The Swahili city of Kilwa, on the coast of present-day Tanzania, was likely founded by Muslim traders with strong links to the Indian Ocean world. The insides of its domes were lined with Chinese porcelain. Now in ruins, this large congregational mosque was probably in its day the largest fully enclosed structure in sub-Saharan Africa.
On the main map, the purple area shows the region occupied by the empire of Ghana from ca. 990 to ca. 1180. On the inset map, the purple area shows the region occupied by Mali between 1230 and 1450.
This mud and wood building is typical of western Sudanese mosques. The distinctive tower of the mosque was a symbol of Islam, which came to places like Timbuktu in Central and West Africa by way of overland trade routes.
Jenne was one of the important commercial centers controlled by the empire of Mali in the thirteenth and fourteenth centuries. The thriving market in front of the mosque reflects the enduring vitality of trade and commerce in the region.
The fourteenth-century Catalan Atlas shows King Mansa Musa of Mali, seated on a throne holding a nugget of gold. A camel rider approaches him.
Important towns, regions, peoples, and states. On the main map, the orange area shows the greatest extent of the empire of Kanem-Bornu (ca. 1575–late 1600s), and the purple area shows the greatest extent of the Kongo empire, in the sixteenth century. The inset shows the empire of Songhai at its greatest extent in the early sixteenth century.
Benin artists and artisans produced spectacular sculptures from the late thirteenth century until the coming of the British in 1897. Their figures typically have the head-to-body proportions of this example, about one to four—perhaps emphasizing the head’s importance as a marker of identity and behavior and a symbol of life. The details of the clothing might have been “readable” as to the wearer’s rank and family. The stylized faces are typical of Benin bronzes (often actually of brass); dating the piece is hard, but given the two small European figures depicted in the upper field and the sophisticated detail, it is most likely sixteenth or seventeenth century.
1. The sophisticated Benin bronze artistry allowed for highly a detailed sculpture that, for all its stylization, captured its subjects vividly and in great detail. What do you make of the differences between the depictions of the Benin Africans and the two European figures?
2. It has been speculated that this was a piece of court art and that the depiction of the royal figure and attendants was intended to exalt royal power and prestige. Do you see evidence of this? If so, what?
From the palace of the obas of Benin, this dates to the Edo period of Benin culture, 1575–1625. It depicts two Portuguese males, perhaps father and son, holding hands. The figures may portray traders or government officials, who came to the African coasts in increasing numbers from the end of the fifteenth century.
Queen Nzinga ruled from 1615 to 1660. This contemporary engraving shows her negotiating a treaty with the Portuguese. She is seated on the back of a slave.
Ruins of the conical tower inside the Great Enclosure at Great Zimbabwe.
This seventeenth-century illustration of Khoikhoi reflects a European view of daily life near the Cape of Good Hope.