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 LIMITATION
But with out enthusiasm in the work, some shortcomings were encountered which could have made the work unrealizable because of critical and mystical nature. The inadequacy of getting substantial information from aged traditional forms part of the limitation. Others are and financial constraints since the project are done along side semester works and final examinations.

1.5 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.