Benin Bronzes Are an Example of Culture

Benin Bronzes are an example of culture and representation encapsulated in art work. Although these artifacts in themselves contain so much controversy because of the way that they were originally attained, it brings cultural, racial, and aesthetic representation to a society that sometimes seems to forget that there were once societies vastly different from one's own. These Benin Bronzes in themselves contain historical representation from a time now forgotten and very little appreciated (Gore 2008). These are examples of artifacts that need to be properly situated in locations that will bring vast amount of interest and understanding of their value.

The most appropriate location to display the Benin Bronzes would be in a place that would be accessible by all those who wish to appreciate the cultural and aesthetic importance of these artifacts. Museums would be a great choice, but only those that are completely dedicated to the preservation of old values and the original culture of the Benin Bronzes. The Musee du quai Branly would be an example of an institution concentrated on presenting the ideals of art in a non-Western perspective, as a result protecting the purity of these pieces of art. It is of high value to know that the physical and aesthetically appealing features of these artifacts should be presented in a classy way to give credit to the beauty of what they actually represent (Fur 2009).

Representation of culture in art is absolutely everything. One cannot appreciate the essence of the artist architecture without proper classification of the art in observance. This is why such objects as the Benin Bronzes are to be displayed in a location that accentuates its important qualities. These are pieces of art that represent a time in African history that has been forgotten and has become more of a story of folklore than what it actually was at one point in time. It tells the story of creation in these cultures, creation that still exists in some parts of Africa, and for those that no longer possess it, it is part of their ancestory (Gore 2008). Depicting a time of peace and cohesiveness during an era that no longer seems to have that in mind deserves to be displayed in a location where people not only go to visually observe it, but also to appreciate its value beyond that of monetary purpose. The Musee du quai Branly specializes in the appreciation of art so that the masses understand its significance and showcasing these arts in such a location would be appropriate if allowed to be seen by all those who truly understand its significance.

The Benin Empire's history is depicted throughout this art. In order for that to be appreciated, the location in which it is to be displayed needs to be in one that makes the history its biggest priority. Knowing that the Benin empire went through so much warfare and conflict in order to preserve what it was as a whole, makes the location of these artifacts that much more pertinent to those interested in preserving what is rightfully theirs. In order for these bronzes to be in a correct location, they do not necessarily need to be returned to its place of origin, but it needs to be put in a location that will give explanation and representation of its history. As the Musee du quai Branly attempts to do is to put these artifacts in a place where individuals who are genuinely interested in the appreciation of these objects could go and get enraptured by its beauty and its significance in the world's history (Fur 2009). Having a placement for these types of artifacts is something that should be a model for all institutions displaying this sort of art.

In order for such items to be properly represented in society, location is an important factor, not necessarily physically, but more culturally, historically, and racially. The Benin Empire was encountered by the Portuguese in the early 16th century and was from then on known as a market in which goods were constantly traded and exchanged for other goods. Because of this mixture in cultures and races, the Benin Bronzes also became a representation of this and it is evident by some of the actual depictions in the physical art produced during that time (Fur 2009). It is this that makes race one of the factors that need to be considered in order for proper localization of these arts to be had. Knowing that so much mixing was going on during this time, and that the Benin Bronzes are not just a visual representation of the African culture during that time, but also a representation of the Portuguese, and eventually the English culture that would come to encounter it, makes the possible and probable location of these Bronzes that much more significant to the representation of history. Putting these artifacts in one specific location is to stick one absolute culture on to something that has come to represent so much more than just the historical depiction of one specific culture and one specific race (Gore 2008). By allowing this art to stay in a set location, not many people are going to be exposed to the magnificent wonders that this art has to offer. Everyone's history is intertwined with each other, and these benin bronzes depict just that.