Blog Post 6

Copper mask said to represent Ife King Obalufon II, 12th-15th century

Bronze, more specifically copper alloys such as brass, holds a significant place in the history of African art, particularly in the ancient religious center of Ife among the Yoruba people of southwestern Nigeria. Its usage in the creation of artworks not only signifies technical mastery but also represents sociocultural values, religious connotations, and political histories.

The life-sized copper mask from Ife stands as a testament to the prowess of metalwork in ancient African art. Initially published in 1937 by King (Oni) Adesoji Aderemi of Ife, this mask, believed to represent Obalufon II, is intricately linked with the history of brass-casting in Ife. Obalufon II is credited with pioneering brass-casting in the region, symbolizing a transformative era where metal took precedence in craftsmanship. The mask, with its near-flawless casting in ninety-nine percent pure copper, exemplifies the zenith of metallurgical expertise from ancient Ife, dating back to the twelfth to fifteenth centuries A.D.

While Ife is known for its brass and copper heads, the Obalufon mask stands out due to its extraordinary naturalism. The mask’s physiognomic accuracy, barring its Ife-style almond-shaped eyes and stylized ears, reflects a heightened sense of realism, potentially hinting at the significance of the individual it represents. The mask's design also indicates its functional intent: to be worn. Features such as slits beneath the eyes for vision, holes around its periphery for attaching costumes or robes, and the provision to add beards emphasize its ceremonial significance.

Map of the Yoruba area, Nigeria

This mask's continuous association with the palace might suggest that it retained its original identity, contrasting with other Ife brass and copper heads that were buried and forgotten over time. Furthermore, a recent terra-cotta mask discovery near the city's Obalufon shrine underscores the prominence of Obalufon II in the region's religious and cultural narrative. While this doesn’t conclusively authenticate the identity of the copper mask, it does present compelling parallels between the two artifacts.

The mask's significance also transcends its artistry, as it is deeply entwined with Ife’s political and religious rituals. Contemporary traditions from Ife suggest that the mask might have played a pivotal role in coronation ceremonies. During these ceremonies, the royal crown, before being adorned by the new ruler, was traditionally placed on "the head of Obalufon", which may reference a sculpture from the Ife shrine of Obalufon. It is plausible that the Obalufon mask, being life-sized and wearable, had a ceremonious role in these rites.

Zinc brass head from Ife, 12th-15th century

In conclusion, the bronze (or copper alloy) artworks from Ife, exemplified by the Obalufon mask, are more than just masterful creations; they are historical chronicles, emblematic of the intricate interplay of art, religion, and politics in ancient African societies. Their preservation and study provide invaluable insights into the rich tapestry of African history and the evolution of its artistic traditions.