PREFACEThis 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 CONTENTCHAPTER 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 ONE1.1              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.