Kingdom of Ife, and the Sculptures from West
Africa
In the British Museum from 4th March to 6th June
2010. [visited 9/04/10]
The commerce and trade along the River Niger
arriving from the kingdoms of
Benin and further north
from the Meditterean provided economic benefits
to the Kingdom of Ife. With this came: wealth of
commodities, ideas and status
and identity as part of the
Kingdom.
The new wealth for the city state gave identity
providing the basis for society
through out the 1100 - 1400s. The new status gave
the echelons of society respect for religion, royalty,
superstition and boundary
lines drawn up to show the
delineation of land, power and a cosmopolitan
society.
A Cultural understanding of the political
importance of Elders and the spoken
traditions that defined
mythical deities, the embroidered heroics of
royalty and warriors that kept as interest for
worship and sacrifice. The reverance
of virility, age, serenity,
health, suffering and threats to survival, were
celebrated as the fore bearers of fate, life and death
and so were worth the
portents. The line of influence
was measurable by the equipped artwork
icons of the people and also the well worked
boundaries and domestic altars were marked by
monoliths, statues, and
sculptures.
The characteristics of the Artwork re-defined
Nigerian and African Identity
during this period. The
portraits of kings and Queens were full naturalistic,
almond shaped, plump enough to show a measure
of wealth. The features: full
lips, downward gaze to the
viewer (not all) ever watchfull, defining the
presence
and influence to the Elders. The shape of the head
varied, either as the inner core
of powerful leadership
or rounded for society.
The finery attached to headdress, professed power,
leadership and enduring
authority over the kingdom.
The colour and striation on heads readied the
rituals and ceremonies of deities.
Such painted markings, indents
were tattoos. Their significance probably not to be
properly under estimated.
The use of
animals moulded for reverence to nature, and the
power of fate.
What manner of casts in bronze, copper and brass
from Clay moulds made art
remarkable for its era and
area of influence.
Art critic: E. Waller
About The Sculptures of West of Africa in the
Kingdom of Ife,
1100-1400s
