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 is much more than just a building material—it serves as the very emblem of the nation's identity, influencing its historical narrative and artistic heritage. The best way to experience this is by visiting Chapungu Sculpture Park .

At the edge of Harare’s industrial area lies an extensive property that serves as both a showcase for stone craftsmanship and a vibrant natural setting. This place houses more than 90 species of native trees, alongside a branch of the Mukuvisi River that meanders through it. Here, artistic expression and wildlife converge, providing a distinctive look at Zimbabwe’s renowned sculpting heritage.

The previous time I went for a visit was in 2021, when the founder Roy Guthrie He was still present back then, but he has since passed away. However, his lasting impact can still 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 arranged numerous global shows and artist residency programs. There were once over 200 artisans listed under him at some point.

However, his aspirations went further than just exporting artworks. He aimed to establish the biggest and most comprehensive permanent exhibition of Zimbabwean stone sculptures. In this setting, under the sky, creations from various generations of artists are displayed together, highlighting the progression of the artistic style.

Today I have come here to meet 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 upon his legacy. Among these plans is the creation of a dedicated museum.

As we make our way from the entry point, passing under a tree-covered archway affectionately called "the cathedral," we encounter statues positioned along 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 archive 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 query at hand is: How would a stone archive appear? A potential response might be that it resembles 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 in its stead, a structure will emerge to preserve the story of Zimbabwean stone sculptures.

Despite the international recognition Since the 1960s, despite its growing recognition, there remains no local museum exclusively devoted 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 each convey a narrative, whether straightforward or intricate, spanning from spiritually charged folklore to representations of mundane scenes that compose daily existence. These artworks present larger-than-life forms depicting figures, faces, creatures, and occasionally abstract compositions.

Although frequently grouped under the controversial category of " Shona sculpture ", the stonemasons of Zimbabwe did 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, often complemented by dolomite. These materials are largely extracted from the Great Dyke, a significant 300-kilometer-long geologic feature located centrally in Zimbabwe.

Outside the building imagery used by the author from Zimbabwe 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's name owes itself to the Shona people's extensive history in crafting stones. This isn’t merely symbolic; cities indeed rose from hard work and perseverance. The art of stone sculpting wasn't sparked by colonization but has been present throughout their lineage and customs. However, this practice had yet to be categorized within academic frameworks or showcased in colonial museums.

The modern stone sculpture movement In Zimbabwe, this development occurred naturally. It was a phenomenon influenced by clusters of friends, siblings, and couples who significantly contributed through their efforts. 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 world. Rhodesia As the nation was referred to during the colonial era, it was sent 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. In 1965, when Rhodesia proclaimed independent rule, emerging as a segregated bastion of white dominance, the narrative of stone sculpture intertwined with the wider challenges confronted by Black Zimbabweans. This art form mirrored the racial discrimination and adversities experienced by those who continued to create despite significant obstacles.

Keeping tradition alive

Currently, Zimbabwe is more renowned for its emerging visual artists specializing in mediums such as 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 does not reflect a drop in actual production levels. An online search reveals minimal information regarding the historical background or artistic importance of these sculptures; rather, the primary focus appears to be on commercial gallery sites offering sleek pieces for purchase, often neglecting details about the artists themselves and 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 tradition. We're looking at an underexposed repository wherein missing records aren’t mere oversights but outcomes of overlooked history. Such voids reveal more profound issues regarding authority, accessibility, and prominence within the artistic community.

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, perpetuating the legacy of stone sculpting in Zimbabwe, guaranteeing that this artistic expression remains dynamic and lasting.

Tinashe Mushakavanhu , Research Associate, University of Oxford

This piece has been republished from The Conversation under a Creative Commons license. Review the original article .