IDNO

P.71662.GIJ

Description

A wood carver carving an Ikenga figure. The figure is placed on its front and there is a piece of wood to balance it. The base of the figure is circular. The carver is sitting on the ground with a metal tool (knife?) which he is using to carve the figure. Around him are wood shavings, an adze, and other pieces of wood. The carver is wearing a cotton loin cloth. There are steps in the background and an animal skin.

Place

W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village

Cultural Affliation

Igbo [historically Ibo]; Nri Awka

Named Person

Photographer

Jones, Gwilliam Iwan (known as G.I.)

Collector / Expedition

Date

circa 1930 - 1939

Collection Name

Jones collection

Source

Jones, Gwilliam Iwan (known as G.I.)

Format

Print Black & White

Primary Documentation

Other Information

P.71660.GIJ to P.71662.GIJ were found wrapped in paper, now numbered C301/16/. and were presumed to come from box 4 now numbered C301/.

Publication: Same image published on John McCall’s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]
1. Index to Igbo music, shrines, architecture and other cultural artifacts
2. Ikenga
3. Wood carver Carving Ikenga (10th image).

Context: In reference to wood carving techniques, Jones writes that “Wood-carving techniques began with roughing out the object by hacking and slashing it into the required shape with cutlass, axe and adze. It was then finished off by whittling and cutting with smaller knives and chisels or , in the case of harder woods, by the use of a short heavy-headed knife and a mallet. In cases where a smooth finish was required, it was rubbed down with abrasive leaves specially dried for such purposes or, in these days, with imported sandpaper (Jones, 1984, p.112) In particular reference to masks, figures and sculpture he notes that various approaches by carver were used In some areas it was a matter-of-fact profane occupation, to others a ‘sacred’ and secret one surrounded by special rituals and prohibitions. The methods used in carving masks and figures naturally differed in minor details from artist to artist and were also governed to some extent by the kinds of wood and other materials that were available and by the different attitudes towards such work evinced by the people for whom and amongst whom they worked (Jones, 1984, pp.123-124).

Context: Jones writes that “ cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.” In reference to Ikenga figures, he writes, “ The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man’s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.

Context: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).

Publications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989 Ibo Art (Shire).

This catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]