THE EVOLUTION OF NIGERIAN ART

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In today’s class, we will be talking about the evolution of Nigerian art. Enjoy the class!

The Evolution of Nigerian Art

Nigeria is made up of a vast geographical area, with a diversity of ethnic groups which in participation translates to a diversity of cultures in their various forms and styles.  A natural reflection of the diverse ethnic groups, their culture and religion are seen in the stylistic variety of Nigerian art. The documentation of rich cultural heritage, the variety of art forms and style of artistic expression of the traditional Nigerian artist sets the pace for art development in Nigeria.  The representational art forms were produced either for religious worship, traditional, festival, social, royalty or political sake by the artist.

There are 3 distinctive eras, operators and developments in the evolution of Nigerian art.

1. Modern/contemporary Nigerian art
2. Neo-traditional Nigerian art.
3. The traditional Nigerian art.
4. The traditional Nigerian art

This era expressed ethnic and traditional beliefs and ideas. These were represented through art forms of classical patterns and designs. The traditional art era was vastly demonstrated through art, dance, folklore, literature, music and architecture.  The works from this era were classic and vintage artistic expressions by traditional artists which were bold and extensively imaginative in their executions.  These works include masks, bronze, casts, wooden statue, ivories, tusks. Some works from this era include the Nok culture, Igbo-ukwu, Benin art, Ife art, Tsoede art, Mbari art and Esie art.

• Nok culture:

This culture is referred to as the earliest traditional art producer of life-sized terracotta- shaped by hand coarse-grain of clay in the subtractive and additive style of sculptural production in a technique that suggested an influence of wood carving.  The Nok terracotta figures were rendered in nearly life-sized human heads and bodies in hollow and coil built.  It depicted highly stylized with abundant jewellery decoration and varied postures.

This culture is also known for its ancient ironworking culture.  It was discovered in 1928 in the Nok village of Kaduna state, during an in mining expedition led by Lt. -Col. John Dent-young.

The name Nok culture is a given name to identify this type and style of artworks, which was derived from the place of discovery as a traditional art and culture of the people of Nok who resided, formed and created artworks in their own unique and vast style. Nok culture which was rendered to depict both animal and human figures are today preserved as forms of broken pieces. The figures with date back to 500bc were rendered with large, elongated heads of triangular or almond-shaped hollow pierced eyes and parted lips. Radiocarbon dating tests carried out on the scriptures revealed that the sculptures were produced between 2,000 and 2,500 years ago, putting them in the leagues of some of the oldest artworks and forms in West Africa

• Igbo- ukwu art:

It is a reflection of the traditional art culture and lifestyle of the people of Igbo- ukwu, a town in Anambra state in the eastern part of the Igbo tribe. The sculptural findings from the town of Igbo ukwu revealed a vast, elaborate and flourished metal works of art which were in existing as early as the ninth century. It showed that the Igbo ukwu people were the earliest smiths of coppers and related metals I  west Africa with the flourishing trade of brass casters and smiths who worked the metals through hammering, bending, incision melting and casting.

Igbo ukwu art is noted for its sophisticated bronze metalwork culture as well as archaeological sites that brought about many discoveries of bronze artefacts. The very first discovery of Igbo ukwu art was in 1938 by an indigenous farmer, Isaiah Anozie while digging a well to have water for the dry season. In 1959 a formal excavation led by archaeologist Thurstan shaw at the request of the Nigerian government gave rise to more discoveries from two other sites referred to as Igbo- Richard and Igbo- Jonah. At these sites, artefacts found included, jewellery, terracotta figures/ ceramics, a corpse adorned in what looked like regalia, bronze, copper and iron objects.

• Ife art:

It is also referred to as a court art because of the control and influence through patronage by the Ooni of Ife, oba, Obalufon II. The artists were doing more of commissioned work only at the instruction of the Ooni. This could explain the deep influence and evident figures like kings, nobles and gods. The city of Ife flourished in business trade in west Africa during the 12^th to the15th century, making it a powerful, wealthy city and influential centre of trade.

During this period the Ife arts developed a refined and sophisticated naturalistic sculptural tradition in bronze, terracotta, stone, brass, copper many of which are produced under the patronage of the Ooni of Ife, oba, Obalufon II. Ife art gained prominence and popularity through its bronze sculptor which were typically done in naturalistic style in its hollow- cast bronze art technique. The Ife art figure is seen to be connected to royalties and the nobles with deep significance to traditional rituals and ceremonies. They are heavily beaded with elaborate embellishment with bracelet and anklets.

• Benin art:

This is the traditional art and the documentation of the history of the people of Benin kingdom in Edo state, Nigeria. It is a court and ceremonial art which affirms in its execution the centrality of the Oba and its involvement in public ceremonies or ritual to the gods. Benin art which was rendered in unique figurines, burst line, relief plague, masks, stools of cast bronze and carved Ivory were produced mainly under the commission and control of the Oba and for the Oba of Benin.  Benin art met an unfortunate artistic set back during the 19^th century, British punitive expedition. In 1897, the Benin artworks were taken away by the British as spoils of war at the fall of the Benin kingdom at the hand of the British.

• Tsoede art:

This is the monumental bronze sculptural figures of the Nupe people of Niger State, Nigeria. The art in its techniques and production style has common features within its art.  It is also believed that it flourished about the same period with Ife and Benin art. It was produced through the lost wax bronze casting technique and gained public attention from the first discovery in the Niger villages of Jebba, Tada and Giragi.

• Mbari art:

It is the visual and architectural art of the Owerri, Ngor Okpala, Mbaise and related communities among the people of Imo State,  Nigeria which served as artistic appeasement of the gods of thunder, Amadioha, gods of the land and water. It comprised large open-sided square planned architectural shelters with many life-sized, painted sculptural figures.  The art was a celebration of the presiding deity of community on its command and directives as an artistic sacrifice of appeasement.

• Neo-traditional Nigerian art:

The neo-traditional era included artistic expressions that had traditional background either through apprenticeship or free understudy but influenced by the artist relative improved view on time, style and trend.  The style of art expression became more popular with the direct influence of the European Christian missionaries in Nigeria.  Their patronage was also most visible from the churches as they exploited it for Christianity purposes.

• Modern/contemporary arts/artists:

The Nigerian modern/contemporary art forms of expression came into an era when contacts were established with the west, based on the European aesthetics principle. This was aided by the proper tutelage of Nigerian artist by European art teachers and Nigerian artists passing through programme drawn after the European model.  The record has it that the birth of modern/contemporary Nigerian art can be traced to the year 1923 as Aina Onabolu on completing his formal art training in London and Paris between 1920 and 1922 returned to Nigeria equipped with a diploma in Arts Education and painting (Fine art). He pioneered efforts to establish the western art style of education into the Nigerian school curriculum.

Aina Onabolu also had active influence in training art students in Nigeria, as he taught the art of drawing, painting and design in secondary schools in Lagos. He also facilitated the bringing in of Kenneth O. Murray from England in 1927 to fill in the vast need of teaching art in secondary schools across Nigeria.  Art can be done by grouping the years of impactful contribution into five categories, namely

1. The early pioneer masters
2. Transitional master
3. The post-independent master
4. The progression masters
5. The new age masters

• The early/Pioneer masters:

These are the group of early Nigerian contemporary artists that on their encounter with the European through western colonization took up the European aesthetic principles and pass through proper tutelage by European art teachers, locally or abroad.

• The traditional masters:

These group of Nigerian contemporary artists that were formally prepared in art knowledge in aesthetic principles through the addition of art studies in secondary schools in Nigeria.

• The post-independent masters:

These group of artists were indigenously groomed in the western art principles through Nigerian secondary and tertiary institutions.

• The progression masters:

These group of Nigerian contemporary artists represent the vast presence of multiple art styles and background training of various independent contemporary art schools in Nigeria.  Diversity in art expressional style flourished with this group of contemporary masters possibly in their efforts to establish individual artistic identities and in their style of artistic rendition.

• The new age masters:

These group of Nigerian contemporary artists that were trained either by the post-independent masters or progression masters.  Those who in their quest for artistic signature and strong identity have developed their style of art through relentless researches.

 

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