Viewing the Ife sculpture exhibit dramatically demonstrates the skill and detailed perception of African artists from the 9th to 15th centuries. Hardly the primitive art many people associate with tribal African works, the faces and forms captured reflect robust and vital subjects in the prime of life.
"Kingdom of Ife" videos offered by the British Museum show highlights of the traveling exhibit.
According to writer Michael Glover in the UK Independent in 2010, "At the same moment that Andrea del Verrocchio was doing his wonderfully painstaking, high-Renaissance drawing of a female head, anonymous artisans in Ife were working with brass, bronze, copper and terracotta to produce a series of exquisite heads that are not only the equal of Donatello in technical brilliance, but also just as naturalistic in their refinement."
Exhibits of African sculpture at the British Museum include more than 200,000 objects. Free "eyeOpener" tours occur daily at the museum at 12 noon in Room 24.
Superbly presented, the exhibit travels as "Dynasty and Divinity: Ife Art in Ancient Nigeria." The exhibit will appear at the Museum of Fine Arts in Houston, Texas, from September 19, 2010, to January 2, 2011; Virginia Museum of Fine Arts in Richmond, Virginia from February 25 to May 22, 2011; Indianapolis, Indiana, Museum of Art from July 10 to October 9, 2011; and New York City's Museum for African Art from November 11, 2011 to April 8, 2012.
Knowing the art of the kingdom of Benin provides contrast and comparison with Ife works. "Oba on Horseback" from The Michael C. Rockefeller Memorial Collection is one of the world's most recognized examples of African sculpture.
In the plaque, the Oba ruler is royally garbed in the center. He wears a collar of necklaces and a beaded crown. Coral beads from the sea reflect the Oba's power. The Oba's attending guards are smaller in size, representing their lesser importance and rank. Even smaller figures in the sculpture's corners support all other needs of the Oba.
Materials used to compose the sculpture reflect on the subject's great importance. Brass, rare and expensive at the time the sculpture was made, is used to represent the powerful and wealthy ruler at the center of Benin life.
Bocio busts were created to protect the owner's life and health from evil magic. Some busts were carved with two faces, on either side, reflecting the significance of physical and supernatural sight.
In addition to the magic images portrayed in Benin African sculpture, such as dogs and snakes, considered protective of the wearer, the repeated use of palm and other oils to protect the wood conveyed additional protection.