Abstract
Significant works have been done on the religious content, uniqueness and functionality of African art and objects. However, not much has been done on carvers of religious sculptures. This paper therefore provides a fresh historical account on the origin and exponents of wood carving in Oyo Southwestern Nigeria. Two prominent families of traditional religious wood carvers in Oyo were studied: the Oke family of Ebike clan and the Odekunle family. A comparative analysis of the works of the two families was carried out to determine the historical timeline, stylistic and thematic features of their cult wood carving, especially (Ifa cult) in Oyo. Findings revealed the wide margin of variation in the works of the two most prominent carver families in Oyo. Other issues bewildering the survival religious wood carving tradition and traditional art in general in the Nigeria were articulated and suggestions were proffered.
Highlights
The functionality of African Art to African religions has, for a long time, been a subject of academic inquiry
Oke Olayinka on the other hand belongs to the deep-rooted indigenous craftsman category that got naturally integrated into the art of wood carving and followed the pace till date, in spite of confrontation with modernism
This paper has discussed the need to revamp the fast degenerating Yoruba wood carving tradition by deconstructing the culture of conservatism that consigns traditional caver to obscurity. It brings to the fore, a fresh historical account on the origin and exponents of wood carving in Oyo Southwestern Nigeria
Summary
The functionality of African Art to African religions has, for a long time, been a subject of academic inquiry. This does not imply that the artist always creates for free, but the primary objective is never pecuniary This position is amplified by a view on the value of art in Africa, quoted in Yudelman (1964) which states that the African in general has no desire to produce more than he needs for subsistence level and that putting silver in his pocket is not the African’s first aim and objective. This disposition of the artist to creativity becomes stronger where his religion is involved. International Journal of Architecture, Arts and Applications 2017; 3(4): 53-62 art in general with the view to providing insights into their world; enhance the understanding of their practice; the functionality of their works and the general understanding of traditional African religious art
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: International Journal of Architecture, Arts and Applications
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
