Due to the diversity of the Igbo people, it is
impossible to generalize about a pure Igbo art
style, which has characteristically been
representative of numerous geographical
regions. It is believed that the Igbo people
originated in an area about 100 miles north of
their current location at the confluence of the
Niger and Benue Rivers. The earliest surviving
Igbo art forms are from the 10th century (Igbo
Ukwu), and the fine quality of those copper alloy
castings suggest that Igbo society had already
achieved a level of technology rivaling
contemporary Europeans. Before the influence of
Christian missions, most Igbo practiced some
form of ancestor worship, which held that in
order to gain success in this world, one must
appease the spirits of the deceased. One of the
primary ways of showing respect for the dead
was through participation in the secret men's
society, Mmo, which is the name used only in the
northern part of Igbo land. In other parts, similar
societies exist under different names.
A large wooden standing figures such as this one
probably represents one of the numerous Igbo
Alusi, a generic term used to describe the spirit
deities that watch over the community to ensure
its well-being and continuity. They are grouped
together in symbolic families and are kept in
special houses and shrines where they are
revered. Out of context, it is impossible to
determine whether a particular carving
represents a major deity or is merely an ancestral
family member. In one “family,” different styles
may be noticed, for the individual figures are
carved at different times and perhaps by different
artists. During annual festivals, these figures are
taken out of their shrines and paraded through
the villages. The abdominal and facial
scarifications are typical of Igbo works, occurring
on both male and female examples. One can
imagine the power and presence of watching
such an imposing figure being carried around.
Coupled with the energy and excitement of a
festival, this event surely must have been quite a
spectacle. Although the masses of celebrating
people have disappeared, the extraordinary force
of this figure is still radiant. Isolated as a solitary
example of the Igbo people, one can greatly
appreciate the tremendous skill and artistry of
the figure and the composition.
- (PF.6050)
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