a large antique african efic hand embossed brass charger, tray, platter from old calabar, decorated with a wild bird sitting atop a tree dating to around 1910.
460mm diameter.
the wild bird depicted on the plate is likely to be a black crowned crane, a bird considered to be sacred as a messenger of peace and a symbol of good fortune in efic culture. the crowned crane has a long hind toe which gives it the ability to perch in trees. today it is considered the national bird of nigeria. For nighttime roosting, the cranes generally prefer large, solitary trees that provide a wide view, but will use smaller trees or even roost in shallow water if needed. the bird on the charger is sitting atop a broad leafed tree, possibly the ọbọti tree. a tree that is considered to be the greatest of all trees in efic culture and has strong relevance in ekpe secret society. Some Efik believe the ọbọti has spiritual powers that can neutralize evil forces. It is planted in family compounds to ward off spiritual attacks . the outer rim of the charger is decorated with a stylised feather pattern. in efic culture Feathers hold a significant symbolic meaning related to femininity, beauty, pride, and heritage.
large plain brass charger dishes and platters known as neptunes were imported from britain to nigeria and were 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.
