Lesotho Tapestry Weaving
Bibliographic Data
| ID | 9022696 |
|---|---|
| Authors | Rhoda Levinsohn (corresponding author) |
| Year | 1976 |
| Volume | 9 |
| Issue | 4 |
| Pages | 52 |
| Publication date | 1976-07-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | African Arts (JOURNAL) |
| Journal identifiers | ISSN: 0001-9933 • E-ISSN: 1937-2108 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/3335055 |
| OpenAlex | W2095292615 |
| Language | EN |
| Citations received | 1 |
A visitors enter Maseru, the capital of Lesotho, they are greeted by a sign that reads Kena Ka Khotso (Enter in Peace). This greeting holds special significance because here in this small, almost completely rural nation which prides itself on peace, one can witness the first stages of the development of an artistic activity unique to African art, an activity based upon cooperation within communal groups of artisans. It has only been within the last decade that members of the Basotho Nation, who inhabit the independent Southern African state of Lesotho, have begun to develop mohair tapestry weaving as an artistic industry. The medium for the craft, the aesthetic content of the tapestries, and the cooperation among the artisans all reflect the way of life in Lesotho. Since Lesotho is the world's fourth largest producer of mohair, it is natural that goat hair should provide the foundation for a native weaving industry. The country is small (30,355 square kilometers, approximately the same size as the State of Maryland), and it is
Archaeology · Art · Geography · Visual arts · Weaving · African history and culture studies · Archaeology and Rock Art Studies · Engineering · Mechanical Engineering
| Citations per year | 0.1 |
|---|---|
| Citation span | 2016 - 2016 (1) |
| Highly cited | No |