Figure for Ogun: Equestrian and his Chanter
An unusual relationship exists between this warrior and a female sculpture in the museum's collection. Clues to their identities must be read in a Yoruba context. A long braid of hair (asiso) emerges from the top of his head and serves as an indication that he has been prepared for war. Asiso are grown to cover incisions made to receive vaccinations that are applied to render warriors fearless. She has a snake around her neck like a chain--indicating her role as a verbal artist. Chanters perform for mortals, especially warriors and hunters, but ultimately chant for Ogun, the god of war and iron.
Whenever sharp metal is used around soft flesh, Ogun is paid tribute. Blacksmiths, carvers, truck drivers, mechanics, and barbers honor his discovery of iron, which enabled tools to be made. At the same time, however, iron made it possible to create instruments of battle. In the Ogun cult, violence in human experience is considered. These sculptures may have stood as monuments recognizing Ogun's two-sided discovery.
Comments about Ogun:
"He is an Aeneas or a Robin Hood-like figure, who is good to the poor and needy, using the abundance of the rich to help those in want, and thus acting as a crusader against injustice....In Yoruba society, sharing is an important virtue and Ogun stands ready to see that justice, in terms of rectifying imbalances in wealth, is carried out. Indeed Ogun is a stickler for justice...Ogun is a warrior against injustice in his own society, just as he is a warrior in battles against outside enemies." (Adeboye Babalola, 1989)
Wood, camwood powder, indigo dye, beads, iron, leather
26 x 5 1/4 x 6 1/8 in. (66 x 13.4 x 15.5 cm)
Margaret E. Fuller Purchase Fund
82.124
Photo: Paul Macapia
