ASEN ARTS OF DAHOMEY
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ed katake stools (fi g. 11) usually used by queens,
queen mothers, lesser chiefs, priests, diviners, and
family heads.
3. Master of the Long Tunic: Ouidah. Late nineteenth
century (fi gs. 12 and 13). This artist’s oeuvre
is distinguished by his use of thin metal sheets to
form his fi gures, struts, and platforms. Key details
often show the dramatic cutting and folding of iron
sheeting in a manner that sometimes resembles paper.
Tunics and cloth wrappers often extend to the
ground (hence this feature in the artist’s designation),
forms that often fl are outward at the base.
The fi gures have fl at paddle-like hands. The artist
affords little emphasis on physiognomy other than
thin incised lines for the eyes and mouth. If crosses
are included, they often fl are at the edges in the
style of Maltese crosses. His compositions range
from sparse works with few fi gures to stunningly
busy ones. His pendants are small and are attached
with small holes evenly spaced at the periphery of
the platform, generally secured to the edge with
wire. Gong-form pendants are almost exclusively
used by this artist.
4. Master of the Gargantuan Imagery: Ouidah.
Early twentieth century (fi gs. 14, 15, and 16). This
artist’s plant and other forms are notably tall and
fl amboyant. Animal and human fi gures are sometimes
both outsized in scale and generic in form.
Faces show tight compositions of eyes, nose, and
mouth against a slightly concave surface. The
hands are small, sometimes incised with lines to
delineate the fi ngers. Thin sheets of metal are often
draped dramatically over the fi gures. Compositions
are crowded and busy, and green, yellow,
and other pigments are often added to the surface.
The thin iron platforms are turned at an angle,
creating a long edge to which neat pierced holes
support small pendants secured with wire loops.
FIG. 6 (below left): Asen
by the Master of the
Curved-Horn Ram. Ouidah,
Republic of Benin. Mid–late
19th century.
Iron. H: 170 cm.
Newark Museum. Newark, New
Jersey, inv. 89.33.
A pipe-smoking man in a top hat
and tunic sits on a tall djandemenstyle
throne. Behind him, a woman
holds an umbrella and a man holds
a parasol (important status markers).
Two other individuals kneel
nearby. Around the periphery are a
crocodile, a fi sh, and a large object
on a traditional wooden carrier.
FIG. 7 (right): Drawing of
an iron sculpture of Gu
(Gou), the Dahomey god of
iron, war, and creativity.
From Maurice Delafosse, “Une
statue dahoméenne en fonte,” La
Nature, 1894, no. 1105: 145–147.
The subject of this drawing was
created by the artist Ekplékendo
Zomabodo Glenegbe Akati (also
known as Akati Akpele Kendo) in
1860 under the patronage of King
Glele (1858–89) for the memorial
rites honoring his father, Guezo
(1818–58). The original sculpture
is in the collection of the Musée du
Quai Branly – Jacques Chirac (inv.
71.1894.32.1).