Art and Science in Benin Bronzes: A Written Response

April 13, 2024

To truly understand writing, one must grasp its thesis. This element is the purpose of writing’s existence, and as such, it is an integral part of it. This text investigates this phenomenon by identifying an article’s thesis and how it is reflected in the content. As for the analyzed text, the discussion revolves around Benin bronzes and, more specifically, the difficulties faced in authenticating and dating such pieces. Such is explored through Joseph Navadomsky’s “Art and Science in Benin Bronzes.” Additionally, it poses the question of what flaws are present in the current method of authenticating and dating and how such negatively influence the atmosphere of collecting, displaying, and a general perception of works such as these bronzes.

            Navadomsky begins by singling out a specific method of dating Benin art, referred to as TL or thermoluminescence, due to its commonplace use in such an endeavor. Such a method is described as one that “is used to confirm the stratigraphic dating in situ pottery and terracotta works.”[1] In a more detailed manner, crystalline minerals are exposed to a specific heating event to determine an approximate firing date.[2] Such a technique is not extensively focused on, but the mention of such holds great significance as the credibility of it is a point of contention that jumpstarts the discussion. Along with this aspect, it holds an undertone that is continued throughout the text.

            Such an undertone is that of methods that, while commonly used and not wholly useless, are inherently flawed and can do a disservice to the art to which they are applied. Further contesting the integrity of this method, Navadomsky poses many issues that can occur as a result of this method, particularly when it comes to Benin bronzes. The text goes on to dispute it as a source of credibility, particularly for authenticating works, largely due to inaccuracies. Additionally, the author believes that forgery of authenticity is not only easily achieved but common for this form of credibility. As such, they consider this method to be problematic and, while not totally useless, should not be opted for.

            Further speaking to the flaws of the industry, the issue of false reproductions artificially creates a thinness approaching that of early Benin bronzes, “thereby negatively impacting those authentic pieces.”[3] This prospect highlights how such reproductions artificially create market saturation, diluting the authenticity and value of genuine pieces. This market inundation diminishes authentic Benin bronzes' cultural and historical significance and undermines efforts to preserve and protect them, making the practice a clear negative to the industry. Navadomsky believes that this is a disservice to genuine Benin bronzes, as they do not receive the recognition nor the appreciation they deserve.

            Interestingly, the text delves into the element of historical perspective, and how it should be necessary for authentication despite it being underutilized for such. Going on to state that, although science is beneficial, it is not wholly conclusive and may suffer substantial errors. Referring back to the issues posed by thermoluminescence dating, Navadomsky proposes that artistic styles, iconography, and historical context can fill in the gaps for issues such as these. Not only is this brought up as an important hypothetical, but it is also actively encouraged, with the author believing it should be commonplace. This is put aptly with the excerpt, “stylistic analysis, whatever the limitations, must serve as that control to ensure that good science and informed art historical opinions prevail over bad science.”[4] 

            “Art and Science in Benin Bronzes" sheds light on the complexities surrounding the authentication and dating of Benin bronzes while challenging the credibility of common scientific methods like thermoluminescence dating. Nevadomsky illustrates how not only are Benin bronzes disserviced by these flaws, but other artworks suffer from the issues. In doing so, he points out flaws such as susceptibility to inaccuracies and forgery while highlighting the detrimental impact of false reproductions on the market. Advocating for a holistic approach to authentication, the author argues that a combination of scientific analysis and art historical expertise is gravely needed in this atmosphere. Inherently, many issues in the current system are identified, answering the question of if there are any flaws with a clear yes. As such, the text emphasizes the importance of recognizing and appreciating the authenticity of Benin bronzes while acknowledging the limitations of scientific methods in isolation as a key element of discussion.

[1] Nevadomsky, Joseph. “Art and Science in Benin Bronzes.” pp. 1. 2004. Jstor. https://www.jstor.org/stable/3338001?seq=1.

[2] Treut, Rob. “Thermoluminescence Dating.” Brown University. https://www.brown.edu/Departments/Joukowsky_Institute/courses/greekpast/4929.html#:~:text=Thermoluminescence%20can%20be%20used%20to,were%20exposed%20to%20substantial%20sunlight. 

[3] Nevadomsky. pp. 4. 1.

[4] Nevadomsky. pp. 88. 1.