an embossed brass charger from old calabar with an intricate radiating concentric pattern dating to pre 1925.
in efik culture, concentric radiating patterns, often seen as concentric circles or similar geometric motifs within the traditional nsibidi symbolic stystem, have profound significance related to cosmic balance, the inter connectedness of the physical and spiritual
- Interconnectedness: The patterns represent the deep connection between all living things, as well as the link between the physical realm (Earth) and the spiritual world (Obio Ndem).
- Balance and Harmony in Nature: The intricate and balanced nature of the designs reflects the Efik worldview of maintaining balance and order within the natural world and society.
- A Sense of Unity: The radiating design, which often forms a focal point, can symbolize community, diversity within a unified whole, and a shared identity.
- Spiritual and Cosmic Significance: These motifs often hold a cosmic meaning and are involved in the region's religion and spirituality, appearing on ritual objects, in ceremonies, and on art.
- Nsibidi Script: Concentric circles and other geometric designs are part of the ancient Nsibidi script, a form of visual communication that conveys complex cultural narratives, ancestral stories, and social messages within the Efik and broader Cross River basin cultures.
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Continuity and the Cycle of Life: In some contexts, circle motifs in African art can represent continuity, the cycle of growth, and the importance of preserving heritage and passing it down to future generations.
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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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