Abstract

As ceramics by Black South African artists garner increased academic interest, the work of early Ardmore Design artists, exemplified by Bonnie Ntshalintshali, remain on the periphery of scholarly investigation. This article seeks to reacquaint the art historical community with Ntshalintshali’s sculptural works, demonstrating the cultural and historical relevance of her ceramics as potent expressions of her unique perspective and artistic voice. With a focus on early artworks inspired by Christian parables, this exploration of specific sculptures elucidates Ntshalintshali’s relationship with Christianity, fused with her Zulu heritage and Black South African identity. By examining these works as interconnected, as opposed to singular masterpieces, common themes and repeated motifs become evident. Ultimately, this article provides a more nuanced and extensive assessment of a selection of Ntshalintshali’s sculptural forms, illustrating their complexity, their thoughtful and potent imagery, and their embodiment of complex personal narratives.

摘要

随着南非黑人艺术家的陶瓷作品获得越来越多的学术兴趣，以 Bonnie Ntshalintshali 为代表的早期 Ardmore Design 艺术家的作品仍然处于学术研究的边缘。本文旨在让艺术史界重新认识 Ntshalintshali 的雕塑作品，展示她的陶瓷作为她独特视角和艺术声音的有力表达的文化和历史相关性。重点关注受基督教寓言启发的早期艺术作品，这种对特定雕塑的探索阐明了 Ntshalintshali 与基督教的关系，并融合了她的祖鲁传统和南非黑人身份。通过将这些作品视为相互关联的作品，而不是单一的杰作，共同的主题和重复的主题变得显而易见。最终，