青銅の彫像 - オゴニ族 - Nigeria

This object under consideration is a paired set of Ogboni shrine figures, conventionally termed edan, associated with the Ogboni society among Yoruba-speaking peoples, including the Ijebu and Owu subgroups. Cast most often in copper alloy through the lost-wax process, the figures appear as a male and a female linked by a chain, a formal device that is neither incidental nor merely decorative but integral to their meaning and function. The pair constitutes a portable locus of authority, deployed within ritual, juridical, and initiatory contexts, and understood as a material extension of the society’s ethical and cosmological commitments.

Within Ogboni thought, the earth is personified and revered as Onilé, the ultimate ground of truth, fecundity, and moral order. The edan pair mediates this relationship between human community and chthonic power. Their twinned form encodes complementarity: male and female, seniority and generativity, restraint and activation. The chain that joins them articulates continuity and inviolability, signifying the binding force of oaths and the interdependence of social actors under the surveillance of the earth. In this sense, the edan are not idols but indices—material witnesses to transactions that must remain aligned with an immanent moral field.

Stylistically, the figures tend toward compact, frontal compositions with relatively enlarged heads and attenuated limbs. Such proportional emphasis reflects a broader Yoruba aesthetic in which the head is the seat of destiny and consciousness. Facial features are typically restrained, with an affect of composure that signals controlled power rather than expressive individuality. Surface details—scarification marks, coiffure, or regalia—may allude to status or identity, yet they remain subordinated to the overall legibility of the pair as a unit. The patina accrued through handling is not merely a byproduct of age but a trace of use, indexing the repeated activation of the objects in ritual performance.

Among Ijebu and Owu communities, the Ogboni society historically functioned as a deliberative and judicial body, advising rulers and adjudicating disputes. In such contexts, the edan could be brought forth as instruments of verification and sanction. Their presence ratified proceedings, and their manipulation—touching, positioning, or suspending—helped to materialize otherwise intangible commitments. The authority they embodied was collective and ancestral, grounded in continuity rather than charisma, and thus resistant to unilateral appropriation.

The pairing of the figures is indispensable to their efficacy. A single figure would fail to instantiate the equilibrium that Ogboni doctrine requires; authority emerges only through balanced relation. The male does not dominate the female, nor does the female merely complement the male; rather, each completes the other within a closed circuit of meaning secured by the chain. This structural duality resonates with wider Yoruba metaphysics, in which generative processes depend upon the calibration of opposed yet interlocking forces.

In museum and collecting histories, edan have often been detached from their performative environments and reclassified as sculptures. While such recontextualization permits formal analysis, it risks attenuating the objects’ operative dimensions. The edan’s significance inheres not solely in form but in use—in the rhythms of assembly, oath, and adjudication that animate them. To read them adequately, one must therefore attend to both their material properties and the social institutions that authorize their deployment, recognizing that their aesthetic restraint is inseparable from a dense field of ethical and cosmological reference.

William Fagg. Yoruba Sculpture of West Africa. London: Percy Lund, Humphries, 1960.

Robert Farris Thompson. African Art in Motion: Icon and Act. Berkeley: University of California Press, 1974.

Henry John Drewal, John Pemberton III, and Rowland Abiodun. Yoruba: Nine Centuries of African Art and Thought. New York: The Center for African Art, 1989.

Babátúndé Lawal. “À Yà Gbó, À Yà Tó: New Perspectives on Edan Ògbóni.” African Arts 28, no. 1 (1995): 36–49.

Peter Morton-Williams. “The Yoruba Ogboni Cult in Oyo.” Africa 30, no. 4 (1960): 362–374.

William Bascom. The Yoruba of Southwestern Nigeria. New York: Holt, Rinehart and Winston, 1969.

Rosalind I. J. Hackett. Art and Religion in Africa. London: Cassell, 1996.

The British Museum. Collection entries on Ogboni edan figures (online database).

The Metropolitan Museum of Art. “Edan Ogboni” (collection and Heilbrunn Timeline essays).

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The seller guarantees and can prove that the object was obtained legally. The seller was informed by Catawiki that they had to provide the documentation required by the laws and regulations in their country of residence. The seller guarantees and is entitled to sell/export this object. The seller will provide all provenance information known about the object to the buyer. The seller ensures that any necessary permits are/will be arranged. The seller will inform the buyer immediately about any delays in obtaining such permits.

Without thermoluminescence tests, the attribution is provided for reference only, based on our knowledge. The piece remains subject to authentication

Height: 45 cm / 46 cm
Weight: 4,4 kg