In the study of Yoruba art, twinhood, symbolized by the ere ibeji statuettes, occupies a prominent place, as highlighted by numerous researchers. These figures embody a striking diversity despite the formal conventions of this art. Through the countless examples of ibeji found within the Yoruba country, multiple approaches emerge, reflecting the artistic genius of the sculptors who have addressed this theme.

Yoruba art stands out, within the broader context of African figurative sculpture, for its abundant production and the impressive variety of objects designed for domestic and ritual purposes. Notable examples include veranda doors and pillars, representations of deities from the Yoruba pantheon (the orisa), and dance masks from the Egungun, Gelede, and Epa festivals. These works testify to the deep-rooted nature of art in Yoruba spiritual and cultural practices.

The creation of ibeji figurines, in particular, is part of an important ritual practice when twins pass away and parents seek to honor their memory. Sculptors then create wooden representations intended to be placed in the family shrine or near the mother's bed. Due to the high rates of twin births and infant mortality in the Yoruba region, the production of ere ibeji is significant, offering a unique opportunity to explore the artistic richness of these statuettes.

Historian John Pemberton has examined the evolution of Yoruba attitudes toward twins and the worship they receive through the ibeji. Meanwhile, John Picton has undertaken a detailed analysis of the aesthetic qualities of ibeji figurines from the Ekiti region in northeastern Yorubaland. His work highlights the close relationships between young sculptors and seasoned masters, as well as the exchange of knowledge and techniques among local artists. Lamidi O. Fakeye, for his part, provides a rare glimpse into the inner world of a Yoruba sculptor, allowing us to better understand the motivations and inspirations behind these works.

Finally, the book from which these reflections are drawn presents an exceptional collection of six hundred ibeji, sourced from museums and private collections around the world. These statuettes, among the most beautiful and rare known to date, are exhibited for the first time in a publication. Furthermore, a list of Yoruba sculptors is established for the first time, enabling readers to appreciate the stylistic similarities and identify the works, transforming the experience of the book into a true visual adventure. 335 pages - Texts in French OR English.

About :

George Chemeche

John Pemberton III

John Picton

Lamidi O. Fakeye

George Chemeche, an internationally renowned artist, resided in New York since 1972 and passed away there on January 11, 2022, at the age of 89. His artistic work transcended borders, being exhibited in prestigious galleries in Israel, Europe, Canada, and the United States. His creative approach reflects a unique sensitivity, drawing from a rich cultural diversity.

John Pemberton III, an eminent professor of theology at Amherst College, devoted over two decades to the study of religious practices and Yoruba art in southwestern Nigeria between 1970 and 1992. His rigorous research led to the co-authorship of several reference works, including Yoruba: Nine Centuries of African Art and Thought (1989) and Yoruba Art and Aesthetics (1992), in collaboration with H.J. Drewal and R. Abiodun. Along with F. Afobayan, he also co-wrote Yoruba Sacred Kingship: "A Power Like That of the Gods" (1996), a thorough exploration of the sacred power of Yoruba kings.

John Picton, a key figure in African studies, began his career with the Nigerian government's antiquities service from 1961 to 1970 before joining the British Museum, where he worked from 1970 to 1979. His expertise then led him to teach at the School of Oriental and African Studies at the University of London, where he distinguished himself through his work on African art and material cultures.

As for Lamidi O. Fakeye, a descendant of the famous Inurin House in Ila-Orangun, he belongs to a long lineage of sculptors who shaped the history of Yoruba art in the 19th and 20th centuries. His remarkable creations, commissioned to adorn Yoruba palaces and courts, testify to his skill and artistic heritage. Among his most notable works are the carved veranda pillars for the Institute of African Studies at the University of Ibadan and the majestic doors of the Kennedy Center in Washington, symbols of his creative genius and lasting contribution to contemporary Yoruba art.