The relationship between the Ife, Benin and
Yoruba Cultures is highly contentious. There are
numerous technological and stylistic parallels
but also highly distinctive cultural dichotomies.
The ancient city of Ile-Ife is considered by many
to be the starting point of almost all West African
artistic traditions, from obscure beginnings in
the second half of the first millennium BC to the
early Middle Ages. The city continued until the
19th century, but was eclipsed from the 14th
century onwards by the rapidly-expanding
kingdom and city of Benin; both of these groups
were eventually combined into what is currently
known as the Yoruba polity. This area was
unique in Africa for the incredible quality and
detail of their bronze and brass casting, which
exceeded that of anywhere else in the world at
the time. Unusually for African art, they were
also
extremely lifelike and naturalistic, which
disproved many art historians’ assertions that
African art was ‘primitive’ due to lack of ability.
Ife metalworkers and sculptors were in great
demand by the Benin Obas (kings) and courts,
leading to considerable transfer of ideas and
styles between the two cities. Most of their
artistic oeuvres depict the ruling elites (especially
the Obas – known as Oonis in Ife) as well as
zoomorphic and general anthropomorphic
figures, in addition to ‘cult’ objects of various
forms and uncertain significance.
There is a
general tendency for larger and more naturalistic
works in Ife, while Benin bronzes – which assume
a vast number of forms (from plaques to heads,
leopards, portraits and boxes) – rapidly depart
from naturalism and become decidedly
expressionistic between the 16th and 19th
centuries. Most free-standing Benin pieces tend
to be decorated with floral or geometric designs
on light-coloured metal, although large heads
(usually more ornate and decorated than their Ife
equivalents) are also known. Finally,
comprehensive vertical or pointillate facial
scarification is common in Ife pieces (stone,
ceramic and metal) but not in Benin examples.
This piece is therefore a classic example of the
Ife style.
The head depicted is that of a
young female, presumably a member of the
royal
family or their court. At just under one foot tall,
the head stands on an integrated tubular neck
that is ringed towards the base with a series of
holes. While preservation issues have prevented
a full understanding of these, it is likely that they
were originally displayed while attached to a
costume made of textile or reeds etc, and may
even have been worn or danced like the more
recent Yoruba or Ekoi headcrests.
The head
is topped with a headscarf that covers the hair; it
is therefore probably not a queen mother figure,
for not only is she seemingly too young, but
queen mothers were usually portrayed with tall,
ornate hairpieces or headwear that is absent
here. The face is beautifully rendered, with a flat,
smooth forehead, high cheekbones, a slightly
concave midface and a slight subalveolar
prognathism that is typical of Native Nigerian
groups. The eyes are well-delineated, open and
expressive, while the nose is elongated, slender
and well-modelled. The lips are full and slightly
pursed as if in thought, which accords well with
the serene, almost otherworldly impression that
the face conveys.
The surface of the piece is
well-preserved, permitting the small, round
marks that have been impressed into the wet
clay to be seen. While a full repertoire of these
marks and their significance is required for the
Ife, it is probable that these referred to the
precise birthplace and ancestry of the individual
portrayed, and would be understood by any
member of the contemporary Ife populace. It is
interesting to note that they are arranged in 2-3
strands that track across the cheeks from near
the mouth towards the ears; this is reminiscent
of the Yoruba habit of marking the cheeks with
three scars in the same orientation. The quality
of the artistry is spectacular.
