Zimbabwe's House of Stone: Exploring the Landmark Gallery of a Renowned Sculpture Legacy [International Edition]

Zimbabwe is known as the land of stones, both in literal terms and symbolically, since its name originates from the historic stone city referred to as Zimbabwe. Great Zimbabwe . In this context, stone transcends mere materiality—it stands as the emblem of the nation’s identity, influencing its historical narrative and artistic heritage. To truly appreciate this, one should look no further than Chapungu Sculpture Park .

At the edge of Harare’s industrial area lies an extensive property that serves as both a showcase for stone artwork and a vibrant natural setting. This place houses more than 90 species of native trees and features a branch of the Mukuvisi River flowing within its bounds. Here, art merges seamlessly with nature, providing a distinctive look at Zimbabwe’s renowned sculpting heritage.

The last time I stopped by, in 2021, was when the founder Roy Guthrie He was still present back then, but he has since left us. His lasting impact continues to be seen all across the park.

The ex-refrigerator salesperson who later became a stone dealer was possibly one of the key individuals responsible for introducing Zimbabwean sculpture to an international audience. He orchestrated various global shows and artist residency programs. There were times when over 200 artisans were listed under him.

However, his aspirations went further than just exporting artworks. His genuine aim was to establish the biggest and most comprehensive permanent exhibition of Zimbabwean stone sculptures. In this setting, outdoors, pieces from various generations of artists are displayed together, highlighting the progression of the artistic style.

Today, my purpose is to have this meeting. Marcey Mushore Guthrie's widow informs me that the park is currently overseen by a trust and discusses various initiatives aimed at honoring and expanding his legacy. One such plan involves creating a dedicated museum.

As we make our way from the entry point, passing under an archway formed by trees affectionately called "the cathedral," sculptures populate the paths, engaging in a silent conversation with one another. Our path forward is guided by an individual who has transitioned from being an artist to an administrator. Nicholas Kadzungura He came to Chapungu as an apprentice and has never departed since then. Now, he stands as a living repository of the institution’s history.

A stone archive

My book in progress, The Stone Philosophers This work highlights the lives of Black Zimbabwean artists who popularized stone sculpture. The challenging question at hand is: What would a stone archive resemble? A potential response might be that it could take shape as a meticulously maintained garden park featuring works by Zimbabwe's renowned sculptors.

As we face the water, Mushore gestures toward a group of trees to show where the museum is planned. Maybe in a few years, the vegetation will be removed, and a structure will emerge to preserve the legacy of Zimbabwean stone sculptures.

Despite the international recognition Since the 1960s, despite its significant following, there remains no specific local museum devoted exclusively to this artistic discipline. A British curator has noted this absence. Frank McEwen , founding director of the National Gallery of Zimbabwe , is frequently recognized as the mastermind behind the movement. Guthrie viewed McEwen as an influencer.

Zimbabwean sculpture

Zimbabwean sculptures bring narratives to life, encompassing both straightforward and intricate stories—from mystical folklore filled with spirits to representations of ordinary daily experiences that form our existence. These artworks present larger-than-life forms depicting torsos, heads, creatures, and occasionally enigmatic figures.

Although frequently classified under the controversial tag of " Shona sculpture "the stonemasons of Zimbabwe were not solely Shona , the nation's biggest ethnic community. This term gained popularity through McEwen.

Indeed, many of these artists originated not only from various regions within Zimbabwe but also from nearby nations such as Zambia, Malawi, or Angola, thereby expanding the reach of this artistic tradition. The sculptors predominantly use serpentine stone—particularly varieties like springstone, fruit serpentine, and leopard rock—as well as opal stone and verdite, along with dolomite, which they mostly obtain from the Great Dyke, a significant 300 km geologic feature located centrally in Zimbabwe.

Outside the building imagery used by the Zimbabwean author Novuyo Rosa Tshuma 's novel, House of Stone Who were the craftsmen and laborers involved in the construction of the ancient city of Zimbabwe?

The nation owes its identity to the Shona people's extensive heritage in stoneworking. This isn’t merely symbolic; cities indeed rose from the efforts of their laborers' dedication. Stonemasonry wasn’t an anomaly sparked by colonial contact—it had been present throughout successive eras and customs. However, this craft hadn’t yet found recognition within academic classifications or gained visibility inside colonial museums.

The modern stone sculpture movement In Zimbabwe, this development occurred naturally. It was a phenomenon influenced by circles of friends, siblings, and couples who played a crucial role through their contributions. African modernism From the 1960s and 1970s.

The artisans who elevated stone sculpture to prominence created connections extending from one village to another, working together in an informal manner. Eventually, their creations were assimilated into the predominantly white art scene. Rhodesia As the nation was referred to during colonial era, it was subsequently transported to Europe and the United States.

Despite achieving fame during the era of decolonization in the 1950s and 1960s, these artists were marginalized within their homeland. Following Rhodesia’s declaration of unilateral independence in 1965—which turned it into a secluded bastion of white dominance—the narrative of stone sculpture intertwined with the wider challenges confronted by Black Zimbabweans. This art form mirrored the racial injustices and adversities experienced by those who continued to create despite significant obstacles.

Keeping tradition alive

Currently, Zimbabwe is more recognized for its emerging visual artists focusing mainly on painting, mixed media, and collage. Although stone sculpture used to be the leading art form of the nation, its prominence in discussions around contemporary art has waned—though this doesn’t reflect a drop in production levels. An online search reveals minimal information regarding the historical background or artistic importance of these works; rather, such searches predominantly lead to commercial gallery sites featuring sleek sculptures available for purchase, offering scant insight into either the creators themselves or their methodologies.

The focus on the end result rather than the creator is not a recent phenomenon; it dates back to the inception of the stone sculpting movement. We're looking at an underexposed repository, with lacunae in records intentionally left out due to past oversights. Consequently, these voids highlight more profound issues regarding authority, accessibility, and representation within the artistic community.

Read more: John Hlatywayo: remembering a great Zimbabwean artist who was woefully neglected by history

As we finish our visit to Chapungu, a cluster of artists, perched on wooden boards and big rocks, bid us farewell. These individuals embody a fresh era, upholding the legacy of stone sculpting in Zimbabwe, guaranteeing that this artistic practice keeps growing and persists over time.

Tinashe Mushakavanhu Research Assistant, University of Oxford

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