Ikenga, 20th Century
Ibgo people; Nigeria
Wood, paint, organic material; 12 x 9.5 in.
Gift of John Ross, D.D.S.
91.52.1
“The practical purpose of art is to channel a spiritual force into an aesthetically satisfying physical form that captures the presumed attributes of that force.” – Chinua Achebe
For the Igbo people achieving success in work, family and personal status was vital to individual and community well-being. With spiritual and material worlds interacting and affecting one another the Igbo relied on ikenga to mediate between the two realms. An ikenga acted as a guardian and assisted one in achieving success in their endeavors. These wood carvings were vessels that held a combination of spiritual forces including those of the ancestors and one’s own personal spirit or chi. By the time a man entered into matrimony he would have obtained an ikenga from an expert carver; the ikenga would be kept with him throughout his life. Sacrifices in the form of wine, food and blood would be made to the ikenga and would be placed or poured directly on to its surface. (Evidence of residue from past sacrificial material is most visible on this figure’s head). At death ikenga would be destroyed or sometimes buried with the deceased as its purpose became defunct, no longer needing to function as a mediator between worlds or able to hold one’s departed chi.
The ikenga shown here in the shape of a man possesses characteristics associated with power and success. Large round horns dramatically loop above the figure’s head, a knife is held in the right hand while the left holds a severed human head. He wears a scalloped skirt open in the front exposing his genitals. A third “leg” extends from the back, and together with the figure’s front legs forms a stool. These features are directly linked to concepts of power and action seen as necessary for accomplishing a moral and successful life. As described in the catalog Igbo Arts: Community and Cosmos, “the horns are symbolic of masculine power and the knife is an object of action; placed in the figure’s right hand adds significance because the right side is reserved for all things of importance and virtuous conduct. The severed head resembles the idea of achievement; it can be seen as a reward for displaying the courage needed to confront challenges” (Cole, 30).
For further reading on the ikenga or to see referenced material see Igbo Arts: Community and Cosmos was edited by Herbert M. Cole and Chike C. Aniakor and published by the Regents of the University of California, 1984.
All images and text under copyright. Please contact Collection Department for permission to use. Information subject to change with further research.
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