The door panels depicted in the first image and lintel were engraved for the majestic castle at Ikere in Nigeria. They appear to mark the Ogoga (Ruler) experiencing the British executive, Master Ambrose, for the first time during the start of nineteenth century.

The British administrator is depicted sitting in a knoll on the panel on right hand side. There are soldiers surrounding Ambrose, fettered captives and porters bearing packages of cowry cases, gathered as taxations. A 2nd executive from Britain, portrayed on horseback above Ambrose, has been distinguished as Major Reeve-Tucker, nominated 1st moving commissioner for Ondo state at the bend of the 19th century. The self-respecting image of the Ogoga postures on a European-style chair on the panel of left hand side. Senior wife of second British abides right by the side of him; additional married woman and kids, castle functionaries and strivers are demonstrated above and under. The header depicts birdies assaulting the eyes of faces. This individual ritual killing was believed to be crucial in the idolization of particular idols.

The door was engraved by Olowe of Ise (about 1875-1938), a famous creative person who produced carvings for majestic sponsors. He was domestically famed at the instance and nowadays is considered by numerous as among the most substantial Yoruba creative persons of the 20th century. He brought in advanced methods that underlined texture and motion: his anatomies were invariably engraved in highly eminent moderation, with tenacious angulated structures and a sheer employment of color.

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The second figure door panel depicted the real happenings of the past. During the ending of the nineteenth century the Arinjale (Ruler) of Ise accepted the 1st British touring commissioners for the Ondo state. The King, who’s bestrode on horseback and bears a conic crest exceeded by a birdie. He’s followed by a courtroom courier and a player. Majestic married woman and kids, bodyguards, non-Christian priests and others from the castle come along in sequential records.

Kente Cloth

To begin with, Kente was assumed exclusively by the majestic household and upper-level citizens in Ashanti community. Nowadays, as still the most convoluted designs are more widely available; several citizens are capable to possess hand-loomed kente fabric. The fabric is appreciated extremely and endured exclusively at the most significant societal or spiritual cases, fairly comparable to a tuxedo or fancy ball robe in westerly community. Gentlemen endure one expectant art object wrapped around the physical structure like a Roman Catholic toga, as women could bear two or three more microscopic art objects as a scarf, a miniskirt or apparel.

The detailed designs are kente fabric’s most distinguishing characteristic. There are more than three hundred adverted patterns, each one with fluctuations in color and dispersion of themes. These designs are produced by the weaver finches, which appoint them and allot imports. There’s frequently brief association between the identity of the design and its visual aspect; the identities mark a human or case, or are acquired from adages. A human with a lot of kente fabrics will opt the one to wear to a particular event by the pattern’s meaning as much as its appearance. For example, to attend a wedding, a person might choose to wear a cloth in the sika free mogya pattern. These phrases are an adage that implies “income appeals family relationships” in the Ashanti terminology. The entailment is that a successful human apportions his richness with his blood relations, a congratulate to the presenter of the marriage ceremony.

The colors in kente fabric are also emblematic. A few fabrics are threaded just in black-and-white, however most employ a assortment of colors, that can bestow shades to the entailing communicated by the pattern, comprising:


Emily Goodman, eHow Contributor. What Is the Meaning of Kente Cloth? Retrieved June 17, 2012 from

Himmelheber H. 1935. Negerkünstler, Stuttgart.

R. A. Walker, 1998. Olowe of Ise: a Yoruba sculpto. Washington D.C., Smithsonian Institution Press.

Yoruba peoples. 1938. Palace door (ilekun aafin). Olowe of Ise ca. 1875-ca. 1904-1910. Wood, traces of pigment.


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