History of the Sacred Grove
Osun river (2019-09) by CyArkCyArk
Established in the 16th century, Osogbo was an important settlement along the Osun river and benefited from its location and involvement in trade and commerce.
Alajere sculptures (2019-09) by CyArkCyArk
Throughout this part of Nigeria it was common for each village to protect an area of forest by creating a sacred grove, an area reserved for traditional Yoruba deities who were often honored through building shrines or monuments.
Statue of Alajere dancing for Osun (2019-09) by CyArkCyArk
Today, the 75 hectare Sacred Grove of Osun Osogbo is one of the last examples of its kind and is still revered today.
Archway and Osun attendants at the Sacred grove (2019-09) by CyArkCyArk
Recognizing the significance of this art and the heritage it reflects, UNESCO declared the site a World Heritage Site in 2005.
Protecting a Sacred Space
Susanne Wenger an austrian artist moved to Nigeria in the 1950’s and settled near Osogbo. In 1958 she was asked to help restore one of the shrines at osogbo which she completed with the help of local artisans. Over the next forty years Wenger along with the many Nigerian artists she mentored worked to protect the sacred grove by creating hundreds of monumental works of art depicting Yoruba deities. Wenger eventually became a high priestess in Yoruba tradition and made Osogbo her primary residence.
“Sometimes we need a stranger to guide us through the chaos that reigns in our own house. Susanne Wenger is this stranger, this outsider—but in the process of guiding us, she also found herself and has not only ceased to be a stranger and an outsider but in turn has become the Yoruba soul and the Yoruba’s conscience” -Chief Adebayo Adeleke.
UNESCO World Heritage and Importance Today
The priest of Osun performs a blessing for Jumoke Sanwo on the banks of the Osun river. (2019-09) by CyArkCyArk
Today, the UNESCO site remains an incredibly important spiritual place for the local community .
A priest attendant walks to the Ojubo Osogbo, the central shrine for Osun worship (2019-09) by CyArkCyArk
The site attracts thousands of visitors who come to learn about Yoruba traditions or simply admire the shrines and art. However, over time many of the outdoor sculptures and monuments have deteriorated.
Unfinished sculptural work by Susanne Wenger. (2019-09) by CyArkCyArk
“If you sit in the Osun Forest...one becomes aware of the great force of all things: little herbs, little lizards, small creepers, and enormous irokos or silk cotton trees." Susanne Wenger
Digitally Preserving Osun Osogbo
Today, Many of the sculptures, created between 1960-1980, are in urgent need of repair and restoration. This problem is further compounded by the threats from natural disasters in the area, most prominently the flooding of the Osun River.
Flooding in 2019 impacted several monuments including the 2 meter tall statue of Ogun seen here
CyArk field capture specialist Avidan Fernandez trains students in photogrammetry. (2019-09) by CyArkCyArk
In September 2019 a workshop was held for 26 Nigerian professionals on how 3D documentation can be utilized to document cultural heritage sites at IMISI3D, an extended Reality (XR) creation lab in Lagos, Nigeria.
Photogrammetry workshop with IMISI3D (2019-09) by CyArkCyArk
Local architects and engineers from throughout Nigeria participated in the workshop which included a field trip to the Yabatech Department of Fine Arts.
Joey Ekunwe completes photogrammetry on the Iledi Ontotoo, the assembly hall of the Ogboni earth cult (2019-09) by CyArkCyArk
A smaller group of the workshop participants then traveled to Osogbo to document three of the monumental artworks using laser scanning and photogrammetry.
Iledi Ontotoo, the assembly hall of the Ogboni earth cult (2019-09) by CyArkCyArk
The Ilédi Ontòtòo or assembly hall of the Ogboni earth cult features unique forms representing Yoruba deities and carved wooden posts. The thick tree cover proved challenging for the drone.
Joey Ekunwe completes photogrammetry on the Iledi Ontotoo, the assembly hall of the Ogboni earth cult (2019-09) by CyArkCyArk
The painted walls of the Ilédi Ontòtòo were documented using high resolution cameras and photogrammetry.
Iya Moopo, godess of women's occupations (2019-09) by CyArkCyArk
Three monumental artworks were documented during the project including the towering 10 meter statue to Iyá Moòpó, the Yoruba goddess of women’s occupations
Odysseus Varkas completes drone documentation of the entrance to the Iya Myopo monumental shrine (2019-09) by CyArkCyArk
Drones were used to capture the upper portions of monuments that could not be documented accurately from the ground.
Seun Aiyenuro completes laser scan documentation of the Iledi Ontotoo assembly hall entrance. (2019-09) by CyArkCyArk
Laser scanners use light to provide an accurate record of the current state of the monument and is accurate within millimeters.
Discover the Site in 3D
Following documentation in the field the data was processed together to create high resolution 3D models that can be uploaded to the web or be remixed into Virtual and Augmented Reality experiences.
Take a Virtual Tour around the Sacred Grove
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Explore the Art of Osun Osogbo
"To build a shrine is like performing a religious ritual. The aim is the same: Bringing to awareness what was in the dark, Rediscovering the mythical event in the present, Taking the divinity down to the world, Finding the divine inside ourselves.” - Susanne Wenger
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The Ilédi Ontòtòo or assembly hall of the Ògbóni earth cult is located across from the Obtaa shrine complex and features carved wooden posts on both the exterior and interior.
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The arch of the flying tortoise seen here was the original entrance to the sacred groves and the path below leads to the Ojúbo Òsogbo or central shrine for Òsun worship.
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The sacred groves of Osun Osogbo are home to over 60 species of trees, many of which are endangered.
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The walls and entrance to the Ojúbo Òsogbo or central shrine for Òsun worship.
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The Ojúbo Òsogbo or central shrine for Òsun worship is a rectangular metal roofed shrine. The carved pillars depict the aesthetic and re-creative aspect and rebirth through decline and decay and the walls of the shrine feature polychromatic wall paintings.
