YORUBA FEMALE FIGURE By one of the master carvers of the Igbuke Carving House in Oyo

YORUBA FEMALE FIGURE By one of the master carvers of the Igbuke Carving House in Oyo
Oyo, Nigeria

69 cm. high

This remarkable and magnificent large female figure displays the unmistakable characteristics of one of the most recognisable of regional styles in Yorubaland.

Oyo, located near the River Niger and therefore straddling an important trading route, was one of the earliest and most powerful of Yoruba kingdoms, dominating a vast territory for over nine centuries with its feared cavalry. Founded in the 14th century by Oranyan, the first oba (king) of Oyo he was succeeded by Oba Ajaka, Alaafin of Oyo. When Ajaka's weakness resulted in his being deposed, he was replaced by his brother, Shango, who would later be defined as the deity of thunder and lightning.

The Empire's capital was to move more than once during its long and turbulent history. The original capital, Oyo-Ile or Old Oyo was abandoned following its defeat by the Nupe in the 16th century and a new capital, Oyo-Igboho, constructed during the reign of the Alaafin Eguguojo. The capital moved back to the original site of Old Oyo under the reign of Alaafin Abipa but was destroyed by the Fulani in circa 1835 after which the capital moved once again further south to Ago d'Oyo.

William Fagg suggests that the Igbuke compound in Oyo was probably the only carving house operating in the town after its removal from Old Oyo c. 1835. Although there is a great consistency of style its output was prolific and there were perhaps around twenty different hands working in the compound in the 1920s.

This figure's function has unfortunately not been recorded. Peter Morton-Williams (personnal communication) has suggested that the presence of red pigment on the skirt may point to an association with Shango, and perhaps the figure's function changed at a later date, a practise no unkown amongst the Yoruba. The figure has subsequently been covered in blue, a colour associated with Eshu, resulting in its very dark surface today. A similar figure from the Marshall Mount collection is published by Robert Farris Thompson (in "Black Gods and Kings : Yoruba Art at UCLA", Los Angeles, 1977, fig12). The author states that it represents a devotee of Yemoja but no further explanation is given for the attribution. Whatever its original function it is without doubt a masterpiece of Oyo carving.

Provenance

Lucien van de Velde, Antwerp
Loed and Mia van Bussel, Amsterdam/The Hague
Frans and Betty Voss, Netherlands