Paper short abstract:

The historical and artistic context of Luso-African ivories is still a subject under discussion. The enquiry on the representations of weapons could trace some tracks to understand ivories symbolic dimension, but also could bring clues on their provenance, circulation, artisans or patrons.

Paper long abstract:

The research on Luso-African ivories is still in its early days. The main questions on the manufacture of the artefacts continue unanswered, as its geographical region - that is unknown or debatable for most objects. The circulation of objects, artists, techniques and materials turn the task of characterization of objects even harder. Also, the production of carved ivories and the organization of artisans in Africa are difficult to understand and characterize. As happen in various works of art of the same chronology, the attribution of a specific date or even a time frame is problematic.

All the objects of art are, in a way, luxury items. And the ivory objects are no exception. They were ordered by a patron that aimed to convey a certain image of himself, his genealogy, his territories, his wealth. Also, those items had a certain message or symbolism that need to be read and interpreted.

Within the acknowledge group of Luso-African ivories there is an important number that shows carved portraits of full or partially armed soldiers. In a military perspective, a specific study of the weaponry displayed in these ivory items could be crucial to characterize the typologies of arms and armours used. But this research will contribute as well to a deeper query on Luso-African ivories, namely the question about the characters displayed in the artefacts (Portuguese or African fighters?); to understand the symbolic power of images through weapons (as happen with the handguns); to comprehend the circulation of objects within Africa and Europe; or even to recognize provenances and chronologies.