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SCULPTURAL COMPOSITION (A CASE STUDY OF OFFIAUGWU
PRIEST & PARAPHERNALIA)
PREFACE
This project examines
Igbo traditional priesthood in respect to Offia Ugwu Shine in Osili village
Enugwu – Ukwu, Njikoka Local Government Area of Anambra State.
“Priests are selected men by the gods
for a special purpose. They stand as a medium of interaction between the
sensory and super sensory world. They are the representation of the unseen
patron of any given community or unit” Along side other attributes and
attributes of priest and his Office has been carefully studied and documented
by the researcher so for the purpose of understanding project is written in
five chapters. Chapter one is based on the background of study statement of the
problem, aims and objectives, scope of the study limitation and definition of
terminology. Chapter two is on the literature review. Chapter three deliberates
the methodology, media used, project development and finishing. Chapter four is
on the project analysis and finally chapter five deals with the conclusion i.e.
achievement and recommendation.
TABLE
OF CONTENT
CHAPTER ONE
1.1
Background history
1.2
Statement of the problem
1.3
Aims and objectives
1.4
Scope of the project
1.5
Limitation
1.6
Definition of terminology
CHAPTER TWO
2.1
Literature Review
CHAPTER THREE
3.1
Medium (description
3.2
Project development
(materials,
tools and application execution)
3.3
Finishing
CHAPTER FOUR
4.1
Project Analysis
CHAPTER FIVE
5.1
Achievement
5.2
Recommendation / suggestions
5.3
Bibliography
LIST OF FIGURES (FIG)
AND PLATES (PL)
Fig 1 Preliminary rough sketches………………………………26
Fig 2 Approved
sketch………………………………………..27
PL 1 Modeling
of the pattern and mould making…………….29
PL 2
Charging of the mould (positive cast)…………………30
PL
3 Semi fished work (arrangement of parts)………………31
PL
4 Finished work …………………………………………33
CHAPTER
ONE
1.1
BACKGROUND HISTORY
The concept of
sculptural composition would not be well understood without the researcher
taking a quick glance at the history of sculpture and examining the key words
in the concept i.e.”sculptural and “composition
The origin of art of sculpture dates backs to the
origin of the man, synchronizing with the primeval experiences of the
pre-historic man. The early man suddenly developed the need to improve upon his
skills and similarly to subject the chaotic character of nature to a portable
size and gain a certain measure of control and promote fertility. He achieved
this by carving out making incised contours of the figure of animals on the
walls of the cares and stones with sticks and fingers. He applied into those
contours mineral, plant, pebbles, and other media.
As man’s scope and
experiences widened, there came into being the need to experiment dating from
the pre-historic to the modern era of scientific evolution technology.
Differences in
philosophical identifies, geographical locations and techniques of approach
characterized the history and growth of sculpture from one pattern or style to
another, giving rise to different movements such as cave sculpture (catacomb),
mediaeval, Renaissance, Baroque, Romanticism, Realism, Impressionism down to
cubism.
In
the 20th century at moment, such artists as Pablo Picasso who is
regarded as the father of the above era. He is known for his verse knowledge on
all aspect of art. He executed the very first sculptural composition. This was
revealed in his ram head sculpture he achieved through the use of bicycle
handles as horn and the sit as the face and other employed fabricated as well
as found object.
According to the Advanced Learner’s Dictionary Sculpture’ means, “ concerning
sculpture” and means, “the art of shaping solid figures of stone wood, clay,
metal etc” It also defined “composition as”, the art of putting together to
form something”….
From the sculptural compassion is an art expression that involves the
fabrication arrangement of metals, wood, fiber, bond, stone, and any sculptural
medium.
Coming down to the scope of this study which is Osili village in Enugwu Ukwo,
Njikoka Local Government area of Anambra State, in respect to a shrine, “Offia
Ugwu” and its Custodian.
Enugwu-Ukwu which is sited near Awka the capital of Anambra State has Osili as
one of the eighteen major villages. It has three segments. Akama, Etiti and
Obeagu Osili. Etiti-Osili is populated by three kindred, namely, Umuagu,
Umukike, and Umuibi. Some members of Umuobi and Umuagu Kindreds also live at
Obeagu Osili side by with two other kindreds, namely Umuiku neche and
Umuorikpe.
Okperi was the first settler at the point now known as Ofia Ugwu. It is the
highest point in area and about hundred meters above sea level. He had one son,
Onyike. This sacred enclave known as Ugwu was the abode of Okperri. The whole
Osili village worship at the shrine. At a certain period of every year, Ikpo
Ukwu ritual is performed. The sacrifice always attracted by the inhabitants of
the whole village, including people from other village, only persons who had
performed the Amanwulu title, attended and took part in the sacrifice. There
are three idols in the shrine and each is worshiped at its own specific time. The
idols include Ugwu, Madu Ugwu, and Aro Ugwu The last known Chief priest of
Ugwu, was Nwonyike Unoego from Obu Onyike, while the whole women from village
worshiped at Ugwu. Ugwu Idol derived its power from spiritual gynarch. That
resulted on the traditional reincarnation of many of our daughters form Ugwu
Idol. Since the de3mise of the chief priest, no other descendants of Okperi had
succeeded him.
This
lackadaisical altitude could be traced to the fact that Ugwu by its nature does
not attract many worshipers.
1.1 STATEMENT
OF THE PROBLEM
The following needs have led this project
1.
Knowing who a priest is his duties.
2.
What are the priest paraphernalia’s?
3.
Their relationship with these shrine elements.
1.2
AIMS AND OBJECTIVES
This work like any other meaningful work has some purpose why it is embarked
upon. The issue in discourse being an important one for the fact that attaining
position of a priest has been since genesis and has existed with some
hindrances, that made people not to be well exposed to this mysticism.
Therefore some of the purpose of this
work shall include:-
i)
Analyzing a Traditional priest and it functions
ii)
Ascertainment of the paraphernalia
iii)
The mysticism of manipulation
1.3
SCOPE OF STUDY
In this project the
research attention will focus on the fabrication of a sculptural piece titled,
sculptural composition in a composition form by employing item seen I the
shrine of Ofia Ugwu Osill Vilage, Enugwu-Ukwu in Ojikoka Local Government
of Anambra State.
1.4
DEFINITION OF TERMINOLOGY
Every profession has its peculiar terms or registers that is known for. In that
respect, a work like this will not be complete and well understood without the
researcher defining some of the art terms that one shall come across in the
course of this project.
1.
AMATURE: This is a skeletal frame work that is form to held
Sculptural works
during modeling.
2.
CHARGING: It is the picking of the position forms from a negative form
(Mould)
3. CASING:
It is the coating or covering of a pattern with medium such a
Cement, plaster of
Pari, plastic filler, fiber glass clay etc.
4.
CAST: This is the real or position work after charging a mould.
5.
COMPOSITION: The arrangement of motif of various shapes and
forms to create a homogenous entity.
6.
CONCEPT It is original ideal conceived before
the creation proper.
7.
FABRICATION: This is the up of form by construction or shaping and
joining of various parts to create a visual form.
8.
FIBERGLASS: This is a metal made from glass fiber and mix
with
Resin during mould
making or charging
8.
SEPARATION: This is any only substance that can create banner
between
the pattern and the
mould, thus allowing separation.
10. MOULD:
A hollow with shape or forms. Into which substance or
Material is poured or
inserts to set shape
11
SKETCH: Quick drawing without much detail that serves as a quite
for further development.
12
SPATULA: It is a instrument of various shape, flat, curve etc used
in modeling. Many times they are improvising.
13
SHIMS: These are thin metal sheets pan used in demarcating pattern
before casting.
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