IFA-Weissagungsgefäß: Weibliche Karyatiden (Agere IFA) 17th–19th Jahrhundert Yoruba-Völker, Owo-Gruppe Dieses Yoruba-Elfenbeinweissagungsgefäß (Agreed IFA), bestehend aus einer Schale, die von einem weiblichen Karyatiden unterstützt wurde, diente als Auffangbehälter für die sechzehn heiligen Palmnüsse (ikin). Durch dieses Medium kommunizierten IFA-Priester mit dem gott des Schicksals, Orunmila, um Einblicke in das Schicksal eines Individuums zu erhalten. Die Investition in teures Material und die hohe Qualität der Kunst, die sich in seinem Design zeigt, heben es über ein bloßes funktionelles Gerät hinaus. Diese Darstellung einer Frau, die eine Opfergabe in einer Andacht trägt

• Bildanbieter: MET/BOT / Alamy Stock Foto
• Bild-ID: 2HJ4EFR
• Dateigröße: 7,9 MB (198,8 KB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 1488 x 1861 px | 25,2 x 31,5 cm | 9,9 x 12,4 inches | 150dpi
• Aufnahmedatum: 22. Januar 2022

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Dieses Bild ist ein gemeinfreies Bild. Dies bedeutet, dass entweder das Urheberrecht dafür abgelaufen ist oder der Inhaber des Bildes auf sein Urheberrecht verzichtet hat. Alamy berechnet Ihnen eine Gebühr für den Zugriff auf die hochauflösende Kopie des Bildes.

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Ifa Divination Vessel: Female Caryatid (Agere Ifa) 17th–19th century Yoruba peoples, Owo group This Yoruba ivory divination vessel (agree Ifa), consisting of a bowl supported by a female caryatid, served as a receptacle for the sixteen sacred palm nuts (ikin). Through this medium, Ifa priests communicated with the god of fate, Orunmila, in order to obtain insights into an individual’s destiny. The investment in costly material and the high-quality artistry apparent in its design elevate it beyond a mere functional implement. This depiction of a woman bearing an offering in a devotional attitude conveys the notion that it was conceived of as a form of prayer to the divine. This tribute to Orunmila takes the form of a kneeling female figure, whose legs are folded beneath her. She balances an offering bowl on her head and supports it with raised arms, hands held to either side of it. Her strong, broad torso contrasts with the graceful sweep of her attenuated arms. Her facial features are boldly carved, with deeply incised pupils and three vertical cicatrization markings above either eye. A bead necklace that rests on her chest is her only form of bodily adornment.Most agree Ifa are made out of wood. The relative rarity of ivory agree Ifa, such as this one, suggests that they were either owned by the highest-ranking Ifa priests or served as the ritual art of royalty. On stylistic grounds, this work has been attributed to the Yoruba ivory-carving center at Owo, located on the far-eastern edge of Yorubaland. Owo’s leadership traces its origins to the divine kings of Ife. According to oral traditions, Owo’s founding king was one of the youngest sons of the god Orunmila. Owo emerged as a distinctive regional artistic center, specializing in ivory carving. Owos acclaimed were Owo’s ivory carvers that their services were sought after by patrons in neighboring regions.The agere type vessel, which holds and raises the ikin, has been likened to a miniature temple of Or