Introduction
Art is surely an evidence of the divine in man. It is something that distinguishes him from the rest of creatures. The work of art carries a message that the artist received from his creator and it is his duty and joy to pass it on to humanity. This is the reason why the artist has been an instrument of revival at many times during the course of civilization.Sculpture in the strict sense of the word refers only to works carved or cut by hand in some solid substance but the term is commonly extended to include all the dimensional figuring, whether carved, molded, hammered, cast or engraved. Almost every imaginable material has been used: gold, silver, bronze, ivory, marble and other stories, wood, clay, wax and plaster. Sometimes several materials are combined. Sculpture of the human figure has a triple aim-to express plastic beauty on forms to embody thought and feeling and to act as a Chronicle of facts.
Sculpture has had a history of at least 6,000 years. Aside from crude statuette of the old stone age and similar works in many parts of the world from the time when mankind was emerging from prehistory into the earliest phases of civilization, the first flowery of sculpture came about 3,000 B.C. when Egyptian culture began to take shape, during the next 300 years the Egyptians produced some of the noblest examples of sculptural art known in history.
Igbo Arts
Igbo carvings do not strictly represent the canters conclusion attempt at producing artistic beauty but on essentially utility objects which form an integral part and basis of the religious ceremonies of the Igbo social organizations. Carvings themselves half a definite role in the life of Igbo people because belief in the power of spirits is the basic philosophy which underlines the many rituals that indeed forms the Igbo way of life.This religious aspect of the Igbo sculpture accounts for the predominance of spirit image-carvings in Igbo culture. A canal image is neither an idol nor an image of God. It is instead, after proper ceremonies, the dwelling place of a spirit, either of natural power-early, lighting, sun, moon or of tubal founders or ancestors or members of the family or those blamed for calamities, sickness and bareness. These carved objects enable the Igbo to localize, and personify the abstract and much feared spirits\forces which could not be coped with in other levels.
Igbo statuette, for instance, are not made “sad”, happy” or “comical” since the real purpose is to carve on abode or housing for an invisible spirit. These statuette were carved in what Ladisalas Segy in his African sculpture calls “conceptual realism”, creating a reality of the spirit world on the basis of the human world. As a result, exactly opposite features are used to make sure spirits do not look like living people. This accounts for why the nose in a statue is normally long, narrow, rather than short and broad. The mouth may be small rather than large and fleshy. The face even is white. This is why Igbo status do not reflect Negro features.
A prominent figure in the arts of Northern Igbo (Nsukka, Aguleri, Onitsha etc) is the “Ikenga”. Every house-hold has one or more of it. In some areas it is wooden figure in human shape and it varies in size and shape from that of a large idol to a really human size. Occasionally, the female figure is displayed. Some native courts in the colonial days had out-sized figures of the Ikenga because the chiefs thought it was indispensable in any court. Its function was merely symbolic since no Igbo man could swear falsely or bear false witness before the Ikenga. The religious and social functions of spirit carvings are merged in the carvings of masquerades in “mmus” of the Northern Igbo, the “Okoroshia” of Orlu, or the “Ikoji” (Iko Okochi) of Afikpo. The wood is usually taken from the soft and easily worked “egbu” tree some are facemask only, others completely cork the head.
Facial features on many of Igbo carvings show animal figures. Some are natural human figures but most human figures for the “mmuo” (Masquerade) have exaggerated human outlook.
Other carvings may comprise a mostly mixture of human and animal figures. Some rise in three or four tiers, towering about three feet above the head of the wearer. The out of proportion appearance of the masquerade carvings satisfies the social function of the ceremonies. Since women and non-initiates are not permitted into the secrets of the masquerades, the outlook of the masquerades is meant to terrify this class of people.
Igbo statues are cylindrical in form, largely because the artist respects the cylindrical form of the wood and so often works his statue into shape from all sides. The Igbo sculpture also pays much attention to his side and back of the figure as does to the front. The figure hardly even has its head turned sideways.
Cups are sometimes carved as human heads because of the Igbo belief that the head contains the most essential elements of life. Nowadays, animal carvings like the elephant, the tiger, the leopard, the antelope, the rabbit, all features prominently in Igbo carvings.
Contributed by
DORIS
2348038163156
HISTORY AND INTERNATIONAL STUDIES
IMO STATE UNIVERSITY
OWERRI, NIGERIA
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