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Bògòlanfini or bogolan (Bambara: bɔgɔlanfini; "mud cloth"; sometimes called mud-dyed cloth [1] [2] or mud-painted cloth [3] in English) is a handmade Malian cotton fabric traditionally dyed with fermented mud.
Groupe Bogolan Kasobané is an artist collective from Mali, West Africa with a studio in Bamako and a gallery in Ségou. [1] Innovators and pioneers in the bogolan fine arts movement, [2] the Groupe traveled throughout Mali, researching the bogolan traditions and practices, including the symbolic alphabet, as well as the traditional structure, uses, and colors encoded in bogolan cloths.
Diarra is a textile artist known for her bògòlanfini, or mud cloth. While the popularity of mudcloth and the international market for it has led to a simplification of traditional techniques in pursuit of mass production, even among artisans, Diarra works in the traditional Beledougou style, which is distinct from the mud-cloth traditions of the Dogon people in Mali and from mud-cloth ...
Korhogo cloth is an African textile made by the Senufo people of Korhogo, Ivory Coast. Often described as being in the shadows of bogolafini (mud cloth) and kente, [1] korhogo comes in neutral and earthy tones like browns, blacks and creams. Korhogo is made by hand painting designs on hand woven and hand spun cotton fabric.
Kuba Raffia cloth, made by the Kuba of present-day Democratic Republic of Congo Contemporary West African textile designs. African textiles are textiles from various locations across the African continent. Across Africa, there are many distinctive styles, techniques, dyeing methods, and decorative and functional purposes.
Bògòlanfini ("mud cloth"), a handmade cotton fabric, traditionally dyed with fermented mud, has an important place in traditional Malian culture, and has more recently, become a symbol of Malian cultural identity. The cloth is being exported worldwide for use in fashion, fine art, and decoration.
Before the pigments are applied, the walls are first sized using laterite (aja upa), a mud slip that fills in cracks in the wall. The surface is then further burnished using fine pebbles (mkpulu nwko). A final layer of primer, a red mud slip, is then applied to the wall in order to create a three-dimensional surface to work on.
As a result, rectilinear lines in Kuba art depict natural patterns. Both in art and nature, these lines occasionally disrupt what we take to be geometric order. [5] The improvised patterns are mostly made using three methods: Cut Pile: After anchoring a small fiber to the base cloth, the raffia is cut. The texture of cut-pile stitching ...
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