Most large-scale Urhobo statues are associated with the edjo, a generic term for the essence of spiritual energy. The Metroploitan Museum of Art: New York, 1988. The Material Culture of Zimbabwe. African Systems of Thought: Studies Presented and Discussed at the Third International African Seminar in Salisbury, December 1960. International African Institute: London, 1960. Knopf, Inc: New York, 1980. Iron-smelting involves a great deal of wood and charcoal to be successful; in addition, a growing population required more sustained clearing of woods for farmland.
Textilien und Handwerke aus Afrinischen und Aneren Ländern. Valenge Women: The Social and Economic Life of the Valenge Women of Portuguese East Africa, Reprint. He has had several solo art exhibitions in the domains of material and production technologies as well as digital art. School of Art and Art History at The University of Iowa: Iowa City, 1981. The back of the book has come loose! These represent the villages of migrants to the area, farmers who lived in small kin-based groups. Fischer, Eberhard, and Lorenz Homberger. Longman Group, Northwestern Group: Evanston, Ill.
It relates to blacksmithing, and especially important to this statue, to military strength and prowess. Corners bumped, faint stains and light wear along the edges. From Austria to United Kingdom About this Item: Ethnographica London in association with National Cmmission für Museums and Monuments Nigeria. Many have exaggerated features such as enormous ears and genitals, leading some scholars such as Insoll 2011 to argue that they are representations of diseases such as elephantiasis. Tribal Arts Press: Brussels, Belgium, 1987. In the same manner the well-balanced ovoid mouth displays delicate teeth.
West African Kingdoms in the Nineteenth Century. Textured brown boards w crisp gold lettering on spine. Oxford University Press for the International African Institute: London, 1967. Afo-A-Kom: Sacred Art of Cameroon. Brown cloth with gilt titles.
Such a bird would offer the edjo a view into the metaphoric distance, i. Oxford University Press: London, 1965. British Museum Publications: London, 1978. The introduction is by Dr. Omo Ogun thus carries allusions that span across southern Nigeria. Professor Eyo was a doyen and an institution in Nigerian culture. A magnificent survey of bronze, terracotta, and stone sculpture, maks, and objects from the Yoruba, Ife, Owo, Benin, Igbo and other cultures of Nigeria.
He spent a lifetime promoting knowledge surrounding the sophisticated culture of early Nigerian peoples. A Short History of Zambia. He was a trustee of the Leakey Foundation for Research into the origins of man. Razaq Olatunde Rom Kalilu Department of Fine and Applied Arts, Ladoke Akintola University of Technology, Ogbomoso, Nigeria Nigeria Razaq Olatunde Rom Kalilu holds a Ph. In various instances, individuals have mimed this form and called it an allusion to a dance gesture. Smithsonian Institution Press for the National Museum of African Art: Washington D. Symboles graphiques en Afrique noire.
Third Press: New York, 1975. Publisher: New York : Knopf : Distributed by Random House, 1980. The surface has, through the years, received layer upon layer of the yellow that would have been applied annually at the time of ritual serving. Middle Nok society included farmers who may have practiced iron smelting on a part-time basis, and traded for quartz nose and ear plugs and some iron implements outside of the region. Ethiopians and East Africans: The Probelm of Contacts.
Eyo, Ekpo, and Frank Willett. Dust Jacket Condition: Very Good. A single nail was attached to the front of the forehead is visible in the 1969 photograph since removed , suggesting that at one point there had been a carved object there, that subsequently had been repaired and ultimately broken off. This would have been done, in all likelihood, on the advice of divination, and to visually highlight the important features of the face. In profile, the face of the statue displays the shape of the best of Urhobo art: swelling forehead above thrusting jaw-line and prominent mouth. He is Professor of Art and Art History at Ladoke Akintola University of Technology, Ogbomoso, Nigeria.