IFẸ ARTS: WHY DO THEY PAY SUCH A GREAT ATTENTION TO DETAILS?
These remarkable artifacts are Ifẹ terracotta artworks, with origins dating back to the 12th century. One striking feature that sets Ifẹ arts, including bronze artworks, apart from neighboring artistic traditions are the distinct facial marks adorning them, the life-like rendition of the artwork and other features of naturalism in arts.
Now, it is a fact that Ifẹ no longer produce these terracotta arts. Can we then say Ifẹ clay works were never produced in Ifẹ, or they were sourced from elsewhere? Obviously not. This same question can be asked of bronze art of old in ancient Ifẹ. It’s important to understand the Yorùbá people’s mindset and philosophy of life when assessing the reason why they no longer make either bronze or terracotta. They weren’t constrained by a regressive mindset but rather adapted their artistic mediums based on technological advancements. Clay artworks served as their primary mode of self-expression for thousands of years, stemming back to the Nok culture era, showcasing a rich tradition deeply ingrained in their cultural identity.
Evidence of their adaptability can be seen in the transition from clay to stone carvings, exemplified by the Èsìẹ́ artifacts, and subsequently to bronze whe it became more viable and expressive. The detailed, lifelike representations found in Yorùbá ancient arts, be it terracotta or bronze, suggest a purpose beyond mere celebration or tradition. Each sculpture seems to convey a timeless message, a testament to their existence, saying, “I was here.” The intricate attention to individual characteristics in bronze images further reinforces this notion.
The question then is why did they decide to stop producing bronze? Why the shift away from producing bronze portrait? One significant factor often cited is the early influence of Islam in Yorùbá land, which discouraged certain art forms. Historical records suggest Islam’s presence in West Africa as early as 600 years after the Prophet’s death, raising the possibility of cultural shifts influencing artistic practices. We should remember that Islam frown at making replica of oneself. As a result, many artworks in collapsing empire were destroyed along with the empire and only few hidden away could survive. This was the case with old Ọ̀yọ́.
Other theories attribute the decline in bronze art to the ravages of wars, whether inter-tribal or intra-tribal, or to the pausity of materials influx due to the collapse of empires.
These factors, combined with cultural transformations, likely contributed to the eventual discontinuation of bronze image-making among the Yorùbá people, marking shifts in artistic, cultural, and historical narratives over time.
With this mindset of the Yorùbá, one thing is sure, our technology changes from time to time as circumstances demand.
