Relevant bibliographies by topics / Nigerian Sculpture

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Nigerian Sculpture'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Nigerian Sculpture"

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Kalilu, Razaq Olatunde Rom, and Allan Francis Ebunola Oladugbagbe. "An Examination of Postmodernism in Sculptural Practices in Some Nigerian Art Schools." Journal of Visual Art and Design 14, no. 2 (January 31, 2023): 191–209. http://dx.doi.org/10.5614/j.vad.2022.14.2.13.

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Postmodernism, a Western artistic concept, affects sculptural practices in Nigerian art schools. Sculptures are consequently getting extremely subjective as students use postmodernism to avoid learning classical sculptural principles. Therefore, this study examined postmodernism in sculpture in Nigerian art schools with a view to finding ways by which postmodernism can be incorporated into practice in Nigerian art schools. The study used data collected through field research at three art schools between 2010 and 2021. Nine (10%) out of 89 postmodern sculptures observed in the three art schools were randomly selected for formal analysis. The findings indicate that the exploration of found objects and the production of sculptures that provoke deeper conceptual meanings of subjects have become the norm, triggered by the socio-cultural conditions and geography in the art schools’ locations. It is concluded that postmodernism can be incorporated into sculptural training in Nigerian art schools without inhibiting the development of knowledge and skills according to classical and artistic principles and values.
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Oladugbagbe, Francis Ebunola Allan, and Moses Akintunde Akintonde. "Contextual Change in Nigerian Sculpture." Asian Journal of Humanity, Art and Literature 3, no. 2 (December 31, 2016): 83–92. http://dx.doi.org/10.18034/ajhal.v3i2.309.

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In the past fifty years Nigeria has witnessed an almost unparalleled upsurge in three-dimensional art production significantly, sculpture in the round. The emergence of the latter can be traced to pioneer African sculptures whose pieces have been adjudged contribution to world artistic heritage. This paper, therefore, examines the continuity and change in sculpture practice as a result of contact with Western cultures and the artistic influence in form, style, theme and material of contemporary sculpture in Nigeria. Significantly, this paper hopefully serves as reference point for future scholarship on sculpture in Africa, while at the same time assist in formulating critical theories on sculpture practice in contemporary Africa, and Nigeria in particular.
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Chuu Krydz, Ikwuemesi, Egwuibe Nnaemeka, and Obodo Eva. "Realism, eloquence and symbolism in Reuben Ugbine's ceramic sculptures." IKENGA International Journal of Institute of African Studies 23, no. 1 (July 9, 2022): 1–13. http://dx.doi.org/10.53836/ijia/2022/23/1/006.

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Ceramics is often seen as utilitarian art, although some contemporary Nigerian ceramists like Chris Echeta, Tony Umunna and Ozioma Onuzulike have tried to re-inscribe it as veritable fine art. Conversely, sculpture in recent times has shifted mostly towards the stylised, abstract and conceptual, as can be seen in recent works by select sculptors. Although the above trends may be deemed to be general, there are still artists who seem to defy or subvert the trends through the formal and iconographic essences of their works. The works of Reuben Ugbine, a graduate of sculpture from Yaba College of Technology Lagos, provide a good example and have received huge attention due to their style, visual eloquence and social commitment. This paper, therefore, examines Ugbine’s ceramic sculptures and how they transcend the banality of genre and subvert the common expectations from contemporary ceramics and sculpture in their embodiment of meaning and social relevance.
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Oladugbagbe, Francis Ebunola Allan, and Moses Akintunde Akintonde. "Contextual Change in Nigerian Sculpture." Asian Journal of Humanity, Art and Literature 2, no. 3 (October 28, 2015): 105. http://dx.doi.org/10.18034/ajhal.v2i3.670.

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Oladugbagbe, Francis Ebunola Allan. "Metaphor in plastic arts: example of portrait sculpture in Nigerian art schools." International Journal of Arts and Technology 13, no. 4 (2021): 336. http://dx.doi.org/10.1504/ijart.2021.121057.

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N.A., Francis Ebunola Allan Oladugbagbe. "METAPHOR IN PLASTIC ARTS: EXAMPLE OF PORTRAIT SCULPTURE IN NIGERIAN ART SCHOOLS." International Journal of Arts and Technology 13, no. 4 (2021): 1. http://dx.doi.org/10.1504/ijart.2021.10043564.

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Abodunrin, Johnson Adelani. "Training in Nigerian art schools: a critique of gender distribution." Harmonia: Journal of Arts Research and Education 17, no. 2 (December 24, 2017): 105. http://dx.doi.org/10.15294/harmonia.v17i2.9826.

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<p>Training is indispensable in all facets of life in order to further knowledge and skills irrespective of gender difference, yet this disparity has become a phenomenon in artistic practice in Nigeria. The study aimed at examining art training in relation to gender distribution into various areas of specialization in art schools in Nigeria. There has been a gender imbalance in various areas of specialization which has left certain areas for male and female. Data for this study were collected in art School in Southwestern Nigeria between 2011/2012 to 2014/2015 academic sessions using archival materials to know the gender affinities. The university selected as sample size within the geographical scope of the study is Ladoke Akintola University of Technology, Ogbomoso. The selection was based on the orientation of their training and admission criteria which differs tremendously. Descriptive analysis was adopted to know the gender affiliation in the practice. Finding reveals that the total enrollments of students are more of females (55.8%) than male (45.2%) are admitted to study art. The result has also shown that more female (93.3%) specializes in textile while more male (84%) students are in sculpture. This perhaps could be attributed to the nature and the demands of each area of specialization. Textile design attracts more female artist because of; the socio-cultural affiliation of the discipline, interest in fashion; the readily available market for textile wares across all social class and the less demand on draughtsmanship skills as compared to other forms of arts.</p>
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Spaulding, Daniel. "A Scheme Transfer for Global Modernism." October, no. 186 (2023): 163–96. http://dx.doi.org/10.1162/octo_a_00503.

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Abstract This article proposes a new articulation of the field of global-modernist art history by way of three case studies: The influence of canonical African sculpture on early Cubism, the emergence of modern art in late-colonial South Asia, and Nigerian modernism around the moment of independence in 1960. Drawing on research by Joshua I. Cohen, Suzanne Preston Blier, Partha Mitter, Geeta Kapur, and Chika Okeke-Agulu, I argue that this growing field of inquiry is structured by observed parallelisms between practices that are separated by great geographical and cultural distances—parallelisms that are unavoidable, yet also potentially misleading. Rather than adopt a model either of unidirectional influence or amalgamating hybridity to systematize this field, I instead apply a disjunctive, diagrammatic formalism for which I borrow the notion of “scheme transfer” from Alfred Gell and Pierre Bourdieu. This is a way to articulate the transmission of specific formal and structural traits (for example, from the coast of West Africa to Paris) as being contingent and reversible rather than inevitably hierarchizing. Following suggestions in the work of Leo Bersani and Eduardo Viveiros de Castro, I thus recommend the mutability of the diagrammatic—or, to put it differently, a revised, non-totalizing structuralism—as a means of navigating the perils of the comparative enterprise.
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Lei, Yuxiao. "An archaeological overview of Nok terracotta sculptures." SHS Web of Conferences 193 (2024): 04011. http://dx.doi.org/10.1051/shsconf/202419304011.

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The purpose of this study is to compile the academic research that has been conducted on the Nok excavations over the course of this year in order to present a comprehensive archaeological narrative about Nigerian civilization. Despite the fact that the centre of the Nok culture can be found in the middle of Nigeria, it is possible that the influence of Nok artefacts and cultural practices has spread beyond this region. There is a good chance that migration patterns, cultural exchanges, and trade networks were all factors that contributed to the widespread dissemination of Nok cultural elements to neighbouring regions. Research and mapping projects that are currently underway have the objective of documenting and analysing the distribution of Nok sites throughout central Nigeria and across the country. For the purpose of visualising the geographical footprint of the Nok Culture and gaining an understanding of the settlement patterns of this ancient civilization, geographic information systems (GIS) and spatial analysis techniques are utilised.
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Berns, Marla. "Sculpture of Northeastern Nigeria." African Arts 18, no. 4 (August 1985): 89. http://dx.doi.org/10.2307/3336268.

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Dissertations / Theses on the topic "Nigerian Sculpture"

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Boullier, Claire. "Recherches méthodologiques sur la sculpture en terre cuite africaine : application à un corpus de sculptures archéologiques - en contexte et hors contexte - de la culture Nok (Nigéria)." Paris 1, 2001. http://www.theses.fr/2001PA010591.

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C'est en 1928 que la toute première sculpture Nok est découverte, dans la région de Jos (Nigéria central). Dans les années 50-70, l'exploitation intensive des mines d'étain, en révèle un grand nombre d'autres. Malgré les quelques fouilles entreprises, la connaissance que nous en avons demeure extrêmement succincte. De surcroît, cette région subit depuis une dizaine d'années un pillage sans précédent de ses sites archéologiques qui a mis au jour plusieurs milliers de sculptures. L'absence quasi systématique de données de contexte pour ces sculptures Nok et l'impossibilité actuelle d'entreprendre des fouilles nous ont incités à développer une réflexion sur l'approche méthodologique des sculptures archéologiques affectées d'un tel handicap. En tant que témoins et illustrations de l'histoire, elles nous invitent à les interroger comme de véritables sources d'informations socioculturelles. Pour ce faire, ce sont les outils de 1 'histoire de l' art et ceux de l' archéométrie que nous avons mis en oeuvre si bien que l' originalité de cette démarche réside dans la multiplication des approches. Ces sculptures ont ainsi apporté de précieuses informations sur la société qui les a engendrées et sur l'environnement dans lequel elles ont été créées.
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Onyile, Onyile Bassey. "Ekpu Oro the spirits of the living dead as an expression of Oron world view, 1894-1940 /." Diss., Online access via UMI:, 2005.

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Books on the topic "Nigerian Sculpture"

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Eyo, Ekpo. Two thousand years of Nigerian art. London: Ethnographica in association with National Commission for Museums and Monuments, Nigeria, 1990.

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Ogundipe, Odunayo. Sculpture in the Nigerian socio-cultural society. Benin City, Nigeria: Ambik Press, 2013.

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(Lagos), Nigeria National Museum, ed. An Exhibition on animals in Nigerian sculpture. Lagos: National Museum, 1992.

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Omotoso, Eluyemi, Ekpo V. I, Bassani Ezio, and List Herbert, eds. Quando Dio abitava a Ife: Capolavori dall'antica Nigeria. Firenze: ArtificioSkira, 2005.

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Christophe, Lebedinsky, Mérigot Xavier, and Galerie Flak, eds. Mumuye. Paris: Galerie Flak, 2006.

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Bartolomucci, Adolfo. Le antiche culture della Nigeria: Nok, Sokoto, Katsina. Milano: African Art Gallery, 2012.

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Bashorun, Raqib Abolore. Raqib Bashorun: Evolving through waste. Lagos: Revilo Company Limited, 2008.

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editor, Vivanco Begona, Langevin Olivier author, Paasivirta Helena Ruiz author, and Ángel Martín (Madrid), eds. El estilo del río Galma: Una civilización en Nigeria hace 2.000 años. [Madrid]: Ángel Martín, 2014.

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Staatliche Museen zu Berlin (Germany : East), Germany (East). Ministerium für Kultur., and Nigeria. Federal Ministry of Information, Social Welfare, Youth, Sports and Culture., eds. Schätze aus Alt-Nigeria: Erbe von 2000 Jahren : Sonderausstellung, Staatliche Museen zu Berlin/Haupstadt der DDR, Pergamonmuseum/Ostasiatische Sammlung, April bis Mai 1985. Berlin: Henschelverlag Kunst und Gesellschaft, 1985.

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Main, Universität Frankfurt am, and Nigeria. National Commission for Museums and Monuments, eds. Nok: African sculpture in archaeological context. Frankfurt am Main: Africa Magna Verlag, 2014.

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Book chapters on the topic "Nigerian Sculpture"

1

Rowell, Charles H. "An Interview with Chinua Achebe." In Chinua Achebe’s Things Fall Apart, 249–72. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195147636.003.0012.

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Abstract Charles H. Rowell: Mr. Achebe, here in the United States, those of us who read twentieth-century world literature think of you as one of the most important writers in this era. We view you as an artist—and for us the word artist has a certain kind of meaning. In the African world, does artist have the same meaning as that conceptualized in the Western world? Or, more specifically, what do Nigerians conceive the writer to be? Is he or she thought of as an artist, a creator of the kind that we think of here in the United States when we speak about writers? Chinua Achebe: Well, I think that there are obviously certain common factors when anybody talks about an artist, whether in America or in Africa. I think there are certain factors which would apply to either place—and so we can leave those aside, if you like. But there are differences definitely, in emphasis if not absolute, and it is these that one should draw attention to. The artist has always existed in Africa in the form of the sculptor, the painter, or the storyteller, the poet.
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Cunliffe, Barry. "Creating Connectivities." In Facing the Sea of Sand, 102–43. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192858887.003.0004.

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Abstract The development of complex societies in the Mediterranean began to impact on North Africa, first the Phoenicians and their successors the Carthaginians, later the Greeks and finally the Romans. Early in the first millennium Phoenicians had established colonies along the Mediterranean coast and down the Atlantic coast of Morocco and by c. 500 BC were exploring much further. Not long afterwards Herodotus was travelling down the Nile and was collecting information about northern African tribes and routes. With the Berber tribes of North Africa coming under increasing Carthaginian and, later, Roman, influence, and Egypt ruled successively by Persian and Hellenistic kings, the northern and eastern fringes of Africa were becoming closely bound up with the Mediterranean and Near Eastern World. Meanwhile, south of the Sahara the communities of the Sahel were developing a distinctive form of urbanism focussed on the Middle Niger Delta and the region around Lake Chad. In the wooded Savannah to the south Iron working was developing and in Nigeria craftspeople of the Nok culture were producing spectacular ceramic sculptures of the human form. Although the desert was a major barrier, routes across it were fast developing, driven by trade. One of the desert communities, the Garamantes of the Fazzan, by virtue of their ability to tap underground water supplies, and their central position, benefitted from the growing trade and developed an urban system. The disparate parts of Africa were now coming together bound by a network of connectivity.
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