The Master of the Elevated Headdresses

Until now, these pieces, although sporadically referenced in specialized literature and various auction catalogues, had not been the subject of any systematic attempt at stylistic grouping under a common designation.

In an approach that we intend to be both rigorous and deeply respectful of Yoruba cultural traditions, we propose here to bring to light this corpus, hitherto scattered, by publishing a selection of Ere Ibeji figures exhibiting such close formal and iconographic affinities that they appear to belong to a single center of production, which we shall designate as the " Master of the Elevated Headdresses ".

A careful examination of their stylistic features allows us to situate their origin within the cultural sphere of Ilorin, in the present-day Kwara State, and to date their production between the late nineteenth century and the early decades of the twentieth century.

It is important to note that these works exhibit striking affinities with the Ibeji produced in the neighboring State of Kogi, particularly those from the village of Egbe, commonly referred to as Egbe Yagba, thus testifying to aesthetic circulations and regional connections that remain insufficiently explored in current scholarship.

The singularity of the Ere Ibeji attributed to this workshop lies in the particularly skillful synthesis of stylistic traits drawn from two major Yoruba artistic centers, Egbe and Ilorin. While the influence of Egbe is perceptible, it is discreetly integrated into a body of work whose aesthetic foundation remains profoundly anchored in the Ilorin tradition.

The most immediately striking element is the variation of the headdresses, systematically interpreted as tall, tapering bonnets — an explicit reference to the productions of the Kwara region and the stylistic canons characteristic of Ilorin. This affiliation is further corroborated by the analysis of the general proportions: the statuettes are distinguished by their elongated silhouettes and their dimensions, ranging between 28 and 31 centimeters, in clear contrast to the Ere Ibeji of Egbe, whose more compact figures usually measure between 22 and 25 centimeters.

Finally, the observation of the faces — when preserved in a readable state — reveals features imbued with serenity and softness, devoid of sculptural emphasis or heavy ornamentation. This formal restraint, typical of Ilorin productions, confirms the geographical anchoring of the workshop within this cultural sphere, while also attesting to a selective assimilation of peripheral influences. Thus, this corpus presents itself not only as the aesthetic manifestation of a regional crossroads but also as the expression of an autonomous stylistic identity within the vibrant artistic landscape of the Yoruba.

The Master of the Elevated Headdresses at the Brooklyn Museum

While the imprint of Ilorin predominates in the aesthetic of the Master of the Elevated Headdresses, certain influences originating from the Egbe center nonetheless remain perceptible and deserve to be highlighted.

These influences are primarily manifested in the position of the hands, placed symmetrically on either side of the navel — a gesture of profound symbolic significance within the Yoruba ritual context.

The specific form of the ears, as well as the overall structuring of the body into a gently rounded inverted rectangle, also echoes the plastic codes typical of Egbe.

Another notable feature lies in the treatment of the eyes: some statuettes indeed present black beads inserted into the pupils — a technique intended to enhance the sacrality of the figures.
Although this practice is sporadically attested in certain productions from Oyo, it is distinguished here by the absence of metallic inserts, which are otherwise frequent in other stylistic zones of the Yorubaland.

This choice underlines both the adherence to a specific aesthetic tradition and the formal originality of the corpus attributed to the Master of the Elevated Headdresses.

The grouping and study of the Ere Ibeji attributed to the Master of the Elevated Headdresses contribute to enriching our understanding of the diversity and complexity of the Yoruba artistic heritage linked to the cult of twins.

They reveal the existence of workshops capable of assimilating multiple influences to develop an original style, firmly rooted in a regional tradition while transcending established aesthetic boundaries.

The unveiling of this corpus, which had long remained scattered and little known, thus invites a more refined reassessment of the dynamics of production, transmission, and innovation within the Yoruba art of the Ere Ibeji.