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Speakers: Dr. Peri Klemm and Dr. Steven Zucker. That is, it was this vertical sculpture, originally intended to be among the structural posts of a palace porch. Peri Klemm: [] This was created for a palace among the Yoruba in Nigeria by a well-known artist named Olowe of Ise. Ise is a region in southwestern Nigeria, where this artist came from. Zucker: [] There are numerous royal objects that this artist produced. This particular sculpture at the Met shows a mounted figure holding the attributes of a warrior or perhaps a warrior king.
Klemm: [] Horses were introduced into this region — the Sahel — and to the Yoruba sometime in the 10th century. Zucker: [] In his left hand, the king holds a spear, this traditional instrument of power, but in his right hand, he holds a pistol, a modern weapon. He is frontal. Klemm: [] He is the largest figure, and by far the most important, but the horse that he sits on and the woman that the horse is resting on top of are both necessary for his rule.
The sculpture is also an expression of the source of his power, that his power is founded on the power of his community. Zucker: [] One of the ways we know that her power is spiritual is that among the Yoruba, a nude woman would be a representation of fertility. Klemm: [] Here, then, the king is suggesting that he can rely on, he can be supported by this great potential to provide his community with fertile harvest, with all that they need to have an abundant life.
Zucker: [] Also, the spiritual is represented by the bulging eyes, where we can still see a little bit of the original blue pigment, the idea that one can look into the spiritual realm. Klemm: [] Among the Yoruba, there are a series of masquerades, wooden structures donned by men. A complementary institution is spirit possession for women. In some cases, bulging eyes suggest her ability to see into the other realm and take on the spirit to support her community.
