This pair of male and female carved wooden Eshu figures are by the same carver. Each has substantial ritual-related wear such that their facial features such as the broad noses, lips and ears are barely visible. This gives them a ghost-like, magical appearance. Nails or tacks were inserted to show eyes, but these too have been worn with ritual handling and have largely melded into the wood.
Each kneels on a rounded platform.
Long strands of cowrie shells also strung on leather strap have been suspended from the necks of each.
The female is shown with her hands raised to the sides of her breasts and supporting them. The male has been carved blowing a flute or whistle. The flute mediates between the human and spiritual worlds. Each is carved with a long, phallic protuberance from the top of the head which adjoins the middle of their backs.
The hair and phallic protuberances have been coloured (probably repeatedly) with Reckitt’s Blue, a whitening agent for washing white textiles and clothes but which was used by tribal groups worldwide to add a blue hue to their religious idols.
Such pairings of Eshu figures would be stored in an Eshu shrine.
Eshu is the most well known of Yoruba deities and is the primary interface been the human world and the spiritual world. Eshu usually is regarded as male but also is associated with paired male and female figures as in the case here. Such a combining represents the tension and creative possibilities of human sexuality and reflect Eshu’s divinity and power. Sexuality allows men and women to be aware of their differences but then also becomes the mediating force that overcomes this duality. Eshu is regarded as the custodian of this power and the creation of life that comes from this resolution.
The pair here have the most superb patina and age. The patina and wear is deep and extensive. The leather used to suspend the cowrie shells has obvious age, as do the shells themselves. Each has been carved from a single piece of wood. Acquired in the UK, almost certainly, they have been in the UK since colonial times.
References
Abiodun, R., H. J. Drewal & J. Pemberton III, Yoruba: Art and Aesthetics, The Center for African Art and the Rietberg Museum Zurich, 1991.
Beier, U., The Story of Sacred Wood Carvings from One Small Yoruba Town, Nigeria Magazine – Nigerian Printing and Publishing Company Ltd, 1957.
Chemeche, G., Eshu: The Divine Trickster, Antique Collectors’ Club, 2013.
Fagg, W., Nigerian Images, Lund Humphries Publishers, 1963.
Fagg, W., J. Pemberton III & B. Holcombe, Yoruba: Sculpture of West Africa, Collins, 1982.








