Workshop Adugbologe/Makinde

The Adugbologe/Makinde sculpture workshop refers to a famous lineage of Yoruba sculptor artists from Nigeria, renowned for their central role in preserving and transmitting the sculptural and cultural traditions of the region.

Cultural Context

The family workshop in Abeokuta, founded by Oniyide Adugbologe (circa 1875–1949), the most prominent sculptor of his generation in Abeokuta, serves as an emblematic example of intergenerational transmission of artistic know-how within the Yoruba tradition. Throughout his life, Oniyide distinguished himself through mastery and innovation in the art of wood carving, particularly prized for religious rituals and local ceremonies.

His two sons, Salakatu Ayo and Makinde, continued this tradition by working in their father’s workshop, located under a rocky shelter, symbolizing both a space for creation and the preservation of ancestral knowledge.

Among other notable figures from this workshop was Shitu (or Shittu), whose work and influence are also recognized within the circle of sculptors of the time.

This collective of artists represents not only a testament to the artistic continuity within the Adugbologe family but also a striking example of how traditional Yoruba craftsmanship has been maintained and evolved over the decades, despite the social and cultural changes that marked this period. They produced religious, cultural, and functional sculptures for several generations. Their work, while deeply rooted in traditional spiritual practices, has evolved over time to incorporate modern influences while retaining Yoruba symbols and motifs.

History and Influence

The Adugbologe family workshop dates back to the 19th century when sculptor artisans like Makinde, a key member of the Adugbologe family, began to gain notoriety. The dynasty of artists was influenced by local demand for cult objects, such as masks for festivals, statues for shrines, and decorative works for local kings and elites. The workshop's work ranged from masks for Egungun rituals (ancestor worship) to pieces for Orisha cults, where each deity had its sculpted representations.

Artistic Style

The analysis of the dominant familial style in the sculptures of the Adùgbòloge family offers an essential perspective for understanding the artistic subtleties within this dynasty of sculptors. While each individual artist developed their own aesthetic vocabulary, certain fundamental elements unite the works of the Adùgbòloge family and distinguish them from other Yoruba sculptors. Proportion, angularity, and distinctive shapes in their sculptures are unifying traits found in all their creations, even across generations.

The learning process within the family context played a central role in the transmission of these stylistic characteristics. The teaching of master sculptors to young apprentices shaped a tradition that, while allowing for some individuality, maintained a remarkable formal cohesion. This apprenticeship system, rooted in the familial compound setting, facilitated the emergence of a dominant style manifested in recurring formal elements.

Among the most emblematic stylistic features are the wide and spherical heads, triangular or distinctly incised noses, convex and large eyes, as well as short limbs and diagonally positioned hands. These sculptures are often topped with thick hairstyles adorned with animals, particularly in masks. These recurring motifs provide a strong visual identity to the works of the Adùgbòloge, as evidenced by the ere Ìbejì created by sculptors such as Ojerinde, Oniyide, Ayoola, Taibu, and Rafiu, all marked by a predominance of the round head, a characteristic element of the sculpture from Abeokuta, as noted by Fagg in 1971.

However, it is worth noting that despite this general stylistic unity, some individuals, such as Hassan, stand out with distinct approaches. His works display a notable variation that, while retaining certain family characteristics, is distinguished by its own originality, reflecting the richness and internal diversity within the Adùgbòloge tradition itself.

Colonial and Modern Influence

During the British colonial period, the workshop adapted by integrating commissions not only from local elites but also from colonial administrators and foreign collectors, while maintaining a foundation in Yoruba traditions. This adaptability allowed the workshop to endure and continue to evolve. The Adugbologe successfully navigated between production for traditional rites and production for a broader market, including export to Europe.

Heritage

Today, the Adugbologe workshop is a reference point in the history of Yoruba sculpture. Their work is not only significant artistically but also serves as a cultural witness to the religious and social practices of the region. The sculptures from the Adugbologe workshop can be found in museums around the world, and their influence persists in shaping current generations of Yoruba sculptors.

Here are some examples of Ibeji sculpted by Oniyide Adugbologe himself: