Relevant bibliographies by topics / Yoruba Sculpture

Contents

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

Academic literature on the topic 'Yoruba Sculpture'

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

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Yoruba Sculpture.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Yoruba Sculpture"

1

Granzotto, Clara, Ken Sutherland, Young Ah Goo, and Amra Aksamija. "Characterization of surface materials on African sculptures: new insights from a multi-analytical study including proteomics." Analyst 146, no. 10 (2021): 3305–16. http://dx.doi.org/10.1039/d1an00228g.

Full text
Abstract:
Multiple analytical techniques, including proteomics, were used to characterize materials from the surfaces of two African sculptures in the collection of the Art Institute of Chicago: a Bamana power object (boli), and a Yoruba wooden sculpture.
APA, Harvard, Vancouver, ISO, and other styles
2

Sobowale, Tolulope O., Kehinde Adepegba, and Johnson O. Oladesu. "Contemporary Yoruba Heroes in Public Sculpture." Yoruba Studies Review 7, no. 2 (January 19, 2023): 1–20. http://dx.doi.org/10.32473/ysr.7.2.132807.

Full text
Abstract:
From ancient times, the Yorùbá people held in high esteem people who occupied reputable positions in their society. As such, at the departure of such people, they are immortalized in sculptural forms by the living. Examples of this is Ako figures among the Ọ̀wọ̀ people, bronze figures representing past Ooni and Sango symbol which is represented in a carved double axe wand. This tradition continues in the contemporary time whereby some Yorùbá heroes are also rendered in sculptural images adorning selected open spaces. The paper thus, aims at examining some selected Yorùbá figures in public sculpture with a view to classifying and providing information about their life, contributions and philosophy that serve as good examples to the public. In achieving this, formal and contextual analytical methods are used.
APA, Harvard, Vancouver, ISO, and other styles
3

Lawal, Babatunde. "Orí: The Significance of the Head in Yoruba Sculpture." Journal of Anthropological Research 41, no. 1 (April 1985): 91–103. http://dx.doi.org/10.1086/jar.41.1.3630272.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Bourgeois, Arthur P. "Messages to Gods and Men: Sculpture and Textiles of the Yoruba of Nigeria." African Arts 22, no. 4 (August 1989): 79. http://dx.doi.org/10.2307/3336668.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Ajadi, Michael Olaniyi. "Identification and Stylistic Analysis of the Artistic Expression on Opa, Yoruba Sculptural Verges." Yoruba Studies Review 8, no. 1 (May 6, 2023): 163–82. http://dx.doi.org/10.32473/ysr.8.1.134092.

Full text
Abstract:
Opa is an emblematic Yoruba sculptural verge and preserved transcendence expressional art amongst the social group in order to describe hierarchical structure in ranking chiefs, religious cults’ priests/priestesses and aged right. Significantly, time-scale conscious and in-depth exploration of the hierarchical motifs on diverse verges and artistic formats of integrated motifs have not been considered using deco-hierarchical structures analysis. The visual artistic expression of verges sculptural forms demands contextual exploration to give meaningful time-scale oriented written reports that could clear up vague impressions towards different structures. For this conspicuous fact, a study of Yoruba sculpturesque verges will crystallize metonymical written explanations of motifs that suggest the power structure of the life of the Yoruba. The paper, therefore, examines the class-conscious format of images, motifs, and symbols unified on diverse emblematic verges for exploration of distinctive features of chieftains’ status, stylistic expression and interpretation of cults’ art in the Yoruba culture. Analytical review and critical appraisal methodologies were utilized for diverse verges; pictures were collated for critical examination of stratified motifs and symbols with the objectives of contextual and conceptual analyses. Findings unveiled artists’ expression towards this symbol of superiority which exists within the hierarchical structure of chieftaincy and religious cults’ orientations of Yoruba gods. However, it is apparent from studied verges that fastidiously effort given to the balance of patterns, motifs, and forms through professionalism and prowess suggest Yoruba ways of life.
APA, Harvard, Vancouver, ISO, and other styles
6

Mark, Peter. "Towards a Reassessment of the Dating and the Geographical Origins of the Luso-African Ivories, Fifteenth to Seventeenth Centuries." History in Africa 34 (2007): 189–211. http://dx.doi.org/10.1353/hia.2007.0012.

Full text
Abstract:
Fifty years ago, a group of 100 ivory carvings from West Africa was first identified by the English scholar William Fagg as constituting a coherent body of work. In making this important identification, Fagg proposed the descriptive label “Afro-Portuguese ivories.” Then, as now, the provenance and dating of these carved spoons, chalices (now recognized as salt cellars), horns, and small boxes posed a challenge to art historians. Fagg proposed three possible geographical origins: Sierra Leone, the Congo coast (Angola, ex-Zaïre), and the Yoruba-inhabited area of the old Slave Coast. Although Fagg was initially inclined on stylistic grounds to accept the Yoruba hypothesis, historical documents soon made it clear that the ivories—or at least many of them—were associated with Portuguese commerce in Sierra Leone. This trade developed in the final decades of the fifteenth century.Today approximately 150 works have been identified by scholars as belonging to the “corpus” of carved ivories from West Africa. Although the sobriquet “Afro-Portuguese” remains the most common appellation, these pieces should more appropriately be referred to as Luso-African ivories. The latter term more accurately reflects the objects' creation by West African sculptors who were working within Africa. The works, although hybrid in inspiration, are far more African than they are Portuguese. In addition, no documentary evidence exists to indicate that any of the ivories were carved by African artists living in Portugal. West African artists created the sculptures within the context of their own cultures.
APA, Harvard, Vancouver, ISO, and other styles
7

Kalilu, R. O. Rom. "The Role of Sculptures in Yoruba Egungun Masquerade." Journal of Black Studies 22, no. 1 (September 1991): 15–29. http://dx.doi.org/10.1177/002193479102200103.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Oligbinde, Samuel Rotimi. "Oduduwa: Through the Eyes of a Wood Carver." International Journal of Research and Scientific Innovation X, no. XII (2024): 607–20. http://dx.doi.org/10.51244/ijrsi.2023.1012046.

Full text
Abstract:
History is the chronological and integrated account of relationship between man, event, person, time and places. The Yoruba history has long been at the mercy of the West due to the disinterest of the Yoruba people in the preservation and propagation of their Tradition, Culture and Religion. This has led to the publication of volumes of misinterpretations, flawed and shallow analysis of Yoruba religion for which the Yoruba could only be grateful. Oduduwa is one of the most important Yoruba Progenitor in the history of the Yoruba tribe in Nigeria. He was a powerful leader under whom the nucleus of the Yoruba race migrated into this land from their original home in Ile-Ife. He was a man of great leadership skills, understanding and repute. He is one of the most discussed Yoruba Deity with different point of view because various scholars have not come to a conclusion of who he was. Unfortunately, from our oral Yoruba traditional history there is no descriptive analysis of how Oduduwa looked like but, however, a sculptor in person of Lamidi Fakeye, a traditional wood carver, carried out a commissioned work of Oduduwa in wood carving, describing what he looks like through a story which surrounds the creation of the world. The paper intends to discuss the life of Oduduwa and a conceptual analysis of the wood carving executed in his form. The background data for this paper came largely from textbooks, articles, field work, documentation, archival records, and observation of physical artefacts.
APA, Harvard, Vancouver, ISO, and other styles
9

Campbell, Bolaji, and Roslyn Adele Walker. "Olowe of Ise: A Yoruba Sculptor to Kings." African Arts 33, no. 1 (2000): 88. http://dx.doi.org/10.2307/3337758.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

James, Sule Ameh. "African Vernacular-rooted Imagery in Yemi Ikisakin’s Stone Sculptures." African Studies Quarterly 22, no. 1 (December 15, 2023): 41–57. http://dx.doi.org/10.32473/asq.22.1.135894.

Full text
Abstract:
This article presents a critical analysis of the African vernacular-rooted imagery represented in Yemi Ijisakin’s stone sculptures produced between the years 2006 and 2016. The focus on this period is to study the kinds of imagery he represents when there is a global artistic shift to installation and conceptual art. In doing this, I argue that even though Ijisakin’s stone sculptures are deemed vernacular art, they are not indigenous or historical African art, but a rethinking that references indigenous African cultural registers. The article also focuses on the ideas and meanings the interpretations of the works communicate to the audience. Thus, this article presents his artworks to a mainstream journal given that they have not received any critical analysis on the grounds that his works are regressive and outside the normative standards for referencing African/Nigerian/Yoruba contexts. But his works are important for demonstrating the interdependence of art and culture in Nigeria and producing knowledge on cultural practices.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Yoruba Sculpture"

1

Ngcai, Sonwabiso. "Xhosa twins as a theme in conceptually motivated sculptural artworks." Thesis, 2015. http://hdl.handle.net/10352/312.

Full text
Abstract:
M. Tech. (Fine Art, Department of Visual Arts and Design, Faculty of Human Sciences), Vaal University of Technology|
My Masters of Fine Arts degree consists of two components: the dissertation and practical works in the form of sculptures displayed as an exhibition. This body of work explores myth, belief and ritual practices relating to birth, life and death of twins in Xhosa culture. The purpose of the dissertation is to enrich and reflect on both the understanding of Xhosa ritual practices and that of my own work. The study will hopefully add significantly to the body of knowledge about Xhosa Indigenous Knowledge Systems as relating to twins. UNESCO emphasizes that Indigenous Knowledge Systems are part of immaterial cultural heritage such as languages, music and dance, festivities, rituals and traditional craftsmanship, and this cultural heritage is important for the identity of a society (Kaya & Masoga 2008:2). The choice of employing autoethnography in this qualitative study is derived from lived experience. Born as a twin in a rural Xhosa community, I experienced some unusual practices during my upbringing and thus a qualitative research method is used, involving auto-ethnography. This methodological approach aims at exploration of personal experience as a focus of investigation. The study also looks briefly at Yoruba twins as a means of finding similarities and commonalties with those of Xhosa culture.
National Arts Council
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Yoruba Sculpture"

1

Adepegba, Cornelius Oyeleke. Yoruba metal sculpture. Ibadan: Ibadan University Press, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Heil, Axel. Yoruba. [Randegg, Germany: T. Koch, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Walker, Roslyn A. Ọlọ́wẹ̀ of Isẹ̀: A Yoruba sculptor to kings. Washington, DC: National Museum of African Art, Smithsonian Institution, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Hanni, Jantzen, Bertsch Ludwig, and Missio Aachen, eds. Doppel-Leben: Ibeji, Zwillingsfiguren der Yoruba. München: Hirmer, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Matta, Gian Carlo. Ere Ibeji Yoruba: Il culto dei gemelli in territorio Yoruba = The twins cult in Yorubaland. Udine: P. Gaspari, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Pouzadoux, Charlotte. Couleurs en surface, couleurs en volume dans la sculpture yorouba. Paris: L'Harmattan, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Polo, Fausto. Encyclopedia of the Ibeji. [Chieri, Italy]: Ibeji Art, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

photographer, Depienne Jean-Pierre 1952, ed. Ere ibeji: Dos and Bertie Winkel collection. Delft: Elmar, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Amrouche, Pierre. Ibedji: Le culte des Jumeaux en pays Yoruba [catalogue de l'exposition, Paris, Galerie Flak, décembre 2001-Janvier 2002]. Paris: Galerie Flak, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Hans, Witte. A closer look: Local styles in the Yoruba art collection of the Afrika Museum, Berg en Dal. Berg en Dal [the Netherlands]: Afrika Museum, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Yoruba Sculpture"

1

Herrero-Martín, Rosana. "La expresión del inconsciente arquetípico a través del cuerpo bailado y esculpido en el teatro mitológico afrocubano de Eugenio Hernández Espinosa." In Memoria y patrimonio. Imágenes y representaciones desde México y El Caribe, 55–74. Universidad Autónoma Metropolitana., 2023. http://dx.doi.org/10.24275/uama.7051.10032.

Full text
Abstract:
In this article, a selection of dance and sculptural moments in three dramatic works from the mythological theatrical corpus of Cuban author Eugenio Hernández Espinosa will be analyzed from a Jungian and holistic perspective (María Antonia, 1967; Odebí, the Hunter, 1980, and The Chosen, 1995). All three plays star a selection of Orishas, the name by which the anthropomorphic, physical, experiential and supernatural manifestations of divinity are popularly known in Cuba — specifically in the island’s Yoruba cultural and spiritual tradition. The analytical paradigm to be applied is mainly Ken Wilber’s integral thought, by which body-mind-psyche-divinity are conceived as an interconnected, integrated and resonating whole within the person’s individualization process, the body being the vehicle, the mirror, the lever and the access door, that is, the body being the one which reflects, activates and opens the rest of the dimensions.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Yoruba Sculpture' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography