CERAMIC LAMP (LIKELY RITUAL)
[1,2,9]: CERAMIC LAMP (LIKELY RITUAL)
[3,4]: Bamana/Bambara pottery (seen on jigada/water pots) features this lizard motif, symbolizing rejuvenation. The same motif can be seen on the lamp
[5]: Bamana potters are women
[6]: Red slip was a signature glaze finish for Bamana pottery
[7,9]: The same shape used for finials at the top of mosques is used to crown the tallest spout of the lamp
[8,9]: Bamadaga / “crocodile” / ritual pots were designed with raised nodules to warn people not to touch. This similar design at the top of the lamp may indicate its use in a ritual context.
From: Bambara / Bamana culture, Mali 🇲🇱Source [1,2,9]: “First art: historic African ceramics” by Douglas Dawson. Seen on @internetarchive
Source [3]: @pagodared
Source [4]: @barakat_london
Source [5,6]: @janetgoldner
Source [7,8]: “Marks of Identity. Potters of the Folona (Mali) and Their “Mothers”” by Barbara E. Frank
Source notes [1,2,9]:
“Early-Mid 20th century. 22” by 11”.
In this piece, elements of Islamic West African design are mixed with architectural forms, spouts that are distinctly Igbo in shape, and indigenous decoration. Although it was clearly never part of any canon, this lamp’s thick red slip betrays its Malian
origin and the lizards modeled in relief are the hallmark of a bygone Bamana aesthetic”
Source notes [6]:
“Red stone slip is applied to the dried pot before firing.”Observations: cultural synthesis, architectural influence in object design, continuation of a strong design language (lizard motif), multipurpose design, considering spirituality/connection, formal harmony.