SYMBOLISM

Research conducted by art historians Van Wyk and Mathews in the late-1980's and mid-1990's (culminating in two photographically-illustrated books titled African Painted Houses: Basotho Dwellings of Southern Africa (Van Wyk, 1998) and The African Mural (Chanquion & Matthews, 1989)), concludes that the art of Litema cannot be understood in purely aesthetic terms. According to these researchers decorations have symbolic meaning and religious connotations, specifically relating to the Basotho life and ancestors.

Van Wyk, in his dissertation titled Patterns of Possession: The Art of Sotho Habitation done for a Ph.D. program in Art History and Archeology at Columbia University, states that Basotho murals are a form of religious art relating to the beliefs concerning Basotho ancestors, the realm of the Basotho woman, earth, creation, beauty and fertility (both in the fields and in the home). Furthermore, he suggests that the colours of decorations(Figure 2.15), themselves, have strong symbolic relevance and religious meaning, in some instances even making feminist and political statements (Figure 2.14).

Van Wyk states that, historically, mural decorations brought homage to the ancestors and in more contemporary times, they represent aspects of celebration, ritual and initiation. Figure 2.13 shows decorations around windows that, according to Van Wyk, prohibit evil spirits from entering a dwelling (Van Wyk, 1998:10-13).


Figure 2.13. Patterns around windows prohibit evil spirits from entering the home. Photographs by Gary Van Wyk (JP Rossouw, 2002:123).


Figure 2.14. A house facade displays the party colours of the ANC. Photography by Gary Van Wyk (Van Wyk, 1998:12).


Figure 2.15. The colour red symbolizes earth and fertility. Photograph by Gary N. Van Wyk (Rossouw, 2002: 124).

Tom Mathews in his writings (supported by photographs of son Paul Chanquion) claims flowers and dots to be symbols of fertility (Figure 2.16). Furthermore he states that chevron patterns represent water or uneven ground whilst triangles are symbols denoting male and female. Photographs illustrating these conclusions may be seen in Figures 2.17 and 2.18 (Changuion & Matthews, 1989:9,19,55).


Figure 2.16. Dot patterns photographed by Paul Changuion (Changuion & Matthews, 1989:9).


Figure 2.17. Chevron pattern photographed by Paul Changuion (Chanquion & Matthews, 1989:56,57).


Figure 2.18. White door barriers protect homes from evil spirits (Changuion & Matthews, 1989:67).

The statements made by Van Wyk and Matthews, could not be substantiated by the author in the event of her study. No persons knowledgeable in the art of Litema (Bekker, Thabane and Mothibe) or practicing Litema artists (interviewed) had any knowledge of a deeper significance other than that of beautifying the home for aesthetic purposes. Some of the artists questioned did however share their opinions concerning the possibility of symbolic meaning. According to artists in the Free State, their mothers (many of whom originate from Lesotho), might have been aware of such meanings, but did not share this information with them during their teachings.