmwan 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
5402-424: Was characterised by hierarchy and order, with each class playing a specific role in the kingdom's functioning. The integration of political, religious, and cultural elements within the social structure contributed to the stability and continuity of the Ogiso Dynasty. The decline of the Ogiso Dynasty began with the reign of its last ruler, Ogiso Owodo. His tenure was marked by internal conflicts, public discontent, and
5476-428: Was reflected in the title "Ogiso," meaning "king from the sky". Religious practices during the Ogiso period involved worshiping various deities and performing rituals to ensure the kingdom's prosperity. The kingdom's religious life centered around temples and shrines dedicated to different gods and goddesses. These sites were places for communal worship and rituals. The Ogiso performed ceremonies and sacrifices to appease
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