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1342:— many of which appear to have been created under the patronage of King Obalufon II, the man who today is identified as the Yoruba patron deity of brass casting, weaving and regalia. Over the previous nine centuries, a number of Yoruba kingdoms have arisen. One of the first of them was Ife; Oyo was also among the first, and the Owa kingdom in the southwest kept close relations to Oyo. Benin began to have an aesthetic and cultural effect on Ife about the fourteenth century or before. Fine ivory carvings were provided by Owa artists to the Benin court, and Owa rulers modified and changed many Benin institutions and leadership insignia.
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sacrifice or rituals, or more common in houses, would be terra cotta head figures. The Orí can usually determine the outcome of life for each person. Before being put into earth, each person must select their own Orí. Ajala may sometimes produce bad Orí, which this may affect the lives of those people. Sacrifices and rites happen as well in order to satisfy Orí-Isese, which is the supreme ruler over all Orí. The primary functions for sacrifices are to ward off evil and bring in good fortune and happiness.
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2140:) with beaded veil, foremost attribute of the Oba, symbolizes the aspirations of a civilization at the highest level of authority. In his seminal article on the topic, Robert F. Thompson writes, "The crown incarnates the intuition of royal ancestral force, the revelation of great moral insight in the person of the king, and the glitter of aesthetic experience."
1894:
2197:. The beaded veil shields the Oba's own face and transforms him into a living embodiment of Odùduwà and the force of the collective ancestors. The birds signify that the Oba is a divine ruler. Half in the physical and half in the spiritual realms just as the birds can traverse both the terrestrial and the celestial.
2245:
were lighter versions of ancestral crowns, which were often heavy and cumbersome. The orikogbofo fulfilled the function of keeping the Oba's head always covered, for it was taboo for an Oba to be seen bare headed. This style is now popular across southern
Nigeria worn by various royals in the region.
1618:
has identified a further paradox. "n their own societies," she writes, "African artists are known and even famous, but their names are rarely preserved in connection with specific works. ... More often than not, the
African sculptor becomes virtually irrelevant to the life of the art object once his
1305:
is related shrines and masking traditions. The Yoruba worship a large pantheon of deities, and shrines dedicated to these gods are adorned with carvings and house an array of altar figures and other ritual paraphernalia. Masking traditions vary regionally, and a wide range of mask types are employed
1446:
influences how many of the Yoruba arts are composed. In the visual arts, a design may be segmented or seriate—a "discontinuous aggregate in which the units of the whole are discrete and share equal value with the other units." Such elements can be seen in Ifa trays and bowls, veranda posts, carved
1604:
The Orí-Inú, or the inner spiritual head, is very important to the Yoruba people. One's Orí-Inú is very important in terms of existing in the world. The priority goes to the Orí for any household. Thus, shrines are built in the houses. An Orí is visually represented through symbolic items within
1613:
The issue of anonymity and authorship has long troubled the field of
African art history, particularly as it relates to the political disparities between Africa and the West. Such information was, at least initially, rarely sought in the field and deemed unnecessary and even undesirable by many
2228:
following the typical Yoruba stem on cone ancestral crown designs. These crowns are used in the veneration of the paternal ancestors of Iperu (Ijebu) kings. The four staring faces represent the all-seeing gods or ancestors. Their protruding eyes signify when the spiritual eye replaces ordinary
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The problem of anonymity in Yoruba art in particular is troubling in the context of Yoruba culture where "it is absolutely imperative for individuals to acknowledge each other's identity and presence from moment to moment, there is a special greeting for every occasion and each time of day."
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1965:
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when it opened in 1945. The museum once housed over one thousand tombstone figures or images representing human beings. It is reputed to have the largest collection of soapstone images in the world. Its works of art have also been said to bear resemblances to those of the
1360:
and warfare of the nineteenth century took their toll. One of the effects of this devastation was the dispersal of millions of Yoruba all over the world. This resulted in a strong Yoruba character in the artistic, religious and social lives of
Africans in the New World.
1300:
Much of the art of the Yoruba, including staffs, court dress, and beadwork for crowns, is associated with the royal courts. The courts also commissioned numerous architectural objects such as veranda posts, gates, and doors that are embellished with carvings. Other
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Beaded Crown (Ade) of
Onijagbo Obasoro Alowolodu; late 19th or early 20th century; basketry frame covered by a stiffened cloth base which is embroidered with glass beads: white, blue, green, pink, red-orange, ochre, and violet; 57.8 x 21.6 cm (diameter)
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dating back to the 14th century or earlier. Owa artists supplied fine ivory work to the court at Benin and Owa royalty adapted and transformed many Benin institutions and the regalia of leadership.
1421:
In order to fully understand the centrality of art (onà) in Yoruba thought, one must be aware of their cosmology, which traces the origin of existence (ìwà) to a
Supreme Divinity called
1999:
1981:
The tendency in many
African cosmologies to identify the body as a vehicle incarnating the soul on earth has encouraged the metaphoric use of the masquerade for a similar purpose.
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Beaded Oba's royal coronet (Akoro), Indianapolis Museum of Art. The Akoro was smaller than an Adé and was usually worn by lesser ranking kings under a regional Oba.
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Beaded Crown (Ade) of
Onijagbo Obasoro Alowolodu, The Ogoga of Ikere Ekiti; late 19th century; basketry frame, covered with beaded cloth; 95.9 x 24.1 cm (37
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The Yoruba artist : new theoretical perspectives on
African arts ; [based on a 1992 symposium held at the Museum Rietberg Zürich]
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The Yoruba artist : new theoretical perspectives on
African arts ; [based on a 1992 symposium held at the Museum Rietberg Zürich]
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was also early and the Owa kingdom in the southwest maintained close ties to Oyo. Ife also experienced the artistic and cultural influence of
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2427:
2833:, an exhibition catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Yoruba art
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Remnant tassels of a beaded veil that should completely shield the Oba's face has been extensively reduced to a few convenient strings.
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2370:. In modern times, the Esie museum has been the center of religious activities and hosts a festival in the month of April every year.
1959:
Memorial head with vertical facial striations typical of ife heads, Nigeria, 12th century AD, terracotta - Ethnological Museum, Berlin
1429:, the enabling power that sustains and transforms the universe. To the Yoruba, art began when Olódùmarè commissioned the artist deity
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to mold the first human image from clay. Today, it is customary for the Yoruba to wish pregnant women good luck with the greeting:
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vision. The two figures with mudfish legs refer to supernatural powers in two realms, land and water, or reality and spirit.
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Ife, memorial head of a king or notable with tribal marking/scarification above eyes, terracotta, 12th-15th century
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Ife terracotta head dating to the 14th century. Heads (Orí) are a very prominent aspect of early Ife artistic forms
1418:
Ogun, Obatala, Oshun and Obalufon as central to creation mythology including artistry (i.e. the art of humanity).
2026:
353:
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Pair of staffs (Edan Ogboni), male and female couple; 19th century; cast bronze and iron; Honolulu Museum of Art
1504:
1369:
Henry Drewal, John Pemberton and Rowland Abiodun propose the following stages in the development of art in Ife:
1345:
There have been a series of Yoruba kingdoms over the past nine centuries. Ife was one of the earliest of these;
50:
1813:
Beaded sword and Sheath, Nigeria, Yoruba people; beads, metal, fabric, coins, brass, cowry shells, leather -
2860:
1554:
Head, probably of a king; 12th-14th century; terracotta; 26.7 × 14.5 × 18.7 cm (10.5 × 5.7 × 7.3 in.);
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Embodying the sacred in Yoruba art : featuring the Bernard and Patricia Wagner Collection
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2006:
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2497:. New York: Center for African Art in association with Harry Abrams Publishers. p. 46.
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1655:
Yoruba blacksmiths create sculpture from iron, through hand-beating, welding, and casting.
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Drewal, Henry John; Pemberton III, John; Abiodun, Rowland (1989). Wardwell, Allen (ed.).
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1904:, 16th century. This particular pair may have been part of the Olowo's ceremonial attire
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that has its roots in the medieval period and that has given much to the contemporary
2849:
1777:
Brass fan (Abebe), one of the ritual objects associated with the Yoruba goddess, Osun
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226:
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Mask with superstructure and two birds; 19th-20th century; Detroit Institute of Arts
1982:
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368:
296:
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256:
196:
166:
138:
2580:
Drewal, M. T., and H. J. Drewal (1987). "Composing Time and Space in Yoruba Art".
2010:
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30:
2788:
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1916:
Ceremonial arm band from Owo 18th century AD, ivory - Ethnological Museum, Berlin
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For spirits and kings: African art from the Paul and Ruth Tishman collection
1214:
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the web-site containing the largest existing collection of photos of Ibeji.
2445:
Art and Risk in Ancient Yoruba: Ife History, Politics, and Identity c. 1300
2354:
2097:
Efe-gelede mask; early 20th century AD; wood, indigo & white pigments;
1853:
Arm band, Owo, Yoruba, 18th century AD, ivory - Ethnological Museum, Berlin
2102:
1990:
1722:
1159:
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902:
871:
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216:
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2689:
2668:
Vogel, Susan Mullin (Spring 1999). "Known Artists by Anonymous Works".
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The custom of art and artists among the Yoruba is deeply rooted in the
1064:
804:
794:
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176:
171:
74:
2706:(1994). Rowland Abiọdun; Henry J. Drewal; John Pemberton III (eds.).
2639:(1994). Rowland Abiọdun; Henry J. Drewal; John Pemberton III (eds.).
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1986:
1828:
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work is complete. ... Cultures preserve the information they value."
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Adande, Joseph; Siegmann, William C.; Dumouchelle, Kevin D. (2009).
2394:. New York: Center for African Art in Association with H.N. Abrams.
1411:
514:
499:
1600:
Iron and wood staff (Opa Orisha Oko); 19th century; Brooklyn Museum
2473:
The Metropolitan Museum of Art (Heilbrunn Timeline of Art History)
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2539: ; exhibition co-curated by Carol Thompson, Christa (2007).
1993:
are among the many types of Masquerade practiced by the Yoruba.
1039:
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266:
78:
1478:
Bust of a king or dignitary; 12th-15th century AD; terracotta;
2837:
1885:
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1928:
Ceremonial ivory sword fragment, Udamaloore, Owo,19th century
2767:. Madison: University of Wisconsin Press. pp. 227–260.
1104:
Festival (Brazil, Cuba, Trinidad, USA, Venezuela, Argentina)
1801:
Brass arm band or vessel stand, Ijebu, Yoruba, 19th century
1865:
18th century ivory divination tapper (iroke ifa) from the
1466:, probably 12–14th centuries; height: 15.5 cm (6 in.)
2493:
Drewal, Henry; Pemberton, John; Abiodun, Rowland (1990).
2469:"Origins and Empire: The Benin, Owo, and Ijebu Kingdoms"
1749:
Male figure; late 19th-early 20th century; cast bronze;
85:, a tradition that remains vital and influential today.
2623:
Yoruba Art and Language: Seeking the Art in African Art
2392:
Yoruba : nine centuries of African art and thought
1789:
Ijebu brass bracelet depicting a ram head, 18th century
2224:
Yoruba 19th century copper alloy (brass) crown from
2053:
Headgear; circa 1900-1915; Detroit Institute of Arts
1626:
Several Yoruba artists' names are known, including:
1584:
The importance of the Orí in Yoruba art and culture
2820:Nigerian Traditional Arts, Crafts and Architecture
2707:
2640:
2582:Word and Image: A Journal of Verbal/Visual Enquiry
1737:Ife altar ring,16th century, Brass or Copper alloy
2495:Yoruba: Nine Centuries of African Art and Thought
2413:
2411:
2763:(1972). Douglas Fraser; Herbert M. Cole (eds.).
2748:Cutting to the Essence – Shaping for the Fire.
2647:. Washington : Smithsonian Institution Press.
2422:. Brooklyn, NY: Brooklyn Museum p. 106.
1666:. Brass is seen as being incorruptible by the
2714:. Washington: Smithsonian Institution Press.
2514:. Dakar: Amalion Publishing. pp. 64–65.
1900:Ivory armlets, Yoruba peoples, Owo region of
1662:Metalworkers also create brass sculptures by
1435:May Obatala fashion for us a good work of art
1281:
8:
2606:: CS1 maint: multiple names: authors list (
2565:: CS1 maint: multiple names: authors list (
2420:African art a century at the Brooklyn Museum
1314:In the period around 1300 CE the artists at
2625:. New York, NY: Cambridge University Press.
2361:state), was the first to be established in
2321:There is also a vibrant form of customary
1288:
1274:
87:
45:; copper; height: 29.2 cm; discovered at
2733:
2731:
2385:
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1498:Brooklyn Museum, Fragment of an Ife Head
2379:
2142:
2117:The Gelede Masked Festival in Cové, in
1995:
1937:
1843:
1672:
1609:Anonymity and authorship in African art
1592:Wooden Door (Ilekun) with carved motifs
1449:
1306:in various festivals and celebrations.
99:
2827:, Lakeview Museum of Arts and Sciences
2825:Yoruban and Akan Art in Wood and Metal
2599:
2558:
2258:Yoruba ancestral royal crown (Ade Nla)
2025:Mask with 7 birds; 19th-20th century;
2750:29 March 1995 (retrieved 15 Nov 2011)
1318:developed a refined and naturalistic
7:
2545:. Atlanta, Ga.: High Museum of Art.
1705:Ceremonial axes; 18th century; from
1578:Yoruba peoples armlet (16th century)
1356:Yoruba kingdoms prospered until the
25:
2814:Emodying the Sacred in Yoruba Art
81:) are responsible for a distinct
2263:
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2018:
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1831:ceremonial staff, 19th century,
1821:
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1414:literary corpus, indicating the
726:Àwọ̀fin, Ààfin, Àọ̀fin, Àghọ̀fẹn
314:Related Yoruboid-speaking groups
107:
2443:Blier, Suzanne Preston (2015).
2189:Yoruba royal ceremonial crown.
1659:is honored as the god of iron.
2594:10.1080/02666286.1987.10435383
2511:A History of the Yoruba People
2508:Akintoye, S. Adebanji (2014).
2447:. Cambridge University Press.
1406:Art and life in Yoruba culture
1:
1888:, Yoruba, (1700s)18th Century
1480:Ethnological Museum of Berlin
1395:
1386:
1379:Early Pavement Era, 1000–1200
39:
2765:African art & leadership
2136:The bead-embroidered crown (
1447:doors, and ancestral masks.
1382:Late Pavement Era, 1200–1400
1055:Aké Arts & Book Festival
712:History of the Yoruba people
83:artistic tradition in Africa
2065:Carnival mask; circa 1950;
1177:Folk / Traditional
998:Festivals / events
698:Politics / History
2882:
2743:November 10, 2011, at the
2738:"Shaping: The Blacksmith."
2342:
2129:
2067:Indianapolis Museum of Art
1376:Pre-Pavement Era, 800–1000
1373:Archaic Era, before 800 CE
2621:Abiodun, Rowland (2014).
2027:Detroit Institute of Arts
1482:(Germany); discovered at
51:Ife Museum of Antiquities
1385:Post-Pavement Era, 1400–
27:West African sculpturing
2241:Royal headdress called
1630:Bangboshe of Osi Ilorin
1510:Ceremonial Ivory vessel
1394:Stylized Humanism Era,
2333:Nigerian film industry
2318:
1751:Honolulu Museum of Art
1633:Bandele Areogun of Osi
1601:
1593:
58:
2303:
2290:in.); Brooklyn Museum
1685:; 12th-15th century;
1599:
1591:
1260:List of Yoruba people
1253:Notable personalities
916:Military and commerce
382:Afro-Cubans / Lucumis
33:
2199:Musée du Quai Branly
1884:Ivory vessel cover,
1815:Chazen Museum of Art
1683:Bronze head from Ife
1522:Decorated Panel Door
1098:Yoruba Arts Festival
1077:Yorùbá Drum Festival
1060:World Sango Festival
2761:Thompson, Robert F.
2314:Philosophers Legacy
2099:Krannert Art Museum
1534:Female figure from
1425:, the generator of
1080:New Yam- Ọdún Ìjẹṣu
933:Parakòyí / Bàbálájé
616:Legendary creatures
2319:
2083:Hood Museum of Art
1616:Susan Mullin Vogel
1602:
1594:
1556:Kimbell Art Museum
655:Religious concepts
322:Ìtsẹkírì (Ìwẹ́rẹ́)
59:
2676:(1): 40, 42, 50.
2552:978-1-932543-20-9
2535:Clarke, essay by
2429:978-0-87273-163-9
2007:Museu Afro Brasil
1977:Yoruba Masquerade
1330:and copper alloy—
1298:
1297:
885:Nobility (Ògbóni)
430:Cultural concepts
16:(Redirected from
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2704:Abiọdun, Rowland
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2317:heirloom in 2017
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1715:Speed Art Museum
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1664:lost-wax casting
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1032:Badagry Festival
524:Awo & Ogberi
212:Ìdàáṣà (Ìdàáshà)
111:
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21:
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2876:
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2838:"Ibeji Archive"
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2816:, Newark Museum
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2745:Wayback Machine
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2682:10.2307/3337537
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2537:Babatunde Lawal
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1094:Odunde Festival
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2588:(3): 225–251.
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34:Mask for King
26:
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2789:"Esie Museum"
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2126:Yoruba Crowns
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2005:Gelede mask;
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1401:–the Present.
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472:Supreme deity
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395:
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387:United States
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257:Ọ̀họ̀rí (Ìjẹ)
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101:Yorùbá people
98:
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84:
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76:
72:
68:
64:
56:
52:
48:
37:
32:
19:
2866:Nigerian art
2793:. Retrieved
2791:. All Africa
2783:
2764:
2755:
2747:
2709:
2698:
2673:
2670:African Arts
2669:
2663:
2642:
2637:Picton, John
2631:
2622:
2616:
2602:cite journal
2585:
2581:
2575:
2541:
2530:
2510:
2503:
2494:
2488:
2476:. Retrieved
2472:
2463:
2444:
2438:
2419:
2391:
2357:, Irepodun (
2348:
2326:
2320:
2313:
2311:holding the
2242:
2195:Ade Isenbaye
2194:
2190:
2137:
2135:
2081:Mask; wood;
1980:
1713:, Nigeria);
1661:
1654:
1645:Olowe of Ise
1625:
1621:
1614:collectors.
1612:
1603:
1441:
1439:
1434:
1420:
1409:
1368:
1355:
1344:
1313:
1302:
1299:
1122:Contemporary
1065:Odun Egungun
1012:Ọ̀ṣun-Òṣogbo
732:Rulers (Oba)
297:Ùdoko (Oǹdó)
124:Architecture
118:
60:
2368:Nok culture
2345:Esiẹ Museum
2339:Esiẹ Museum
2132:Oba's crown
1536:Oke-Onigbin
1399: 1600
1390: 1600
1358:slave trade
1073:Ọdún Olókun
1004:West Africa
407:Ivory Coast
67:West Africa
36:Obalufon II
2856:Yoruba art
2850:Categories
2795:1 February
2774:0299058204
2721:1560983396
2654:1560983396
2374:References
2243:Orikogbofo
1934:Terracotta
1902:Yorubaland
1867:Owo region
1719:Louisville
1711:Ondo state
1651:Metal arts
1560:Fort Worth
1464:terracotta
1324:terracotta
1320:sculptural
1303:Yoruba art
985:Yorubaland
492:Divination
247:Ìshà (Ìṣà)
172:Ànàgó-Kúrá
162:Ana (Ifɛ̀)
57:, Nigeria)
2561:cite book
2325:known as
2013:, Brazil)
2011:São Paulo
1670:society.
1486:(Nigeria)
1423:Olódùmarè
1215:Dadakuada
1207:Gẹ̀lẹ̀dẹ́
1165:Afrobeats
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740:Ọma-Jagun
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