ABSTRACT
Modern and traditional Arts have established a developmental relationship in the history of creativity of art forms, with effect from the early man, in its quest for survival. The traditional arts are fading away but fewhave been translated into modern usage and the act of inculcating the concept from one generation to the other is diminishing. Some of the design experts, (lords or kings) of the traditional designs lacked that creativity of extending the art to other concept of contemporary modern designs. The focus of this study is to extract, experiment, incorporate integrate and adapt some selected Zaria traditional walldecorative motifs/symbols for the production of ceramic wall tiles. The study also embarked upon series of studio experiments at enhancing clay body that best fit into the production of the tiles on which the decorations were made. Again the study discusses the findings base on the results of the clay body experimented upon, plasticity test, shrinkage tests, glazing and firing,calculations for compressive strength and modulus of rupture of the tiles. The study concludes that tiles are used virtually everywhere. In homes, public places, schools, hospitals, etc all over the world and also tiles generally serve as a protection over dirty. The study finally made recommendation and suggestion for further research into the course of study.
TABLE OF CONTENTS
TITLE PAGE ……………………………………………………………………………………………………………… i
DECLARATION ………………………………………………………………………………………………………… ii
CERTIFICATION ……………………………………………………………………………………………………… iii
DEDICATION ………………………………………………………………………………………………………….. iv
ACKNOWLEDGEMENT …………………………………………………………………………………………… iv
ABSTRACT …………………………………………………………………………………………………………….. vii
TABLE OF CONTENTS …………………………………………………………………………………………… viii
LIST OF FIGURES ……………………………………………………………………………………………………. xi
LIST OF PLATES…………………………………………………………………………………………………………. xii
DEFINITION OF OPERATIONAL TERMS……………………………………………………..xv
GLOSSARY…………….…………………………………………………………….xviii
CHAPTER ONE
INTRODUCTION………………………………………………………….……………………….1
1.0 Introduction…………………………………………………………………………………. …. 1
1.1 Statement of the Problem ……………………………………………………………………………………….. 3
1.2Aims and Objectives of the Study ………………………………………………………………………………. 4
1.3 Significance of the Study…………………………………………………………………………………………. 5
1.4 Justification of the study …………………………………………………………………………………………. 5
1.5 Limitation of the Study…………………………………………………………………………………………… 6
1.6Scope/Delimitation of the study …………………………………………………………………………………. 6
1.7 Research Question………………………………………………………………………………7
CHAPTER TWO
2.0 REVIEW OF RELATED LITERATURE …………………………………………………………………… 8
2.1 Introduction ………………………………………………………………………………………………………….. 8
2.2 Historical Development of Ceramic tiles…………………………………………………………………….. 8
2.3 Types of Tiles……………………………………………………………………………….……15
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2.4 Characteristics of Tiles……………………………………………………………………………16
2.5 Wall Decorations…………………….……………………………………………………….….19
2.5.2 Types of Decorations………………………………………………………………………….22
2.6 Motifs and Design Concept..………………………………………………….…………………23
CHAPTER THREE
3.0 METHODOLOGY………………………………………………………………………………………………. ..26
3.0 Introduction ………………………………………………………………………………………………………… 26
3.1 Research Design …………………………………………………………………………………………………. 27
3.2 Population of the Study …………………………………………………………………………………………. 28
3.3 Methods of Data Collection ……………………………………………………………………………………. 31
3.4 Procedures of work ……………………………………………………………………………………………… 34
3.4.1Preliminary preparation……………………………………………………….….…..……….35
3.4.2 Computer Aided Design Process…………………………………………….….…..………..36
3.5Exploratory / Developmental Stage ………………………………………………………………………….. 40
3.6 Procedure for Mould making……………….……………………………………………………46
3.7Sources of Raw materials used………………………………………………………………….50
3.8 Testing of Materials…..………………………………………………………….….…..………..51
3.9 Formulation of Clay bodies……………………………………………………………………..53
3.10 Characterization and properties of materials…………………………………………………..56
3.11 Production stage………………………………………………………………………………….58
3.12 Determination of crushing strength of Tiles…………………………………………………66
CHAPTER FOUR
RESULTS, FINDINGS AND DISCUSSION
4.1 Introduction……………………………………………………………………………………..71
4.1Clay treatment…………………………………………………………………………….…….71
4.2 Result of Mould-Making………………………………………………………..……….……71
4.3 Result of Slab Test………………………..…………………………………………….…….72
4.4 Result of Clay Body Test………………………………………………………………………72
4.5 Result of Shrinkage level……………………………………………………………………..73
4.6 Result of Test on Production Technique……………………………………………………..73
4.7 Result on Crushed Tiles………………………………………………………………….……74
4.8Findings……………………………………………………………………………………….75
CHAPTER FIVE
SUMMARY, CONCLUSION AND RECOMMENDATIONS
5.1 Introduction………………………………………………………………………………..…..78
5.2 Summary……………………………………………………………………………………….78
5.3 Conclusion……………………………………………………………………………………..79
5.4 Specific Recommendations………………………………………………………………….80
5.5 General recommendation………………………………………………………………………80
References…..……………………………………………………………………………………..82
Appendix…………………………………………………………………………………………..88
CHAPTER ONE
1.1 INTRODUCTION The discourse of technological development always brings into centre stage the dichotomy that exists between two schools of thought: the modernist and the traditionalist.Adou, (1988) said that ‗The modernist school of thought argues that the traditional technology is crude and archaic and cannot measure up to the current, fast and appealing technological advancement of the modern world. While the traditionalist argues that the modernist technological development is the intrusion of Western ideas that has made it problematic both for the advancement and appreciation of the traditional technology. However, a lot of critical contributions have been made on this discourse, which has also affected critical discourse in other subject matter, like history, sociology, architecture, etc. In art, critical arguments have come into focus in the discourse of traditional and modern African art. While the traditionalist argues that African art is ritually conceived and forms the total way of life of the people (culture), and should be treated as such, the modernist argues that art is a form of entertainment, which is conceived and creatively done for the general appreciation of the people, Adou (Ibid). Meanwhile, this study is not to make a case for either of the two schools of thought but to appreciate the analytical perspective of both schools of thought as they will allow us to understand better the mechanism, genesis, and functions of both and their dialectical relationship with one another in the advancement of this study.
Much contemporary discussion on the nature and origin of art in Africa has its root on the historical paradigm of the early man. From Early Man‘s attempt in food gathering to attempt in
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controlling forces of nature, man has unconsciously developed the art form. This form has eventually helped man to document his motivation for his early activities and means of survival. In Africa, both the per formative and visual art-forms expression serves a particular function, the visual art for instance may satisfy an everyday household need, adorn the body, or use to fulfill religious or social obligation. These include; baskets, pottery, ceramics, carved headrests, and stools. Another aspect of the visual art also includes designs and decorations, which serves the functions of both decorative and communicative. There are also designs on cloths, body and walls of buildings, which may indicate an individual‘s prestige or a design to identify a person or a group social status. This till date has constantly reminds us of man‘s historical development. Agreeing to this fact, Janson (1973) acknowledged that ―the first known pictures were done (on walls of caves) in the old stone age by people who lived in caves.‖ While Gilbert and McCater (1988) posit that such pictures were done ―to exert control over the forces of nature.‖ In recent times and with the coming of the Western civilization, there came a shift that today eventually brought about the recent discourse in modern and traditional art in Africa and indeed Nigeria. Fowowe (2004: 5) collaborate the assertion when he wrote that: ―Western Education, Christian religion and, of course, cultural diffusion had brought a new dimension into artistic creation. With the advent of colonialism, the ubiquitous and revered art traditions whittled gradually and the ‗half caste‘ of the Western and the Nigerian Art emerged in the guise of contemporary art‖.
The coming together of the modern art and traditional art-forms, according to Fowowe‘s (2004) observation, is very important at this juncture. Relying on this observation, one is therefore tempted further when he observed and concluded that indeed modern art-form did borrow from
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traditional art-form. However, this author seems to move his argument further when he observed that ―both traditional and modernity have very much in common.‖ Thus, it is important to make a fundamental observation and state that modern and traditional technology or art-forms have a lot in common and both can further enhance the development of the other. The argument that postulates that modern seems to be better than traditional and vis-à-vis is a form of nomenclature that threatens the appreciation of both. The most important conclusion to draw from here therefore is that whatever space that man creates it should be user friendly. Ajayi (2004) seems to put it succinctly when he stated that, ―creation demands a creative and flexible response which can be meaningfully related to people‘s lives‖. 1.2 STATEMENT OF THE PROBLEM Traditional designs in Africa and indeed Nigeria is rapidly fading out of existence. Many designs, especially those done on structures are being demolished due to modern technological development in architecture. While it is important to note that the modern technological development has its advantages, it is also very important to state that the development is unconsciously responsible for the ‗death‘ of traditional designs. This development is not just a threat to the aesthetics of the African art-form but an attempt to erode the people‘s cultural heritage. This trend has not only made it almost impossible for the appreciation of the traditional African art, but has also made mockery of the art form and has continued to be problematic to the existence of the form. The problem of this study is therefore, the adaptation of some selected traditional motifs of Zaria wall decorative symbols for ceramic tile design and production.
Meanwhile, another angle to the problem instituted by the development is rooted in the attempt to make it impossible for indigenous African and indeed Nigerian traditional artist to be out of
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creative activities. Apart from the gradual demise of the traditional African aesthetics, there is also the decline in its economic value due to less patronage thereby making it impossible for traditional artists to earn valued economic living for their creativity.―There could have been indigenously designed tiles that reflect our true identity as persons in our local market; it will enhance our technology and economy‖ Morakinyo (2012) However, the economic angle of this problem as well as the ‗death‘ of cultural heritage calls for urgent and immediate attention by stakeholders. It is therefore imperative that collective effort is made to revamp our great cultural and historical heritage that is gradually being phased-out by the modern development in both art and technology. This can be achieved by inter-relating modern and traditional art as well as technology. So the researcher intends to adapt traditional wall decorative motifs or symbols onto our modern ceramic wall tiles. 1.3 AIM AND OBJECTIVES OF THE STUDY The main aim of the study is to adapt Zaria wall decorative motifs and symbols onto ceramic wall tiles, so as to use modern ceramics at projecting old cultural symbols into modern ceramic tiles. The specific objectives of this study therefore areto:
i. Merge Zaria wall decorative motifs and modern tiles to preserve Nigerian socio-cultural heritage;
ii. Experiment on how modernizing Zaria wall decorative motifs could help modern appreciation of Zaria traditional designs.
iiiIncorporate traditional motifs and prototype designs into the industries, in order to enhance aesthetically the decorative productions of ceramic wall tiles.
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iii. Digitalizing Zaria traditional wall decorative designs for easy integration into modern machine production of tiles.
1.4 SIGNIFICANCE OF THE STUDY The study is significant because it brought to lime light the creative ability of the local craft artists as well as the strength inherent in the exploration of the traditional design motifs and symbols for modern applications. Adapting Zaria motifs into ceramic wall tiles production can enhance the aesthetic and appreciation of the traditional motif. It can also serve as valuable documents of the traditional symbols to create awareness. It can help in selling Nigerian local material culture to the rest of the world. As opined also by Morakinyo, (2012). ―This will in turn enhance our technology and the economy, and we would have been able to export and earn foreign exchange for our nation through this sector‖ Academically, this is a significant contribution to knowledge because from all literatures gathered, none has adapted Zaria motifs on tiles .Tiles have taken over rug carpets in homes and public places today, so the future generation can come up to see our diminishing traditional designs beautifully decorated on modern ceramic tiles. It can serve as reference materials to other researchers.It can also serve as source of womenempowerment, and at the same time, can boost the marketability of Nigerian ceramic tiles product in the international market as foreign expatriates are deeply in love with African cultures and traditions.
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1.5 JUSTIFICATION OF THE STUDY Several motifs and design styles exist among the various people of Zaria city of Kaduna state, Nigeria. In spite of the knowledge of these motifs, none has been adopted into tile designs. In addition, this study could serve as a stimulus for domestic production which will in turn expand both the knowledge and the economic base of ceramic practitioners. 1.6 LIMITATION OF THE STUDY Most of the traditional artists do not understand English, which brought about communication barriers. The researcher had to employ an interpreter in the course of the field work. The few literate heads of the household refused the researcher from taking a picture of the designs on the walls of their structure.Some will first seek for the researcher`s identity and at the end of it all still will not consent for the researcher to take a snapshot. Another limitation is the fact that there are no adequate equipment to carry out some important tests like, strength of the materials, modulus of rupture of the materials in the department, but had to go to other departments to use these machines. Some of the motifs are temporal, because of climatic influences, environmental hazards and a times demolition of structure. 1.7 SCOPE/ DELIMITATION OF THE STUDY This study is delimited to adapting wall decorative motifs and symbols of some selected Walls in Zaria city, Kaduna State, Nigeria for ceramic wall tile designs and production.
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1.8 RESEARCH QUESTIONS
What are the possibilities of exploring Zaria wall decorative motifs on modern ceramic wall tiles?
What will be the outcome of merging traditional Zaria wall motifs onto modern ceramic tiles?
Will the adaptation of Zaria wall decorative motifs on ceramic wall tiles help revive and retain the diminishing traditional designs?
How valuable and meaningful will the design be in the international markets?
Will digitalizing these motifs really bring out the actual features of the intended design?
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