the arts of africa - Dallas Museum of Art

56 1 : icons and symbols of leadership and status
6
Ring depicting ritual
sacrifice
Nigeria, Yoruba peoples
c. 18th century
Cast copper alloy
2¾ × 9 in. diam. (6.99 × 22.86 cm)
African Art Collection Fund, 2005.14
When a new king of a Yoruba satellite kingdom was installed, the paramount
Yoruba king, the Oni of Ife, had to be assured that all the prescribed
kingship rituals had been performed and that he had the new ruler’s allegiance.
Some scholars think the transfer of rule in these instances was
officially recorded on a wreathlike ring.19 Eleven cast copper alloy rings,
including the Dallas Museum of Art example, were unearthed at Ife and
depict with realistic detail a scene with two or more bound and decapitated
human bodies lying on their stomachs with their severed, and sometimes
gagged, heads nearby. Each ring shows a human figure dressed in
full regalia, at least one vulture pecking at a head or body, a crocodile and/
or tortoise and a hairpinlike form on the outer edge. All of the rings demonstrate
a sophisticated artistry and complete mastery of the lost-wax
casting technique.
The figures depicted in the horrific scene on the rings can be identified
and interpreted by referencing Yoruba oral traditions, religious beliefs, and
kingship rituals. The bound and decapitated bodies are sacrificial victims.
In the distant past, the Yoruba practiced human sacrifice during occasions
of grave importance to the entire community such as the installation of
a new king or the outbreak of a pandemic disease. “It was better to sacrifice
one life for the good of the community than for all to perish” asserts
Yoruba religious belief.20 Vultures, scavenger birds that feed on dead
things, are positive images in Yoruba art because they are believed to be
divine messengers. Their presence indicates the deities (orisha) accepted
the sacrificial offering. The precise function of the upright vessel, which is
found on only two of the rings, is uncertain. Ajapa, the cunning tortoise
who tried to prevent death from entering the world, is placed above the
crowned figure on the side of the ring (see detail, p. 58). Tortoises were
sacrificed to Ogun, the god of iron, who protected anyone working with
metal, including sculptors, hunters, and executioners.
The predominant figure placed parallel to the surface of the ring is
meant to be viewed as a live, standing figure. He wears a conical crown
and a long wrapper with a textured pattern and is adorned with chest
baldrics, armlets, wristlets, and anklets. The scarification of opposed
crescents on the figure’s forehead is a pattern found on Oshugbo society
emblems from the ancient Yoruba kingdom of Ijebu. The pinlike forms, a
simplified rendering of an edan—a cast brass male and female pair joined
by a chain—near the crowned figure’s elbow are also symbols of Oshugbo.
The society of male and female elders responsible for the selection, installation,
and burial of kings was also known as Ogboni. The conical forms
above the crossed baldrics may be either feminine breasts or masculine
pectorals. The right hand holds a staff or scepter. The larger left one rests
just above the waist. A dimpled seedpod rests between the figure’s feet.
Who does this figure represent? The conical crown, elaborate dress, and