Ekoi-Ejagham Headcrest, NigeriaWood, hide, plant fiber, natural pigments, nails Height 9 7/8in (25cm) Provenance Hélène and Philippe Leloup, Paris Important Private Collection, acquired from the above in 1990 The sublime, naturalistic realism found is this headdress can be revealed by Elsy Leuzinger in her discussion on Ekoi artwork: "The rise of their emphatically realistic style has been attributed to the former practice of head hunting. The victors tied the heads of their victims on to their own heads and danced with them in an ecstasy of victory. The blood of the enemy was thought to bring fertility to the fields, which is a widespread belief in lands with a matriarchial social organization. The wooden heads, mostly covered with skin, probably served as a substitute for the real heads and were therefore carved as realistically as possible, not only with naturalistic living features, but also with inset iron teeth, inlaid eyes, real hair, etc. As late as the end of the last century the skin of slaves and prisoners of war is said to be used to cover them, while later the skin of antelopes and goats had to suffice. Eyebrows and lips were emphasized with black colouring, and the rank of the possessor was shown by markings, because the prestige of a person in the secret society played a very great role. The heads were mounted on basketwork caps, so that the dancers could wear them on their heads." (The Art of Black Africa, New York Graphic Society, Greenwich, CT, 1972, p. 225-26)
Ekoi-Ejagham Headcrest, NigeriaWood, hide, plant fiber, natural pigments, nails Height 9 7/8in (25cm) Provenance Hélène and Philippe Leloup, Paris Important Private Collection, acquired from the above in 1990 The sublime, naturalistic realism found is this headdress can be revealed by Elsy Leuzinger in her discussion on Ekoi artwork: "The rise of their emphatically realistic style has been attributed to the former practice of head hunting. The victors tied the heads of their victims on to their own heads and danced with them in an ecstasy of victory. The blood of the enemy was thought to bring fertility to the fields, which is a widespread belief in lands with a matriarchial social organization. The wooden heads, mostly covered with skin, probably served as a substitute for the real heads and were therefore carved as realistically as possible, not only with naturalistic living features, but also with inset iron teeth, inlaid eyes, real hair, etc. As late as the end of the last century the skin of slaves and prisoners of war is said to be used to cover them, while later the skin of antelopes and goats had to suffice. Eyebrows and lips were emphasized with black colouring, and the rank of the possessor was shown by markings, because the prestige of a person in the secret society played a very great role. The heads were mounted on basketwork caps, so that the dancers could wear them on their heads." (The Art of Black Africa, New York Graphic Society, Greenwich, CT, 1972, p. 225-26)
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