1984.57.A-B Bowl with lid (_opon igede_)


GENERAL DESCRIPTION  
This sculpture is attributed to Arowogun, a celebrated master sculptor who was a contemporary of Olowe of Ise. Embellished bowls like this one were owned by rulers, successful ritual specialists, and prosperous families who could afford to commission artists like Arowogun to carve for them. His praise name, Areogun-yanna, means "one who gets money with the tools of Ogun and spends it liberally." Ogun, the Yoruba god of iron, is the "patron saint" of sculptors and blacksmiths.

This lidded bowl, which has three compartments, was used to store ritual paraphernalia. Both foreign and indigenous references are depicted on its surface. Foreigners include a turbaned Muslim chief riding a horse, carved in relief on the lid. Muslim traders from the north and Portuguese merchants introduced horses to sub-Saharan Africa many centuries ago. The Muslim horseman holds a rope tied around a captive in one hand and a weapon in the other, and may symbolize the slave raids that occurred during the 19th century. Also depicted are a uniformed soldier displaying an imported firearm and a British official wearing a pith helmet and riding a motorcycle. 

Among the indigenous references portrayed on  the lid are a priest of the healing deity Osanyin. In one hand he holds a staff surmounted by a bird and in the other a medicine horn; he is flanked by attendants or clients. A standing male figure on the bowl represents either a priest or devotee of Shango, the god of thunder and lightning. He carries a dance staff (oshe Shango) in one hand and a gourd rattle (shekere) in the other. Other figures include musicians playing a pressure drum and a flute and a soldier brandishing bladed weapons. The visual references to the presence of North African Muslims and Europeans on the lid indicate the Yoruba's changed world, but those on the bowl suggest that indigenous religion and customs still prevailed.

Adapted from
  • Roslyn A. Walker, Label text, Arts of Africa, 2015.
  • Roslyn A. Walker, The Arts of Africa at the Dallas Museum of Art (New Haven and London: Yale University Press, 2009), 276-277.

NOTES
photo of artist published in Yoruba: Sculpture of the West. New York: Alfred A. Knopf, 1982. Figure 50, no page (photocopy in object file)

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RELATED OBJECTS 

PROVENANCE 
n.d.: Saja Tunkara

n.d.: Carolyn C. and Dan C. Williams

1984: Dallas Museum of Art, gift from above

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Apply to objects where number equals 1984.57.A-B

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General Description
 
This sculpture is attributed to Arowogun, a celebrated master sculptor who was a contemporary of Olowe of Ise. Embellished bowls like this one were owned by rulers, successful ritual specialists, and prosperous families who could afford to commission artists like Arowogun to carve for them. His praise name, Areogun-yanna, means "one who gets money with the tools of Ogun and spends it liberally." Ogun, the Yoruba god of iron, is the "patron saint" of sculptors and blacksmiths.

This lidded bowl, which has three compartments, was used to store ritual paraphernalia. Both foreign and indigenous references are depicted on its surface. Foreigners include a turbaned Muslim chief riding a horse, carved in relief on the lid. Muslim traders from the north and Portuguese merchants introduced horses to sub-Saharan Africa many centuries ago. The Muslim horseman holds a rope tied around a captive in one hand and a weapon in the other, and may symbolize the slave raids that occurred during the 19th century. Also depicted are a uniformed soldier displaying an imported firearm and a British official wearing a pith helmet and riding a motorcycle. 

Among the indigenous references portrayed on  the lid are a priest of the healing deity Osanyin. In one hand he holds a staff surmounted by a bird and in the other a medicine horn; he is flanked by attendants or clients. A standing male figure on the bowl represents either a priest or devotee of Shango, the god of thunder and lightning. He carries a dance staff (oshe Shango) in one hand and a gourd rattle (shekere) in the other. Other figures include musicians playing a pressure drum and a flute and a soldier brandishing bladed weapons. The visual references to the presence of North African Muslims and Europeans on the lid indicate the Yoruba's changed world, but those on the bowl suggest that indigenous religion and customs still prevailed.

Adapted from
  • Roslyn A. Walker, Label text, Arts of Africa, 2015.
  • Roslyn A. Walker, The Arts of Africa at the Dallas Museum of Art (New Haven and London: Yale University Press, 2009), 276-277.

Fun Facts

Archival Resources

Web Resources
 

Notes
photo of artist published in Yoruba: Sculpture of the West. New York: Alfred A. Knopf, 1982. Figure 50, no page (photocopy in object file)

Catalogue essays

Artist/designers

Cultures

Geography 

Process/materials

Historical periods

Individuals

Subject terms

RELATED OBJECTS 

PROVENANCE 
n.d.: Saja Tunkara

n.d.: Carolyn C. and Dan C. Williams

1984: Dallas Museum of Art, gift from above

AUDIO ASSETS 

VIDEO ASSETS

rules
Apply To
Objects
number
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1984.57.A-B
tags
#draft
#completed
%copyedited_Gail
%Archived
birds (motifs): AAT: 300375751
trade (function): AAT: 300061886
rulers (people): AAT: 300025475
human figures: AAT: 300404114
@Bilal-Gore
lids (covers): AAT: 300045712
wood (plant material): AAT: 300011914
#routed
*Arts of Africa
Nigeria (nation): TGN: 1000182
Yoruba: AAT: 300016031
bowls (vessels): AAT: 300203596
lightning: AAT: 300068795
ritual objects: AAT: 300312158
European: AAT: 300020656
horses (animals): AAT: 300250148
god (deity): AAT: 300343851
priests: AAT: 300025774
Islam: AAT: 300073715
Shango: DMA
weapons: AAT: 300036926
equestrians: AAT: 300188602
officials: AAT: 300386641
healers: AAT: 300259528
rattles: AAT: 300041933
oshe Shango: AAT: 300263495
motorcycles: AAT: 300212789
motorcyclists: AAT: 300258998
source file
object_notes_2_b-0069.xml.nores