a magnificent african, efik, hand embossed brass charger dating to the 1930's, decorated with a central design depicting the palm raphia vinifera also known as the bamboo palm or wine palm. what appear to be pendulous scaly fronds are actualy the trees massive nodding inflorescenses bearing flowers clustered tightly within and at the extremities. These structures can measure up to 1.95 meters long and are entirely covered in overlapping, pronounced scaly bracts that look remarkably like a scaly reptile tail. the palm has also been depicted bearing its edible fruit. the palm is surrounded by an abundance of stylised flora. Indigenous to the Cross River region of Southeastern Nigeria, this multi-use tree plays an essential role in daily life, traditional governance, and sacred rituals, in particular it is an indispensable part of efik traditional marriage ceremonies. the sap is tapped and fermented to make wine, during bride price negotiations, the groom’s family is traditionally required to present high-quality palm wine to the bride’s family as a sign of respect, commitment, and goodwill. Efik women traditionally weave the flexible fibers into household items like ceremonial mats, specialised baskets, and bags given as part of a bride's dowry.
The sturdy midribs and petioles of the fronds—referred to locally as bamboo—are used as poles to build thatched-roof houses, frameworks for mud walls, and local bridges.
the charger measures 450mm in diameter.
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 charger 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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