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Journal articles on the topic 'Yoruba Sculpture'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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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.

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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.

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2

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

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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 scul

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3

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

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4

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

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5

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

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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 co

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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.

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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 Fag

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7

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

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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.

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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

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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.

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10

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

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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 interpre

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11

Akande, Adeyemi. "Manifestations of Orí (Head) in Traditional Yorùbá Architecture." IAFOR Journal of Cultural Studies 5, no. 2 (2020): 5–19. http://dx.doi.org/10.22492/ijcs.5.2.01.

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Yorùbá traditional architecture is not spontaneous. It is a product of a well-structured cultural and religious system. Every aspect from the choice of material, to the style of building, and even its construction system was designed with primary considerations for family, community and belief. Because architecture is an effective organ for the reflection of both cultural and religious thoughts, this study sought to query an inconspicuous but possible use of traditional Yorùbá architecture as a medium for the expression of orí ideology and worship in the early times. Relying principally on sec

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12

OKATAN, Halil İbrahim. "Lirik Şiir Anlayışı ve Nedim’in Bir Gazelinin Lirik Şiir Ölçütleriyle Açıklanması Ölçütleriyle Yorumu." International Journal of Social Sciences 8, no. 33 (2024): 586–616. http://dx.doi.org/10.52096/usbd.8.33.37.

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As is it well known, the arts of painting, music, sculpture and architecture are made with materials unique to them. Painting is applied with paint, music with sound, sculpture with materials such as stone, marble or bronze. The material of each is used only in that specific art. Poetry, on the other hand, is an art made with language, our common means of communication which we use every day and always in our daily lives. This situation leads to both convenience and difficulty for literature and especially for the art of poetry. Although architectural arts made of stone and marble survive for

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13

Ogundiran, Akinwumi, та Adisa Ogunfolakan. "Colonial Modernity, Rituals and Feasting in Odùduwà Grove, Ilé-Ifẹ̀ (Nigeria)". Journal of African Archaeology 15, № 1 (2017): 77–103. http://dx.doi.org/10.1163/21915784-12340004.

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AbstractSacred groves are ubiquitous on the cultural landscape of Ilé-Ifẹ̀ and they have been the site of most archaeological research in the ancient Yoruba city. But these studies have been driven by the view that sacred groves were places of static ritual traditions. Recovering the paraphernalia of those rituals, especially the exquisite sculptures, therefore preoccupied the pioneering archaeological research in Ilé-Ifẹ̀. In contrast, the historical trajectories that defined the evolution and transformation of these groves as dynamic cultural sites have not been undertaken. We make the case

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14

Adepoju, Oluwatoyin Vincent. "Epistemic Roots, Universal Routes and Ontological Roofs of African “Ritual Archives”: Disciplinary Formations in African Thought." Yoruba Studies Review 3, no. 1 (2021): 1–41. http://dx.doi.org/10.32473/ysr.v3i1.129934.

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One may compose an essay on another essay, and possibly an even longer one than the essay being studied, long as that one is, when one is confronted with one of those things one has to say something about after encountering them. “Ritual Archives”, the climatic conclusion of the account in The Toyin Falola Reader ( Austin: Pan African University, 2018), of the efforts of Africa and its Americas Diaspora to achieve political, economic, intellectual and cultural individuality, is a deeply intriguing, ideationally, structurally and stylistically powerful and inspiring work, rich with ideas and ar

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15

Curnow, Kathy. "The Landbound Chicken and the Deliberate Chameleon yet have their Uses: Yorùbá Art History, Language, and Interpretation." Yoruba Studies Review 2, no. 2 (2021): 1–16. http://dx.doi.org/10.32473/ysr.v2i2.130128.

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Rowland Abiodun’s Yorùbá Art and Language contains many extremely valuable features, wrapped around a question he raises in its introduction: can foreign scholars ever truly understand a work the way its Yorùbá makers and users do? Language mastery certainly provides the native speaker with access to inestimable insights regarding not only general worldview, but specifics of philosophy, history keeping, and subtleties of knowledge transmission. However, in the attempt to read an artwork and unpack its meaning, cultural in[1]siders also face obstacles as well as advantages, particularly when pi

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16

Olaniyan, O. M., F. B. Egunjobi, and A. Adegoke. "African Traditional Arts and Ornamentation in the Architecture of the Cultural Centre Ibadan." Environmental Technology and Science Journal 14, no. 2 (2024): 9–15. http://dx.doi.org/10.4314/etsj.v14i2.2.

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Art and architecture have been intertwined throughout history. Art in its various forms has played a vital role in the lives of African people as evident in their architecture. The paper reviewed the African visual culture with respect to ornamentation in the built environment as well as the variations of cultural heritage in the anthropogenic sense. The study adopted a qualitative approach using the case study method with the selection of the Cultural Centre Ibadan. The 1977 Second World Black and African Festival of Arts and Culture (FESTAC 77) held in Lagos, Nigeria inspired the architectur

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17

Drewal, Henry John. "Bámigbóyè: A Master Sculptor of the Yorùbá Tradition curated by James Green and Bámigbóyè: A Master Sculptor of the Yorùbá Tradition by James Green with contributions by Olúṣẹ̀yẹ Adéṣọlá, Anne Turner Gunnison, Efeoghene Igor, Will Rea, and Cathy Silverman". African Arts 57, № 1 (2024): 84–93. http://dx.doi.org/10.1162/afar_r_00746.

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18

Fai, Gilbert Tarka. "Soyinka and Yoruba Sculpture: Masks of Deification and Symbolism." Rupkatha Journal on Interdisciplinary Studies in Humanities 2, no. 1 (2010). http://dx.doi.org/10.21659/rupkatha.v2n1.05.

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19

Ryan, Robin Ann. "Forest as Place in the Album "Canopy": Culturalising Nature or Naturalising Culture?" M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1096.

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Every act of art is able to reveal, balance and revive the relations between a territory and its inhabitants (François Davin, Southern Forest Sculpture Walk Catalogue)Introducing the Understory Art in Nature TrailIn February 2015, a colossal wildfire destroyed 98,300 hectares of farm and bushland surrounding the town of Northcliffe, located 365 km south of Perth, Western Australia (WA). As the largest fire in the recorded history of the southwest region (Southern Forest Arts, After the Burn 8), the disaster attracted national attention however the extraordinary contribution of local knowledge

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