By Michael Peculiar Ekiran

In the late 19th century, within the cultural tapestry of Yorubaland, emerged a luminary figure whose mastery of wood carving transcended the boundaries of his humble beginnings. Olowe of Ise, hailing from the vibrant hub of Efon-Alaiye, etched his name in the annals of Yoruba art history through his unparalleled skill and innovative approach to wood carving.

Olowe's artistic journey began in the court of King Arinjale in Ise, marked by the distinctive symbol of servitude – half of his head shaved. However, beneath this outward signifier of humility lay an extraordinary talent that would shape the destiny of Yoruba art. Legend tells of Olowe's innate ability to envision intricate designs within the natural contours of trees, a skill that would set him apart as a master sculptor.
Under the patronage of King Arinjale, Olowe's artistic career flourished, and he became a trailblazer in the African style of design known as oju-ona. His works went beyond conventional patterns, embracing three-dimensional styles that breathed life into his sculptures. Whether depicting ornamental doors, warriors on horseback, or elegantly posed women with braided hair, Olowe's craftsmanship was sought after by kings and wealthy families within a 60-mile radius of Ise.

Olowe's reputation extended far beyond his hometown, earning him admiration from kings and contemporaries alike. His unique approach to wood carving, characterized by high and counter-reliefs, set him apart from his peers. Even the Ogoga of Ikere sought his talents to immortalize an encounter with white men in intricately carved doors known as "Ogoga of Ikere."
The zenith of Olowe's career came in 1924 when a pair of his meticulously crafted wooden doors for the Ogoga of Ikere were showcased at the British Empire Exhibition in Wembley, London. Hailed as "the finest piece of West African carving that has ever reached England," Olowe's global recognition was sealed. The acquisition of these doors by the British Museum cemented his place in art history.

Despite posthumous acclaim, Olowe's works in his hometown have not been spared the passage of time. Neglected and abandoned, some lie deteriorated, victim to the elements. Scholars such as William Fagg, John Picton, Roslyn Walker, and John Pemberton III have played a pivotal role in documenting Olowe's life and work, ensuring that his brilliance endures beyond the ravages of time.

In the words of Roslyn A. Walker, director of the National Museum of African Art, "An artist of universal appeal, Olowe of Ise was unique among Yoruba artists and remains without peer." His legacy lives on in museums and galleries worldwide, a testament to the enduring power of his art and the indelible mark he left on the rich tapestry of Yoruba cultural heritage. Olowe's mastery, innovation, and artistic vision continue to inspire and captivate, bridging the gap between centuries and cultures.