Yoruba-Ife & Ibedji
(c) David Norden 2006
The Yoruba peoples inhabit a large part of southwestern Nigeria. Their art traditions are of considerable antiquity. Excavations at
Ife, in central Yorubaland (the site of the creation of the world in some Yoruba myths), have shown that naturalistic sculpture in brass and pottery was being produced sometime between 1100 and 1450 AD.
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| The sculptures may represent royal figures and their attendants, and life-size portrait heads in brass were perhaps used as part of funerary effigies. During this time, Ife appears to have had widespread importance, and the naturalism of its art seems to have influenced the basic development of Yoruba sculptural style. Throughout Yorubaland, human figures are represented in a fundamentally naturalistic way, except for bulging eyes; flat, protruding, and usually parallel lips; and stylized ears. The evolution of these characteristics can be observed in a number of pottery sculptures at Ife, which, on stylistic grounds, are considered to be relatively late.
Within the basic canon of Yoruba sculpture, many local styles can be distinguished, down to the hand of the individual artist. Individual cults, too, have their own characteristic requirements of form and ethnography. Staffs for Shango, the thunder god, bear the symbol of a double ax. On his altars are placed carved mortars, for the pounding of food in a mortar sounds like thunder; on the wall behind hangs his leather bag, with a motif based on the extensive gesture of a Shango dancer. Because Shango was king of Oyo, largest of the Yoruba kingdoms, his cult is mainly restricted to areas that were once under Oyo domination.
Typical of Ekiti is the Epa cult, which is connected with both the ancestors and agriculture. The mask proper, roughly globular, has highly stylized features that vary little; but the superstructure, which may be four feet (122 centimetres) or more in height, is often of very great complexity--for example, a king on horseback, surrounded by two tiers of attendant warriors and musicians. The most widely distributed cult is of twins, ibeji, whose birth among the Yoruba is unusually frequent. Their effigies, made on the instructions of the oracle, are among the most numerous of all classes of African sculpture.
Carved doors and house posts are found in shrines and palaces and in the houses of important men. Fulfilling purely secular functions are bowls for kola nuts, offered in welcoming a guest; ayo boards for the game, known also as wari, played with seeds or pebbles in two rows of cuplike depressions; and stools, spoons, combs, and heddle pulleys.
To the north is Esie, where about 800 sculptures in soapstone were found by the local Yoruba population some centuries ago. Their origin is obscure; they are by no means certainly Yoruba. The city of Owo, to the southeast of Yorubaland near the frontier with the Edo-speaking peoples, developed an art style--indeed, a whole culture--that is a blend of Yoruba and Benin traditions. Ivory carving is especially important, and wooden heads of rams and of humans with rams' horns are used on ancestral altars. Second-burial effigies, life-size and naturalistically carved in wood, have been made during the 20th century but were developed from wickerwork forms such as are still used in Benin and in Igbo towns that were formerly under Benin influence. Excavations in 1971 revealed a large number of pottery sculptures that are clearly related to those of Ife but with some Benin features. The site was dated by carbon-14 to about the 15th century AD.
also Ere Ibedji a book critic from Jack
Vogelzang & a past exhibition Ibedji NYC
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It contains more then 800 illustration and basic
explanation making it easy to recognise and put attributions on African
African masks from Known Collections
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Tribal Arts of Africa
Author: Jean-Baptiste Bacquart
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