HIGHLIGHTS FROM THE EXHIBIT
HEAD WITH CROWN
Sensitive and serene, this head conveys the quality of
self-composure esteemed by the Yoruba. The facial lines probably represent delicate scarification of the skin.
Copper, a precious metal in early Ife, was reserved for
representations of royalty. This is one of three known copper-alloy heads, all slightly smaller than life-size, that bear
crowns. On this head, the top of the crown’s crest is broken
off, but its base resembles the one on the standing figure of
a king in this section. Its coiled shape may be an emblem
of a specific ruling dynasty. An iron nail found in the neck
suggests that this head was once attached to a base or possibly to a clothed wooden effigy.
14th–early 15th century
Copper alloy
Discovered in 1938 by workmen digging a foundation at Wunmonijie Compound, Ife
NCMM, Nigeria, 79.R.11
HEAD WITH CROWN
In its form and detail, and its thoughtful expression suggesting inner poise, this work is a masterpiece of terracotta
sculpture. The tiered crown would indicate that the head represents a queen. Its frontal crest has broken off, but a ring
of beads remains visible on the forehead. Traces of red paint, which survive on the necklaces, lips, ear, and forehead,
imply that it was originally painted throughout. This head
might have once been attached to a torso or a full-length
figure. Today, only fragments of such larger figures exist. No
complete terracotta figures have yet been found.
12th–15th century. Terracotta.
Found in 1958 during archaeological excavation at Ita Yemoo, Ife
NCMM, Nigeria, 79.R.7
FIGURE OF IDENA
Known as Idena, the gatekeeper, this figure was said to
watch over the roads leading to the Ore Grove, sacred to
Ore, the god of hunting. Ore is associated with Ogun, the
god of iron, and on this guardian figure the hair is covered
with wrought-iron nails fitted into holes drilled in the stone.
Most of the nails, now broken, once had spiral heads. A lock
of hair is also represented hanging down the left side of the
face. Idena is shown wearing a wide beaded collar, bracelets
on both arms, and a wrap tied around his waist. A tasseled
sash hangs over his left hip.
12th–15th century. Biotite gneiss and iron nails. From the Ore Grove, Ife
NCMM, Nigeria, 57.1.7
MASK CALLED “OBALUFON”
This unique mask is said to represent Alayemore, known as the
Ooni Obalufon II, who ruled Ife during the fourteenth century.
Obalufon II is revered for advancing the stature and fortunes of
Ife and for stimulating its creative industries, especially metal
casting in copper alloy. This is the only metal mask from Ife and
is thought to have been in use from the time it was made until it
was transferred to the Nigerian National Museum in Ife during
the past century. This work was clearly intended to be worn.
There are slits below the eyes through which the wearer could
see, holes in the nostrils for breathing, and a gap between the
lips to allow the wearer’s voice to be heard. Textile robes could be
attached to the holes around the back of the mask, while a crown
and a beaded veil could be attached using the holes around the
face and the back of the head.
Made of virtually pure copper, rather than copper alloyed with
tin or zinc to facilitate pouring, the nearly flawless execution of
this mask attests to the technique and skill of its makers. Copper
oxidizes upon exposure to air, forming a thin film that prevents
the flow of molten copper into the narrow passages of a mold. To
avoid this problem, it appears that the Ife metalsmiths attached
the crucible directly to the mold, to keep the copper from contact
with air when they inverted the assembly to make the pour.
14th–early 15th century
Copper
From the Ife Palace
NCMM, Nigeria, 38.1.2
ROYAL HEAD
This finely modeled royal head has an exceptionally smooth surface that contrasts with the sharply defined curves of its elegant
facial features. Like many other royal heads found in 1938 in Ife,
this one has a series of holes around the mouth and jaw, probably used for attaching a beaded veil to cover the mouth.
To date, only fifteen life-size heads are known, all from the
Wunmonijie Compound near the royal palace in the heart of Ife
(eight of these works are included in the exhibition). They were
discovered during excavation for building a house. There are also
three less than life-size heads from Ife that have crowns cast in
the metal (two of these works are in the exhibition).
14th–early 15th century
Copper alloy
Discovered in 1938 by workmen digging a foundation at Wunmonijie Compound, Ife
NCMM, Nigeria, 38.1.9
SEATED FIGURE
This seated figure comes from a shrine in the Nupe village of
Tada on the Niger River, about 120 miles north of Ife. As a
shrine figure, this sculpture ensured the fertility and prosperity
of the local community. Once a week, villagers carried it to the
river to wash it and scrub it with gravel, which accounts for its
worn and pitted surface.
Stylistically, the Tada figure is so similar to some Ife works that
scholars think it might have been made in an Ife workshop or
by an Ife artist. The fabric tied around the hip is similar to that
of other Ife sculptures, including the standing figure of an Ooni
at the entrance to this gallery. A second cloth, cinched with
a tasseled sash, depicts an openwork pattern. These fabrics
illustrate the importance and complexity of fine textiles in Ife
dress and regalia.
Originally, this figure may have been placed on a platform or a
circular stone stool. Its asymmetrical pose is somewhat unusual
in African sculpture, though early terracotta sculptures from
Mali, further up the Niger River, include seated figures in a
variety of poses.
This Tada figure is the earliest and largest metal sculpture yet
found in the Ife region. It has the most naturalistic body forms
and is undoubtedly the most complex Ife work known to date.
Testing of its clay core dates the figure to around 1325, plus or
minus 60 years. Like most cast metal sculptures, this statue was
produced in several parts that were then joined together. Because it is made from almost pure copper, which is difficult to pour
in a molten state, the figure would have been extremely difficult
to cast. Even with some parts missing, this statue weighs nearly
40 pounds.
Late 13th–or 14th century. Copper (with traces of arsenic, lead, and tin)
From Tada, a village north of Ife. NCMM, Nigeria, 79.R.18
GAGGED HEAD
Because it was modeled as a freestanding head, this portrait of
a sacrificial victim was apparently designed to be placed on a
shrine. The scarifications between the eyes and the ears indicate
that the person was a foreigner. According to Yoruba legend, in
early times strangers would avoid Ife for fear of being sacrificed to the gods. The style of this work suggests a date after the
fifteenth century.
After 15th century
Terracotta
Found in 1957 during archaeological excavation at Ita Yemoo, Ife
NCMM, Nigeria, 57.1.6
CONICAL
HEAD
Conic head with Human Features, said to represent Awunrin
Olojo, a wife of Osangangan Obamakin (Obalufon I)
Conical and cylindrical heads, which were placed on shrines,
may have been meant to represent the spiritual aspect or
inner head (ori inu) of an individual rather than the outer
aspect or physical head (ori ode) that is represented on more
naturalistic sculptures. The conical form is characteristic of
the most sacred beaded crowns worn by Ife rulers.
Through these three small works, along with the naturalistic
heads and figures in the exhibition, we can observe the three
different modes of representation that characterize Yoruba
art: naturalistic, stylized, and abstract. The naturalistic mode
is abundantly evident in many works in the exhibition. The
stylized mode can be seen in the large conical head here, and
the abstract mode is evident in the small conical head and the
cylindrical head, both of which likely represent the inner head
(ori inu) of a person.
12th–15th century
Terracotta
Osangangan Obamakin Grove, Ife
NCMM, Nigeria, 49.1.22
FIGURE OF A MAN WITH ELEPHANTIASIS OF THE
SCROTUM
One of the most graphic depictions of disease known from
Ife is this fragmentary figure of a man with enlarged testicles,
apparently elephantiasis, a disease borne by mosquitoes. His
ankles (one is broken off) appear to be bound by a cord or
chain. The two buffalo horns draped around his neck suggest
a ritual context, possibly involving sacrifice. The sculpture is
a realistic depiction of a dreaded, though unfortunately not
uncommon, infectious tropical disease. This figure may also
represent a being sacred to the gods, especially Obatala, the
artist-deity who modeled humans from clay.
12th–15th century
Terracotta
Osangangan Obamakin, Ife
NCMM, Nigeria, 49.1.51
IFE AND BEYOND - EQUESTRIAN FIGURE
This horseman has been identified in several different ways:
as an emissary from the north; as Orunmila, deity of divination; as a blacksmith; and as Oranmiyan, the legendary
leader who founded new dynasties at Ife, Benin, and Oyo
(another Yoruba city). The equestrian context supports the
rider’s identity as Oranmiyan, who is associated with military power and is said to have procured horses from Kanem-Bornu, an ancient kingdom in present-day Chad and Niger,
north of Nigeria. Because of disease carried by the tsetse
fly, horses have a low survival rate in the forested regions of
Benin and Ife, which makes them rare and costly mounts.
Wearing elaborate regalia, this rider’s exceptional headdress
includes details representing of glass beads, feathers, and
possibly amulets. The wide collar and cuirass (chest armor)
resemble European designs from the same period. By the
sixteenth and seventeenth centuries, when this work was
made, the Portuguese and others had established trade with
Benin, and European arms and armor became known in the
region. The rider’s cuirass includes cowrie shells, a traditional form of money in Africa.
16th–17th century
Copper alloy
From Benin, a city southeast of Ife
NCMM, Nigeria, 59.23.7
MODERN
DAY IFE
The present-day city of Ife, known as Ile-Ife, is a vibrant urban centre with modern institutions, including a major university, museums, a lively market, and many business establishments. It is the homeland of the Yoruba people, and the Ooni
of Ife, His Royal Majesty Alayeluwa Oba Okunade Sijuwade, Olubuse II, is the highest-ranking traditional ruler in Yorubaland. As the incumbent of one of the world’s oldest extant monarchies he plays a major role in ceremonial life. Ife’s inhabitants are Christians, Muslims, and followers of Yoruba traditional religious practices. Ancient traditions of the court,
and festivals honoring local deities, remain important. At festivals honoring past rulers and deities, participants—many of
who hold hereditary offices or serve as priests dedicated to particular shrines—wear insignia and decorate themselves in
ways that resemble details on Ife’s ancient art.