ABSTRACT
The motivation to conduct a research on the ceramic forms of Professor Ahuwan emanated from their uniqueness. After acquiring a sound Western training in ceramic production, Professor Ahuwan turned to traditional pottery, preferring to elevate the aesthetic qualities of wares over their functionality. He continued to teach Ceramics for over forty years to students at the Ahmadu Bello University, Zaria and at other institutions whenever he visited them. Despite this commitment to the development of Ceramics, he remained relatively obscure to researchers and art commentators, accounting for the dearth of literature on his works. This study, therefore, set out to produce an analytical documentation of his work by describing, analyzing, interpreting and evaluating them. The methods of the study were derived from the frameworks proffered by earlier researchers in related areas like Fajana (1996) and Barnet (2003).
These frameworks provided steps in retrieving and analyzing data. Thirty works of Professor Ahuwan were studied. The earlier works were utilitarian while the latter were sculptural-ceramic wares with the Kim Kim as one of the prominent forms. Their finishing using the traditional method of firing and linear embellishments was meant to evoke aesthetic appeal. These effects were learnt from Mallam Idi, Professor Ahuwan’s traditional pottery teacher, who resided in Hunkuyi. Professor Ahuwan eventually called the sculptural-ceramic forms, Hunkuyi Experiments. The study established that this term was more a concept than events. It defined him as a post-colonial artist having been liberated from colonial vestiges epitomized in his departure from Western oriented methods of pottery.
The motivation to conduct a research on the ceramic forms of Professor Ahuwan emanated from their uniqueness. After acquiring a sound Western training in ceramic production, Professor Ahuwan turned to traditional pottery, preferring to elevate the aesthetic qualities of wares over their functionality. He continued to teach Ceramics for over forty years to students at the Ahmadu Bello University, Zaria and at other institutions whenever he visited them. Despite this commitment to the development of Ceramics, he remained relatively obscure to researchers and art commentators, accounting for the dearth of literature on his works. This study, therefore, set out to produce an analytical documentation of his work by describing, analyzing, interpreting and evaluating them. The methods of the study were derived from the frameworks proffered by earlier researchers in related areas like Fajana (1996) and Barnet (2003).
These frameworks provided steps in retrieving and analyzing data. Thirty works of Professor Ahuwan were studied. The earlier works were utilitarian while the latter were sculptural-ceramic wares with the Kim Kim as one of the prominent forms. Their finishing using the traditional method of firing and linear embellishments was meant to evoke aesthetic appeal. These effects were learnt from Mallam Idi, Professor Ahuwan’s traditional pottery teacher, who resided in Hunkuyi. Professor Ahuwan eventually called the sculptural-ceramic forms, Hunkuyi Experiments. The study established that this term was more a concept than events. It defined him as a post-colonial artist having been liberated from colonial vestiges epitomized in his departure from Western oriented methods of pottery.
