Art in the Architecture of Osun Òsogbo Sacred Grove

EGUNJOBI Felix B.

Department of Art, Design and Printing Technology

The Polytechnic, Ibadan

ADISA Abiola S.

Department of Art, Design and Printing Technology

And

OLOFINRO Oludare

Department of Art, Design and Printing Technology

1
Abstract
Lots of literatures abound on the art in traditional Yorùbá architecture especially that of
settlements and king’s palaces, but that of the Yoruba traditional religious shrine architectures
seem scanty. There are lots of evidences of traditional architecture in some of the Yoruba
traditional religious shrines, which showcase the artistic creation of the Yorùbá people. Most of
these shrine houses serve as abode for their òrìsà (divinities). One of such is the sculptural
architectures within the confine of Ọ̀sun Òsogbo sacred grove which has not been adequately
captured in literature. These architectural structures constructed by some Yorùbá local artisans
and supervised by Susanne Wenger, an Austrian lady artist, evidence the relationship between art
and architecture. This study therefore aims at investigating the artistic components of the
architectures of Ọ̀sun Òsogbo grove, with a view to document them against the future. The extent
of local content and the infusion of western architectural and artistic styles on the supposedly
vernacular architectural structures are examined. Through participant’s observation, primary
and secondary data, and photographs which serve as visual evidence of the field investigation, it
is established that the architectural structures of Ọ̀sun Òsogbo grove, which are imbued with
infusion of African traditional and European art styles, articulates the relationship between art
and architecture. The outcome of the study therefore reveals that the architectural structures of
Ọ̀sun Òsogbo grove showcases the artistry in Yorùbá traditional architectural construction hence,
the need for scholarly record.
KEY WORDS: Yoruba architecture; Shrine houses; Ọ̀sun Òsogbo; Investigating; artistic
Components.

2
Introduction

The early man used cave as abode to avert danger from dangerous animals and to create an
environment for warmth. According to Umoru-Oke (2010), the more comfortable building of the
modern day emanated from this natural home; the caves. These phenomena later culminated into
building of palaces, shrines, markets, personal dwellings and places for social interaction. Thus,
architectural heritage embodies the outstanding artistic and historic value of a monument while
manifesting human ingenuity

Jolaoso et al (2017) also posits that architecture could be classified based on the character and
symbolic features on buildings and structures which somewhat expresses the climatic, cultural,
historical, socio-economic and geo-political structures. The authors state that architecture also
expresses the function of the building/structures and the activities of the inhabitants of the
environment.

According to Ogeye (2019), Susanne Wenger, Ben Enwonwu and Demas Nwoko, are important
individuals who played important roles in the creation of the West Africa’s modernist architecture.
While the architect worked on the function and rational aspect of the design, the artists were
allowed to express their creativity on the building elements, such as the columns, windows, doors,
burglar bars, and walls/murals. Nonetheless, traditional Yoruba architecture has evolved over time
with post-traditional tendencies.

Adedokun (2014) defines post-traditional architecture as a brand of architecture that results from
the traditional form, morphology and material technology that evolves through a process of
selective borrowing from the external sources, and the core of the original traditional dwellings is
likely to endure as the process of modification is gradual and community generated. The Ọ̀sun
Òsogbo architecture can therefore be regarded as a post-traditional Yoruba architecture model.
This is perhaps because Susanne Wenger, an Austrian lady artist who came to Nigeria in the late
fifties is responsible for the artistic reconstruction of the Ọ̀sun Òsogbo grove with all evidences of
Caucasian influences. Wenger worked with some local artisans who were trained to be artists in
various fields and instituted a working synergy that brought together both western and European
art styles in the art works within the confine of the Ọ̀sun Òsogbo grove, most especially the
sculptures and architectural edifices.

3
Ọ̀sun is the major indigenous religion of the people of Òsogbo, a Yorùbá town in the south-western
part of Nigeria. A sacred grove is dedicated to Ọ̀sun, a fertility goddess, who is believed to be
instrumental to the establishment of Òsogbo. Adeyemi et al (2020) observe that Ọ̀sun Òsogbo
sacred groves is believed to have a great cultural history although it is not well captured as far as
conservation of heritage sites in Nigeria is concerned. Nonetheless, the longtime of rich cultural
histories makes it qualified to be a heritage. In fact, it was designated as World Heritage Site by
UNESCO on the 15th of July, 2005. Within the confine of the grove are several art work which
includes paintings, sculptures and sculptural architectures in honour of the Ọ̀sun goddess and some
other Yorùbá deities.

The architectural edifices within the confine of Ọ̀sun Òsogbo grove elicit scholarly interest
especially with the unique creativeness in merging sculpture and architecture. There are several
micro groves within the grove dedicated to different Yorùbá òrìsà (divinities). Some of these
micro groves are ebu Ìyámòpó, igbó ifá, ilédìí Ògbóni and some other notable groves. Most of
these groves have architectural walls separating them from the main grove and the main road, and
their aesthetically enthralling entrances are subjects of scholarly studies.

Adeyemi (2008) observes that there is dearth of information on the artistry in African traditional
architecture. This is also the situation of studies on Yorùbá shrine architectures that underscores
art in architecture. Significantly, this study is expected to add to the existing body of knowledge
on vernacular architecture in general, and the synergy between art and architecture in the specific.
It will serve as reference point for further researches on different aspects of architecture in the
future. Therefore, the aim of this study is to investigate the artistic components of the architectures
of Ọ̀sun Òsogbo grove, with a view to establishing the relationship between art and architecture
on them. The objectives to:

i. identify the architectures of Ọ̀sun Òsogbo grove with artistic components;

ii. classify the architecture of the study area using typology as a paradigm;
iii. analize the art in architecture of the study area; and
iv. establish the relationship between art and architecture of the study area.

4
Study Area

Òsogbo is the capital of Ọ̀sun State in the south-western part of Nigeria. It is a Yorùbá town some
96 kilometers North East Ìbàdàn, the capital of Ọ̀yó state. The town is situated on latitude 7o. 75
North and 4o. 5 East of the Equator. As a result of its longitudinal proximity to the Equator, it
experiences high temperature throughout the year. The metropolis is about two kilometers from
the bank of River Ọ̀sun, which is the major source of water supply for the area. The grove where
the Ọ̀sun goddess is propitiated during the annual festival lies in a serene thick forest along the
river in the heart of Òsogbo town. The grove is synonymous with the calmness of the deity; Ọ̀sun.
According to Oyeleke et al (2017), the Ọ̀sun Òsogbo grove covers an area of 75 hectares encircled
by a buffer zone of 47 ha. The grove is situated on the margin of the southern forests of Nigeria
on a raised parcel of about 350 meters above sea level.

Literature Review

Adégòkè (2015) affirms that man has been decorating his objects, buildings, and himself through
all history and back into the pre-historic era. According to Palado-Perez (2010), the Paleolithic
cave painting had existed for over 40,000 years ago, although the cave paintings in Altamira in
Spain, Lascaux in France and Niaux near the Yrencees are dated about 12,000-17,000 years ago
and have their associated decorations. This articulates the relationship between art and architecture
from time immemorial.

Omale et al (2018) posit that one of the qualities of a good architecture is that it should be visually
aesthetic therefore, architecture rely on visual percept as primary faculty for its communication
and aesthetics. The authors listed the Seven Wonders of the World with great architectural feat
and clear evidence of art in architecture as: the Colossus of Rhodes; the great pyramid of Egypt;
the lighthouse of Alexandria; the mausoleum at Halicarnassus; the temple of Artemis at Ephesus;
the hanging garden of Babylon; and the statue of Zeus at Olympia. They serve as testament to the
ingenuity, imagination and share hard work of which human beings are capable as they showcase
the technology and culture of the era in which they were built.

Adeyemi (2008) opines that true architecture is like a technical activity by poets, and therefore like
poetry, cannot be copied from foreign patterns. It must therefore grow out of its own root and
express its own language. This could be achieved through different means, especially

5
ornamentation as a special property in architecture. Adegoke (2015) defines art in architecture as
ornamentation, embellishment, or add-on for aesthetics. The author states that ornamentations in
architecture are decoration details used to embellish parts of a building or interior furnishing.
Therefore, the natural creative instinct to adorn in man is reflective on the ornamentation of their
buildings world over.

According to Adeyemi (2008), there is dearth of information on traditional African architecture.

This is largely because indigenous people of Africa were erroneously believed to live in
unstructured isolated bush communities, without recourse to aesthetic principles. The author
however posits that nonetheless, some African traditional buildings have monumental character
and not mere traditional mud huts. Therefore, African indigenous architecture is more than
instinctive, but developed from man’s attempt to create both functional as well as psychological
space, and a satisfying three dimensional form. Therefore art and architecture are like identical
twins and the relationship between them is evident in architectural edifices all over the world
including that of indigenous African residential buildings and some African indigenous religious
shrines.

Thus, Adegoke (2015) asserts that art and architecture evolved within the same field of enquiry
and appeared to be siblings of same parents in the environmental sciences. Therefore, architecture
is primarily a creative art because both art and architecture have the penchant for aesthetics. The
synergy between art and architecture is showcased in their types of building which are majorly
places of abode. Be that as it may, there are a lot of traditional Yorùbá architecture that evidence
the relationship between art and architecture.

Osasona (2014), Osasona et al (2011) and Adegoke (2008) affirm that the Yoruba style of
residential building known as agbo-ilé are usually arranged not only for sleeping, cooking, storage
and so on, but to also promote family cohesion. The structure is usually organized around the
ancestral resting place located at the center of the courtyard. The decorations on the building are
typically steeped within the microcosm of Yorùbá cultural phenomenon, the meaning which
transcends the overt. Sometimes, there are sculptured wooden roof supports along the veranda and
murals on the walls, all exhibiting cultural relevance and makes the architecture distinct. This type
of building in literature is called impluvium courtyards.

6
The authors enumerate the building materials for the Yorùbá ago-ilé structure as: earth or mud;
palm fronds or coconut trees; gbòdògì leaves (sacrophrynium); and hard wood from coconut or oil
palm trees. They nonetheless observe that a typical example of art in architecture that articulates
the cultural essence of Yorùbá people is their kings’ palaces which consists of a network of
courtyards linked to one another and surrounded by a run-off veranda that is covered by lean roof
and supported by carved decorative timber posts with majorly anthropomorphic designs.

Egunjobi et al (2018) and Oyeleke (2017) purport that the Ọ̀sun Òsogbo grove has within its
confine forty shrines and five main sacred divisions. There are nine worship points along the path
of Ọ̀sun River, which signifies the relationship between nature, the spirits and human beings. The
authors observe that within the Ọ̀sun Òsogbo groves are several art works. These art works include
paintings, sculptures and architectural edifices with great artistic elements, mostly in honour of the
Ọ̀sun goddess, and some other Yoruba divinities. Adegoke (2015) notes that Ọ̀sun Òsogbo grove
art pieces are both secular and sacred. While the secular ones are meant to promote some individual
artists in a bid to garnering clientele, the sacred is dedicated to the rejuvenation of the grove.

Methodology

Data for this study were collected from primary and secondary sources. The primary data were
collected through field investigation, using participants’ observation technique at the annual Ọ̀sun
Festival in Òsogbo town. Photographs of the architectural buildings, shrine entrances and walls
were taken. Oral interview were also conducted with some initiates of the Ọ̀sun religion. The
generated question guide elicits the required information that helped to address the objectives of
the research. The research instrument that was used to record the oral interviews is electronic
recording devices which were eventually transcribed.

Secondary data was sourced from relevant literature on the history of architecture, indigenous
African architecture and the relationship between art and architecture. Some literature on the
history of Ọ̀sun Òsogbo grove was also consulted. Sources of literature include books, journals
and thesis on different aspects of architecture and Ọ̀sun Òsogbo. The data gathered provides
information on the history and development of architecture, indigenous African architecture, and
the artistic rejuvenation of the Ọ̀sun Òsogbo grove.

7
The data from interviews provides insight into the history of Ọ̀sun Òsogbo and the architectural
structures therein. The data from photographs were used for descriptive analysis of the art in
architecture of the Ọ̀sun Òsogbo grove, using motifs and imagery as a paradigm. The photographic
data are in two categories: those that were taken during the annual Ọ̀sun Òsogbo festival, and the
ones taken during the visit to the grove at off festival season.

Method of Data Analysis

Data was collected and analysed using descriptive method which encompasses formal,
historical/mythical and contextual analysis. Descriptive analysis helps to constructively describe,
show or summarize data points in a way that patterns might emerge which will fulfill every
condition of the data.

Susanne Wenger and the Art of Ọ̀sun Òsogbo grove

In 1950, Susanne Wenger came to Nigeria and came across Ajágẹmọ, a Ọbàtálá priest who
introduced her to the world of Yorùbá religion. She later visited Òsogbo on the invitation of the
Chief Priestess of Ọ̀sun religion who wanted her to help in rebuilding some parts of the Ọ̀sun
sacred grove that has been ravaged by destructive insects and vicissitude of weather as a result of
neglect, which she eventually accepted. According to Egunjobi et al (2018) because of the
enormous nature of the task, she employed the services of some local artisans in the likes of
Adébísí Àkànjí who later became her major assistant, Bùràímò Gbàdàmósí, Sàká, Ràfíù and
Láwàní.

Wenger et al (1983) described the artistic and architectural works of Wenger within the confine of
Ọ̀sun Òsogbo grove as a fusion of art and religion. The choice of cement as a medium of executing
the various architectures of Ọ̀sun Òsogbo grove threw a lot of challenges to the artisans whom she
employed to work with her. This challenge not-withstanding, the artisans eventually mastered the
use of cement in building construction. According to Beier (1975), Wenger usually have a vision
before embarking on any of the arts of Ọ̀sun Òsogbo grove, which her assistants translate into
physical reality. According to Adébísí Àkànjí (2016)1 himself, Láwàní, Ràfíù and Sàká usually

__________________________________

1. Personal interview with Adebisi Akanji, the major assistant of Susanne Wenger on 20th of June, 2016.

8
handle the construction of the buildings, while Bùràímò Gbàdàmósí was responsible for the wood

sculptures especially those used as support for the building, and other wooden embellishments.

Àkànjí purport that Wenger merely act as the supervisor.

The Architectures of Ọ̀sun Òsogbo Grove

The architectures of the sacred grove of Ọ̀sun Òsogbo could be classified into three compartments
using type as a paradigm. The three categories are: the buildings; the sculptural walls/fences and
the entrances to the major and minor groves. These architectures which were constructed with
cement as a medium of expression are aesthetically enthralling, showcasing the artistry of the local
artisans responsible for the construction. The various sculptural architectures are a blend of the
European and traditional African art style. This is due to the different artistic backgrounds of
Wenger who is largely influenced by the art of her cultural background, and the local artisans she
employed to work with her.

According to Read (1964), an attitude in art that allows free combination of different styles apart
from one’s own style is known as eclecticism. If such style is borrowed from another culture
entirely, then it is called exoticism. The author observes that art has always been subjected to
influences otherwise it will have no history, therefore, eclecticism is a manifestation of individual
choice, rather than as historical necessity. He concludes that when some artist come under the same
the same influence, then it is called revival. Such is the working relationship between Susanne
Wenger and her assistants in the artistic reconstruction of the sacred grove of Ọ̀sun Òsogbo. Some
of the architectural structures within the confine of Ọ̀sun Òsogbo will be discussed herein.

The buildings

One of the most intriguing architectural edifices at the sacred grove of Ọ̀sun Òsogbo is the ayé
dákun yí padà (world relent and return) building, located at the main entrance of the grove known
as òǹtoto (Plates 1 & 2). The building was constructed by Susanne Wenger with the assistance of
Adébísí Àkànjí. Beier (1975) states that the original intention was to build a shrine for Ọbàtálá
one of the Yorùbá deities that are instrumental to the founding of Òsogbo. The building showcases
a complex combination of sculpture and architecture and is perhaps Wenger’s boldest construction.

9
Although Wenger attempted to adhere to the traditional Yorùbá style in the construction, evidences
of European art style abound on the edifice.

The front view of the building gives the general impression of a fish. The building is a combination
of geometric shapes, lines and curves interlocking each other. A critical look at the building
frontally reveals that the structure is mask-like. At the apex of the building below the roof is a
suggestive pair of wide opened eyes which Beier (1975) interprets as the close watch of Ọ̀sun deity
over the city of Òsogbo and her inhabitants. In all apparent show of European influence, a
Caucasian type nose accompanies the eyes. The entrance of the building gives the impression of a
wide opened mouth. Thus, the whole structure looks like a stylized mask. There are some running
lines and curves on the building that are suggestive of the flow of River Ọ̀sun. The building appears
to be small when viewing it from the outside, but actually roomy inside. Fáníyì (2016)2 confirms
that the building is where Susanne Wenger first lived when he arrived Òsogbo in the early 60s.
The earth colour used to paint the building and the roofing style makes it to look like a Yorùbá
traditional clay hut.

Plate 1. Aye dakun yi pada house (front view). Plate 2. Aye dakun yi pada house (side view). Photo credit:
Photo credit: Egunjobi Felix B. Egunjobi Felix B. August 2018.

The Ilédìí Ògbóni (Ògbóni shrine house) (Plates 3 & 4) is also a very interesting architectural
edifice at the Ọ̀sun Òsogbo grove. It is a combination of concrete and wood sculptures. Bùràímò
Gbàdàmósí is said to have been responsible for the wooden poles with anthropomorphic figurines
that serves as support for the building. The Ògbóni is a society of Yorùbá elders concerned with

10
the worship of the earth. They are responsible for the checkmating the excesses of the paramount
rulers in Yorùbá towns.

The shrine is located at the opposite side of the ayé dákun yí padà at the òǹtoto site. The building
is made up of three thatched roofs that rise to the sky like three giant lizards. According to Beier
(1975), the three lizards symbolize the force that is charged with magical powers that inhibited the
earth before mankind.

Plate 4- Iledi ogboni (front view).

Source: www.pinterest.com

Plate 3- Iledi Ogboni. (Linear view)Source: www.pinterest.com Plate 4- Iledi Ogboni. Source:
www.pinterest.com

The most prominent sculpture on the building is an anthropomorphic cubic concrete sculpture that
is made to project into space from under the thatched roof. The stylized cubic figure is a
combination of lines and curves, which makes the figure to be fluid. The figure has two hands that
is suggestive of welcoming initiate and visitors to shrine. The nose of the figure is pointed in
Caucasian manner. Also, the thin lipped mouth is typically European. The round bulging eyes are
however rendered in mainstream Yorùbá traditional sculpture. Under the anthropomorphic figure
is a zoomorphic elephant-like figure. The whole sculptural composition is stylized with little
attention paid to anatomical details.

____________________________________

. 2. Personal interview with Doyin Faniyi, a Chief Priestess of Osun religion and adopted child of Susanne
Wenger on 20th of June, 2016.

11
At the main entrance to the grove side where propitiation to Ọ̀sun goddess is usually made is a
womb-like sculptural building (Plate 5). This building is the passage through where the arugba3
(Plate 6) passes during procession from the king’s palace to the grove side. According to Beier
(1975), the passing of the arugbá through this building that has an entry and exit, is a symbolic
passage through the womb of Ọ̀sun goddess to be reborn once again. Like aye dákun yí padà
building, the fishlike structure is imbued with flowing lines and curves which is similar to the flow
of River Ọ̀sun.

Plate 5- The building through where arugba passes to the main grove side. Plate 6- Arugba Osun during procession to
Photo credit: Egunjobi Felix B. August 2018. Osun Osogbo grove. Photo credit: Egunjobi
Felix B. August 2018.

The Walls/Fences

There are several perimeter walls within the Ọ̀sun Òsogbo grove. While some of the walls are
lined along the two sides of the road leading to the grove side (Plates 7 & 8), others serve as
demarcations for different minor groves and shrines (Plate 9). The concrete walls at the two sides
of the roads are embellished with surrealistic anthropomorphic murals in low and high relief.
Prominent on the walls are figures of some egúngún drummers and dancers, thus stressing the
relationship between Ọ̀sun and egúngún. This is perhaps why we have egúngún Ọ̀sun in some
Yorùbá towns. The walls which are very long in span are painted with red-earth colour, which
makes it to look like a terracotta piece. The other walls that separate the minor groves and shrine
are not as heavily decorated as this main walls (Plates 8 & 9). They are more symbolic as they are
12
parts of the stories associated with the deities the minor groves houses. They have cubic abstract
figures. A typical example of these walls is the one that separates the ẹbu Ìyámòpó from the
highway (Plate 8). It has an aesthetically enthralling floral-like spiral design. This is a further
evidence of the combination of European and Yorùbá art styles. Nonetheless, all these fences,
especially those that separate the minor groves has very interesting sculptural entrances.

Plate 7- Part of the walls demarcating the grove from the Plate 8- Part of the walls demarcating the grove from the
main road (left side). Photo credit: Egunjobi Felix B. August main road (right side). Photo credit: Egunjobi Felix B.
2018. August 2018.

Plate 9- The fence demarcating the Iyamopo grove from the main road. Photo credit: Egunjobi
Felix B. August 2018.

___________________________________

3. Arugbá is the votary virgin lady that carries the calabash of sacrifices to be offered to Ọ̀sun to the grove side.

13
The Entrances

One of the most notable minor grove at the Ọ̀sun Òsogbo sacred grove that has a very interesting
sculptural entrance is ẹbu ìyámọ̀pó (Plates 10 & 11). Ìyámọ̀pó is believed to be the goddess of
indigo dye, pottery and palm oil production, all which are women’s crafts. The entrance of
iyamopo grove is symbolic of a chameleon, a creature that represents a version of Yoruba creation
story. The tongue of the chameleon protudes out of its mouth into space (Plate 10). According to
one of Yoruba peoples oral traditions, when rainfall is scant, and the chameleon protudes its tongue
into space, it will begin to rain immediately. The tail of the chameleon is made to roll in a moon-
like shape which according to Yoruba mythology symbolizes the light used by Oduduwa4 to create
the earth.

Plate 10- The overview of the entrance of iyamopo

Plate 11- Details of the entrance of iyamopo grove.
grove. Photo credit: Egunjobi Felix B. August 2018.
Photo credit: Egunjobi Felix B. August 2018.

The Ìyámòpó entrance is executed in cement. It is a complex combination of sculpture and

architecture. The entrance is allusive of a woman’s private part which articulates the womanhood
and productive power of Ìyámòpó. The architectural piece is massive at the base and taper towards
the apex. The forms are comprised of well-defined lines and curves. Like most of other sculptural
architectures within the grove, it is painted in red-earth colour.

14
Another interesting entrance within Ọ̀sun Òsogbo grove is the pathway to another micro grove
known as igbó ifá (ifá divinatory forest). The grove, which is located close to the main grove side
(Plate 12), is fenced with a sculptural wall, separating it from the main grove. At this entrance is
an interesting sculptural architecture forming an arch that serves as a gate to the inner sanctuary
(Plate 13). The arch seems to have been scooped out of an anthropomorphic sculpture of a vulture
that sits on top of the arch. According to Yorùbá cosmological thought, the vulture is the carrier
of sacrifices offered to Olódùmarè; God in Yorùbá belief. Thus, vultures are symbolic figures to
Ifá religion.

The two hands of the vulture are raised up. This gesture suggests praise worship to Olódùmarè.
This is akin to most of the sculptural works within the Ọ̀sun Òsogbo grove. The eyes of the
zoomorphic figure are accentuated and round in the socket. The mouth is curved in a supplication
posture. There are striations at the neck of the figure which suggests the feather of the vulture, and
also suggests a flowing river. The stylized figure is rigid in posture.

Plate 12- The Osun Osogbo main grove Plate 13- The Ifa divinatory forest
side. Photo credit: Egunjobi Felix B. August entrance. Photo credit: Egunjobi Felix B.
2018. August 2018.

______________________________________

4. Oduduwa in Yoruba mythological story is believed to be responsible for the creation of the world.

15
The architectural entrance to the main grove is another great artistic piece (Plate 14). In Beier
(1975) account, the Chief Priestess of Ọ̀sun Òsogbo specifically approached Susanne Wenger to
help in constructing the gate. Wenger replied the Ọ̀sun Priestess that if she has to construct the
gate, she should be allowed to express her feelings for Ọ̀sun in her own way. The gate, which is
her first project executed at the grove, is an exhibit of Wenger’s artistic skills and creativity. The
author purports that challenge faced by Susanne Wenger in constructing the gate is that there
wasn’t a template for her to follow. She also felt that as a modern olórìsà (Yorùbá deity
worshipper), she was not bounded by the conventional Yorùbá traditional art. She then began to
make sketches and eventually arrived at a desirable sketch which Adébísí Àkànjí and Kàsálí
Àkàngbé constructed according to the vision of Wenger. This gate has however been renovated to
make it more aesthetically appealing structure, although it still retains its initial conceptuality
(Plate 15).

Beier (1975) purports that the giant gate depicts two surrealistic snakes that meet and put their
heads together. The eyes of the snakes are round, and the nose and the mouth are not clearly
defined. The relief sculpture on the gate with motifs borrowed from the Yorùbá art tradition was
handled by Adébísí Àkànjí. The faces of the snakes look like that of human. However, the re-built
gate has fewer motifs than the earlier one. Unlike the conventional architectural gates, the re-built
gate for Ọ̀sun has irregular abstract shape. It is rendered like a flowing river and wider than the
former one. This is an indication of the artistic development of Wenger’s assistants over time.

Plate 14- The former entrance to the main grove. Plate 15- The reconstructed entrance to the main grove. Photo
Photo credit: Egunjobi Felix B. August 2009. credit: Egunjobi Felix B. August 2018.

16
Concluson

From the foregoing, it is evident that there is a strong relationship between art and architecture. It
is also revealed that some Yorùbá religious shrines are repository of complex architectural edifices
that are imbued with different types of arts. Nevertheless, the experiment of Susanne Wenger in
the artistic Reconstruction of the sacred grove of Ọ̀sun Òsogbo is a different occurrence. She tried
to express her vision of the art of Ọ̀sun in her own way, using hher European artistic background,
but with recourse to Yorùbá art traditional forms and styles.

Notably, all the architectures within the confine of Ọ̀sun Òsogbo groves are rendered with cement
as a medium of sculptural expression. Although it was initially difficult for Wenger’s assistants to
work with cement, a material that was rarely used in traditionl Yorùbá art, they eventually mastered
the art of concrete sculpture. According to Egunjobi (2010), Susanne Wenger allowed her
assistants to evolve heir own style using the sculptures and architectures of the Ọ̀sun grove as an
experiment.

From the analysis of the various architectures of Ọ̀sun Òsogbo grove, it is established that the
conceptual norms of architecture having recourse to aesthetics are demonstrated in the arcitectural
structures of the Ọ̀sun Òsogbo grove. This has made the architectural structures to attract tourists
to the grove thereby contibuting to the economy of Òsogbo town. It has also elicits scholarly
interest, creating large area of study, and belly the erroneous belief of early European thnographers
and scholars who regarded Africans as people of little artistic skills. Conclusively, the architectures
of the sacred grove of Ọ̀sun Òsogbo could be regarded as a contemporary architecture with
traditional African art tendencies.

17
References

Adedokun, A. (2014). Incorporating traditional architecture into modern architecture: Case

study of Yoruba traditional architecture. British Journal of Humanities and Social
Sciences. 11(1): 39-45.

Adegoke, A. K. (2015). Ornamentation in Yoruba domestic architecture in Osogbo: Studying

form, contentand meaning (Unpublished doctoral thesis), Department of Architecture,
School of Environmental Studies, College of Science and Technology, Covenant
University, Ota, Ogun State, Nigeria.

Adeyemi, A.A. and Oyinloye, T. H. (2020). Effectiveness of alternative conservation means in

protecting the osun Osogbo Sacred Grove in south-western Nigeria. Plant. 8(1): 1-9.

Adeyemi, E.A. (2008). Meaning and relevance in Nigeria traditional architecture: The dialectics
of growth and change. Public Lecture Series, Covenant University, Ota. 1(21): 1-33.

Beier, U. (1975). The return of the gods, the sacred art of Susanne Wenger. Cambridge
University Press.

Egunjobi, F. B. (2010). Susanne Wenger and the artistic reconstruction of osun Osogbo groves
Unpublished M.A. Thesis, Institute of African Studies, University of Ibadan.

Egunjobi, F. B. and Olajire, A. T. (2018). Osun Osogbo sculptures in Nigerian Art. Legacy: A
Book of Honour, a Publication of the School of Vocational Education, Federal College
of Education, Abeokuta. 2(1): 191-198.

Jolaoso, B. A. and Bello, O. A. (2017). Character-Extinction of Yoruba architecture: An

overview of facades of residential buildings in south-western Nigeria. Journal of
Emerging Trends in Educational Research and Policy Studies (JETERAPS )8(3), 143-
150.

Ogeye, O. O. (2019). Towards an architectural identity: Learning from the communication

methods of contemporary Nigerian art. International Journal of Architecture, Arts and
applications. 5(2): 37-41.

Omale, R. P. & Ogunmakinde, O. (2018). Comparative analysis between art and architecture.
Online Journal of Art and Design. 6(2): 15-32.

Osasona, C. O. (2014). Traditional built forms and techniques, Ijebu-Ode, Nigeria with particular
reference to Iwesi, a village on the outskirts of the town. Department of Architecture,
Obafemi Awolowo University, Ile-Ife. 1(18).

Osasona, C. O. and Ewemade, F. O. (2011). Ile Timi, interface between traditional and
Vernacular architecture in Ile-Ife. WIT Transactionson the Built Environment.
118: 99-114.

18
Oyeleke, O. O., Ogunjemite, B. G. and Ndasule, N. A. (2017). Assessment of collaborative and
multilevel arrangement of osun Osogbo sacred grove, Nigeria: A world heritage site.
International Journal of Development and Sustainability. 6(7): 439-450.

Palado-Perez, E. (2010). Cave art and the theory of art: The origins of the religious interpretation
of Paleolithic graphic expression. Oxford Journal of Archaeology. 29(1): 1-14.

Read, R. (1964). Modern sculpture. Thames and Hudson.

Umoru-Oke, N. (2010). Risawe’s palace, Ilesa Nigeria: Traditional Yoruba architecture as

socio-cultural and religious symbols. An International Multi-Disciplinary Journal,
Ethiopia. 4 (3a). July, 2010. ISSN 1994-9057.

Wenger, S and Gheshi, G. (1983). A life with the gods in their homeland. Perlang Verlag Ges
n.b.H, Bixentaler Srasse, Worgl.

19