This finely carved ivory mask comes from the kingdom of Benin, in present-day Nigeria. It is the idealized female face of a specific individual. We’ve seen other portraits of women today, in the Lehman Wing, and this representation has some parallels and many differences.

We’re looking at a portrait of Idia, the mother of King Esigie, who commissioned it in the early 1500s. King Esigie faced many challenges in his reign, and Idia was his most trusted advisor. He honored her by establishing the title of Queen Mother, empowered her equally with other senior male chiefs, and immortalized her through a series of remarkable portraits like this one. This image captures her virtues rather than just recording her appearance; the composure of the face, in particular, seems to reflect her wisdom and strength. Look, too, at the detail of her tiara-like arrangements of locks of hair; alternately rendered as miniature Portuguese merchants and stylized mudfish. As a creature that exists on both land and water, the mudfish is a metaphor for kingship’s dual nature: human and divine.

But this object was more than a depiction of an idealized person. It was a protective amulet worn as a pendant—part of the king’s ceremonial dress during state rituals.

In the cases nearby are works of African art: sculpture, metalwork, masks, and ritual objects in a variety of materials from cultures that span the continent. As you look around, pay attention to the functions of these objects as well as their aesthetic qualities. You’ll find that many offer a glimpse into a culture’s way of life, and a community’s most deeply held principles and beliefs.

Keep in mind that great art is often produced in conjunction with the end of life. And our next stop takes us back in time to classical antiquity and to another part of the world entirely. Refer to your map for directions.