Ornamentation in Yoruba Domestic Architecture in Osogbo: a Study in Form, Content and Meaning
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ORNAMENTATION IN YORUBA DOMESTIC ARCHITECTURE IN OSOGBO: A STUDY IN FORM, CONTENT AND MEANING By ADEGOKE Adedapo Kehinde CUGP/07/204 A Thesis Presented in the Department of Architecture, School of Environmental Studies, College of Science and Technology, Covenant University, Ota. In Fulfillment of the Requirements for the Award of Ph.D in Architectural History Main Supervisor: Prof. S.A. Amole Co-Supervisor: Prof. E.A. Adeyemi February, 2015 DECLARATION I, Adegoke, Adedapo Kehinde, hereby declare that this thesis was written entirely by me under the supervision of Prof. S. A. Amole (Supervisor) and Prof. E. A. Adeyemi (Co- Supervisor) of the Department of Architecture, Obafemi Awolowo, University, Ile-Ife, Osun State and Covenant University, Ota, Ogun State, respectively and that it has not been presented either wholly or partly, for any degree elsewhere. All scholarly materials utilized in the work and their sources have been duly acknowledged. ……………………………………… Adegoke, A. K. ii CERTIFICATION This study entitled ‘Ornamentation in Yoruba Domestic Architecture in Osogbo: A study in Form, Content and Meaning’ carried out by Adegoke, Adedapo Kehinde under my supervision meets the regulation guiding the award of the degree of Doctor of Philosophy (PhD) in Architectural History, Covenant University, Ota, Ogun State, Nigeria. We certify that it has not been submitted for the degree of PhD or any other degree in this or any other university and is approved for its contribution to knowledge and literary presentation. .............................................. Prof. S. A. Amole Prof. E. A. Adeyemi Supervisor Co-Supervisor …………………………………….. Prof. A. Arayela Dr. E. O. Ibem External Examiner Ag. Head, Department of Architecture iii DEDICATION To Him, who was and is and is to come, who sits on the circles of the earth, the Bishop of my soul and the Author and the Finisher of my faith, whose grace and power I relied upon to complete this mandate, The Al-Mighty God. To my late Mum, Adebimpe Adegoke, and to my Dad, Adegboye Adegoke and to my sweet heart Adebukunmi Adegoke. iv ACKNOWLEDGEMENTS My profound gratitude goes to my Father who is in heaven, creator and the lifter of my horn like that of a unicorn, my provider, without whom I would not have been able to complete this treatise. I also express my gratitude to the Chancellor and Management of Covenant University for the privilege and grace to embark on and complete my studies. My unending gratitude goes to my supervisor and mentor, Professor S. A. Amole, who led me through the whole journey of study; precept upon precept, line upon line, till I saw light at the end of the tunnel. The Lord will continuously reward your labour of love for those incessant trips to and from Ife; you will never lack your heart’s desires. My profound gratitude goes to my co-supervisor, Professor E. A. Adeyemi, who initiated my cross over to the academic cadre and the department of architecture; who saw Art and Architecture as siblings sharing the same umbilical cord from birth and accepted me on board. Sir, as your days, so shall your strength be in Jesus name. To my Deputy Dean and Examiners, Dr. S. A. Oloyede; the Heads of Department of Architecture past and present, Dr. A. B. Adeboye and Dr. E. O. Ibem respectively for your counsel in dotting the (i)s and crossing the (t)s as well as the Head, Department of Building Technology, Dr. I. O. Fagbenle, who also doubled as my examiner, I thank you and pray that the Lord perfects your ways too. My gratitude also goes to my field assistants team (six in number) headed by James Folarin who diligently combed the nooks and crannies of Osogbo in search of appropriate domestic buildings. They were architecture students of The Polytechnic, Ede, without whom the field work would have been most stressful. I thank you all and pray for a successful completion of your studies too in flying colours. Again, to all the Patrons and Landlords, the Artisans and Professionals who granted my request for interview, I say thank you for your immense contributions to the success of this research. To all my colleagues in the department that expressed unsolicited support and love in cash and kind for the successful completion of this study; Arc. O. Uwakonye, Dr. C. Adeokun, Dr. P. Opoko, Arc. Izobo-Martins, Dr. P. Aderounmu and other Faculty members in the department, I say thanks to everyone of you. To my lawyer friend and dearly beloved brother Barrister Sola Ojutalayo, who did not allow me to feel the heat of executing this study on full-time. I am very grateful. He was always available to meet my needs. May the Lord also meet him at his most crucial points in need. v I also thank my cousin, Pastor Nathaniel Adeyemo and family, who accommodated me each time I was in Osogbo. Without him the field work would have been most laborious. He took his time out with me to key areas of the city that best fitted the description of my requests. The Lord will accept him, his household and service in His vineyard on the Day of Reckoning. To all my folks in the Directorate of Media and Corporate Affairs of Covenant University, who showed relentless support right from the most senior to the least member of staff in the office. I am most grateful and I say thank you. The Lord will keep surprising you as well as perfect your destinies. Finally, to my siblings at home and abroad for your expressions of love, care and prayer support: Dr. K. Evbuoma, Mrs. O. Akinbamijo, Mrs. A. Adetunji, Dr. O. Olusola, Mrs. O. Ojo and Miss W. Adegoke, I say thank you and I pray that the Lord will not withdraw His right hand of righteousness and love from your lives in Jesus name. vi TABLE OF CONTENTS Title Page…………………………………………………………… i Declaration………………………………………………………… .. ii Certification…………………………………………………………. Iii Dedication…………………………………………………………… iv Acknowledgements………………………………………………….. v Table of Contents .………………………………………………….. vii List of Figures……………………………………………………….. xiv List of Plates…………………………………………………………. xv Abstract…………………………………….. ………………………… xxiii Chapter One: Introduction…………………………………………… 1 1.1 Preamble…………………………………………………….… 1 1.2 Context of the Study………………………………..………… 5 1.2.1. The Yoruba of Southwest Nigeria………………….………… 5 1.2.2. The Emergence of Osogbo…………………………………… 7 1.2.3. Why Osogbo was Chosen.………………………………….. 8 1.3 Problem Statement ……..……………………………………. 9 1.4 Research Questions………………………………………….. 10 1.5 Research Aim………………………………………………… 10 1.6 Research Objectives…………………………………………. 10 1.7 Justification for the Research……………………………………. 10 1.8 Scope of Study……………………………………………….. 11 1.9 Summary………………………….…………………………… 11 vii 2.0 Chapter Two: Literature Review 13 2.1 Introduction…………………………………………………… 13 2.2 Categories of Ornamentation in Residential Buildings………. 14 2.2.1 Mimetic or Imitative Ornamentation………………………….. 15 2.2.2 Applied Ornamentation…………………………………………. 15 2.2.3 Organic Ornamentation………………………………………… 15 2.3 Ornamentation in Architectural History………………………. 17 2.4 Art and Architecture…………………………………………… 22 2.4.1 Space and Aesthetics in Architecture…………………………. 35 2.4.2 Yoruba Aesthetics and Ornamentation……………………….. 40 2.4.2.1 Yoruba Perception of the Human Character as Beauty………. 40 2.5 Yoruba Aesthetic Expressions………………………………… 42 2.5.1 The Yoruba Aesthetic Linguistic Expression ………………… 42 2.5.2. Body Ornamentation as Aesthetic Expression………………… 44 2.5.3 Yoruba Art and Craft…………………………………………... 49 2.5.4 Yoruba Carved Doors………………………………………….. 50 2.6 The Cultural Profile and Art in Osogbo………………………. 51 2.7 The Socio-Economic Context of Ornamentation in Osogbo (Yoruba) Architecture and Material Culture………………….. 55 2.8 Ornamentation in Building as Status and Group Symbol……… 57 2.9 Ornamentation and Socio-Economic Development in Osogbo... 63 2.10 Meaning in Yoruba Architectural Ornamentation ……………….. 63 2.11 Colonial Influence (Brazilian Architecture) on Osogbo (Yoruba Architecture): How and Why it has come to stay in Nigeria .…… 64 2.11.1 The Origin and Features of Brazilian Architecture……………. 64 viii 2.12 Summary…………………………………………………..…….. 70 3.0 Chapter Three: Methodology 72 3.1 Introduction…………………………………………………… 72 3.2 Collection of Data……………………………………………. 72 3.2.1 Selection of the Domestic Buildings………………………… 73 3.2.2 Observation…………………………………………………… 73 3.2.3 Interview……………………………………………………… 74 3.3. Field Study……………………………………………………… 75 3.3.1. Initial Visits……………………………………………………… 75 3.3.2. Actual Field Work……………………………………………….. 75 3.4 Data Analysis…………………………………………………… 76 3.4.1. Visual Description……………………………………………….. 76 3.4.2. Stylistic Analysis………………………………………………… 76 3.4.3 Historical Analysis……………………………………………… 77 3.4.4 Iconographic Analysis…………………………………………. 77 3.5 Summary………………………………………………………. 78 4.0 Chapter Four: Classification of Ornamentation 79 4.1. Introduction…………………………………………………….. 79 4.2 Locations of Ornamentation on Buildings…………………… 85 4.2.1. The Gable End of Roof and Pediment ……………………….. 86 4.2.2. Ornamentation around Aeration Holes………………………... 86 4.2.3. Long Strings of Mould………………….….…………………. 87 4.2.4. Columns and Arches…………………………………………… 88 ix 4.2.5. Veranda Balusters ……………………………………………… 90 4.2.6. The floor Level Definer (FLD)…………………………………. 92 4.2.7. Windows and Window Hoods…………………………………… 94 4.2.8. Doors and Doorways……………………………………………. 97 4.2.9. The Fascia Board………………………………………………… 100 4.2.10 Wall Treatment …….……………………………………………. 102 4.2.11 Fences……………………………………………………………. 104 4.2.12 Gates……………………………………………………………... 106 4.2.13 Summary and Conclusion……………………………………… 107 5.0 Chapter Five: Aesthetic and Meaning in Ornamentation 109 5.1. Introduction………………………………………….………….. 109 5.2. Attributing Meaning to Ornamentation…………………………… 112 5.3. Elemental Decorations in Domestic Buildings…………………… 114 5.3.1 The Gable Ends of Roofs…………………………………………. 115 5.3.2 The Fascia Board ………………………………………………… 117 5.3.1.1 The Ancient Fascia Decoration ………………………………….. 117 5.3.2.2 The Modern Fascia Board ………………………………………… 118 5.3.2.3 The Contemporary Fascia Board…………………………………. 119 5.3.3 The Floor Level definers …………………………………………. 121 5.3.3.1 The Ancient Floor Level Definer………………………………… 121 5.3.3.2 The modern Floor Level Definer ……………………………….. 123 5.3.3.3 The Contemporary Floor Level Definer ….……………………….