a large antique african efik hand embossed brass charger, tray, platter from old calabar, decorated with marine creatures .dating to around 1910.
the charger is decorated with what appear be" ergerria radiate," brown Venus clams known locally as nkop. below the clams are what appear to be "thais coronate" known as nko nko. both the nkop and nko nko are highly valued in efic culture as a valuable source of protein, the water of the nkop clams being used for medicinal purposes, in particular as a cough remedy .either side of the clams is what appears to be a tortoise shell. in Efik culture, the tortoise and its shell are highly symbolic, representing longevity, wisdom, stability, and the ability to navigate both the earthly and spiritual realms. The tortoise shell is also associated with confidentiality, respect for elders, and the preservation of cultural knowledge. It is a symbol of self-respect and inner strength, reminding individuals to uphold traditional values. the rim is decorated with feather barbs.feathers in efic culture signify beauty elegance and status.
large plain brass charger dishes and platters known as neptunes (a brass or copper pan or plate used for the evaporation of sea water to obtain salt) were imported from britain to nigeria and then decorated locally in old calabar. regarded as important prestige items by the local chiefs they were displayed with great ceremony. items of efik decorated brass were also presented by the king and chiefs to important dignitaries and distinguished visitors to the area. these chargers are interesting transcultural aesthetic expressions resulting from a history of european contact .
art is an underemphasized contributor to efik mythology. efik beliefs in ndem and ekpe were transmitted via engravings on brass plates (akpangkpang). prior to the depiction of myths, events and stories on brass plates, efik women expressed their art by decorating houses with geometric designs of various kinds. women were regarded as the artisans in old calabar society. women would create beautifully finished products which would then be bought and taken as souvenirs from old calabar by english traders, these products, particularly the calabashes ( gourds ) were fragile and very often goods would break on their journey to england. edem ndarake also known as mr. ironbar is regarded as the father of brass art in efik history. the wives of ironbar were active members of the calabash engraving industry. mr ironbar chose to solve the problem of art breakages and wastage by encouraging the women artists to transfer their designs to brass which was a far more durable and luxurious material. mr. ironbar earnt his monika after encouraging the english traders to bargain with iron bars which inturn could be used as tools for decorating brass products such as trays, dishes and basins. brass dishes were often designed with images of efik deities, often the designs depicted animals, flora and fauna and geometric patterns that were symbolic to the deities.
the size of the platters were quite standard, varying between 430mm and 460mm in diameter.
this tray is a fine example of this punched or chased metalwork decoration. the small metal tools with shaped ends were used to give impressions such as dots, lines or semicircles. these were then lightly held against the surface of the metal and tapped with a hammer to give the required detail and texture.
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