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==Origins==
==Origins==
Modern African sculpture is not "traditional", although much of its subject matter has traditional roots. During the precolonial era, local inhabitants were already artistically predisposed, fashioning works from various natural materials such as fibres, wood, clay, and stone for functional, aesthetic, and ritual purposes. Numerous stone artefacts such as the [[Zimbabwe bird]] from the [[Great Zimbabwe]] state of the late Iron Age bear testament to this.<ref>{{Cite web|url = http://www.metmuseum.org/toah/hd/zimb/hd_zimb.htm|title = Great Zimbabwe (11th - 15th century)|date = |accessdate = |website = |publisher = The Metropolitan Museum of Art|last = |first = }}</ref> Prior to the opening in 1957 of the [[National Gallery of Zimbabwe|Rhodes National Gallery]] in Salisbury, its first Director, [[Frank McEwen]], met with [[Thomas Mukarobgwa]], a young indigenous artist steeped in rural knowledge and spirituality, and offered him an opportunity to pursue a career in art. Mukarobgwa became "the perfect mentor to guide the director of the new gallery into the ways and mores of the African people."<ref name=Sibanda>{{cite book |isbn=3866789378 |first1=D. |last1=Sibanda |first2=R. |last2=Chikukwa |first3=F.M.|last3=Chabata|first4=T.|last4=Matindike-Gondo|first5=Z. |last5=Mandangu |title=Insights on Art in Zimbabwe: Mawonero/umbono |pages=151|publisher = Kerber Verlag|year = 2015}}</ref>{{rp|34}} It was an introduction to local artist [[Joram Mariga]] and his early soft stone carvings that prompted McEwen to encourage early soapstone carvers to create works that reflected their culture. The Workshop School established by the gallery soon attracted more artists, many of whom had already been exposed to some form of art training from early mission schools and were established art practitioners.<ref name=Sibanda/>{{rp|38}} These included [[Joseph Ndandarika]], [[John Takawira]] and [[Kingsley Sambo]].<ref name=Morton>{{cite web |url=https://www.academia.edu/6779249/Elizabeth_Morton_Ned_Paterson_and_the_Cyrene_Mission_Tradition |title=Ned Paterson and the Cyrene Mission Tradition|last1=Morton|first1=Elizabeth|date=2003|access-date=2020-10-08}}</ref><ref>{{cite web |first=Elizabeth |last=Morton |title=Father John Grober's Workshop at Serima Mission |date=2012 |url=https://www.academia.edu/6779301/Father_John_Grobers_Workshop_at_Serima_Mission |publisher=Academia.edu |accessdate=2020-07-07 }}</ref> The budding art movement was relatively slow to develop but was given massive impetus in 1966 by [[Tengenenge|Tom Blomefield]], a white South-African-born farmer of tobacco whose farm at [[Tengenenge]] near [[Guruve]] had extensive deposits of serpentine stone suitable for carving. A sculptor in stone himself, Blomefield wanted to diversify the use of his land and welcomed new sculptors onto it to form a community of working artists. This was in part because at that time there were international sanctions against Rhodesia’s white government, then led by Ian Smith, who had declared [[Rhodesia's Unilateral Declaration of Independence|Unilateral Declaration of Independence]] in 1965, and tobacco was no longer able to generate sufficient income. Appropriately, Tengenenge means "The Beginning of the Beginning" — in this case of a significant new enterprise.
Central Zimbabwe contains the "[[Great Dyke]]" – a source of [[Serpentine group|serpentine]] rocks of many types including a hard variety locally called [[Springstone (material)|springstone]]. An early precolonial culture of [[Shona people]]s settled the high plateau around 900 AD and “[[Great Zimbabwe]]”, which dates from about 1250–1450 AD, was a stone-walled town showing evidence in its archaeology of skilled stone working. The walls were made of a local granite and no mortar was used in their construction.<ref>Needham D.E., Mashingaidze E.K, Bhebe N. (1984) "From Iron Age to Independence, A History of Central Africa", p17. Longman, England. {{ISBN|0-582-65111-5}}</ref> When excavated, [[Zimbabwe bird|six soapstone birds]] and a [[soapstone]] bowl were found in the eastern enclosure of the monument, so art forms in soapstone were part of that early culture and local inhabitants were already artistically predisposed, fashioning works from various natural materials such as fibres, wood, clay, and stone for functional, aesthetic, and ritual purposes.<ref>{{Cite web|url = http://www.metmuseum.org/toah/hd/zimb/hd_zimb.htm|title = Great Zimbabwe (11th - 15th century)|date = |accessdate = |website = |publisher = The Metropolitan Museum of Art|last = |first = }}</ref> However, stone carving as art had no direct lineage to the present day and it was only in 1954 that its modern renaissance began. This was when [[Frank McEwen]] became advisor to the new [[National Gallery of Zimbabwe|Rhodes National Gallery]] to be built in [[Harare]] and from 1955 to 1973 was its founding director (it opened in 1957). He met with [[Thomas Mukarobgwa]], a young indigenous artist steeped in rural knowledge and spirituality, and offered him an opportunity to pursue a career in art. Mukarobgwa became "the perfect mentor to guide the director of the new gallery into the ways and mores of the African people."<ref name=Sibanda>{{cite book |isbn=3866789378 |first1=D. |last1=Sibanda |first2=R. |last2=Chikukwa |first3=F.M.|last3=Chabata|first4=T.|last4=Matindike-Gondo|first5=Z. |last5=Mandangu |title=Insights on Art in Zimbabwe: Mawonero/umbono |pages=151|publisher = Kerber Verlag|year = 2015}}</ref>{{rp|34}} It was an introduction to local artist [[Joram Mariga]] and his early soft stone carvings that prompted McEwen to encourage early soapstone carvers to create works that reflected their culture. The Workshop School established by the gallery soon attracted more artists, many of whom had already been exposed to some form of art training from early mission schools and were established art practitioners.<ref name=Sibanda/>{{rp|38}} These included [[Joseph Ndandarika]], [[John Takawira]] and [[Kingsley Sambo]].<ref name=Morton>{{cite web |url=https://www.academia.edu/6779249/Elizabeth_Morton_Ned_Paterson_and_the_Cyrene_Mission_Tradition |title=Ned Paterson and the Cyrene Mission Tradition|last1=Morton|first1=Elizabeth|date=2003|access-date=2020-10-08}}</ref><ref>{{cite web |first=Elizabeth |last=Morton |title=Father John Grober's Workshop at Serima Mission |date=2012 |url=https://www.academia.edu/6779301/Father_John_Grobers_Workshop_at_Serima_Mission |publisher=Academia.edu |accessdate=2020-07-07 }}</ref> The budding art movement was relatively slow to develop but was given massive impetus in 1966 by [[Tengenenge|Tom Blomefield]], a white South-African-born farmer of tobacco whose farm at [[Tengenenge]] near [[Guruve]] had extensive deposits of serpentine stone suitable for carving. A sculptor in stone himself, Blomefield wanted to diversify the use of his land and welcomed new sculptors onto it to form a community of working artists. This was in part because at that time there were international sanctions against Rhodesia’s white government, then led by Ian Smith, who had declared [[Rhodesia's Unilateral Declaration of Independence|Unilateral Declaration of Independence]] in 1965, and tobacco was no longer able to generate sufficient income. Appropriately, Tengenenge means "The Beginning of the Beginning" — in this case of a significant new enterprise.


[[File:PC - 7300 - 0014, Matemere Bernard, Eagle, 1973.jpg|right|thumb|1973 carving of an eagle by [[Bernard Matemera]]]]
[[File:PC - 7300 - 0014, Matemere Bernard, Eagle, 1973.jpg|right|thumb|1973 carving of an eagle by [[Bernard Matemera]]]]

===First generation sculptors of the 20th century===
===First generation sculptors of the 20th century===
Further details of the establishment of the "first generation" of new [[Shona people|Shona]] sculptors are given in the individual biographies of its leading members: [[Bernard Matemera]], [[Sylvester Mubayi]], [[Henry Mukarobgwa]], [[Thomas Mukarobgwa]], [[Henry Munyaradzi]], [[Joram Mariga]], [[Joseph Ndandarika]], [[Bernard Takawira]] and his brother [[John Takawira|John]]. This group also includes the [[Mukomberanwa]] family ([[Nicholas Mukomberanwa]] and his protegees [[Anderson Mukomberanwa]], [[Lawrence Mukomberanwa]], [[Taguma Mukomberanwa]], [[Netsai Mukomberanwa]], [[Ennica Mukomberanwa]], and [[Nesbert Mukomberanwa]]). All these artists have created works that have been exhibited worldwide and several of are now included in the McEwen bequest to the [[British Museum]].<ref>{{cite web |url=https://www.britishmuseum.org/collection/search?agent=Frank%20McEwen |title=McEwen Collection |publisher=britishmuseum.org |date= |accessdate=2020-10-08}}</ref><ref name=Zilberg>{{cite web|url=https://www.academia.edu/9825914/Shona_Sculpture_in_the_British_Museum |title=The Frank McEwen Collection of Shona Sculpture in the British Museum |last=Zilberg |first=Johnathan |date=13 July 2006|publisher=National Gallery of Zimbabwe |access-date=2022-12-15 }}</ref>
Further details of the establishment of the "first generation" of new [[Shona people|Shona]] sculptors are given in the individual biographies of its leading members: [[Bernard Matemera]], [[Sylvester Mubayi]], [[Henry Mukarobgwa]], [[Thomas Mukarobgwa]], [[Henry Munyaradzi]], [[Joram Mariga]], [[Joseph Ndandarika]], [[Bernard Takawira]] and his brother [[John Takawira|John]]. This group also includes the [[Mukomberanwa]] family ([[Nicholas Mukomberanwa]] and his protegees [[Anderson Mukomberanwa]], [[Lawrence Mukomberanwa]], [[Taguma Mukomberanwa]], [[Netsai Mukomberanwa]], [[Ennica Mukomberanwa]], and [[Nesbert Mukomberanwa]]). All these artists have created works that have been exhibited worldwide and several of are now included in the McEwen bequest to the [[British Museum]].<ref>{{cite web |url=https://www.britishmuseum.org/collection/search?agent=Frank%20McEwen |title=McEwen Collection |publisher=britishmuseum.org |date= |accessdate=2020-10-08}}</ref><ref name=Zilberg>{{cite web|url=https://www.academia.edu/9825914/Shona_Sculpture_in_the_British_Museum |title=The Frank McEwen Collection of Shona Sculpture in the British Museum |last=Zilberg |first=Johnathan |date=13 July 2006|publisher=National Gallery of Zimbabwe |access-date=2022-12-15 }}</ref>
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In spite of increasing worldwide demand for the sculptures, as yet little of what McEwen feared might just be an "airport art" style of commercialization has occurred. The most dedicated of artists display a high degree of integrity, never copying and still working entirely by hand, with spontaneity and a confidence in their skills, unrestricted by externally imposed ideas of what their "art" should be. Now, over fifty years on from the first tentative steps towards a new sculptural tradition, many Zimbabwean artists make their living from full-time sculpting and the very best can stand comparison with contemporary sculptors anywhere else. The sculpture they produce speaks of fundamental human experiences - experiences such as grief, elation, humor, anxiety, and spiritual search - and has always managed to communicate these in a profoundly simple and direct way that is both rare and extremely refreshing. The artist 'works' together with his stone, and it is believed that 'nothing which exists naturally is inanimate' - it has a spirit and life of its own. One is always aware of the stone's contribution in the finished sculpture and it is indeed fortunate that in Zimbabwe a magnificent range of stones are available from which to choose: hard black springstone, richly colored [[Serpentine group|serpentine]] and [[soapstone]]s, firm grey [[limestone]] and semi-precious [[Serpentinite|Verdite]] and [[Lepidolite]].<ref>Kasfir S L. (2000). "Contemporary African Art", Thames and Hudson, London. {{ISBN|0500203288}}</ref><ref>Willett F (2002). "African Art", Thames and Hudson, London {{ISBN|0500203644}}</ref><ref>Winter-Irving C. (2004) "Pieces of Time: An anthology of articles on Zimbabwe’s stone sculpture published in The Herald and Zimbabwe Mirror 1999–2000". Mambo Press, Zimbabwe, {{ISBN|0869227815}}</ref><ref>Kasfir S L. (2007). "African Art and the Colonial Encounter: Inventing a Global Commodity". Indiana University Press. {{ISBN|0253219221}}</ref>
In spite of increasing worldwide demand for the sculptures, as yet little of what McEwen feared might just be an "airport art" style of commercialization has occurred. The most dedicated of artists display a high degree of integrity, never copying and still working entirely by hand, with spontaneity and a confidence in their skills, unrestricted by externally imposed ideas of what their "art" should be. Now, over fifty years on from the first tentative steps towards a new sculptural tradition, many Zimbabwean artists make their living from full-time sculpting and the very best can stand comparison with contemporary sculptors anywhere else. The sculpture they produce speaks of fundamental human experiences - experiences such as grief, elation, humor, anxiety, and spiritual search - and has always managed to communicate these in a profoundly simple and direct way that is both rare and extremely refreshing. The artist 'works' together with his stone, and it is believed that 'nothing which exists naturally is inanimate' - it has a spirit and life of its own. One is always aware of the stone's contribution in the finished sculpture and it is indeed fortunate that in Zimbabwe a magnificent range of stones are available from which to choose: hard black springstone, richly colored [[Serpentine group|serpentine]] and [[soapstone]]s, firm grey [[limestone]] and semi-precious [[Serpentinite|Verdite]] and [[Lepidolite]].<ref>Kasfir S L. (2000). "Contemporary African Art", Thames and Hudson, London. {{ISBN|0500203288}}</ref><ref>Willett F (2002). "African Art", Thames and Hudson, London {{ISBN|0500203644}}</ref><ref>Winter-Irving C. (2004) "Pieces of Time: An anthology of articles on Zimbabwe’s stone sculpture published in The Herald and Zimbabwe Mirror 1999–2000". Mambo Press, Zimbabwe, {{ISBN|0869227815}}</ref><ref>Kasfir S L. (2007). "African Art and the Colonial Encounter: Inventing a Global Commodity". Indiana University Press. {{ISBN|0253219221}}</ref>


Jonathan Zilberg has pointed out that there is a parallel market within Zimbabwe for what he calls ''flow sculptures'' – whose subject matter is the family (''ukama'' in Shona) – and which are produced throughout the country, from suburban Harare to Guruve in the northeast and Mutare in the east. These readily available and inexpensive forms of sculpture are, he believes, of more interest to local black Zimbabweans than the semi-abstract figurative sculptures of the type mainly seen in museums and exported to overseas destinations. The flow sculptures are still capable of demonstrating innovation in art and most are individually carved, in styles that are characteristic of the individual artists.<ref>{{cite web|url=https://www.academia.edu/download/35994097/NGZ_-_Shona_Flow_Sculptures.pdf|title=Variation and Innovation in Zimbabwean Mother and Child Abstracts|last=Zilberg |first=J. |date=2006|publisher=National Gallery of Zimbabwe}}{{dead link|date=July 2022|bot=medic}}{{cbignore|bot=medic}}</ref>
Jonathan Zilberg has pointed out that there is a parallel market within Zimbabwe for what he calls ''flow sculptures'' – whose subject matter is the family (''ukama'' in Shona) – and which are produced throughout the country, from suburban Harare to Guruve in the northeast and Mutare in the east. These readily available and inexpensive forms of sculpture are, he believes, of more interest to local black Zimbabweans than the semi-abstract figurative sculptures of the type mainly seen in museums and exported to overseas destinations. The flow sculptures are still capable of demonstrating innovation in art and most are individually carved, in styles that are characteristic of the individual artists.<ref>{{cite web|url=https://www.academia.edu/9826028/Variation_and_Innovation_in_Zimbabwean_Mother_and_Child_Abstracts?sm=b |title=Variation and Innovation in Zimbabwean Mother and Child Abstracts|last=Zilberg |first=J. |date=2006|publisher=National Gallery of Zimbabwe}}</ref>


Another artist, Bryn Taurai Mteki, created a large sculpture titled “Chippi”, which was unveiled during the sixth [[All-Africa Games]], hosted in Zimbabwe in September 1995. This sculpture also served as the games mascot. It is 2.5 meters high and is now displayed at the [[National Sports Stadium (Zimbabwe)|National Sports Stadium]] in Harare alongside the Games' Flame, as a part of the permanent collection. In 1996 Mteki, now living in Europe, was honoured with silver medals from Oelsnitz, Auerbach and Adorf in Germany.<ref>{{cite news |url=https://www.herald.co.zw/mteki-retraces-his-roots/ |title=Mteki retraces his roots |author=Problem Masau |work= The Herald | location=Harare |date=2013-09-04 |access-date=2020-10-08 }}</ref><ref name=Sibanda/>{{rp|32}}
Another artist, Bryn Taurai Mteki, created a large sculpture titled “Chippi”, which was unveiled during the sixth [[All-Africa Games]], hosted in Zimbabwe in September 1995. This sculpture also served as the games mascot. It is 2.5 meters high and is now displayed at the [[National Sports Stadium (Zimbabwe)|National Sports Stadium]] in Harare alongside the Games' Flame, as a part of the permanent collection. In 1996 Mteki, now living in Europe, was honoured with silver medals from Oelsnitz, Auerbach and Adorf in Germany.<ref>{{cite news |url=https://www.herald.co.zw/mteki-retraces-his-roots/ |title=Mteki retraces his roots |author=Problem Masau |work= The Herald | location=Harare |date=2013-09-04 |access-date=2020-10-08 }}</ref><ref name=Sibanda/>{{rp|32}}
Line 69: Line 70:
==Prospects==
==Prospects==
[[File:Kudu spirit (2016) .jpg|thumb|3D printed Shona Sculpture by Boarding Dzinotizei]]
[[File:Kudu spirit (2016) .jpg|thumb|3D printed Shona Sculpture by Boarding Dzinotizei]]
In 2017 computerised sculpting was introduced by the visual artist [[Boarding Dzinotizei]]. His digital Shona sculptures comment on the Zimbabwean society through [[3D printing]]. The message conveyed represents a loss in the significance of [[totem]]s in Shona culture. This is being portrayed, in this case, through simplified forms and missing body parts.<ref>{{cite news |url=https://www.herald.co.zw/exploring-4th-generation-of-shona-sculptors/ |title=Exploring 4th generation of Shona sculptors|author=Tafadzwa Zimoyo |work= The Herald | location=Harare |date=2017-05-09 |access-date=2020-10-08 }}</ref>
In 2017 computerised sculpting was introduced by the visual artist [[Boarding Dzinotizei]]. His digital Shona sculptures comment on the Zimbabwean society through [[3D printing]]. The message conveyed represents a loss in the significance of [[totem]]s in Shona culture. This is being portrayed, in this case, through simplified forms and missing body parts.<ref>{{cite news |url=https://www.herald.co.zw/exploring-4th-generation-of-shona-sculptors/ |title=Exploring 4th generation of Shona sculptors|author=Tafadzwa Zimoyo |work= The Herald | location=Harare |date=2017-05-09 |access-date=2020-10-08 }}</ref>


The current poor economic conditions in Zimbabwe and recent hyper-inflation means that it is increasingly difficult for its artists to prosper and make a living from full-time sculpting.<ref>{{cite thesis |title=Following the stone: Zimbabwean sculptors carving a place in 21st century art worlds |last=Larkin |first=Lance |publisher=University of Illinois at Urbana-Champaign |url=https://www.ideals.illinois.edu/bitstream/handle/2142/49475/Lance_Larkin.pdf?sequence=1 |format=pdf |year=2014 |access-date=2020-07-02 }}</ref>
The current poor economic conditions in Zimbabwe and recent hyper-inflation means that it is increasingly difficult for its artists to prosper and make a living from full-time sculpting.<ref>{{cite thesis |title=Following the stone: Zimbabwean sculptors carving a place in 21st century art worlds |last=Larkin |first=Lance |publisher=University of Illinois at Urbana-Champaign |url=https://www.ideals.illinois.edu/bitstream/handle/2142/49475/Lance_Larkin.pdf?sequence=1 |format=pdf |year=2014 |access-date=2020-07-02 }}</ref>

==See also==
==See also==
*[[Art of Zimbabwe]]
*[[Art of Zimbabwe]]
Line 84: Line 86:
*{{cite web |url=https://zimsculpt.com/ |title=ZimSculpt, curators of Zimbabwe sculpture worldwide, website|access-date=2020-10-08}}
*{{cite web |url=https://zimsculpt.com/ |title=ZimSculpt, curators of Zimbabwe sculpture worldwide, website|access-date=2020-10-08}}
*{{cite web |url=https://utonga.com/ |title=Utonga Gallery website|access-date=2020-10-08}}
*{{cite web |url=https://utonga.com/ |title=Utonga Gallery website|access-date=2020-10-08}}

{{Authority control}}

{{DEFAULTSORT:Zimbabwe sculpture}}
{{DEFAULTSORT:Zimbabwe sculpture}}
[[Category:Shona]]
[[Category:Shona]]

Latest revision as of 14:21, 1 November 2023

Zimbabwe Sculpture: a Tradition in Stone, Atlanta, USA, at Hartsfield-Jackson Atlanta International Airport between concourses T and A

Sculpture and in particular stone sculpture is an art for which Zimbabwe is well known around the world.

Origins

[edit]

Central Zimbabwe contains the "Great Dyke" – a source of serpentine rocks of many types including a hard variety locally called springstone. An early precolonial culture of Shona peoples settled the high plateau around 900 AD and “Great Zimbabwe”, which dates from about 1250–1450 AD, was a stone-walled town showing evidence in its archaeology of skilled stone working. The walls were made of a local granite and no mortar was used in their construction.[1] When excavated, six soapstone birds and a soapstone bowl were found in the eastern enclosure of the monument, so art forms in soapstone were part of that early culture and local inhabitants were already artistically predisposed, fashioning works from various natural materials such as fibres, wood, clay, and stone for functional, aesthetic, and ritual purposes.[2] However, stone carving as art had no direct lineage to the present day and it was only in 1954 that its modern renaissance began. This was when Frank McEwen became advisor to the new Rhodes National Gallery to be built in Harare and from 1955 to 1973 was its founding director (it opened in 1957). He met with Thomas Mukarobgwa, a young indigenous artist steeped in rural knowledge and spirituality, and offered him an opportunity to pursue a career in art. Mukarobgwa became "the perfect mentor to guide the director of the new gallery into the ways and mores of the African people."[3]: 34  It was an introduction to local artist Joram Mariga and his early soft stone carvings that prompted McEwen to encourage early soapstone carvers to create works that reflected their culture. The Workshop School established by the gallery soon attracted more artists, many of whom had already been exposed to some form of art training from early mission schools and were established art practitioners.[3]: 38  These included Joseph Ndandarika, John Takawira and Kingsley Sambo.[4][5] The budding art movement was relatively slow to develop but was given massive impetus in 1966 by Tom Blomefield, a white South-African-born farmer of tobacco whose farm at Tengenenge near Guruve had extensive deposits of serpentine stone suitable for carving. A sculptor in stone himself, Blomefield wanted to diversify the use of his land and welcomed new sculptors onto it to form a community of working artists. This was in part because at that time there were international sanctions against Rhodesia’s white government, then led by Ian Smith, who had declared Unilateral Declaration of Independence in 1965, and tobacco was no longer able to generate sufficient income. Appropriately, Tengenenge means "The Beginning of the Beginning" — in this case of a significant new enterprise.

1973 carving of an eagle by Bernard Matemera

First generation sculptors of the 20th century

[edit]

Further details of the establishment of the "first generation" of new Shona sculptors are given in the individual biographies of its leading members: Bernard Matemera, Sylvester Mubayi, Henry Mukarobgwa, Thomas Mukarobgwa, Henry Munyaradzi, Joram Mariga, Joseph Ndandarika, Bernard Takawira and his brother John. This group also includes the Mukomberanwa family (Nicholas Mukomberanwa and his protegees Anderson Mukomberanwa, Lawrence Mukomberanwa, Taguma Mukomberanwa, Netsai Mukomberanwa, Ennica Mukomberanwa, and Nesbert Mukomberanwa). All these artists have created works that have been exhibited worldwide and several of are now included in the McEwen bequest to the British Museum.[6][7]

During its early years of growth, the nascent "Shona sculpture movement" was described as an art renaissance, an art phenomenon and a miracle. Critics and collectors could not understand how an art genre had developed with such vigor, spontaneity, and originality in an area of Africa which had none of the great sculptural heritage of West Africa and had previously been described in terms of the visual arts as artistically barren.[8][9][10][11]

Joram Mariga,"father of stone sculpture" in Zimbabwe

Fifteen years of sanctions against Rhodesia limited the international exposure of the sculpture. Nevertheless, owing mainly to the efforts of Frank McEwen, the work was shown in several international exhibitions, some of which are listed below. This pre-independence period witnessed the honing of technical skills, the deepening of expressive power, use of harder and different types of stones, and the creation of many outstanding works. The "Shona sculpture movement" was well underway and had many patrons and advocates.

Post-Independence

[edit]
Reconciliation by Amos Supuni

Since independence in 1980, the sculpture has continued to be exhibited in the art capitals of the world and great acclaim has accrued to contemporary artists such as Dominic Benhura and Tapfuma Gutsa[12] and the art form itself.

Support and encouragement has come from many sources.

  1. Sponsors of a variety of sculpture communities, of which those at Tengenenge[13] and Chapungu[14] have been most influential. Further Communities have developed post-independence, for example the Chitungwiza Arts Centre, which was an initiative involving the United Nations Development Programme and the Zimbabwe Ministry of Education and Culture, which provided the land.
  2. Commercial sponsors in Zimbabwe, including AVAC Arts, the Baringa Corporation, the Nedlaw Investment and Trust Corporation, Zimre Holdings Limited, BAT (who part-fund the Workshop School of the National Gallery) and Mobil (who support the "Zimbabwe Heritage" annual exhibition at the Gallery).
  3. The Zimbabwean Government, especially through its support for the National Gallery, which now has regional centres in Bulawayo and Mutare in addition to commissioning pieces of art such as a statue of Robert Mugabe.
  4. Patrons who buy works or write forewords to catalogues for international exhibitions. Examples of well-known individuals in this category include Richard Attenborough, Richard E. Grant, and Joshua Nkomo.
  5. Other notable contributors to the sector include AVAC Arts[15] founded by Terrence T. Musiyiwa. AVAC Arts founded in 2003 created one of the first websites in Zimbabwe which promotes international art trade from Zimbabwe. The idea was to show how the internet can be used as a tool to promote adaptation and utilization of new technologies towards improved art community livelihoods in Zimbabwe.
  6. A group of specialist dealers who display the works in their galleries worldwide and communicate their own enthusiasm for this art form to visitors, who by viewing, purchasing, and enjoying the objects spread that enthusiasm.

Roy Guthrie quoted a 1991 article in The Sunday Telegraph in his introduction to an exhibition in South Africa[16] to remind art lovers that

"There is a widespread assumption today that art must necessarily be international.... But against this trend one finds isolated pockets of resistance, which suggest that good art can (and perhaps must) be a local affair – the product of a particular place and culture. And one of the most remarkable in the contemporary world is the school of sculptors that has flourished among the Shona tribe of Zimbabwe in the last 30 years... placed beside the dismal stuff so beloved of the international art bureaucracy – as they were in the 1990 Biennale – these African carvings shine out in a desolate world."

In spite of increasing worldwide demand for the sculptures, as yet little of what McEwen feared might just be an "airport art" style of commercialization has occurred. The most dedicated of artists display a high degree of integrity, never copying and still working entirely by hand, with spontaneity and a confidence in their skills, unrestricted by externally imposed ideas of what their "art" should be. Now, over fifty years on from the first tentative steps towards a new sculptural tradition, many Zimbabwean artists make their living from full-time sculpting and the very best can stand comparison with contemporary sculptors anywhere else. The sculpture they produce speaks of fundamental human experiences - experiences such as grief, elation, humor, anxiety, and spiritual search - and has always managed to communicate these in a profoundly simple and direct way that is both rare and extremely refreshing. The artist 'works' together with his stone, and it is believed that 'nothing which exists naturally is inanimate' - it has a spirit and life of its own. One is always aware of the stone's contribution in the finished sculpture and it is indeed fortunate that in Zimbabwe a magnificent range of stones are available from which to choose: hard black springstone, richly colored serpentine and soapstones, firm grey limestone and semi-precious Verdite and Lepidolite.[17][18][19][20]

Jonathan Zilberg has pointed out that there is a parallel market within Zimbabwe for what he calls flow sculptures – whose subject matter is the family (ukama in Shona) – and which are produced throughout the country, from suburban Harare to Guruve in the northeast and Mutare in the east. These readily available and inexpensive forms of sculpture are, he believes, of more interest to local black Zimbabweans than the semi-abstract figurative sculptures of the type mainly seen in museums and exported to overseas destinations. The flow sculptures are still capable of demonstrating innovation in art and most are individually carved, in styles that are characteristic of the individual artists.[21]

Another artist, Bryn Taurai Mteki, created a large sculpture titled “Chippi”, which was unveiled during the sixth All-Africa Games, hosted in Zimbabwe in September 1995. This sculpture also served as the games mascot. It is 2.5 meters high and is now displayed at the National Sports Stadium in Harare alongside the Games' Flame, as a part of the permanent collection. In 1996 Mteki, now living in Europe, was honoured with silver medals from Oelsnitz, Auerbach and Adorf in Germany.[22][3]: 32 

Some sculptors in Zimbabwe work in media other than stone. For example, at Zimbabwe Heritage 1988, Paul Machowani won an Award of Distinction for his metal piece "Ngozi" and in 1992 Joseph Chanota’s metal piece "Thinking of the Drought" won the same award. Bulawayo has been a center for metal sculpture, with artists such as David Ndlovu and Adam Madebele. Arthur Azevedo, who works in Harare and creates welded metal sculptures, won the President’s Award of Honour at the First Mobil Zimbabwe Heritage Biennale in 1998.[23] Wood carving has a long history in Zimbabwe and some of its leading exponents are Zephania Tshuma and Morris Tendai.[9]

International exhibitions

[edit]
Joram Mariga talks to Detlef Hansen about the story of stone sculpture in Zimbabwe ( rec. 1994)

Prospects

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3D printed Shona Sculpture by Boarding Dzinotizei

In 2017 computerised sculpting was introduced by the visual artist Boarding Dzinotizei. His digital Shona sculptures comment on the Zimbabwean society through 3D printing. The message conveyed represents a loss in the significance of totems in Shona culture. This is being portrayed, in this case, through simplified forms and missing body parts.[28]

The current poor economic conditions in Zimbabwe and recent hyper-inflation means that it is increasingly difficult for its artists to prosper and make a living from full-time sculpting.[29]

See also

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References and further reading

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  1. ^ Needham D.E., Mashingaidze E.K, Bhebe N. (1984) "From Iron Age to Independence, A History of Central Africa", p17. Longman, England. ISBN 0-582-65111-5
  2. ^ "Great Zimbabwe (11th - 15th century)". The Metropolitan Museum of Art.
  3. ^ a b c Sibanda, D.; Chikukwa, R.; Chabata, F.M.; Matindike-Gondo, T.; Mandangu, Z. (2015). Insights on Art in Zimbabwe: Mawonero/umbono. Kerber Verlag. p. 151. ISBN 3866789378.
  4. ^ Morton, Elizabeth (2003). "Ned Paterson and the Cyrene Mission Tradition". Retrieved 2020-10-08.
  5. ^ Morton, Elizabeth (2012). "Father John Grober's Workshop at Serima Mission". Academia.edu. Retrieved 2020-07-07.
  6. ^ "McEwen Collection". britishmuseum.org. Retrieved 2020-10-08.
  7. ^ Zilberg, Johnathan (13 July 2006). "The Frank McEwen Collection of Shona Sculpture in the British Museum". National Gallery of Zimbabwe. Retrieved 2022-12-15.
  8. ^ Arnold M I. (1981) "Zimbabwean Stone Sculpture". Louis Bolze Publishing, Bulawayo. ISBN 0797407472
  9. ^ a b Mor F. (1987) "Shona Sculpture". Jongwe Printing and Publishing Co, Harare. ISBN 0797407812
  10. ^ Winter-Irving C. (1991). "Stone Sculpture in Zimbabwe", Roblaw Publishers, Harare, ISBN 0908309147 (Paperback) ISBN 0908309112 (Cloth bound)
  11. ^ Sultan, O. (1994) "Life in Stone: Zimbabwean Sculpture – Birth of a Contemporary Art Form". ISBN 9781779090232
  12. ^ Spring C. (2008) "Angaza Africa: African Art now", Laurence King Publishing, ISBN 9781856695480
  13. ^ Leyten, H. (1994) "Tengenenge", Kasteel Groenveld, Baarn, Netherlands. ISBN 9074281052
  14. ^ Guthrie R (2000) "Chapungu: Custom and Legend – A Culture in Stone". Exhibition Catalogue for Kew ASIN B001ANIIXW
  15. ^ "AVAC Arts". AVAC Arts.
  16. ^ Guthrie R. (1997) "Zimbabwe Stone Sculpture". Catalogue for exhibition at Kirstenbosch, Printed by Scanshop, Cape Town
  17. ^ Kasfir S L. (2000). "Contemporary African Art", Thames and Hudson, London. ISBN 0500203288
  18. ^ Willett F (2002). "African Art", Thames and Hudson, London ISBN 0500203644
  19. ^ Winter-Irving C. (2004) "Pieces of Time: An anthology of articles on Zimbabwe’s stone sculpture published in The Herald and Zimbabwe Mirror 1999–2000". Mambo Press, Zimbabwe, ISBN 0869227815
  20. ^ Kasfir S L. (2007). "African Art and the Colonial Encounter: Inventing a Global Commodity". Indiana University Press. ISBN 0253219221
  21. ^ Zilberg, J. (2006). "Variation and Innovation in Zimbabwean Mother and Child Abstracts". National Gallery of Zimbabwe.
  22. ^ Problem Masau (2013-09-04). "Mteki retraces his roots". The Herald. Harare. Retrieved 2020-10-08.
  23. ^ See annual catalogues for Zimbabwe Heritage, produced by the National Gallery
  24. ^ "The Contemporary Fine Art Gallery Eton: Home". www.cfag.co.uk.
  25. ^ ""Zimbabwe Sculpture", Atlanta Airport Site". Archived from the original on 2011-11-18.
  26. ^ Barnett, David and James Covert (2004). Treasures from Zimbabwe: African Shona Stone Sculpture. Milwaukee: David Barnett Gallery.
  27. ^ "SD Natural History Museum Showcases Africa's Shona Art". KPBS Public Media. 2008-07-08. Retrieved 2022-05-21.
  28. ^ Tafadzwa Zimoyo (2017-05-09). "Exploring 4th generation of Shona sculptors". The Herald. Harare. Retrieved 2020-10-08.
  29. ^ Larkin, Lance (2014). Following the stone: Zimbabwean sculptors carving a place in 21st century art worlds (pdf) (Thesis). University of Illinois at Urbana-Champaign. Retrieved 2020-07-02.
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