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This page was last edited on 31 October 2023, at 18:59 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
Prior to 9400 BCE, Niger-Congo speakers independently created and used matured ceramic technology [27] [28] (e.g., pottery, pots) to contain and cook grains (e.g., Digitaria exilis, pearl millet); [27] [29] ethnographically and historically, West African women have been the creators of pottery in most West African ceramic traditions [30] [31 ...
Ladi Kwali was born in the village of Kwali in the Gwari region of Northern Nigeria, where pottery was an indigenous occupation among women. [3] She learned pottery as a child through her aunt, using the traditional method of coiling. She made large pots for use as water jars, cooking pots, bowls, and flasks from coils of clay, beaten from the ...
Mask from Gabon Two Chiwara c. late 19th early 20th centuries, Art Institute of Chicago.Female (left) and male, vertical styles. Most African sculpture from regions south of the Sahara was historically made of wood and other organic materials that have not survived from earlier than a few centuries ago, while older pottery figures are found from a number of areas.
The study of African art until recently focused on the traditional art of certain well-known groups on the continent, with a particular emphasis on traditional sculpture, masks and other visual culture from non-Islamic West Africa, Central Africa, [16] and Southern Africa with a particular emphasis on the 19th and 20th centuries. Recently ...
African folk art consists of a variety of items: household objects, metal objects, toys, textiles, masks, and wood sculpture. Most traditional African art meets many definitions of folk art generally, or at least did so until relatively recent dates.
In 1859, French explorer, geographer, archaeologist, librarian, and Maghreb expert Oscar Mac Carthy recounted encountering cooking tagines and pottery in the streets of Algeria. He described them as large hollow pots of various shapes. [15] Additionally, a Tunisian review from 1896 also references the presence of pottery and tagines in Tunisia ...
After his postgraduate studies in industrial pottery design, he returned to Sudan to teach ceramics for some years, but decided to return to England in 1966 to pursue his career in Britain. [62] His work was described as both reflecting traditional Sudanese domes and arches, as well as the shapes of calabashes and basketry. [63]
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