Both brasscaster and woodcarver demonstrate a mastery over very
different
media and techniques. They each follow a prescribed series of steps
that they
have learned after years of apprenticeship. Both must select their
materials
carefully from a wide choice of woods and alloys according to the
function and
scale of the project at hand. Houseposts and drums are carved from
heavy wood,
while certain masks and utensils will be carved from light, soft woods.
The
woodcarver prefers to work with a green, moist wood. He will first
carry out a
private divination ritual to determine the spiritual qualities of the
wood, adjust
for its idiosyncracies with an offering, then cut down the tree and
select the section he needs. Like the blacksmith (whose ceremonial
sword
dedicated to the god of iron is depicted here), he will make a blood
sacrifice to the god of iron to ensure concentration and protection
from injury.
Woodcarvers use the adze, the knife, the chisel, and the axe. Of
these, the adze
shape is most important, for it will be used to remove most of the wood;
the knife
is useful for final details--details such as are in evidence in the
larger (42K) version of this bowl.
The work should flow naturally and
efficiently from
one stage to the next. In woodcarving, the first stage, ona lile,
involves quickly
roughing out the major volumes with the adze. In less than one fifth of
the time
it takes to finish the entire piece, an experienced carver will be able
to remove
almost half of the weight of the original block of wood. The second
stage,
aletunle, takes somewhat longer, but only about 10 percent of the weight
of the
block is removed. At the end of these first two stages, the final shape
of the
sculpture has been irrevocably fixed. The third stage, didon, takes
nearly as long
as the second stage, but only about three percent of the weight of the
original
block is removed. After an appropriate decoration is decided upon, the
final
stage, fifin, can begin. This stage is the most tedious, and less than
one percent of
the weight of the original block is actually removed. To save time, the
smoothing
down and cutting in of fine details may be turned over to an apprentice.
It is
interesting to note that when the carving is at last complete, the
weight of the
wood has changed dramatically, but its physical dimensions have altered
very
little - a tribute to the skill and planning of the experienced artist.
Any work of art owes its existence to the people and culture from which it has emerged. It has a functional and historical relationship with that culture. Although the art forms in wood and metal created by the Yoruba are used to adorn and declare social status, many help establish the presence of a spirit. A well-made artwork can call forth both divine and human spirits. Special ceremonies and symbols facilitate this conceptual and formal transformation. Classic motifs become recognizable when we have learned more about the fundamental principles of traditional Yoruba and Akan religion. Differences in "style" are more evident when we have a better understanding of media and technique. Ultimately, by expanding our knowledge of the African people, we learn to better appreciate their art.
Last updated 18 April 1995.