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Book by Drewal, Henry John, Pemberton, John, III, Abiodun, Rowland, Wardwell, Allen
- Sales Rank: #267600 in Books
- Brand: Brand: Harry N Abrams
- Published on: 1990-06
- Original language: English
- Number of items: 1
- Dimensions: 12.25" h x 9.50" w x 1.25" l, .0 pounds
- Binding: Hardcover
- 256 pages
- Used Book in Good Condition
From Publishers Weekly
Arising around A.D. 800, the ancient, walled Yoruba kingdoms were complex city states headed by sacred rulers, both male and female. Their modern descendants, Yoruba-speaking peoples of Nigeria and Benin, have preserved traditional art forms rooted in a view of the cosmos as alive and in constant flux. The stunning catalogue of a traveling exhibition, this volume serves as a window onto a world where "character is beauty," where rebirth occurs continuously and where spirits, gods and the life force are all-pervasive. Naturalistic terracotta heads, beaded crowns, ceremonial staffs topped with stylized birds, and objects in ivory, bronze, stone and wood display rare artistry. Many of the pieces shown are best understood in a ritual context, provided by Drewal, an art historian at Cleveland State University, and Pemberton, a professor of religion at Amherst.
Copyright 1990 Reed Business Information, Inc.
From Library Journal
Robert Thompson has called the study of Yoruba art "the Shakespeare studies of African art" because so much research has been focused on this one African culture. This book, which accompanies a major exhibition, fully justifies all that scholarly attention. Yoruba-speaking peoples are the largest ethnic group in Africa, one which has been urbanized for over 1000 years. The visual arts of the Yoruba are thoroughly explored as aesthetic objects in their social, religious, political, and historical contexts. This book, which deserves the highest recommendation, may well be the finest example of African art scholarship yet published.
- Eugene C. Burt, Seattle
Copyright 1990 Reed Business Information, Inc.
Most helpful customer reviews
16 of 16 people found the following review helpful.
Superb overview of Yoruba art,useful for all interest levels
By A Customer
This examination of Yoruba art covers a lot of ground, temporally and geographically. It covers the Yoruba kingdom by kingdom, looking at historical objects within each area. Accessible even to those without any knowledge of African art, it also has lots to interest the specialist--some controversial views on women's roles in Ife art, assignment of Esie carvings to the Yoruba and some previously unassigned bronzes to Ijebu, identification of particular artists' work and more. Written by three experts who specialize in different Yoruba areas, the writing is seamless and well-edited, neither talking down to the reader nor unduly academic in tone. The accompanying illustrations are superb, and many are contextual images. This book introduces Yoruba philosophy, religion, oral literature, and political organization interwoven with art, providing an excellent cultural overview. I use it as a university text, but it would serve as a beautiful addition to the library of anyone interested in Africa, particularly those who want to know more about this creative ethnic group which has left such an impact on the cultures of the Americas.
6 of 6 people found the following review helpful.
Academic, Art Collector and Devotee Alike
By Ifasehun Thabiti Ojedele
Academic, art collector and devotee alike enjoy this book. I have read this book about 6 or 7 times in the last 10 years. The photographs are beautiful and the text is some of the most well thought out, sensitive and enjoyable on Yoruba spirituality and culture. This is a history book, art book, anthropological study, religious reference and coffee table book in one.
Save your pennies, this is a keeper.
2 of 2 people found the following review helpful.
A Valuable Overview of Many Facets of Yoruba Culture
By Matthew Davidson
I first became interested in Yoruba culture through the works of Amos Tutuola, Wole Soyinka, and Ben Okri (who, although not himself Yoruba, often uses the mythic contours of the culture to inform his own writing), and I have since collected a number of works about the Yoruba people.
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This one is unique, in that it a fusion of the historical, anthropological, archeological, and aesthetic background into one coherent synthesis. Although the book's primary purpose is to describe historical artistic artifacts (dating back centuries in some cases), it uses this as a platform for the discussion of cosmological and cultural points of view across time. In this, the context that it builds to help the reader understand what s/he is seeing (the illustrations are, by the way, lavish and extensive) is as fully developed as most historical or anthropological recitations of facts. This work, however, is much more engaging than these books usually are, as the introduction of such discussions are in context of their material manifestation within the culture itself.
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The other unusual feature of this book is that it embraces the multi-faceted nature of the Yoruba people, including the diversity of thought and belief across time and within different communities. Most such books attempt to flatten this diversity into a monolithic whole, as if there were only *one* Yoruba-- static throughout time and space.
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One wishes, however, that the scope of the book had been slightly expanded to look more at the complex ways this cultural heritage works in a more contemporary era. Though a number of illustrations are contemporary, they invariably represent continuity, rather than contiguity or hybridization. The writers themselves insist that culture is not static, however, but there is not as much illustration of this as I would wish, especially given the Yoruba tendency toward syncretism.
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The other potential weakness is that the book focuses almost entirely on visual arts, and largely excludes performing arts from consideration. As music and dance are vitally important to the cultural heritage of the Yoruba, it seems a pity to not have surveyed it as well. Similarly, non-artistic material culture is also beyond the scope of the book, though it as potentially illuminating as the production of graphic materials.
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Despite these limitations (and I'm really quibbling, as I would prefer that a book do one thing well than a lot of things badly), no other book on the Yoruba that I own does as much to breathe life into this material, and for that alone I can't recommend it enough.
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