This guild is recognised as one of the most ancient and esteemed in Benin, with their artistic work being widely appreciated for its aesthetic appeal and technical mastery.
The exact origins of the Igbesanmwan guild remain somewhat unclear, but historical accounts suggest its establishment dates back to the 13th century, concurrent with the founding of the Benin Kingdom by Eweka I.
[1] In accordance with oral tradition, Eweka I, the son of Oranmiyan, a Yoruba prince from Ile-Ife, and Erimwinde, a princess from the Edo kingdom of Igodomigodo, inherited the ivory carving skills from his father.
Under Ewedo's rule, select relatives and loyalists were appointed as the inaugural Igbesanmwan carvers, endowing them with exclusive rights to craft ivory pieces designated for the royal court.
The Igbesanmwan guild was further involved in trade and diplomacy, accompanying the Oba during his travels and presenting ivory gifts to foreign rulers and dignitaries.
[4] In 1897, the Igbesanmwan guild faced a profound setback when the British invaded and pillaged the Benin Kingdom, resulting in the destruction of numerous cultural and historical monuments.
[7][2] Tragically, many Igbesanmwan carvers lost their lives or were exiled during the invasion, while survivors contended with a decline in patronage and diminished prestige.
[8] Colonial policies aimed at discouraging traditional art forms and promoting Western education and Christianity further weakened the Igbesanmwan guild.
Post-independence, certain Igbesanmwan carvers reestablished connections with the restored Oba of Benin and received support from the Nigerian government and cultural institutions.
[11][12] Responsible for the guild's administration is the Iyase n'Igbesanmwan, overseeing matters such as rule-setting, dispute resolution, resource allocation, and external representation.
[15][16] While women are not eligible for formal membership, they can partake in specific aspects of the carving process, such as polishing, painting, or decorating, often assisting their husbands or fathers.
This includes showing respect to the Oba and elders, maintaining loyalty and discretion, avoiding plagiarism and rivalry, and paying homage to ancestors and deities.
[19][20] Notably, one of the well-known ivory masks is that of Queen Idia, the mother of Oba Esigie, who played a crucial role in his victory over his brother in a 16th-century civil war.
They utilise tools such as knives, chisels, files, drills, saws, and more to cut, shape, smooth, polish, and engrave their ivory pieces.
[6] Their styles encompass realism, abstraction, symbolism, and geometric patterns, allowing them to express their artistic vision and cultural identity.
[6] The Igbesanmwan guild encompasses not only an artistic group but also a cultural and religious community with its own traditions, values, beliefs, and practices that influence their way of life and perspective.
Additionally, rituals are conducted during significant life events or guild-related occasions, including births, deaths, initiations, promotions, festivals, or periods of conflict.
Furthermore, they have supported efforts to restore and revive key elements of the Benin Kingdom's political and social structure and institutions, such as the Oba, the Uzama, and the Ogiso.