African Art

Doors , late 19th century
AFRICAN, NIGERIA, YORUBA PEOPLE, IJEBU-ODE
Rosewood
Gift of Mrs. William B. Belknap 1976.12.1-3

These 19th-century Yoruba panels are from the Ijebu region, probably from the capital city of Ijebu-Ode, in what is now south-western Nigeria in Africa. The Yoruba, a people who number over fifteen million today, have inhabited that area since the fifth century B.C.

These panels probably served as doors in a Yoruba house, typically a rectangular structure built around a central open courtyard. Covered verandas surrounded these courtyards, and doors such as these opened from the veranda into rooms for sleeping and storage. These structures were often grouped together to create large compounds that could house several generations of an extended family. Because of the warm climate, Yoruba families spent much of their day in the open courtyards, which were centers of family life.

While the meaning of all of the carvings is not known, many of the images on these doors allude to two Yoruba gods, Eshu and Ogun, though they are never depicted. Eshu is a divine mediator who crosses the boundary between the physical world and the spiritual realm, delivering offerings to the gods. Ogun, the god of iron, is the pathfinder and road opener who works with Eshu to "open the way" for communication between humans and gods. As gods who cross boundaries, Eshu and Ogun are appropriate subjects for doors. Other carved images also refer to the doors' function. For example, snakes and crocodiles are boundary-crossing creatures that inhabit two worlds: above and below the ground, and wet and dry areas.

In addition to being a messenger, Eshu is also a contradictory personality responsible for the good and bad changes that occur in one's life. The Yoruba honor and make sacrifices to Eshu to placate him. They place Eshu imagery on carved doors such as these and erect shrines to the god at crossroads, marketplaces, town gates, and compound entrances–places where Eshu can cause unexpected things to happen. The small figures with long ponytail-like hairstyles or headdresses may be worshippers of Eshu. The upside-down Eshu devotee on the lower register of the right panel may refer to Eshu's tumultuous nature and unpredictability.

While Eshu represents unsettled situations, Ogun symbolizes war or conflict. The three equestrian figures on the doors carry the spears and weapons of warriors. Ogun is the patron or guardian of warriors.

The gourds seen above the horses' backs and held by small servant figures are probably ado oogun, or gourds of medicinal power, which were used in Eshu rituals and also served as protective amulets for warriors. The interlaced pattern flanked by zigzag borders may represent leatherwork often used by warriors.

While the original owner is not known, the warrior imagery and references to Yoruba god Ogun suggest that the panels were made for a Yoruba military elder or warrior chief. Among the Yoruba, an elder is the oldest member of a family who serves as head of a household consisting of several generations. The elder makes all decisions for the household and represents the family in disputes with other groups. Elders could be elevated to become chiefs or members of the local king's council.

During the 19th century, Yorubaland was plagued by civil wars as various Yoruba kingdoms fought to control trade routes. Disruptions in trade prompted Britain to intervene by sending in colonial forces in 1892. The warrior imagery on the doors, which may reflect this military activity, would have been appropriate for the home of a Yoruba military elder or warrior chief.