INSTITUTE FOR PEACE AND STRATEGIC STUDIES

Permanent URI for this communityhttps://repository.ui.edu.ng/handle/123456789/4057

Browse

Filters

1998 - 199912000 - 20095

Settings

Author: search.filters.author.Pogoson, O.I.End date: 2009

Search Results

Now showing 1 - 6 of 6
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
    The aberrant Esie head as model: an insight into the styles and origin of the Esie stone carvings
    (2000) Pogoson, O.I.
    lfe is incontrovertibly the most important Yoruba town in terms of art, religion and culture, it is therefore advantaged as a possible source place to solve the problem of the enigma surrounding the Esie stone carvings. This hypothesis is pursed to the conclusion that lfe is the most likely place that could have conditioned the Esie stone carving in their present location. An aberrant stone head, the largest among the over 800 stone carvings found in Esie is stylistically and culturally compared and linked with other Yoruba stone carvings from lfe and indeed a group of naturalistically carved stones also identified among the Esie corpus. This leads to conclusion of an lfe impetus for the creation of the Esie stone carvings
  • Thumbnail Image
    Item
    Traditional art forms: the question of origin of Esie stone images
    (Society of Nigerian Artists, 2001) Pogoson, O.I.
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
    Creative endeavour and the Nigerian environment
    (Rodopi Bv Editions, 2001-12-01) Pogoson, O.I.
  • Thumbnail Image
    Item
    The last of the troubadors: Adieu, Lamidi Fakeye
    (2009) Pogoson, O.I.
    Post colonial discussions of African art initially centred on capturing the essence of traditional African arts alongside a new contemporary art that was practically a product of colonial circumstances. Growing side by side these.were to all intents and purposes, other artistic initiatives fashioned after western cultural parameters. Sortie of the new initiatives included attempts to study, understand and as much as possible retain traditional elements, that had more or less been deliberately relegated as a result of missionary colonial contact. And therefore here lies the huge historical contradiction, for it is the same missionary force that later sought to encourage, foster and allow the use of traditional images in the churches. As a result, local and outside initiatives around that time paid some attention to investigating the traditional arts. In doing this and against the background that African wood sculptures were incontrovertibly the best and most widespread of traditional arts to reach the west, the efforts of the Catholic mission to encourage and propagate African images in its churches led to the inadvertent discovery of one of Africa’s greatest and most prolific woodcarvers, in Nigeria, Lamidi Fakeye