**5.1 Masks of Guèlèdè**

They characterize the Guèlèdè and its dance. They are sculpted by artists in convents called "Ashè" from the trunks of light cylindrical trees exclusively identified; the best known being the cheese maker *Ceiba pentandra*. Most of the Guèlèdè crest masks consist of two parts: A lower part characterized by a calm face in a conventional simple and static form, with almond-shaped eyes and short scarifications on the cheeks and/or the forehead which represent identity scars held in high esteem in the Yoruba-Nago ethnic group. The upper part, on the other hand, very lively, very complex, is linked to the artist's creativity and to a specific event. It conveys articulated scenes illustrating both socio-educational messages linked to this event and religious messages, then expresses, in addition to ritual magic, a very popular "media magic" aimed at restoring the social cohesion put endangered by the harmful behavior of certain individuals or certain entities. Consequently, there is a manifest ingenuity, at the origin of the making of these crest masks, of sculpture to the application of polychromic materials, followed by their process of sacralization through dance or the power of the verb, which, moreover give them life. This is what makes this art, the best known of the Yoruba-Nago cultural artifacts and was inscribed in 2008 by UNESCO on the representative list of the intangible cultural heritage of humanity.

Indeed, when the sculpture is painted, the pictorial layer consists of a colored layer derived from mineral, vegetable or animal materials, and a binder (oil, egg, wax, latex, resin, etc.). It can be dyed; in this case, it is a colored liquid which the wood absorbs. This liquid comes from a dye solution and can have additives (alum, lime, various salts, etc.) or it is a coloring principle extracted directly from the plant and applied to wood. The example of some of the masks presented (**Table 2**) is indicative of the dyes as well as the techniques, among others, used in their manufacture.

The stratigraphic study of the structure of the samples visualized with a binocular magnifier, shows that the mask referred to as **2013.7.1**, has a very thin layer of dye stuck to the wood. It is a stain directly applied to wood. On the other hand,

**27**

**Figure 2.**

*Cultural Heritage Objects of Southern Benin: Plant Dyes and Exudates Used in Their Confection*

the structure of the samples from the masks **Ref. 401.940.023** and **Ref. 60.004.102** reveals respectively a more or less thick mass of red pigment supported by a layer of yellow crystals, and of yellow pigment surmounting a layer of blue pigment very characteristic of a blue washing powder. This observation indeed reflects a variety of techniques for dyeing ethnic objects. In addition, the identification of dyes by HPLC-UV-visible of these different layers of pigments on the basis of the uniformity of their retention time (tR) and their UV-Vis spectrum to that of the purified or isolated compounds from dye plants studied with reference, made it possible to characterize three compounds: 2-hydroxy-1,4-naphthoquinone (tR = 15.1 min) as well as two flavone aglycones; luteolin (tR = 19.7 min) and apigenin (tR = 22.5 min)

Indeed, the compounds identified are characteristic of the *Lawsonia inermis* (henna) species [15], in particular 2-hydroxy-1,4-naphthoquinone (lawsone) which is the specific coloring principle of this species [16]. Thus, the use of this species in the coloring of the mask **Ref. 2013.7.1** is revealed by its coloring marker; the lawsone. Therefore, even in the absence of flavones (luteolin and apigenin), which could not be detected in the red sample from the mask **Ref. 401.940.023**, the identification of the only lawsone in this object, indicates the contribution of henna in the preparation of its red pigment. In addition to lawsone, epicatechin is identified in this sample. This reveals in addition to henna, the use of a tannin plant in the preparation of this dye recipe. Indeed, epicatechin is the major dye characterized in the bark of *Khaya senegalensis* mainly used in dyeing by Beninese craftsmen not only as a bite for its richness in tannin but also for the natural red tint which they exhume

Furthermore, the IR-TF analysis of the yellow pigments from the lower layer of dyes of the mask **Ref. 401.940.023** and the upper layer of dyes from the mask **Ref. 60.004.102** supplied characteristic tapes in the fingerprint region (<1600 cm<sup>−</sup><sup>1</sup>

for the mask **Ref. 401.940.023** and at 630 cm<sup>−</sup><sup>1</sup>

 for the mask **Ref. 60.004.102**. They are characteristic of a deformation beyond the plane, of the O—H group and of a valence vibration of the Fe—O bond. In addition, a band of high intensity appearing in double form between 3698 and

could be attributed to a valence vibration of the OH group, while the OH

the yellow ocher type (Fe2O3, nH2O) have been observed. These bands are attributed to two types of vibrations. These are the vibrations appearing respectively

associated with the hydrated form of this iron oxide appears in the form of a wide

for the mask **Ref. 401.940.023** (**Figure 3**).

*Chromatogram at 350 nm and UV–visible spectra of the compounds identified in mask Ref. 2013.7.1*

). In

and

, characteristic of iron oxide imprints of

*DOI: http://dx.doi.org/10.5772/intechopen.91294*

at the mask **Ref. 2013.7.1** (**Figure 2**).

fact, the absorption bands around 600 cm<sup>−</sup><sup>1</sup>

and 470 cm<sup>−</sup><sup>1</sup>

by pyrolysis [6].

at 540 cm<sup>−</sup><sup>1</sup>

600 cm<sup>−</sup><sup>1</sup>

3621 cm<sup>−</sup><sup>1</sup>

strip at 3435 cm<sup>−</sup><sup>1</sup>

**Table 2.** *Some masks from Beninese cultural heritage.*

*Cultural Heritage Objects of Southern Benin: Plant Dyes and Exudates Used in Their Confection DOI: http://dx.doi.org/10.5772/intechopen.91294*

the structure of the samples from the masks **Ref. 401.940.023** and **Ref. 60.004.102** reveals respectively a more or less thick mass of red pigment supported by a layer of yellow crystals, and of yellow pigment surmounting a layer of blue pigment very characteristic of a blue washing powder. This observation indeed reflects a variety of techniques for dyeing ethnic objects. In addition, the identification of dyes by HPLC-UV-visible of these different layers of pigments on the basis of the uniformity of their retention time (tR) and their UV-Vis spectrum to that of the purified or isolated compounds from dye plants studied with reference, made it possible to characterize three compounds: 2-hydroxy-1,4-naphthoquinone (tR = 15.1 min) as well as two flavone aglycones; luteolin (tR = 19.7 min) and apigenin (tR = 22.5 min) at the mask **Ref. 2013.7.1** (**Figure 2**).

Indeed, the compounds identified are characteristic of the *Lawsonia inermis* (henna) species [15], in particular 2-hydroxy-1,4-naphthoquinone (lawsone) which is the specific coloring principle of this species [16]. Thus, the use of this species in the coloring of the mask **Ref. 2013.7.1** is revealed by its coloring marker; the lawsone. Therefore, even in the absence of flavones (luteolin and apigenin), which could not be detected in the red sample from the mask **Ref. 401.940.023**, the identification of the only lawsone in this object, indicates the contribution of henna in the preparation of its red pigment. In addition to lawsone, epicatechin is identified in this sample. This reveals in addition to henna, the use of a tannin plant in the preparation of this dye recipe. Indeed, epicatechin is the major dye characterized in the bark of *Khaya senegalensis* mainly used in dyeing by Beninese craftsmen not only as a bite for its richness in tannin but also for the natural red tint which they exhume by pyrolysis [6].

Furthermore, the IR-TF analysis of the yellow pigments from the lower layer of dyes of the mask **Ref. 401.940.023** and the upper layer of dyes from the mask **Ref. 60.004.102** supplied characteristic tapes in the fingerprint region (<1600 cm<sup>−</sup><sup>1</sup> ). In fact, the absorption bands around 600 cm<sup>−</sup><sup>1</sup> , characteristic of iron oxide imprints of the yellow ocher type (Fe2O3, nH2O) have been observed. These bands are attributed to two types of vibrations. These are the vibrations appearing respectively at 540 cm<sup>−</sup><sup>1</sup> and 470 cm<sup>−</sup><sup>1</sup> for the mask **Ref. 401.940.023** and at 630 cm<sup>−</sup><sup>1</sup> and 600 cm<sup>−</sup><sup>1</sup> for the mask **Ref. 60.004.102**. They are characteristic of a deformation beyond the plane, of the O—H group and of a valence vibration of the Fe—O bond. In addition, a band of high intensity appearing in double form between 3698 and 3621 cm<sup>−</sup><sup>1</sup> could be attributed to a valence vibration of the OH group, while the OH associated with the hydrated form of this iron oxide appears in the form of a wide strip at 3435 cm<sup>−</sup><sup>1</sup> for the mask **Ref. 401.940.023** (**Figure 3**).

**Figure 2.** *Chromatogram at 350 nm and UV–visible spectra of the compounds identified in mask Ref. 2013.7.1*

*Heritage*

**5. The objects and dyes used**

They characterize the Guèlèdè and its dance. They are sculpted by artists in convents called "Ashè" from the trunks of light cylindrical trees exclusively identified; the best known being the cheese maker *Ceiba pentandra*. Most of the Guèlèdè crest masks consist of two parts: A lower part characterized by a calm face in a conventional simple and static form, with almond-shaped eyes and short scarifications on the cheeks and/or the forehead which represent identity scars held in high esteem in the Yoruba-Nago ethnic group. The upper part, on the other hand, very lively, very complex, is linked to the artist's creativity and to a specific event. It conveys articulated scenes illustrating both socio-educational messages linked to this event and religious messages, then expresses, in addition to ritual magic, a very popular "media magic" aimed at restoring the social cohesion put endangered by the harmful behavior of certain individuals or certain entities. Consequently, there is a manifest ingenuity, at the origin of the making of these crest masks, of sculpture to the application of polychromic materials, followed by their process of sacralization through dance or the power of the verb, which, moreover give them life. This is what makes this art, the best known of the Yoruba-Nago cultural artifacts and was inscribed in 2008 by UNESCO on the representative list of the intangible cultural heritage of humanity. Indeed, when the sculpture is painted, the pictorial layer consists of a colored layer derived from mineral, vegetable or animal materials, and a binder (oil, egg, wax, latex, resin, etc.). It can be dyed; in this case, it is a colored liquid which the wood absorbs. This liquid comes from a dye solution and can have additives (alum, lime, various salts, etc.) or it is a coloring principle extracted directly from the plant and applied to wood. The example of some of the masks presented (**Table 2**) is indicative of the dyes as well as the techniques, among others, used in their manufacture. The stratigraphic study of the structure of the samples visualized with a binocular magnifier, shows that the mask referred to as **2013.7.1**, has a very thin layer of dye stuck to the wood. It is a stain directly applied to wood. On the other hand,

**5.1 Masks of Guèlèdè**

**26**

**Table 2.**

*Some masks from Beninese cultural heritage.*

**Figure 3.** *IR-TF spectrum of yellow mask pigment Ref. 401.940.023.*

On the other hand, at the level of the mask **Ref. 60.004.102**, this last band appears in the form of a very large and intense doublet above 3400 cm<sup>−</sup><sup>1</sup> . In addition to the absorption band at 1622 cm<sup>−</sup><sup>1</sup> characteristic of an elongation vibration of the OH bond, there is another elongation vibration of stronger intensity, corresponding to the SO bond of the sulfates which appears in the form of doublet around 1115 cm<sup>−</sup><sup>1</sup> . This assumes that the yellow pigment of the mask **Ref. 60.004.102** consists of a mixture of iron oxide and hydrated sulfate (CaSO4, 2H2O), the main constituent of gypsum. This result was confirmed by a control (yellow ocher + CaSO4) available in the laboratory (**Figure 4**).

Microchemical tests revealed the presence of ferric and ferrous ions, constituents of iron oxide in the samples of masks **Ref. 401.940.023** and **Ref. 60.004.102**. It is the same for the ions S<sup>2</sup><sup>−</sup>, component of the mixture of calcium sulfate and yellow earth of the pigment **Ref. 60.004.102**, whose FT-IR spectrum has been characterized. In addition to the sulfide ions, the detection of Al3+ ions in the blue pigment of the mask **Ref. 60.004.102**, is associated with washing blue (Na8-10Al6Si6O24S2–4) of the lower layer of this sample.

#### **5.2 "Ibéji" twin statuettes**

The Ibéji twin statuette represents the soul of the deceased twin transferred to a wooden figurine. Indeed, in the religious tradition of the Yoruba-Nago, it is considered that the twins have one soul, united and inseparable. For this reason, if a twin dies, the life of the survivor is threatened since his soul is no longer in balance.

#### **Figure 4.**

*FT-IR spectra of the control (mixture of yellow ocher + CaSO4) and of the yellow pigment of the mask Ref. 60.004.102.*

**29**

**Figure 5.**

*Ibéji twins African museum; Ref. 501.931.002.*

*Cultural Heritage Objects of Southern Benin: Plant Dyes and Exudates Used in Their Confection*

The anger of the deceased twin can put his entire family at serious risk (illness, bad luck, etc.). In order to avoid these harmful risks for the family, it is necessary to find a way to reunite the souls of the twins. Thus, after consultation with the "Ifa" oracle, ritual arrangements are made and through a cult ceremony, the soul of the deceased is transferred to the wooden figurine. Therefore, this statuette becomes the guardian of the soul of the deceased and must be able to benefit from the same treatment and care as the survivor. Theoretically, it is therefore not necessary to sculpt these wooden statuettes if the two twins die, because the union of their souls is no longer compromised or compromising. But in the Yoruba belief, the dead twins are endowed with supernatural powers, more powerful than those of the ancestors, so even if the two babies die, a couple of Ibéji are sculpted, in order to bring to the twins offerings or their offer sacrifices so that they protect the mother and the whole family. The Ibéji does not represent a child, as one would expect, but an adult more often, with the face and the naked body of an adult (**Figure 5**). It is the sculptor who decides on the artistic form he will give to the statuette. The only element which links it to the request is the sex of the twin or twins who must be sculpted. Although the statuette represents a living soul, the blue dyes frequently found on the head of Ibéji's sculptures, are traditionally translated by the divine breath that decorates the hairstyle of those who have gone into eternity. Stratigraphic analysis of the pigment taken from the head of the twin **Ref. 501.931.002** reveals a simple application of blue dye adsorbed by the wood. The study of the chemical composition of this pigment in IR-TF presented a spectral profile typical of cyan blue equivalent to Prussian blue Fe4[Fe(CN)6]3. It is characterized by a systematic

intense band. There are also weak absorption bands characteristic of the vibrations

However, this sample does not contain indirubin. It should be mentioned that two species of indigo plants, *I. tinctoria* and *P. cyanescens*, are used in dyeing in Benin [6]. The origin of the indigo plant was determined by studying the ratio of the relative content of indigoids (indirubin/indigotin) in the plant's original matrix [5]. Indeed, the absence of indirubin (structural isomer of indigotin) and degradation

Characterization by HPLC-UV–Visible of the blue sample from twins **Ref. 501.931.002**, also made it possible to identify an organic dye, indigotin

(tR = 7.33 min), a coloring principle of plants to indigo (**Figure 7**).

. The characteristic bands of water, which appear at 3436 and

respectively corresponding to vibrations of elongation and deformation

which appears in a very

and of Fe—C and C—Fe—C or Fe—CN

*DOI: http://dx.doi.org/10.5772/intechopen.91294*

stretching vibration of the C≡N triple bond at 2095 cm<sup>−</sup><sup>1</sup>

of elongation of Fe—N bond at 600 cm<sup>−</sup><sup>1</sup>

of the O—H group (**Figure 6**).

bonds at 500 cm<sup>−</sup><sup>1</sup>

1634 cm<sup>−</sup><sup>1</sup>

#### *Cultural Heritage Objects of Southern Benin: Plant Dyes and Exudates Used in Their Confection DOI: http://dx.doi.org/10.5772/intechopen.91294*

The anger of the deceased twin can put his entire family at serious risk (illness, bad luck, etc.). In order to avoid these harmful risks for the family, it is necessary to find a way to reunite the souls of the twins. Thus, after consultation with the "Ifa" oracle, ritual arrangements are made and through a cult ceremony, the soul of the deceased is transferred to the wooden figurine. Therefore, this statuette becomes the guardian of the soul of the deceased and must be able to benefit from the same treatment and care as the survivor. Theoretically, it is therefore not necessary to sculpt these wooden statuettes if the two twins die, because the union of their souls is no longer compromised or compromising. But in the Yoruba belief, the dead twins are endowed with supernatural powers, more powerful than those of the ancestors, so even if the two babies die, a couple of Ibéji are sculpted, in order to bring to the twins offerings or their offer sacrifices so that they protect the mother and the whole family. The Ibéji does not represent a child, as one would expect, but an adult more often, with the face and the naked body of an adult (**Figure 5**). It is the sculptor who decides on the artistic form he will give to the statuette. The only element which links it to the request is the sex of the twin or twins who must be sculpted.

Although the statuette represents a living soul, the blue dyes frequently found on the head of Ibéji's sculptures, are traditionally translated by the divine breath that decorates the hairstyle of those who have gone into eternity. Stratigraphic analysis of the pigment taken from the head of the twin **Ref. 501.931.002** reveals a simple application of blue dye adsorbed by the wood. The study of the chemical composition of this pigment in IR-TF presented a spectral profile typical of cyan blue equivalent to Prussian blue Fe4[Fe(CN)6]3. It is characterized by a systematic stretching vibration of the C≡N triple bond at 2095 cm<sup>−</sup><sup>1</sup> which appears in a very intense band. There are also weak absorption bands characteristic of the vibrations of elongation of Fe—N bond at 600 cm<sup>−</sup><sup>1</sup> and of Fe—C and C—Fe—C or Fe—CN bonds at 500 cm<sup>−</sup><sup>1</sup> . The characteristic bands of water, which appear at 3436 and 1634 cm<sup>−</sup><sup>1</sup> respectively corresponding to vibrations of elongation and deformation of the O—H group (**Figure 6**).

Characterization by HPLC-UV–Visible of the blue sample from twins **Ref. 501.931.002**, also made it possible to identify an organic dye, indigotin (tR = 7.33 min), a coloring principle of plants to indigo (**Figure 7**).

However, this sample does not contain indirubin. It should be mentioned that two species of indigo plants, *I. tinctoria* and *P. cyanescens*, are used in dyeing in Benin [6]. The origin of the indigo plant was determined by studying the ratio of the relative content of indigoids (indirubin/indigotin) in the plant's original matrix [5]. Indeed, the absence of indirubin (structural isomer of indigotin) and degradation

**Figure 5.** *Ibéji twins African museum; Ref. 501.931.002.*

*Heritage*

1115 cm<sup>−</sup><sup>1</sup>

**Figure 3.**

On the other hand, at the level of the mask **Ref. 60.004.102**, this last band

OH bond, there is another elongation vibration of stronger intensity, corresponding to the SO bond of the sulfates which appears in the form of doublet around

sists of a mixture of iron oxide and hydrated sulfate (CaSO4, 2H2O), the main constituent of gypsum. This result was confirmed by a control (yellow ocher + CaSO4)

Microchemical tests revealed the presence of ferric and ferrous ions, constituents of iron oxide in the samples of masks **Ref. 401.940.023** and **Ref. 60.004.102**. It is the same for the ions S<sup>2</sup><sup>−</sup>, component of the mixture of calcium sulfate and yellow earth of the pigment **Ref. 60.004.102**, whose FT-IR spectrum has been characterized. In addition to the sulfide ions, the detection of Al3+ ions in the blue pigment of the mask **Ref. 60.004.102**, is associated with washing blue (Na8-10Al6Si6O24S2–4)

The Ibéji twin statuette represents the soul of the deceased twin transferred to a wooden figurine. Indeed, in the religious tradition of the Yoruba-Nago, it is considered that the twins have one soul, united and inseparable. For this reason, if a twin dies, the life of the survivor is threatened since his soul is no longer in balance.

*FT-IR spectra of the control (mixture of yellow ocher + CaSO4) and of the yellow pigment of the mask Ref.* 

. This assumes that the yellow pigment of the mask **Ref. 60.004.102** con-

. In addition

characteristic of an elongation vibration of the

appears in the form of a very large and intense doublet above 3400 cm<sup>−</sup><sup>1</sup>

to the absorption band at 1622 cm<sup>−</sup><sup>1</sup>

*IR-TF spectrum of yellow mask pigment Ref. 401.940.023.*

available in the laboratory (**Figure 4**).

of the lower layer of this sample.

**5.2 "Ibéji" twin statuettes**

**28**

**Figure 4.**

*60.004.102.*

**Figure 6.** *IR-TF imprint of the blue pigment of Ibeji statuette Ref. 501.931.002.*

markers (isatin and anthranilic acid) of the two indigoids, show the high indigotin content of the species initially used in the preparation of this blue dye. A preliminary study of indigo plants indicates that *P. cyanescens* has a higher content of indigotin than *I. tinctoria*. The indigo plant associated with this sample therefore appears to be indigo liana and, this result corroborates the preliminary ethnobotanical study [6], showing that the frequency of use of *P. cyanescens* due to its richness in indigotin, is two times that of *I. tinctoria*. Indeed, the high content of indirubin in *Indigofera tinctoria* is to the detriment of the yield of indigotin sought by dyers.

In summary, it emerges from the chemical characterization of the thin layer of blue dye taken from the twin head Ref. 501.931.002, that this sample consists of either a mixture of synthetic pigment of Prussian blue and natural dye solution indigo, or a natural shade of indigo that was subsequently given a brush of cyan blue synthetic pigment. Indeed, it has been reported that, sometime after the synthesis of synthetic blue pigments, at the end of the nineteenth century, 150 salesmen crisscrossed the planet to sell these different blues; notably in Tunisia, Morocco, Gabon, Togo, Côte d'Ivoire, Benin and Nigeria [4]. The same is true of aniline blue marketed in 1897 as far as Africa, which has gradually replaced natural indigo in the textile field, while on painted wooden objects, laundry blues are frequently encountered.

#### **5.3 Fetishes**

Fetishes designate any object, which, following certain ritual acts, is invested with personal powers or impersonal forces. It can be activated by sacrificial gifts and used for a magical act intended to harm, attack or repel the supernatural attacks

**31**

**Figure 8.**

*Fetish confluence museum; Ref. 60.003.627.*

*Cultural Heritage Objects of Southern Benin: Plant Dyes and Exudates Used in Their Confection*

of human enemies or to have children and moreover any other wealth [17]. Most fetishes form an assembly of substances to which particular forces are attributed. They are often certain sculptures, stones, horns, claws, teeth, bones, hair, animal skins, coloring substances, etc. but also shreds of tissue, filth, menses and other such impure as effective materials. It plays a role of receptacle and functions by communication with invisible spirits. The fetish sculpture presented is an example. It is marked by white and blue hues in places, especially the blue hues on the head

Kaolin, used in the tradition, translates the communication with the ancestors. It is taken from depressions which are assimilated to the refuge of the ancestors' males. Around the eyes, it keeps ghosts away. Indeed, kaolin is a clay which serves as an adsorbent and can maintain the pigments between them and on the support. It does not contain iron or other chromogenic metals, hence its whiteness. It is therefore transparent in refractive binders such as oil, it is then considered as a filler. The ancients mixed kaolin with their dyes, which, due to its physical characteristics, can

In addition, the application of dyes to specific places on the object, in particular the blue tint affixed to the dorsal column of this fetish, denotes coded know-how which reveals that the role of these dyes goes beyond the mere decorative function. Indeed, it should be noted from Bleton et al. [18], that these materials give life to the

The stratigraphic analysis of pigment removal carried out on the fetish back **Ref. 60.003.627**, revealed that it consists of an upper layer of blue dye overlying a layer of red dye. The identification of the dye composition of this HPLC-UV-Visible sample revealed that it contains indigotin (tR = 25.7 min) and lawsone (2-hydroxy-1,4-naphthoquinone; tR = 15.1 min) (**Figure 9**). This last dye comes from the red lower layer of the analyzed sample and shows the use of henna (*L. inermis*) and indigo liana (*P. cyanescens*) in the preparation of the dye recipe which was used to

Textiles occupy a prestigious place in the Yoruba-Nago culture, not only for esthetic reasons, but also for cultural and ritual reasons. For the latter, they

and the white hues of koalin on the eyes and the neck (**Figure 8**).

*DOI: http://dx.doi.org/10.5772/intechopen.91294*

therefore partially fix the color by absorption.

cover the dorsal hollow of this fetish **Ref. 60.003.627**.

object and participate in its identity.

**5.4 Cult and customary textiles**

**Figure 7.** *Chromatogram at 285 nm of Ibéji blue dye Ref. 501.931.002.*

#### *Cultural Heritage Objects of Southern Benin: Plant Dyes and Exudates Used in Their Confection DOI: http://dx.doi.org/10.5772/intechopen.91294*

of human enemies or to have children and moreover any other wealth [17]. Most fetishes form an assembly of substances to which particular forces are attributed. They are often certain sculptures, stones, horns, claws, teeth, bones, hair, animal skins, coloring substances, etc. but also shreds of tissue, filth, menses and other such impure as effective materials. It plays a role of receptacle and functions by communication with invisible spirits. The fetish sculpture presented is an example. It is marked by white and blue hues in places, especially the blue hues on the head and the white hues of koalin on the eyes and the neck (**Figure 8**).

Kaolin, used in the tradition, translates the communication with the ancestors. It is taken from depressions which are assimilated to the refuge of the ancestors' males. Around the eyes, it keeps ghosts away. Indeed, kaolin is a clay which serves as an adsorbent and can maintain the pigments between them and on the support. It does not contain iron or other chromogenic metals, hence its whiteness. It is therefore transparent in refractive binders such as oil, it is then considered as a filler. The ancients mixed kaolin with their dyes, which, due to its physical characteristics, can therefore partially fix the color by absorption.

In addition, the application of dyes to specific places on the object, in particular the blue tint affixed to the dorsal column of this fetish, denotes coded know-how which reveals that the role of these dyes goes beyond the mere decorative function. Indeed, it should be noted from Bleton et al. [18], that these materials give life to the object and participate in its identity.

The stratigraphic analysis of pigment removal carried out on the fetish back **Ref. 60.003.627**, revealed that it consists of an upper layer of blue dye overlying a layer of red dye. The identification of the dye composition of this HPLC-UV-Visible sample revealed that it contains indigotin (tR = 25.7 min) and lawsone (2-hydroxy-1,4-naphthoquinone; tR = 15.1 min) (**Figure 9**). This last dye comes from the red lower layer of the analyzed sample and shows the use of henna (*L. inermis*) and indigo liana (*P. cyanescens*) in the preparation of the dye recipe which was used to cover the dorsal hollow of this fetish **Ref. 60.003.627**.

#### **5.4 Cult and customary textiles**

Textiles occupy a prestigious place in the Yoruba-Nago culture, not only for esthetic reasons, but also for cultural and ritual reasons. For the latter, they

**Figure 8.** *Fetish confluence museum; Ref. 60.003.627.*

*Heritage*

**Figure 6.**

markers (isatin and anthranilic acid) of the two indigoids, show the high indigotin content of the species initially used in the preparation of this blue dye. A preliminary study of indigo plants indicates that *P. cyanescens* has a higher content of indigotin than *I. tinctoria*. The indigo plant associated with this sample therefore appears to be indigo liana and, this result corroborates the preliminary ethnobotanical study [6], showing that the frequency of use of *P. cyanescens* due to its richness in indigotin, is two times that of *I. tinctoria*. Indeed, the high content of indirubin in *Indigofera tinctoria* is to the detriment of the yield of indigotin sought by dyers. In summary, it emerges from the chemical characterization of the thin layer of blue dye taken from the twin head Ref. 501.931.002, that this sample consists of either a mixture of synthetic pigment of Prussian blue and natural dye solution indigo, or a natural shade of indigo that was subsequently given a brush of cyan blue synthetic pigment. Indeed, it has been reported that, sometime after the synthesis of synthetic blue pigments, at the end of the nineteenth century, 150 salesmen crisscrossed the planet to sell these different blues; notably in Tunisia, Morocco, Gabon, Togo, Côte d'Ivoire, Benin and Nigeria [4]. The same is true of aniline blue marketed in 1897 as far as Africa, which has gradually replaced natural indigo in the textile field, while on painted wooden objects, laundry blues are frequently encountered.

*IR-TF imprint of the blue pigment of Ibeji statuette Ref. 501.931.002.*

Fetishes designate any object, which, following certain ritual acts, is invested with personal powers or impersonal forces. It can be activated by sacrificial gifts and used for a magical act intended to harm, attack or repel the supernatural attacks

**30**

**Figure 7.**

*Chromatogram at 285 nm of Ibéji blue dye Ref. 501.931.002.*

**5.3 Fetishes**

**Figure 9.**

*Chromatogram at 350 nm of fetish dyes Ref. 60.003.627 and the UV–visible spectra of the identified compounds*

constitute the support of various materials, in particular dyes, coatings, cowries, animal bones, mirror, amulet or any other substance, the whole of which forms an armor which amplifies not only the spiritual vision of the wearer but also and above all ensures his protection against any external or spiritual attack. These textiles, qualified as "prepared", appear in the form of colorful and marvelous costumes used for the Egungun cult or the Guèlèdè cult, while the hunter costumes have a very particular appearance and appear in the form of a vest (**Figure 10**). It is the same for the ritual accouterments of Shango.

IR-TF analysis in ATR mode of a blue textile part of a hunter's jacket **Ref. 2013.0.152**, has absorption bands characteristic of natural cellulosic material with an intense band at around 1109 cm<sup>−</sup><sup>1</sup> due to CO and a wide band at 3339 cm<sup>−</sup><sup>1</sup> linked to the OH group and, a low band at 2920 cm<sup>−</sup><sup>1</sup> due to CH. This result is similar to that from the analysis of a cotton control used as a reference and moreover corroborates the major place occupied by cotton fibers in the field of weaving in black Africa (**Figure 11**).

**33**

*Cultural Heritage Objects of Southern Benin: Plant Dyes and Exudates Used in Their Confection*

IR-TF analysis of this sample only allowed to determine the nature of the cotton support used to make this vest **Ref. 2013.0.152**. However, its analysis by HPLC-UV-

The identification of the only indigotin in this sample reminds us of the use of indigo liana *P. cyanescens* in the dyeing of this textile. Indeed, *P. cyanescens* is the most popular indigo plant in the Yoruba-Nago cultural area, for dyeing blue or black blue cotton, bark (formerly), raffia and other plant fibers, as well as leather, hair and woodcarvings. Yoruba women use this plant, locally called "èlu", as a source of indigo in the manufacture of "adire" fabric; decorative technique similar to batik (dyeing method by which we cover the parts of the fabric that we do not want to dye with detachable wax), which has the effect of creating pale blue patterns on a dark blue background [19]. Traditionally, woven fabrics known as "country fabric" or "Asho ibilè" and dyed with indigo liana were reserved for dignitaries for ceremonial attire, dowries, burial clothes, court fines and gifts to distinguished visitors [5].

Apart from the natural organic dyes characterized in almost all of the heritage

objects studied, field surveys have made it possible to identify other exudates of plant origin, in particular binders: oils, resins, latex, gums, etc., which are

Visible revealed that it mainly contains indigotin (**Figure 12**).

*Chromatogram at 285 nm of blue textile hunter costume jacket Ref. 2013.0.152.*

*FT-IR spectra of blue textile hunter costume jacket Ref. 2013.0.152 and cotton.*

**6. Other vegetable exudates used**

*DOI: http://dx.doi.org/10.5772/intechopen.91294*

**Figure 11.**

**Figure 12.**

**Figure 10.** *Hunter costume jacket African museum; Ref. 2013.0.152.*

*Cultural Heritage Objects of Southern Benin: Plant Dyes and Exudates Used in Their Confection DOI: http://dx.doi.org/10.5772/intechopen.91294*

**Figure 11.** *FT-IR spectra of blue textile hunter costume jacket Ref. 2013.0.152 and cotton.*

**Figure 12.** *Chromatogram at 285 nm of blue textile hunter costume jacket Ref. 2013.0.152.*

IR-TF analysis of this sample only allowed to determine the nature of the cotton support used to make this vest **Ref. 2013.0.152**. However, its analysis by HPLC-UV-Visible revealed that it mainly contains indigotin (**Figure 12**).

The identification of the only indigotin in this sample reminds us of the use of indigo liana *P. cyanescens* in the dyeing of this textile. Indeed, *P. cyanescens* is the most popular indigo plant in the Yoruba-Nago cultural area, for dyeing blue or black blue cotton, bark (formerly), raffia and other plant fibers, as well as leather, hair and woodcarvings. Yoruba women use this plant, locally called "èlu", as a source of indigo in the manufacture of "adire" fabric; decorative technique similar to batik (dyeing method by which we cover the parts of the fabric that we do not want to dye with detachable wax), which has the effect of creating pale blue patterns on a dark blue background [19]. Traditionally, woven fabrics known as "country fabric" or "Asho ibilè" and dyed with indigo liana were reserved for dignitaries for ceremonial attire, dowries, burial clothes, court fines and gifts to distinguished visitors [5].

#### **6. Other vegetable exudates used**

Apart from the natural organic dyes characterized in almost all of the heritage objects studied, field surveys have made it possible to identify other exudates of plant origin, in particular binders: oils, resins, latex, gums, etc., which are

*Heritage*

**Figure 9.**

*compounds*

constitute the support of various materials, in particular dyes, coatings, cowries, animal bones, mirror, amulet or any other substance, the whole of which forms an armor which amplifies not only the spiritual vision of the wearer but also and above all ensures his protection against any external or spiritual attack. These textiles, qualified as "prepared", appear in the form of colorful and marvelous costumes used for the Egungun cult or the Guèlèdè cult, while the hunter costumes have a very particular appearance and appear in the form of a vest (**Figure 10**). It is the

*Chromatogram at 350 nm of fetish dyes Ref. 60.003.627 and the UV–visible spectra of the identified* 

IR-TF analysis in ATR mode of a blue textile part of a hunter's jacket **Ref. 2013.0.152**, has absorption bands characteristic of natural cellulosic material

similar to that from the analysis of a cotton control used as a reference and moreover corroborates the major place occupied by cotton fibers in the field of weaving

due to CO and a wide band at 3339 cm<sup>−</sup><sup>1</sup>

due to CH. This result is

same for the ritual accouterments of Shango.

with an intense band at around 1109 cm<sup>−</sup><sup>1</sup>

*Hunter costume jacket African museum; Ref. 2013.0.152.*

in black Africa (**Figure 11**).

linked to the OH group and, a low band at 2920 cm<sup>−</sup><sup>1</sup>

**32**

**Figure 10.**

also highly valued by craftsmen and sculptors for their different technical than cult properties. Indeed, from a technical point of view, *Alstonia boonei* Wild (Apocynaceae) exudes a toxic latex used to coat the surface of sculptures because of its fungicidal and insecticidal properties, while the latex of *Hevea brasiliensis* (Euphorbiaceae) and that of *Ficus congensis* (Moraceae) are used to seal the carved objects. The same is true of the mucilaginous fruits of *Afraegle paniculata* (Schum. and Thonn.) Engl. (Rutaceae) which serve as glues used in pottery. As for the latex of the Iroko, *Chlorophora excelsa* (Moraceae), it is used specifically for its spiritual dimensions in the sculptures. The iroko is considered a sacred tree, frequently protected near homes and in cultivated fields. In Benin, it is used squarely as a fetish.

The chemical analysis of binders of vegetable origin was much less approached than that of dyes, because it was necessary for these first works to select artifacts which can be compared, having similar functions and/or having a similar analytical technology. However, a binder sample taken from the yellow strip on a Guélédé crest mask **Ref. 60.004.102**, and subjected to microchemical staining tests on a thin section and of the heating plate, made it possible to observe a behavior typical of a natural emulsion. Its IR-TF spectrum displayed a very good correlation coefficient with that of the whole egg. It is interesting at this point to recall that during ethnobotanical field surveys, it was reported that an egg binder was used by the ancients [20]. Its use strictly requires a state of purification since the day before.
