Das ist der Preis für die folgende Bewertung: [ Tribal ], 1980.0

Beschreibung : Headdress of oro secret society Yoruba, Nigeria, Egbado/Egba, Abeokuta, Itoko Quarter wood, polychrome paint, mirror glass, brass tags, helmet-shaped, at the bottom pierced around the rim for attachment of a costume, raised facial features with drilled see holes and a disc-shaped beard, lancet-shaped skin scarification marks on forehead and cheeks, crowned by two pairs of horns, a short one in front and a massive, longer one backside, rectangular pieces of mirror glass inserted on forehead, back of the head and horns, slightly dam., minor missing parts (beard, nose, ears, horns), cracks (backside), hole on top, Esubiyi school, possibly by Sunday Oloyede. He studies under Ogunbayo Akiode, grandson of Esubiyi, and is now an independent artist working in the Egbado Quarter of Ibara, Abeokuta, where he continues to make gelede, egungun, and oro headdresses. His forms tend to be more full and rounded than those of his teacher. The oro secret society is charged with carrying out judgements handed down by the og oni. It is said that the cult official, asipa oro, wears this type with a palmfrond costume within the oro grove igboro during daylight hours, but at night, with all non-oro members locked inside, the masquerader moves through the town greeting the chiefs. A song praising the mask makes reference to the horns of the bushbock owo igala. Male and female figures sometimes seen suspended upside down between the horns are said to be references to the victims of oro executions. H: 26/66 cm (without/with horns), (5038/001) Provenance High Museum of Art, Atlanta, USA Published in Henry John Drewal, African Artistry, Technique and Aestethics in Yoruba Sculpture, An Exhibition of Yoruba Art from The Arnett Collection, The High Museum of Art, Atlanta, 1980, p. 87, ill. 153
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