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HOME :
African & Tribal Art :
Igbo, Urhobo : Igbo Wooden Sculpture of a Woman (Alusi)
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Igbo Wooden Sculpture of a Woman (Alusi) - PF.5830
Origin: Nigeria
Circa: 19
th
Century AD
Dimensions:
56" (142.2cm) high
x 10.25" (26.0cm) wide
Collection: African
Medium: Wood
Location: United States
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| Description |
Due to the diversity of the Igbo people (also
spelled Ibo), 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. They share linguistic
ties with their neighbors the Bini, Igala, Yoruba,
and Idoma; the split between them probably
occurring between five and six thousand years
ago. 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. As
a result of regional and political fragmentation,
which is mirrored in the several distinct
languages traditionally spoken by the hundreds
of different village groups, it would be futile to
attempt to illustrate the traditional religious
practices of the Igbo as a whole. Before the
influence of Europeans and Christian missions,
however, 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. The quote at
the beginning might describe the radiant beauty,
the delicate nature, and important stature of
such a spirit. 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.5830)
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