The Master of the Owu Shango Shrine

Author(s): Deborah Stokes Hammer and Jeffrey S. Hammer

Source: African Arts, Vol. 19, No. 2 (Feb., 1986), pp. 70-73+92
Published by: UCLA James S. Coleman African Studies Center
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THE

MASTER

OF

THE

OWU

SHANGO

SHRINE

DEBORAHSTOKES HAMMER* JEFFREYS. HAMMER

Until recently little has been published
concerning the identification of traditional African artists.1 It would be
almost impossible to define the style of
each carver, metal caster, beadworker,
potter, or blacksmith from the vast array
of objects available for study. However,
as African art study has become increasingly specialized, scholars and collectors
have been able to define and catalogue
many more individual sculptural styles,
enabling us to identify carving centers,
discern generational carving compounds,
and distinguish between master and ap-

1 OSHE SHANGO. 29cm. KENNETH MURRAY

ARCHIVES. NATIONALMUSEUM. LAGOS
2 BACK VIEWOF FIGURE1,

prentice carvers. This process has already

increased our understanding of art history. It will certainly play a greater role
in future surveys of the great art-producing peoples.
Since 1979 we have been collaborating
with William Fagg and other scholars of
Yoruba art2and compiling a computer index of carving styles based on photographs of pieces found in hundreds of
towns all over Yorubaland. The result is
a stylistic syntax for this area. Distinguishing styles and making attributions
are to a certain extent subjective. However, our judgments are informed by
comparison of hundreds of carvers and
the study of more than 8,000 Yoruba objects. These include 150 ibejiin the British
Museum, over 4,500 examples from the
National Museum in Lagos, and approximately 2,000 photographs in the Kenneth
C. Murray Archives of the National
Museum.
Among these objects we have identified
the style of an artist who in our opinion
ranks with the finest master carvers.3 We
refer to him as the "Master of the Owu
Shango Shrine," after an important piece
documented in the small Igbomina town

of Owu. In one sense "master carver"

simply designates a person who is no
longer apprenticed or subservient to a
master in a compound. Or he may be one
who goes out on his own and is commissioned directly. In another sense, a master carver is one who, in the opinion of
the viewer, does masterly work.4 It is this
second meaning that applies to the Master of the Owu Shango Shrine. William
Fagg has speculated that this artist lived
sometime in the 1850s to circa 19255in the
Igbomina Yoruba region, possibly between Ila-Orangun and Oro.
The unique style of this carver first
caught our attention in an illustration of
a remarkably inventive Shango staff that
appeared in a 1979 Paris auction catalogue (Loudmer-Poulain, Nov. 22, 1979,
cat. no. 70, p. 43). In August 1980 we
located a photograph in the Murray Archives of the same staff; it had been taken
at a Shango shrine in Owu by John Picton in 1964 (Figs. 1,2). This superb piece
is the largest extant example by the Owu
master, standing 79 centimeters high.
Conceptually complex, it is composed of
six figural elements. The shaft bears the
image of a kneeling female devotee carrying a child on her back. At the top
of her elongated head the emblem of
Shango, the double axe, is described in
an unusual crescent form terminating at
each end with a face. Each has a labret
punctuating the curving line, though on
the right side the labret is worn down.
Two additional kneeling figures, one
male, one female, perch on top of the
double-axe. The piece is elegantly balanced. The kneeling figures are one-half
the height of the staff from its base to the
top of the crescent, as is the distance
between the outward-facing heads.
The main figure's extremely exaggerated cone-shaped head echoes the shape
of the double-axe and intersects it at the
center. Her bulging eyes have a serrated
upper lid and a lower lid indicated by a
line. The fingers of the female figures are
splayed, resting on the stomach, while
the male figure holds ritual implements
against a torso carved like an inverted
triangle. Using a tool that creates triangular-shaped markings, the artist incised
details on the hair, cap, and cloth wrapper. The form of the child is angular,
created by a rigid posture and jutting but-

70

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hairstyles and adornments. All of those

ascribed to the Owu master bear a striking resemblance to the two kneeling figures atop the staff, though the latter are
more elongated because of the object's
function. Picton photographed one of
these ibeji(Fig. 4, left) in the town of Oro,
approximately 25 kilometers southwest
of Owu.7 It defines his essential approach
to the carving of ibeji, which is distinct
from another known style of the Igbomina region (Fig. 4, right). Several characteristics of his ibeji style are unique in
the genre. In all the examples we know
to be extant, an egg-shaped cranium joins
a conical shape extending below the eyes.
This elongated head with swollen cranium appears throughout the artist's work,
including the Shango thunderaxe. The
large elongated ear follows the angle of
the triangle, emphasizing the protruding
jaw. In less worn ibeji, one can see the
characteristic decorative serration delineating the upper lid of the bulging eyes,
and the single line emphasizing the
lower. The neck joins the head at a slight
angle, creating an elegant line, and tapers
slightly at the base. Shoulders are rounded and bent arms are cut free of the
torso, which suggests an inverted triangle. Also characteristically the widely
splayed fingers rest gently on the stomach rather than on the hips, as is more
common. Where the buttocks jut out
sharply from the legs, the surface flattens
out distinctly and continues down to the
heels. All the male figures (Figs. 3b-d, 4)
that we have seen are carved with pantaloons that fall just below the calf, exposing the ankle, and are fastened with

3a b. c. d IBEJI TALLESTFIGURE 29cm, a. b. d AUTHORS COLLECTION.c: R.A. ALEXANDRACOLLECTION.

tocks. Throughout the piece-for instance, under the buttocks, the soles of
the feet, and on the upper back of the
child-flattened planes contrast with the
predominantly rounded surfaces.
This staff incorporates sculptural solutions found in other pieces by the artist.
Carved from one piece of wood, the
thunderaxe is elegantly elongated. While
neither the elongation nor the doubleheaded thunderaxe motif is peculiar to
this carver, the treatment of the heads as
a single sculptural entity rather than as
attachments to a separate form is unique.6 This effect is partially achieved by

the placement of the ears one-third of the

way up the crescent, leading the eye into the arc and up to the apex. The smoothness of the curve also enhances the effect of one continuous form. In addition,
the flattening that appears underneath
each side of the crescent and elsewhere
on the object is a distinct sign of this master's hand.
By analyzing the style of the staff in this
way, we have been able to attribute several other carvings to this artist. We have
catalogued eight examples of his ere ibeji. Figure 3 shows a representative selection, displaying a range of traditional

4 IBEJI KENNETHMURRAYARCHIVES.
NATIONALMUSEUM. LAGOS.

71

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a tie at the waist. This probably represents a Muslim style of dress characteristic of the more northern areas.8 Slightly
bow-legged, the ibeji stand upon simple
circular bases approximately two centimeters high.
The most impressive embodiment of
the master's style is an arugba(Figs. 5,6).
Referring to a similar piece from Oke
Onigbin, Picton says: "This form, known
in Yoruba as 'arugba' ('she who carries
the calabash'), represents a significant
element in the rites and cults of Yoruba
gods. Beier (1957a), for example, describes the role played by the young girl,
also called 'arugba' at the annual festival
of Oshun, the river goddess of Oshogbo:
an unmarried girl, possessed by Oshun,
bears sacred objects in a bowl on her
head. Sculptured representations of
'arugba,' such as this one, serve as stands
for sacred objects in a shrine. My experience suggests that these sculptures are
particularlycommon in the Igbomina and
Ekiti kingdoms of northeastern Yorubaland. 'Arugba' do not seem to be specific
to any one cult, although in the Igbomina
and Ekiti areas they are invariably part
of the furnishings in shrines for Shango,
the thunder god. Bowls (usually calabashes) containing 'edun ara,' neolithic
stone ax heads or 'thunderbolts,' visible
signs of the power of Shango, are placed
on top of the 'arugba' sculpture..."
An elegant fusion of function and form,
this arugba is composed of a kneeling
female figure carved on a circular base,
holding a calabash on her head. The vertical exaggeration of the head in the oshe
shango's central female is in this example
obstructed by the calabash; therefore the
elongation has become horizontal, a truncated version of the crescent form on the
staff. It almost duplicates the heads at the
ends of the Shango axe blade. Here again

5 SIDE VIEWOF FIGURE6.

we see the typical angular forms and jutting volumes, as well as the deep undercutting and flattening under the chin that
extends down the front of the neck to the
front of the upper arms. As in the other
examples, the contour of the neck bulges
outward slightly, preventing the illusion
of concavity that would be produced if
it were rendered perfectly straight. This
entasis indicates a masterfully intuitive
carving sensibility.
The figure itself is a statement of bold
form. Arms define the outside boundaries and create two large open areas
around the head. Following the formula
used in the staff, the Owu master located
the elbows exactly halfway between the
calabash and the base. The raised arms
exaggerate the upper portion of the carving.
From the side, a lower leg is merely
suggested by a simple triangle cut deeply
into the wood with a parallel diagonal to
separate calf from thigh; the triangular
area is not pierced through. This device
can be observed on all three kneeling
figures on the oshe shango. The facial
features are like those seen on the ends
of the double-axe head on the Shango
staff. Particularly noticeable are the serrated eye and delineated lower lid. The
prominent labret draws attention to the
projection of the elongated head. The
total effect is a powerful expression of
Yoruba art.
All the examples display the same elements: elongated, egg-shaped head; subtle angularity in the neck; splayed fingers; inverted triangular torso (males);
pantaloons (males); flattened planes under chin, arms, feet, buttocks, legs; and
unique representation of eyes and ears.
This brief outline can in no way scientifically answer the complex questions of
chronology or development of style, since
documentation is fragmentary at best.
The challenge is to interpret the affinities
among the varying forms. One could
argue that these examples represent not
a single hand but rather a workshop, for
the Yoruba have a tendency to copy
styles, especially distinctive details. In
that case, however, we would expect to
find many more examples than have
survived, even if it were suggested that
this style represents a nineteenth-century
workshop.9 The small number of stylistically related ibeji-eight among thousands-suggests one hand.
When considered in a general survey
of stylistic conventions specific to the
Igbomina area, many motifs that appear
in the Owu master's carvings are, of
course, often found in those from neighboring towns. For example, the handson-stomach pose has also been attributed to the workshops of Ogunkayode
of Oke Onigbin, over thirty kilometers
south of Oke Odde, where examples
were photographed by William Fagg in

1959 (Fagg 1968) (see also Fig. 4, right).

The serrated lid is found in both Omu
Aran and Oke Onigbin.'1 Many of the ibeji in the Igbomina region wear some type
of garment,1 though the depiction of
pantaloons seems unique to this carver.
The elongated ear bears a striking resemblance to that found in Ila-Orangun.
Generally speaking, then, the style of the
Master of the Owu Shrine is in close accord with that of other sculptors in his
region. Yet his carvings are astonishingly
fresh and vigorous. Used by others,
these motifs are schematic and display
none of the elegant planes and dynamic compositions of space and volume
seen in works by this artist, Did he incorporate the inventions of neighboring
carvers, or did the authority of his style
influence other carvers in the region?
Were there reciprocal lines of development? The visual evidence suggests that
the Owu master extended apparently
regional characteristics to create a new
style.
Rather than relying on a rigid alphabet
of motifs, he adapted his designs to the
overall intent of the form; for instance,
the crescent shape in the horizontal
Shango staff is different in the vertical
arugba. It is not just the inventiveness of
style that distinguishes this carver as a
master, but its synthesis with the canons
of traditional Yoruba carving. This virtuosity is unequaled in the region.
It has been said that "the greatest styles
are the easiest to recognize" (Pope-Hennessy 1980). William Rubin noted: "My
own experience with [tribal] art...has
confirmed for me the assumption that
good art is made only by gifted individuals. I am, in fact, struck by the differences rather than the similarities between
tribal pieces of the same style...and especially by the uniqueness of those works
I would call masterpieces" (Rubin 1984).
William Fagg has said: "The criteria by
which such attributions are made are essentially the same as those employed by
experts and connoisseurs of European
art...As in European art criticism, one
often apprehends the distinctive marks
of an artist's style intuitively in practice,
although such intuitions may be followed
up and confirmed by systematic analysis.
The artist's personal mode of expression
communicates itself instantaneously"
(Fagg 1982).
These fine examples of his work sustain
our labeling of this artist as a "master
carver." His intuitive rules of sculpture
corroborate our own aesthetic ideals. Although the study of individual artists is
still in an early stage, we hope that by
continuing to catalogue styles we will
provide a research tool for those studying
the art of the Yoruba.
O
Notes,page92

72

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STATEMENTOF OWNERSHIP
Statement of ownership, management and circulation
(Required by 39 U.S.C. 3685)
1. Title of Publication: African Arts.
2. Date of filing: 9/23/85.
3. Frequency of issue: Quarterly (February, May,
August, November).
4. Complete mailing address of known office of publication: African Studies Center, University of California,
Los Angeles, CA 90024-1310.
5. Complete mailing address of the headquarters of
general business offices of the publisher: African
Studies Center, University of California, Los Angeles,
CA 90024-1310.
6. Full names and complete mailing address of
publisher, editor, and managing editor: AfricanStudies
Center, University of California, Los Angeles, CA
90024-1310. John F. Povey, African Studies Center,
University of California. Los Angeles, CA 90024-1310.
None.
7. Owner: Regents of the University of California, 405
Hilgard, Los Angeles, CA 90024-1310.
8. Known bondholders, mortgagees,and other security
holders owning or holding 1 percent or more of total
amount of bonds, mortgages or other securities: None.
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10. Extent and nature of circulation: Average number
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actual number of copies of single issue published
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statements made by me above are correct and complete (Signed) John F. Povey, Editor.

Messenger, J. 1973. "The Carver in Anang Societs," in The

TraditionalArtist in AfricanSocieties,ed. W. d'Azevedo, pp.
101-27. Bloomington: Indiana Universits Press.
Murray, K.C. 1949. MasksandiiHeaddressesoifNigeria. London:
ZwvemmerGallerv.
Pemberton J. 1985. "The Yoruba Carvers of lla-Orangun."

Paperreadat the Universityof Iowaconferenceon the Artist and the Workshop in TraditionalAfrica, IowsaCity, May
11.

Ravenhill,P.L. 1980."BauleStatuary:Meaningand Moder-

nization," WorkingPapers il the TraditionalArts 5.

lbo Art, 1966. Ann Arbor:
Starkweather, F. 1968. Traditilonal
University of Michigan.
Van Geluwe, H. 1981. "Female Figure on a Calabash," For
SpiritsaniidKings, ed. S. Vogel, pp. 223-25. New York: The
Metropolitan Museum of Art.
Vogel, S.M. 1977. "Baule Art as the Expression of a World
View." Ph.D. dissertation, Nes York University.
Vogel, S.M. 1980. "Beauty in the Eyes of the Baule: Aesthetics
and CulturalValues," Wisorking
Paps'rsinrtli TraditionalArts 6.

LAMP, notes fromipalie 67

1. My field research wsassponsored by a grant from the Special
Foreign Currency Program, Smithsonian Institution, 1985.
2. For technical reasons, AfricanArts is unable to use the International Phoenetic Alphabet in type. Therefore the following substitutions are used here: a =the sign of the inverted
c, pronounced like the i in "untie," often more or less elided;
i = the open ', epsilon; ' = the open o, pronounced like the
"au in "author"; n, = the nasal I, as in the French "avons."
3. Denise Paulme, "Structures sociales en pays baga," Builletin
dc 1'.F.A.N., vol. 18, ser. B. nos 1-2, 1956: pp. 106-12.
4. Fernando Galhano, Esculttirasc OlbjectoisDecoradasda Guini
Portuts'usainoMlusctuIti Etisologiado Ultramiar,Lisbon, 1971:
figs. 94-96.
5. Bohumil Holas, "Danses masquees de la Basse-Cote,"
EtiudlesGuinlcenes(Conakrs), vol. 1, 1947: pp. 63-64.
6. Holas, "Danses masquees," pp. 64-65.
7. Holas, "Danses masquees," p. 64.
nots, fromspage 73
HAMAMER,
1. More data exist concerning the documentation of individual
carving styles among the Yoruba than any other people in
Africa; however, the systematic documentation and crossreferencing of this material is vet to be completed. Among
those who have written on the identification of Yorubacarvers
are Bascom (1973), Carroll (1961, 1967), Drewal (1980), Fagg,
(1963, 1982), Pemberton (1982), and Thompson (1971).
2. Contributors to a book (forthcoming) on Ere lbeji, YorLua
Carvin'SStlyles include: Wande Abimbola, T.J.H. Chappel,
Henry Drewsal, Margaret Drewal, Ekpo Evo, William Fagg,
Lamidi Fakeve, Deborah Stokes Hammer, Jeffres Hammer,
Marilyn Houlberg, Babatunde Lawsal,Mikelle Smith Omari,

JohnPemberton,JohnPicton,and RobertThompson.Two

ten by undergraduate students in my African art history

courses. It is available for $6.00 (tax, postage, and handling
included) from the Barnes and Noble Bookstore, Cleveland
State University, Cleveland, OH 44115.
Billio,sraphsiyi
and
Cole, H.M. and C.C. Aniakor. 1984. Ish, Arts: Communllity
Cos,los. Los Angeles: Museum o,fCultural History, UCLA.
Acstlihtics
in
Drewsal,H.J. 1980. AfricanArtistry:Tlechniiqie'
alnd
YoruibaSculpturle.Atlanta: The High Museum of Art.
Dressal, H.J. and M.T. Drewal. 1983. Gtlc'e: Art aindlFemale
Po(wilramonX,it
tilt Yiluba. Bloomington: Indiana University
Press.
1977.
Dressal, M.T.
"PIrojectionsfrom the Top in Yoruba Art,"
African Arts 11,1.
d'Afriqulc.Geneva:EditionsFernand
Fagg,W.B.1980.Masqlsues
Nathan.
Glaze, A. 1981. "Staff for a Champion Cultivator," in For
Spirits atl Kinls, ed. S. Vogel, pp. 48-49. New York: The
Metropolitan Museum of Art.
Horton, R. 1965. KalabariSiculpturc.Lagos: Department of
Antiquities.
in tlIeWestern
tilt Blacksmitlh
McNaughton, P. 1975. Iron--Artof
Sudan. Lafayette, Indiana: Purdue University.

ACKNOWLEDGMENTS
Photographs,page:
28-40, inside backcover: E. J. Stewart atnd
PhotographyDepartment, Glasgow Museums
and Art Galleries
41-45: W. A. Hart
46-55: MonniiAdams
57-63: InstructionalMedia Services,
ClevelandState University
66-67: Eliot Elisofon
68-69: BernardBrandlham
70, 71 (right): Jolh Picton
71 (left): Michael Tropea
72-73: JeffreyS. Hammer
74-77: Priscilla Baird Hinckley
84: Sidney LittlefieldKasfir

symposia on the subject have been held in Lagos, Nigeria.

3. In light of our style analysis, our conclusions regarding the
existence of a unique hand are supported by several Yoruba
scholars, among them William Fagg, (personal communication, 1983, 1984), Marilsn Houlberg (personal communication,
Sept. 1983) and John Picton (personal communication, Aug
1984),w ho did extensive field research in the Igbomina region.
4. William Fagg, personal communication, 1984.
5. William Fagg, personal communication, 1984.
6. Compare an osli' sliango from the Igbomina area in Drewal
(1980: 30, fig. 17), an example from Omu-Aran in Vogel (1981:
92 pi. 46, erroneously catalogued as Owo), and one from
Aran-Orin (Carroll 1967: pi. 37). The last oslh'sllhanigdisplays
not only the motif of double heads but also their placement
on either side of a sloping ax head.
7. In 1964, John Picton interviewed a carverof the Agbegi compound in Oro named Andu Salami, who said that he was the
son of the Owu master and that he had been dead for some
thirty years. We cannot sav for certain if this is true as Picton
is somesswhatskeptical. Despite its distance from the master's
birthplace, wsesuggest Owu as the toswnattached to his work.
8. Marilyn Houlberg, personal communication, 1983.
9. An sict' sllhango,nearly a duplicate of that illustrated here
but clearly by a different hand, was recently brought to our
attention by Mr. and Mrs. Cecil Ras of Dallas. Its existence
suggests that the Owu master did indeed have apprentices.
Other carvings by this apprentice hand were carved in llaOrangun according to Olonade, junior brother of Andu
Salami of the Agbegi compound (Murray Archive neg. 61.
XII. B4 20, photo by John Picton).
10. Examples from Omu-Aran, by Onigemo, are in the
W'illiamFagg Archive (1940-50/47.3); and from Oke Onigbin,
in the National Museum, Lagos (68.3.85, 70.2.10, 67.14.63)
and Fagg (1968: pi. 126, 127).
11. In Oke Onigbin, for example, particularly in the style attributed to Ogunkayode (Fagg 1968), males often wear an
apron. This motif is also found in the Egbado area.

Bilioi\'riii/a
"Ca
Bascsm, William. 1973. "A Yoruba Master Carver: Duga of
Artist inlAfricanS&icieties,
ed. WarMeko,'' in ThelTraditiosnal
ren d'Azevedo. Bloomington: Indiana University Press.
of
Yoruba
"Three
1961.
Generations
Kevin.
Carvers,"
Carroll,
Istadis 12:21-24.
Carroll, Kevin. 1967. YoruiilReligi,losCanrinl. London: Geoffrex Chapman.
aindAestletics
Dressal, Henry. 1980. AfricanArtistn/: Tlechniqisue'

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in Y'oruilba
Sculltullre. Atlanta: The High Museum.
Fagg, William. 1963. NigserianaSlias. New York: Praeger.
Fagg, William. 1968. Africanl Tribal ImSags. Cleveland:
Cleveland Museum of Art.
New York:Knopf.
Fagg, William. 1982. Siculptulrof WestAtiica-l.
of WestAfrica. New
Pemnberton,John. 1982. 'Yor,ui-l
Sic-ulptlure
York: Knopf.
Pope-Hennessy, John. 1979. "Connoisseurship." Lecture to
the Friends of the Fogg Art Museum, Harvard.
M 20th CenturinArt.
Rubin, William, ed. 1984. 'Primiitivismi"
New York: Museum of Modern Art.
t ruri '
Godsand Kis:
Thompson , Robert Farris. 1971. Blitack
Art at UCLA. Los Angeles: Universit of California Press.
Art from
Vogel, Susan, ed. 1981. ForSpiritsandKtins,s:Afri-ican
tlit TislhinianCollection. News York: The Metropolitan
Museum of Art.
friomi
KASFIR, bibliosgraphyl!,
page 19
Bravmann, Rene. 1973. OpentFronti'rs.
Eso, Ekpo and FrankWillett. 1980. Treasuresof AncientNigeria.
Fagg, William. 1965. TribesanditFsormsin African Art.
Fernandez, James and Renate Fernandez. 1975. Calhirs
d'EtludlesAfricaiies 5.
Herskovits, Melville. 1930. "The Culture Areas of Africa,"
Africa 3.
Jones, G.I. 1973. "Sculpture of the Umuahia Area of Nigeria,"
AfricanArts 6, 4.
Kasfir, Sidney. 1979. "The Visual Arts of the Idoma." Ph.D.
thesis, University of London.
Kasfir, Sidney, 1984. "One Tribe, One Style?," Histo)r/ in
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Willett, Frank. 1971. AfricasnArt: Anl Intiductioin.

The following articles in this issue have been accepted for

publication after being refereed bv memnbrs of the AfricanArts
review panel:
'Aron Arabai: The Temne Mask of Chieftaincy," page 41.
"''omen and Masks among the Western We of Ivory Coast',"
page 46
"The Master of the O\ LuShango Shrine," page 70.
"Thet Dodo Masquerades of Burkina Faso," page 74.
OPPOSITE PAGE: COTTON ROBE (DETAIL). HAUSA,
NIGERIA.WIDTHOF WHOLE ROBE 239cm. COLLECTION
OF THE GLASGOWART GALLERYAND MUSEUM. GIFT,
1950. SEE PAGE 28.

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