Images of Ifa divination trays: The significance of abstracted motifs. Ph.D. dissertation.

109 Pages·2009·12.38 MB·English

by  Johnson

ABSTRACT
IMAGES OF IFA DIVINATION TRAYS: THE SIGNIFICANCE
OF ABSTRACTED MOTIFS
In this thesis, I will describe and analyze the iconology of Ifa divination
trays. I will utilize a non-representative sample of images of Ifa divination trays
from several sources. The first source will be a private collection of slides
developed over years of academic research starting in the 1970s. This collection
will be augmented by images gathered through current publications and internet
sources ranging from museum documentation to gallery exhibitions intended for
public sale. I will provide statistical analysis concerning the frequency and
distribution of the iconology of these images to evaluate any possible correlations
that may be present in regards to style, content, or temporal change. I will include
interpretations of secondary imagery present in the sample. Statistical analysis will
be provided that includes these interpretations when grouped with conventional
interpretations.
Phillip Andrew Johnson
December 2009

IMAGES OF IFA DIVINATION TRAYS: THE SIGNIFICANCE
OF ABSTRACTED MOTIFS

by
Phillip Andrew Johnson

A thesis
submitted in partial
fulfillment of the requirements for the degree of
Master of Arts in Art
in the College of Arts and Humanities
California State University, Fresno
December 2009
UMI Number: 1484532

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For the Department of Art and Design:

We, the undersigned, certify that the thesis of the following student
meets the required standards of scholarship, format, and style of the
university and the student's graduate degree program for the
awarding of the master's degree.

Phillip Andrew Johnson
Thesis Author

Laura Meyer (Chair) Art and Design

Keith Jordan Art and Design

Gina Strumwasser Art and Design

For the University Graduate Committee:

Dean, Division of Graduate Studies
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OF MASTER’S THESIS

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X Permission to reproduce this thesis in part or in its entirety must
be obtained from me.

Signature of thesis author:
ACKNOWLEDGMENTS
For the past several years I have had the good fortune to be surrounded by
brilliance. I wish to express my gratitude to each of the professors who shaped my
education in art history, and instilled in me the love of teaching.
I would like to thank Dr. Laura Meyer who, in addition to chairing my
committee, has been a constant support. Through many incredible classes, Dr.
Meyer taught me the relationship between art and philosophy, opening up doors to
thought I never knew existed. Not to mention Baudrillard.
I would like to thank Dr. Keith Jordan for being the “inner head” for my
thesis project. It was Dr. Jordan who through many hours of conversation, reading,
and editing, directed and inspired my project.
I would also like to thank Dr. Gina Strumwasser for being a member of my
committee as well as for the years of fabulous classes. Dr. Strumwasser was the
professor who took me into the world of museums and archives, giving me the
very real experience of the art historical pieces themselves.
Finally, I would like to thank the professor who started it all. Dr. Raphael
Reichert. It was Dr. Reichert who several years ago walked in front of a class and
ignited my love of art history. Dr. Reichert taught me that art history is like an
octopus with its tentacles reaching into the other academic disciplines, solidifying
my educational direction. I will never forget the day in class when he placed an
ancient ceramic bowl in my hands. As the shiver ran up my spine, I knew
everything had changed.
I would never have been able to achieve my academic goal without the
never ending support of my wife Michelle, and daughter Nicole. My love and
v
gratitude to Michelle for the thirty years of commitment and understanding that
has led me to this point. And of course, thank you Michelle for allowing me to
subject your statistical expertise to the less than stringent world of art.
Thank you Nicole for dealing with a father turned artist. Thank you for
being the magnificent young woman you are, who can deal with coming home to
find your father life-casting another student on the kitchen floor, and being okay
with it.
TABLE OF CONTENTS
Page
LIST OF TABLES . . . . . . . . . . . . . . . . . viii
LIST OF FIGURES . . . . . . . . . . . . . . . . . x
LIST OF PLATES . . . . . . . . . . . . . . . . . xi
Chapter
1. INTRODUCTION . . . . . . . . . . . . . . . 1
The Yoruba Cosmos . . . . . . . . . . . . . 1
Ifa Divination . . . . . . . . . . . . . . . 4
Ifa Divination Ritual . . . . . . . . . . . . 5
The Babalowo . . . . . . . . . . . . . . 8
The Community: Rituals Related to Ifa Divination . . . . 12
2. ART AND IFA DIVINATION . . . . . . . . . . 18
Egungun . . . . . . . . . . . . . . . . . 18
Death and Immortality . . . . . . . . . . . . . 19
Art and Ase . . . . . . . . . . . . . . . . 20
Opon Ifa . . . . . . . . . . . . . . . . . 24
Eshu and His Imagery . . . . . . . . . . . . 25
Shango and His Imagery . . . . . . . . . . . 31
Animal Motifs on Ifa Divination Trays . . . . . . . 34
Cloth Motifs on Ifa Divination Trays . . . . . . . . 38
3. ABSTRACTION OF IMAGES ON IFA DIVINATION TRAYS . 41
Double Axe Motif . . . . . . . . . . . . . . 41
Lightning . . . . . . . . . . . . . . . . 42
Slats . . . . . . . . . . . . . . . . . . 45
vii
Chapter Page
Cross Hatching . . . . . . . . . . . . . . . 50
4. METHODOLOGY . . . . . . . . . . . . . . 53
Shango and Lightning . . . . . . . . . . . . . 54
Royal Embroidery and Slats . . . . . . . . . . . 57
Pangolin and Slats . . . . . . . . . . . . . . 58
Pangolin and Magical/Transformative Animals . . . . . . 62
Shango and Cross Hatching . . . . . . . . . . . 65
Royal Embroidery and Lightning . . . . . . . . . . 68
Royal Embroidery and Cross Hatching . . . . . . . . 69
Shango and Slats . . . . . . . . . . . . . . 73
Shango and Magical/Transformative Animals . . . . . . 76
Royal Embroidery and Magical/Transformative Animals . . . 77
Eshu and Lightning . . . . . . . . . . . . . 80
Eshu and Slats . . . . . . . . . . . . . . . 82
Eshu and Magical/Transformative Animals . . . . . . . 84
Eshu and Cross Hatching . . . . . . . . . . . . 87
5. CONCLUSION . . . . . . . . . . . . . . . 90
BIBLIOGRAPHY . . . . . . . . . . . . . . . . . 93