DOI: https://dx.doi.org/10.51148/jaas.2019.2

INDIGENOUS FORMS AND MATERIALS IN

NIGERIAN PAINTING

Johnson Adelani Abodunrin (PhD)^

Department of Fine and Applied Arts, Ladoke Akintola, University of Technology, Ogbomoso, Nigeria

ABSTRACT: Paintings in Nigeria are characterized with various indigenous forms

Original Article

and materials which differentiate it from its counterpart all over the world. Over the

years, there have been issues of identifying what makes Nigeria painting in form and

content. However, this paper focuses on the highlight of the indigenous forms in

Nigeria painting with a view of bringing into bear what constitutes pattern of forms

from different geographical sphere of Nigeria. This paper observes the traditional

symbols and elements that are found in indigenous Nigeria art forms that are used for

the purposes of ethnic identification in Modern Nigeria painting. The study established

that there is a wide range of regional artistic forms that are indigenous to Nigerian

culture. In traditional paintings in Nigeria, all these regional forms are reflected in our

works which the materials are locally sourced.

PII: S238315531900002-8

Received: 05 Apr. 2019

Accepted: 20 Jun. 2019

Published: 05 Jun. 2019

 Corresponding author’s email:

jaabodunrin@lautech.edu.ng

KEYWORDS: Indigenous, Forms, Materials, Painting, Nigeria

INTRODUCTION

culture of the Nigerian people. It has different names

to different Nigerian groups. It is known in Hausa,

Nigeria is known all over for her artistic heritage.

People’s culture is expressed through various art

forms. Some of Nigeria indigenous arts and craft are:

weaving, pottery, calabash decoration, dyeing,

leather work, carving, basketry, wall and body

painting. Painting during the pre-colonial period

was a very unique tradition and cultural practice

among the various Nigerian ethnic groups. However,

indigenous forms are those features that are

originating or occurring within Nigeria geographical

space. Nigeria has an artistic tradition that dates

back thousands of years; while much of the country’s

early art had a religious or spiritual significance,

many of the traditional arts and crafts evolved over

time to include practical and decorative items while

many of the local arts and crafts are regional.

Indigenous artists have adapted new techniques and

materials in parallel with earlier traditional

materials and techniques. Indigenous art continues

to be a living and growing concern through which

indigenous peoples express their beliefs, celebrate

their tradition and look to the future [1 ].

Fulani and Yoruba as the laili and Igbo as uli. The

materials are usually plant/flower or bark extract of

trees which is mixed with some other ingredients

like lemon and cloves used to beautify the skin and

fingers in artistically wrought patterns, this form of

painting is ephemeral in nature and it is done on

women during marriage ceremony. In addition,

Campbell [3] observes that shrine painting is also an

observable feature of painting practice in Yoruba

religious activities. Shrine paintings generally unlike

the plastic arts of the Yoruba are treated as one of a

lesser art. The neglect of painting in the traditional

studies could be attributed to gender-centric

considerations as it is practiced almost exclusively by

women in ephemeral and less permanent nature [3,

4 ]. The assertion is buttressed by Udechukwu [5]

that there are several art forms which because of

their transient and perishable nature have received

less study. The surface used for this kind of painting

is the wall, which gives an elaborate expression on

the symbols and meaning of religious images as

exemplified in the culture beliefs of the tradition of

the people. Also, artists are now using commercially

manufactured paints, rather than paints made from

local, natural materials. However, they continue to

paint the innermost areas of shrines with indigenous

paint materials, paralleling the use of plain

handwoven cloths (known as jepe) underneath

Among the major culture in Nigeria, Yoruba,

Hausa, Fulani, Kanuri and Igbo culture, body

painting is the most conspicuous forms of

indigenous painting that is noticeable and found

among women during ceremonial occasions like

wedding and religious festivities [2 ]. Body painting

is a style of painting that is as old as tradition of the

2019, Scienceline Publication

Citation: Abodunrin JA (2019). Indigenous forms

and materials in Nigerian painting. J Art Arch

Stud, 8 (1): 07-12.

Journal of Art and Architecture Studies

ISSN 2383-1553

JAAS

DOI: https://dx.doi.org/10.51148/jaas.2019.2

J. Art Arch. Stud. 8(1): 07-12, June 05, 2019

Abodunrin, 2019

successive layers of richly embellished machine- and adaptation of cultural elements, of theme, motif,

woven cloth panels of Oyo Yoruba masquerades. patterns and folklores in the various regional

Nigeria is country that parades various paintings. Most of the scholarly works on this

architectural building with different forms and subject are directly on ethnic traditions,

embellishment that are peculiar to our indigenous contemporary Nigerian art and the issue of regional

forms [6 ]. For example, architecture in the northern identification of traditional motifs and values, but

part of Nigeria is decorated with various symbols not on the overview of indigenous forms of painting

such as the northern knot. The Northern knot is in Nigeria as a whole.

another symbolic form found in the Northern part of

For example, Okeke [7] traces Uli forms as lgbo

Nigeria architecture which suggests an emotive penchant to beautify the body and most importantly

symbol of Northern Nigerian power and political as a tribute paid to a deity within the context of

identity that was adopted by the region (Figure 1). annual festivals of rededication and thanksgiving

The symbol was adopted in the 1950s when Nigerian centered on the said deity. Okediji [8] described the

elites were preparing for political independence iconography forms of Yoruba shrine painting as

from Britain. This symbol represents the unity in anthromorphic and Zoomorphic which are merely

diversity which encapsulated in the One North decorative, but are communicative symbols of the

philosophy that was used to fight for representation people’s culture. Ottenberg [9] in his own case,

and privileges of Northern Nigeria. This symbol has attributed lgbo art forms into human sociability

become unique in arts and crafts objects as an entity which commonly appeared on the faces, arms, legs

for geographical identification of the region. Also, and body of females, from girls to senior women and

some of the wall paintings and etchings are Quranic occasionally on the males, as well as the presence of

verses with an artistic, calligraphic slant. The verses Uli murals on houses and compound walls of lgbo

capture the imagination and to elicit aesthetic living areas. Abokede [10] focuses on shrine painting

appreciation, but this is not an end in itself. This in the upper Oke-Ogun area of Oyo State. His work

symbolic design has been incorporated into various concentrated on function, history and form of

artistic formations in the northern part of Nigeria painting found in egungun shrine in upper Oke-

ranging from architecture, textile, crafts and modern Ogun area with no attention to the focus of this

painting.

paper. Akinwumi [11] observed the state of Nigerian

traditional linear art with particular reference from

those found on Fulani body art and gourd art, cloth

decoration of the Jukun, body and wall painting in

the Edo town of Lueleha, Ibibio body painting and

scarification, Igbo, Uli and ichi marks; nsibidi script

of Cross River culture area and Yoruba shrine wall

paintings. Campbell [4] covers several aspects of

shrine paintings, which include the art historical

documentation of the work, the classification and

meaning of colour in Yoruba cosmology, the

materials used in the production of shrine paintings.

Smith [12] attempted to provide a comprehensive

overview of Uli body and mural painting, and how it

represents the synthesis of Igbo culture. In addition,

the study explores the metamorphosis of Uli art,

specifically how it has evolved the skilful of

contemporary Igbo artists, both male and female.

However, as rich as these scholarly works are, none

has focused directly on the indigenous forms in

Nigeria as products of image representation in

modern painting, the gap which this study filled.

Figure 1. One North (source: author)

Among other things, this paper focuses on the

highlight of the indigenous forms in Nigeria painting

with a view of bringing into bear what constitutes

pattern of forms from different geographical sphere

of Nigeria. This paper observes the traditional

symbols and elements that are found in indigenous

Nigeria art forms that are used for the purposes of

ethnic identification in Modern Nigeria painting.

Also, the paper established the content of inculcating

RESULTS AND DISCUSSION

Indigenous Symbols in Nigeria Painting

J. Art Arch. Stud. 8(1): 07-12, 2019

Generally, the forms of Nigeria indigenous

Artistic style is therefore the product of

painting are part of our history and have served constant, recurring or coherent visual or conceptual

specific purposes in the era of its creation. Such traits. In painting, for example, a style might include

purposes may have been for either traditional or characteristic of materials, brush strokes, colour

religious activities which defines the culture of such combinations, subject matter, and technique of

a tribe within Nigeria geography. For instance, the representation among several other reasons. Style

Igbos made bronze ceremonial vessels a part of their may be associated with an entire culture within a

cultural heritage while the Yorubas have been known particular time and place with a particular group of

for their poetic and artistic history. They specialized artists, with an individual artist and with a particular

in making sculptures which often represented a deity institution or school over a period of time [14 ]. Some

of some sort. The Hausa-Fulani art is somewhat artists develop a style and stick to it; while others

associated with their daily way of living; such have several styles, either simultaneously or

routines as farming and animal rearing. It is sequentially. The style used by indigenous artists is

however mostly influenced by their religious beliefs between abstraction and naturalistic painting. The

and spirituality. In traditional paintings in Nigeria, subjects are often decreasing of the size of objects

all these regional forms are reflected in our works proportionally with distance, muting of colour and

which the materials are locally sourced. The decrease of the precision details. It often

materials ranging from raw materials from plants characterized by a childlike simplicity in its subject

and earth colours are used to depict various cultural matter and techniques. They explored the world of

themes of painting.

Yoruba folklore expressions on dreams, nightmares

Indigenous forms are characterized with and weird pictorial elements which are difficult to

traditional subject, styles and techniques usable understand because of their surrealistic tendencies.

within Nigeria space. Nigeria is the populous African They made use of bright colours, stylized and

nation with several ethic groups which all vary in disjointed figures, as well as unconventional

their socio-cultural affinities. Nigeria art forms from materials. The forms are original, spontaneous and

the time immemorial also different in the use of naively created with utter disregard for the depth,

subject, style and material techniques. Indigenous space or any expected relationship of motif themes

artists in this context are the traditional artists are most times derived from folktales, myths and

whose their practices have taken into concentration religious stories. Among the traditional artists

their locality without western interference.

among the Yoruba, who have made significant

Traditional subject matter in artistic presentation impacts are Twins Seven Seven, Muriana Oyelami,

described the focus and the intention of an artist. Adebisi Fabunmi, Nike Okundaye, Jimoh Buraimoh.

The physical content that is visually represented in a

Uli is the name given to the traditional designs

painting is the subject. The subject in painting could drawn by the Igbo people of Nigeria. It is an art

be in form of landscape, still-life, portraits, mural tradition in which simplified linear rendering of

decoration, figural and non-figural composition. The form is balanced by an immense understanding of

subjects of representation in traditional or the qualities of both positive and negative space [15 ].

indigenous painting are human figures which Uli is an Igbo female body and wall painting

embodied the vivid image of the Nigerian way of life tradition from southeastern Nigeria that is based on

combined with the magnificent history of the past. sinuous abstract forms derived from nature (Figure

One of the major aspects of the subject lies in the 2). The Uli rich art tradition has become the

fact that they draw their inspiration from the signature tune for identifying the Nsukka School of

traditional folk heritage of the region. It also art. The calligraphic nature of Uli art (body painting/

includes pictorial symbols such as mysterious decoration) influenced the products work (Figure 3).

animals, deities, gods, goddesses, ancestral deities The philosophy of application of Uli art form as

and spirits. The indigenous painters drew objects, espoused by Uche Okeke and later supported by

rendering their units rich and multicoloured Chuka Amefuna, Chike Aniakor and El-Anasui was

dominated basically with primary colour in their to intensify the search for Igbo-identity, thereby

composition. The paintings produced during this using the Uli linear forms to depict radical socio-

period were derived from traditional Yoruba political and cultural subject matters.

mythology, deities, as well as, individual fantasies

[13 ].

In the traditional culture of the Igbo, Uli art

according to Wills [16] was an art of the women folk.

The motifs and symbols or patterns employed in Uli

Abodunrin, 2019

body and wall decoration were derived from ornament, embellishment, design composition,

different aspects of the people environment and form, plan and motif. Okediji [17] explains the use of

world view. Some Uli were abstract with zigzag Ona for embellishment of traditional sculpture in

patterns and concentric circles, while others stood wood. Such examples are found on decorations on

for house hold objects such as bowls, stools, pots, Opon Ifa (Ifa Divination tray) Osa Sango (Sango

farm tools etc. Many represented animals and birds Axe) Opo (House posts) doors and window carvings.

such as python, lizard, leopard, alligator, lion, Ona is also noticeable in traditional Yoruba pottery.

monkey, eagle, owl, and kite, etc. or celestial bodies, The Yoruba, generally, like adornment for their

the crescent moon and star [9 ]. It is pertinent to body. The sources by which traditional Yoruba

note that traditional Uli was employed in many artists derived the Ona motifs or pattern are from

social functions, such as title taking, marriages, nature, animals, birds, man-made objects, insects,

memorial services for the dead, harvest rites and plants and dreams (Figure 4). The ONA group of

ritual performances. This perharps is the reason why artists which crystallise in Lle-Ife in 1989 are united

Ottenberg [9] says that Uli designs which commonly by their aim to incorporate traditional Yoruba

appeared on the faces, arms, legs and body of decorative motifs in an art of social comment.

females, from girls to senior women and occasionally Members of the ONA group have conducted research

on the males, as well as the presence of Uli murals into digenous painting and experimented with

on houses and compound walls of Igbo living areas materials ranging from clay and calabashes to plastic

suggest human sociability.

chippings and plastic sheets. The ONA artists are

predominantly Yoruba and include Don Akatakpo,

Bolaji Campbell, Kindle Filani, Tunde Nasiu, Moo

Ogundipe, Tayo Ojomo, Mayo Okedij, Idowu Otun

and Tola Wewe [18 ].

Figure

Uli

wall

painting

(Source:

grandmotherafrica.com)

Figure 4. Yoruba traditional symbols (Source:

Pinterest.com)

Figure 3. Uli symbol (Source: ezibota.com)

Most of these symbolic forms or icons are

On the other hand, Ona has also played a reflected and adapted into indigenous painting in

great role in the works of some of the Yoruba artists

(Figure 4). Ona is a Yoruba word that has a wide

application. Ona refers to decoration, pattern,

Nigeria. However, the study is descriptive

examination of the indigenous forms and materials

in Nigeria painting by Nigerian artists and it

J. Art Arch. Stud. 8(1): 07-12, 2019

unravels what constitutes indigenous forms in through the use of indigenous elements and forms

Nigeria and how it has been used to achieve [21 ]. Artists from traditional periods until the

indigenous painting that translates into modern present time have engaged themselves with beautiful

styles and techniques.

landscapes and seascapes spiced with rich

vegetation, alluring and exotic flowers, and cattle

Artists and indigenous painting in Nigeria

Artists like their counterparts in different parts of rearer, Fulani maids with their milk calabashes

Africa have drawn some of their inspirations from decorated and often balanced on their heads, market

indigenous forms and in so doing have contributed scenes and so on. Others are in the area of

to the creation of an amalgamated national identity, architecture (palaces of traditional rulers: Obas,

but also continue to give art tradition a life line. The Obis, Emirs, and Chiefs), festivals (like the Durbar,

creative and visual talents noticed among many Eyo, Egungun and Arugungu) mother and child,

Nigerian artists no doubt is an indication that they fishermen as well as other interesting events within

have responded to the dynamics of change and Nigeria cultural society [22 ]. In the early 60s in the

continuity. However, indigenous artists are those North, some radical students changed their art styles

that have identified themselves in terms of themes, fromcthst ancient traditions and even ignored the

materials, subject matter and techniques that are realistic approach being taught by expatriates to

imbued in our tradition and culture. Most of them what could be termed the 'New African' concept.

did not attend any form of formal education; they This concept was an admixture of traditions and

learn the trade through apprenticeship. These modernism.

categories of artists do not believe in Western

ideology in the use of forms for artistic practice.

During this period till today, Aristotle created

new sensations in their bid to speak in authentic

Indigenous paintings are those that drew African Odom's in the modern era. Many of these

reference from Nigeria indigenous traditions as progenitors carried their ideologies to other formal

those found on Fulani body art and gourd art, cloth schools or workshops to greater vibrant artistic

decoration of the Jukun, body and wall painting, revolutions. Other artists of the 70s such as Shina

Ibibio body painting and scarification, Igbo, Uli and Yusef. Joshua Akande, Dele Jegede, David Dale,

ichi marks; nsibidi script of Cross River culture area Nelson-Cole, Kolade Oshinowo and Gani Odutokun

and Yoruba shrine wall paintings. There are different also followed the efforts of the latter, who

Schools and ideologies that have developed different essentially, being followed by the majority of the

experiments and innovations towards Nigerian recent 'Zaria School' graduates are characterized by

identity. Members of Osogbo School, founded by Ulli elongated of forms,

with elegant Northern

Beier in the earl 1960, have also explored Yoruba architecture and human figures. Their themes are

spirituality in several media. Leading Osogbo artists usually humane and rendered in discernible images

include the painter and musician Taiwo Olaniyi, [23]. However the ULI, ONA and the NORTHERN

popularly known as Twins Seven Seven, painter and SYMBOLS are charged with significant styles that if

writer Amos Tutuola; and sculptors such as Asiru continued, could lead to an authentic, modern

Olatunde, Adebisi Akanji, Susanne Wenger [19 ].

artistic culture from Nigeria. The adaptations of the

Like other aspects of visual arts, themes and indigenous forms in Nigeria could generate

concepts which oftentimes associated with the origin remarkable recognition worldwide. The forms are

and cultural heritage of respective artists have also ingeniously employed to serve modern and universal

developed gradually and significantly in modern artistic development.

Nigerian painting. They have become varied, rich

and interesting. For instance, Ben Enwonwu painted CONCLUSION

dancers from various ethnic groups in Nigeria based

on their mystic theme. In his paintings, he depicted It was established that there is a wide range of

Yoruba, Hausa, Fulani and Igbo themes, which were regional artistic forms that are indigenous to

mostly geared towards a call for unity and peace in Nigerian culture. In traditional paintings in Nigeria,

Nigeria [20 ]. Also, Uche Okeke and his all these regional forms are reflected in our works

contemporaries took painting to new horizons and which the materials are locally sourced. The

experimented with new visual imageries that were materials ranging from raw materials from plants

derived from traditional African aesthetics from and earth colours are used to depict various cultural

which they created paintings that adequately themes. The preponderance of traditional materials

represented Nigeria, and of course, Africa at large gave rise to stylization and modification of forms to

Abodunrin, 2019

[9] Ottenberg S (1997). New Traditions from Nigeria:

Seven Artists of the Nsukka Group (Washington D.C,

Smithsonian Institution Press). Google Scholar

create themes, which are essentially imbued with

naturalistic characteristic. The indigenous painting

looks flattened, exaggerated and elongated in a

mannerist tendency. The designs are also cubistic

and when his subjects are viewed critically, such

naturalistic elements are evident. The pattern/motifs

are now applied on textiles and used in all sort of

visual art such as painting. There are group of artists

known as the Ona and Nsukka groups and few

artists from the North which are known for reviving

the art of indigenous forms in modern times and

using art mediums of today like gouche, watercolour,

acrylic and so on.

[10] Abokede G (2009). Egungun shrine paintings in the

Upper Ogun area of Oyo State, ELA: Journal of

African Studies, 1(25&26): 1-25.

[11] Akinwumi

(2006). The state of Nigerian

Traditional linear Art at the end of the Twentieth

century: An overview, Ela Journal of African

Studies, Nos: 19&20 pp 15-45.

[12] Smith S (2010). Uli Metamorphosis of a Tradition

into Contemporary Aesthetic An Unpublished M.A

thesis submitted to the College of the Arts of Kent

State

University.

http://rave.ohiolink.edu/etdc/view?acc_num=kent1

267478083 ; Google Scholar

Competing interests

The author declares that they have no competing

interests.

[13] Ikwuemesi K (1996). Nigeria Art and the Politics of

Identity, USO: Nigeria Journal of Art, 1(2): 16-18.

[14] Getlin M (2002). Living with Art, New York.

McGraw-Hill Higher Education. Google Scholar

REFERENCES

[15] Igboanugo P. (1980). Obiora Udechukwu: Towards

Clarity and Essence in Nigeria Magazine; Federal

Department of Culture; Lagos. No. 132-133: 6-10.

[1] Paul S.C. Tacon (2018). From rock art to

Contemporary art: Indigenous depictions of trains,

planes and automobiles, Australian Archaeology,

[16] Wills L (1986). Uli Painting and the Igbo World view

African Arts, pp. 62-67. Google Scholar

Vol.

84(3):

281-293

DOI:

[17] Okediji M (1989). Contemporary Ife-Art. Ile-Ife: An

Exhibition Catalogue, Department of Fine Arts,

Obafemi Awolowo University, IIe-Ife.

https://dx.doi.org/10.1080/03122417.2018.1543095

[2] Abodunrin J and Oladiti A (2015). Growth and

Development of Styles of Painting in Contemporary

[18] Adetola

W (1990). ONA: a revolutionary art

Nigeria’

IISTE, Research on Humanities and

movement in commentary Nigeria? Paper presented

at the 1990 Conference on Yoruba at the Obafemi

Awolowo University, IIe-Ife. April 24-28.

Social Sciences, 5(5): 190-198. Google Scholar

[3] Campbell B (1995). Metaphor of Spiritual Power:

The Example of Shrine Wall paintings’ in R.O. Rom

Kalilu (ed) Powers of Expression and Expressions of

Power in Yoruba Art, Bidsol and Associates. Ikeja.

[19] Filani K (1998). Form and Content as a Basis for the

Classification of Contemporary Nigerian Arts, USO.

Nigerian Journal of Arts, 2(1&2): 38-42. Google

Scholar

[4] Campbell B (2008). Painting for the Gods: Art and

Aesthetic of Yoruba Religious Murals, Trenton, NJ:

Africa World Ress. Google Scholar

[20] Federal Department of Culture (1981). NUCLEUS,

Lagos.

[5] Udechukwu O (1990). Uli Traditional Wall Painting

and Modern Art from Nigeria. An Exhibition held in

Lagos and Bayreuth, Western Germany Cultural

center. Google Scholar

[21] Chukueggu C and Onwuakpa S (2016). Natural

Synthesis and Contemporary Nigerian Visual Arts:

An Exposition of Uche Okeke’s works. African

Research Review: An

International

Multi-

[6] Oluwaseyi AD, Akande A and Oladiti OA (2018).

Heritage Architecture in Ibadan, Nigeria: The House

of Adebisi Giwa of Idikan. Journal of Art and

Architecture Studies, 7(1): 11-20. Article link ;

Google Scholar

Disciplinary Journal, 10 (4): 257-269. Google

Scholar ; https://doi.org/10.4314/afrrev.v10i4.18

[22] Ikwuemesi K (1996). Nigeria Art and the Politics of

Identity, USO: Nigeria Journal of Art, 1(2): 16-18.

[23] Filani K (1998). Form and Content as a Basis for the

Classification of Contemporary Nigerian Arts, USO.

Nigerian Journal of Arts, 2 (1): 38-42.

[7] Okeke U (1979). History of Modern Nigerian Art.

Nigerian Magazine, No. 128-129. Google Scholar

[8] Okediji M (1992). Orisakire Painting School Kurio.

Africana: Journal of Art and Criticism, (ed) Okediji,

M. Ile-Ife. 1(2): 14-19.