Eclecticism Style in Ceramic Art Practices of Ife Art School
DOI:
https://doi.org/10.47941/jep.630Keywords:
Ceramics, Creative Impulse, Deco-stylistic, Eclecticism, Ife Art SchoolAbstract
Purpose: The study discusses Ife ceramic wares in tandem with the historical approach of the decorative patterns. It equally determines the origin of each style and how it moved and spread across the phases. The sequences of creative impulse and stylistic trends of ceramic practices in the art school from inception have not received scholarly attention in terms of the examination of the approaches towards the conceptions. The specific objective is to investigate the inception of eclecticism in the art school and circumstances behind the conceptions in order to reveal the contextual definitions of used designs and factors influence the innovation.
Methodology: Descriptive and analytical approaches were used to trace decorative trends of each phase and the integration of the various motifs and styles of the previous phases in the new phases that sprung up. Samples of ceramic wares in the art school exhibition brochures, galleries and ceramic studios were collected for analysis and photographs were also taken for evidence.
Findings: In concept, the praxis reveals traditional ideology at inception and desegregation of different themes, ideas, and styles in the recent phase of the practice. The practices are eclectic inclined as of late with reflection of traditional ideology, contemporary issues and customs of Western societies. Notwithstanding, the ceramic art tradition of the art school is aesthetically inclined both in principle and practice.
Unique contribution to theory, policy and practice: No doubt, the sculptural creativeness of Ife wares has preserved cultural heritage for public awareness. This is largely evident in the proliferation of her ingenious adaptation of indigenous deco-stylistic techniques with Western influence that portrayed Nigerian traditional culture by themes, forms and styles in concepts and renditions.
Downloads
References
Adebayo, A. and Oloruntimilehin, O. (1989). The growth and development of the arts and the social sciences. In J.E.A. Ajayi and T.N Tamuno (Eds.), A history of Obafemi Awolowo University (pp. 65-70), Ile-Ife, University press.
Ademuleya, S. and Folaranmi, S. (2005). An introduction to the exhibition catalogue of ife art school in retrospect. In S. Ademuleya and S. Folaranmi (Eds.), Ife art school in retrospect (pp 5). Obafemi Awolowo University, OAU: Department of Fine Arts.
Adeniran, B. and Omosin, O. (1989). Conception, planning and birth. In J.E.A. Ajayi and T.N Tamuno (Eds.). A history of Obafemi Awolowo University (pp. xx), Ile-Ife, University press.
Adeniran, B. (1989). The transition to a federal University Status, 1975-1982. In J.E.A. Ajayi and T.N Tamuno (Eds.), A history of Obafemi Awolowo University (pp. 49), Ile-Ife, University press.
Aig-Imoukhuede, K. (1984), Introduction in Evolution in Nigerian Art Series 2: Exhibition Brochure, National Council for Arts and Culture, Lagos.
Ajadi, M. O. (2014). Contribution of ceramic art practices from Ife Art School. Unpublished M Tech Thesis Submitted to the Department of Fine and Applied Arts, Ladoke Akintola University of Technology, Ogbomoso, Oyo state.
Ajadi, M. O. (2017). Adaptation possibilities and contextual definitions of traditional motifs on Ife wares for contemporary ceramic industries in Nigeria. EYO: Journal of the Arts and Humanities, University of Lagos, Lagos, Lagos state, 3 (1) 276-289.
Akinrinade, O. (1989). The era of consolidation 1966 – 1975. In J.E.A. Ajayi and T.N. Tamuno (Eds.), A history of Obafemi Awolowo University (pp. 31), Ile-Ife, University press.
Akintounde, M. A. (January 8, 2012), Personal Communication.
Akintoye, S. A. (1973). Ten years of the university of Ife 1962-1972. Ibadan: University of Ife Press.
Behrens-Abouseif, D. and Vernoit, S (2006). Islamic art in the 19th century, tradition, innovation and eclecticism. Leiden: Brill
Brokensha, D. (1969). Ori – Olokun: A new art centre. Journal African Arts, 2, 3.
Chukwueggu, C (1996). Contemporary Nigeria art and their classifications. Port Harcourt: Anozie Enterprises.
Dillon, J. M. and Long, A. A. (1988). The question of eclecticism; studies in later Greek philosophy. California: University of California Press
Fajuyigbe, M and Imoru-Oke, N (2006), “The influence of pottery Tradition of the Department of Fine Arts, Obafemi awolowo University, Ile-Ife. Developments, Techniques and Innovations. In P.S.O. Aremu, B. Ademuleya, E. Sheba, A. Adejumo and S. Ajiboye (Eds.), Contemporary issue in Nigerian art: its history and education (pp 24-35). Lagos, Portion Consult Publication.
Guterman, J. T. (2015). Strategic approach to eclecticism. In Mastering the Art of Solution- Focused Counseling: Second Edition. Pp 47-55 DOI. 10.1002/9781119221562.ch4
High, F. (2010). Benin 1897. Com: Peju Layiwola’s Metamonument. In Layiwola, P. and Olorunyomi, S. (Eds.) Benin 1897. com Art and the Restitution Question: An Art Exhibition by Peju Layiwola. (Pp81-89). Ibadan; Wy Art Editions.
Lawal, B. (1984), The Ife Art School. In Evolution in Nigerian Art Series 2: The Ife Art School 1974-1984. Exhibition Brochure, NCAC 8, Lagos.
Mohamed, E. (2018). Eclecticism style in Architecture of Khedivian Cairo. Journal of Islamic Architecture 5 (2) 83-95. DOI: http//dx.doi.org/10.18860/jia.v5i2.4747
Oloidi, O. (2000). Modern Nigerian Art: Artistic Vitalization through Varied Actualization. Exhibition Catalogue. 15, 32-33.
Oladumiye, E (2005). Irein Wangboye: The paragon of printmaking technique and the creator of Ori-Olokun experimental workshop. In P.S.O. Aremu, B. Ademuleya, E. Sheba, A. Adejumo and S. Ajiboye (Eds.), Contemporary issue in Nigerian art: its history and education (pp 274). Lagos, Portion Consult Publication.
Whittick, A. (1974). European architecture in the twentieth century. New York: Leonard Hill Books.
Williams, D. (1974). Icon and Image: A study of sacred and secular forms of African classical art. London: Allen Lane Penguin Books Ltd.
Downloads
Published
How to Cite
Issue
Section
License
Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution (CC-BY) 4.0 License that allows others to share the work with an acknowledgment of the work’s authorship and initial publication in this journal.
