AFRICAN PAGODA INTERIORS, Author at African Pagoda Interiors

Bedouin Dallah/Coffee Pot

AFRICAN PAGODA INTERIORS2024-06-05T18:17:05+00:00June 5th, 2024|Categories: CONVERSATION PIECE|

The Dallah or coffee pot featured under our African decorative category was used by the nomadic Bedouin and most likely originates from North Africa. The Dallah forms an integral part of Bedouin life and ritual based around coffee and how it is presented to a guest in welcome.

For many of us, coffee is associated with Starbucks and the western way we drink the beverage, however, coffee was not introduced by the West to the world but rather its introduction is thanks to the Islamic sphere.

Coffee was introduced to the world by the Sufi saints of Yemen, who drank coffee to stay awake during night long mediation and recitation of zikr rituals. It was through the Sufi saints and merchants that it spread through the Islamic world from the Turkish Ottomans to the Mughals of South Asia and then to the rest of the world.

The coffee adopted in the Arab world and referred to as Arabica coffee originally came for the Ethiopian Highlands in North East Africa and permeated its way throughout the Arab world, including the nomadic world of the Bedouin.

The Dallah on offer was used by the Bedouin to serve coffee, which is done in a ritualistic way to welcome guests. Coffee is poured from the pot and exits though an elaborate beak which has an open top so that the coffee can be seen and admired as it is poured into small cups. The first cup for the host, to test the quality and then to the most important guest and so on. Three cups are considered the maximum to be polite, never four and further pouring is stopped by the guest shaking the cup.

This old Dallah is made from a metal alloy and consists of a hinged, pierced lid, a handle and large beaked pouring spout. The design has been administered by the use of chasing and punched techniques, culminating in an understated decoration of typical Islamic geometric patterns and rings circling the body of the pot. The pot clearly shows wear and patination associated with the daily use of a treasured household item, emphasising the history and importance of the pot. This is a piece that clearly shows the beauty of imperfection and the life lived by an attractive and important object of Bedouin life.

Reference: –

1.Folger Shakespeare Library.

“Spilling the beans: the Islamic history of coffee”

Neha Vermani

14 May 2021

2. Fathomway.com

“How to drink coffee like a Bedouin”

29 September 2019

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Kimono, not just any old item of clothing

AFRICAN PAGODA INTERIORS2024-03-13T12:58:38+00:00November 8th, 2023|Categories: BLOGS|

Kimono, meaning a “thing to wear/wear thing”, a simple, straight seamed garment, which is worn wrapped, with the left side over the right side and a sash or Obi securing it in place around the waist.

The earliest form of a kimono dates back to the Heian period (794-1185), Japan and was designed in such a way that it would fit over any body type, was easy to wear and was adaptable.

It was during the later Edo period (1603-1868) that the earlier garment started to change to what was later to become the Kimono. During this period, it evolved into a unisex outer garment, called a Kosode, “small sleeves”, due it having smaller armholes.

The Edo period is renowned for the fact that its governing elite had Japan’s interest in mind, which allowed it to develop its own culture and ideas, while interacting with foreigners on its own terms, thus allowing for the development of such unique, iconic symbols, such as the Kimono.

It was during this period that the Kosode was a visible, unifying cultural marker, in much the same way as the Kimono is today.

Like many cultures around the world at the time, the Edo period had its own class system and although the Kosode shape didn’t change, the distinguishing features between the classes would be highlighted by the types of materials, designs, techniques and colours used to make the garment. The poorest wearing theirs till they wore out, while those further up the ladder were able to have new garments made on a regular basis.

The fabric and choice of design would show the rank, sophistication and education of the wearer, Chinese characters/script (Kanji) and scenes from classical Japanese and Chinese literature would show how well read the wearer was, to aristocratic rank symbolised by scenes from Noh plays which were restricted to invited aristocrats only.

Design books called Hinagata Bon “design/pattern books” started to develop and became a must for all when ordering a new Kosode. The books often having designs or patterns by famous artists of the time, elevating the Kosode from mere garment to art work.

The Meiji “Restoration” Period (1868-1912) saw Japan trying to bring itself in line with the “Modern Western world” and it was during this time that we saw the name Kimono come into being.

During this period that men were encouraged wear western style clothing and, in some cases, it was law that government officials and military personnel were to wear only western style clothing at official functions. However, on the other hand, women were encouraged to continue to wear Kimono and traditional Japanese dress, possibly as a continuing symbol of certainty and cultural identity during a time of great change.

As stated, Kimono are not just mere items of clothing, its when and how you wear it, the choice of Obi, combs and pins worn in the hair that are of equal importance as is the fabric, technique, colour, symbolism and design.

The symbolism or motifs indicate the virtues or attributes of the wearer, as previously mention, or is related to the season or occasion such as weddings or festivals and may bestow good fortune or longevity on the wearer.

Colours also had strong cultural and metaphorical meanings as the dyes used were said to embody the spirits and properties of the plants from which they come. Any medicinal or protective properties the plants are believed to have, are transferred to the coloured cloth.

When it comes to motifs, the richest source for Kimono come from the natural world. Motifs having seasonal significance or symbols of longevity, perseverance and renewal. Birds, animals and insects as well as water, mountains and snow, all playing their part in the story. While poems and stories symbolising the literary prowess of the wearer.

While some of the beliefs and superstitions may have waned, Kimono are still worn today, with some of the symbolisms remaining, the most important being a reminder of the continuation of Japanese identity and individuality.

Unfortunately, many Kimono are discarded in large quantities every year to make way for new ones and there is now a growing trend to recycle or upcycle these garments into shoes, dresses and bags in an attempt to mitigate waste and keep alive an ancient, cultural identity.

So, when you next look at a kimono, remember there is a story or message being told and that it’s not just a pretty or ornate garment but a history of the person it was made for.

References: The surprising history of the Kimono – by Cynthia Green, Dec 8 2017-JSTOR Daily

Kimono – Victoria and Albert Museum, London

Images courtesy of Pinterest and Houzz.com

Kuba Cloth – A visual and tactile delight

AFRICAN PAGODA INTERIORS2023-11-10T08:57:38+00:00November 8th, 2023|Categories: BLOGS|

When first encountering Kuba cloth, one’s senses are overwhelmed, with colour, size and a dazzling array of geometric designs, seemingly all the same yet different.

Kuba cloth is a generic term describing fabrics from subgroupings of the Kuba people and is a broad term to cover cloth from this region.

Kuba mythology has it that the fabrics originated with their great ancestor king Shamba Bolongongo or the king’s son, during the 17^th century. Similar fabrics were made by the Pende and Kongo peoples, found further West, and may predate the Kuba pieces and it is believed that Kuba artisans, through trade, were exposed to the art form.

The fabric production is an activity in which both women and men collaborate. The fabric or textiles are made from raffia palms which are cultivated by women, and then the leaf fibre is stripped by the men, who then weave the fibres into mats on an upright, single-heddle loom. The woven mats are then soaked and often beaten to make the fibres soft.

After this process has been completed, it is taken over by the women who then add the patterns or designs. The designs form a complex pattern of interlocking, angular patters, that at first glance appear to repeated designs but on closer inspection it is clear that the designs are more irregular and show the makers inventiveness, or as some say are guided by the “spirit” or “ancestor” world. Colours were brought in by dying pieces of the fabric with local natural dyes, but after 1920, European dyes became more prominent in the dying process. There is also now a combination of raffia and factory-made fabric pieces, once again adding to the enormous variety of design.

Many of the patterns have names, either of kings or artisans, while others may have names referring to such things as smoke, eyebrows and crocodile skin, however, as mentioned, although these may be incorporated into the design, the finished product may all be that of the creator of the fabric pattern.

The fabrics produced by the Kuba, whether used for display or worn, are central to Kuba culture and are symbols showing the importance or wealth of the individual wearing or displaying the fabric. The fabrics were also used as a form of currency within the Kuba grouping or for outside trade and as a result there has now developed two basic types of fabric, those made for local consumption and ceremony and those purely used for trade, which can be referred to as “trade” pieces.

Traditionally, skirts for ceremonial purposes were made by women sewing panels of cloth together creating wrappers or skirts for both women and men, some of enormous length reaching up to a much as 9 metres. These were wrapped around the waist and the gathered edges, often decorated with pom-poms and cowry shells (the shells also being a form of currency and symbol of wealth), formed luxurious pleats and ruffles that flare and accentuate the movements of the wearer.

Trade pieces are made for the decorative market, and unlike those for local use, they are less detailed and quality may vary, as do the prices. Don’t be misled by the idea of trade pieces being inferior, these pieces are still handmade and take considerable time to make and finish. As older pieces become more scare, there is a growing trend among collectors to collect these so-called “trade” pieces, especially those of high quality, which are currently still available. Unfortunately, like Persian rugs and other handmade items, they all may slowly die out. The time it takes to produce these pieces, pressures on communities both social, economic, sanctions and conflict, is making it increasingly more difficult to keep these treasures viable. It is hoped that through continual support by buying from these communities, it will help keep them around for a long time to come and provide much needed income.

It must be remembered that Kuba fabrics have had a far-reaching influence on the rest of the world, and this was helped along by the Kuba people’s keen sense of business. Realising the interest their products had in the Western world, they utilised photography to expose their world and goods to outsiders. They had photographs taken from around 1913-1952, portraying dancing, portraiture and kings in full royal attire to entice the foreign buyer.

The influence did not stop there, great artist such as Gustav Klimt and garment designers such as Jurgen Rose were influence by these unique fabrics. To quote an article in the New York times “Those who admire Kuba textiles today, sometimes joke that the designs “look like Picasso” [..]where it is more a matter of Picasso looking at Kuba”.

These are precious and important fabrics that we hope will grace our homes, work spaces, museums and galleries for years to come.

References:

Textile art of the Bakuba, velvet embroideries in Raffia; Sam Hilu and Irwin Hersey, 2003

Kuba cloth – Victoria and Albert Museum, London

Double Prestige Panel (Kuba cloth) – The Metropolitan Museum, New York

Kuba Textiles – Geometry in form, space and time – Press release for exhibition March 1- June 14, 2015, held at the Neuberger Museum of art, Westchester

Out of Africa, Kuba fabrics that dazzle and teach -New York Times, by Joyce Beckenstein, April 18, 2015

A modern take on a medieval SE Asian design

AFRICAN PAGODA INTERIORS2024-03-13T12:50:30+00:00October 12th, 2023|Categories: BLOGS|

The diffuser/vases presented by Alexander Ross, were inspire by a small, humble, yet elegant blue and white jar made in Vietnam between circa 1450 and 1500 and is possibly from a wreck found of the coast of Hoi An, known as the Hoi An Hoard.

The ship was carrying a cargo made up exclusively of Vietnamese ceramics and was the largest find of intact pieces of Vietnamese ware ever found. During this period in which the ship carrying the ceramics sank., China then the largest exporter of ceramic wares, had placed a ban on sales to foreigners. The only legally permitted channel of trade was through the system of tribute. Vietnam and Thailand seized the opportunity to fill the demand for porcelain wares, which resulted in this being the golden period for ceramic wares for both countries.

Our little inspirational piece was probably made at the Chu Dou kilns, situated in the red river delta, which was the source for the majority of the cobalt blue and white wares found at the shipwreck site. This area came into its own at the end of the Chinese, Ming dynasty, occupation of the region. Pieces made at these kilns range from mundane, crude everyday pieces to high quality items decorated with great skill and artistry. Similar to Chinese kilns, large quantities were produced, using molds to form dishes and bowls. The designs were free flowing and painted at great speed, no doubt to ensure that demand was met. The decoration was done by both men and woman, and children were also employed in the ceramic industry of the time.

There is an important piece housed at the Topkapi Sarayi Museum Istanbul, which was originally thought to be of Chinese origan but was later identified as a Vietnamese piece, which is dated and signed by a female artist.

For many years, SE Asian ceramics were not taken seriously by collectors and museums but since the discovery of the Hoi An hoard, things have changed and the ceramics from Thailand, Cambodia and Vietnam are finally getting the recognition they deserve.

Resin Casting

AFRICAN PAGODA INTERIORS2024-03-14T13:27:55+00:00August 26th, 2023|Categories: BLOGS|

Acrylic resin consists of a powder and a liquid that cure at room temperature. The synthetic resin for such processes is a monomer for making a plastic thermosetting polymer. During the setting process, the liquid monomer polymerizes into the polymer, thereby hardening into a solid. The material can be cast in (silicone) molds, but can also be splashed on walls or objects. With this product you can easily create decorative walls, ornaments, artworks, sculptures and much more.

Resin casting is a method of ”plastic” casting where a mold is filled with a liquid synthetic resin, which then hardens. It is primarily used for small-scale production, and is used in the production of collectible toys, models and figures, as well as in the so called “serious” art category, and even small-scale jewelry production.

In the case of the items available on our website, a clay sculpture is first made in order to create a mold for the resin casting. To quote Carol from My Hares and Graces when using this method “[it] involves using one of the oldest forms of human expression – clay and human hands”, which is then translated into a resin sculpture. Despite its rather commercial sounding name, Acrylic resin is an art material in its own right, allowing hobbyists, serious artist and jewelers alike, bring to life their creations in a durable material full of expression.

Nic Sithole

AFRICAN PAGODA INTERIORS2024-04-16T07:29:48+00:00August 12th, 2023|Categories: COLAB|

Nicholas Sithole renowned South African ceramicist who works from his studio in Mamelodi, near Pretoria. He was born in Piet Retief, Mpumalanga and where he watched his maternal grandmother create traditional cooking plates from clay. However, in those days, this was of no interest to a young boy who was more interested in spending time in the open veld looking after the family cattle herd with his cousins, making small herds of oxen. On the first day of “oxen production” they would be left in the sun to harden them, on the following day, they would have a big ‘battle’ till all the clay oxen had broken and a winner was declared! The next day they would start from scratch again, repeating the cycle.

It was only later in life that Nic to a more serious interest in ceramics, and only started producing work under his own name in 2007 and has subsequently participated in many exhibitions since then, including the Ceramics Southern Africa Regional and National exhibitions. In July 2009 Nic collaborated with well known landscape artist Corne van Eck, and they exhibited their work at the Association of Arts in Pretoria.

Nic’s has won numerous accolades and his work can be seen in the Corobrik Collection, at the Pretoria Art Museum, at the Nelson Mandela Museum in Port Elizabeth and at the William Humphreys Art Gallery in Kimberley as well as various private collections locally and internationally.

Nic admires the work of Kenyan born Ceramic artist Magdalene Odondo. Michelle Legg, MTech Ceramics UJ, who taught Nic to make traditional Zulu and Venda pots which brought about the realisation that this was the method that he could use to best express his creativity. He has explored surface treatments that enhance his forms such as burnishing, terra sigillata and smoke firings.

Japanese Wedding Kimono

AFRICAN PAGODA INTERIORS2024-04-30T11:05:29+00:00August 12th, 2023|Categories: CONVERSATION PIECE|

This Kimono has a rich background of red silk with a pattern consisting of Cranes and plum blossoms. The cranes are hand embroidered in gold thread using the “shusu” method, where the gold coloured threads are “couched” onto the fabric. Similarly, the plum blossoms and branches are also embroidered onto the ref fabric using different colours to give colour and vibrance to the piece.

It has long sleeves and has a padded hemline, which is intended to trail at the back. Red is a popular colour for wedding kimonos and cranes “Tanchozuru” are used because they are known to mate for life and is the symbol of luck, longevity and fidelity. There are also plum blossoms “Ume” and these are said to represent good luck, longevity, renewal, encouragement and protection. In the background there is a hint of a stream or river in gold, highlighting the future and continuity.

Kimono are usually used outside of Japan as wall displays or displayed on clothing racks, bringing a different dimension and bold statement to a room.

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Retief van Wyk

AFRICAN PAGODA INTERIORS2024-04-17T12:40:22+00:00August 4th, 2023|Categories: COLAB|

Retief van Wyk

Retief van Wyk is the genius behind the glass diffusers / vases on offer from Alexander Ross, the Premier collection within the African Pagoda range of products. These diffuser / vases were inspired by a small blue and white 15th century Vietnamese jar, found off the coast of Hoi An, Vietnam .We provided the shape, and Retief’s artistry and fire provided the rest. Retief van Wyk (b 1963) studied both Fine Arts and Ceramics, holding an M-Tech in Fine Art from the Tshwane University of Technology. He was a leading force in the establishing of the Glass Design and Technology subject at the Technicon Pretoria where he acted as subject leader of both Ceramics and Glass (1999-1918). Retief retired from academia in 2018 and now runs a full-time glass blowing studio, Glass Forming Academy (GFA) in Pretoria. Over the years GFA has produced work for esteemed clients including:

Commissions

Wilson Associates: The Oprah Winfrey Learner Academy for Girls. Board room window installation, Verhaal Design and The Tashas Group: Bungalow 34, Dubai, DIRCO, (Department of international relations and co-operation) Glass gift for USA Secretary of State, Hillary Clinton, VELD Architects, Earth World Architects, Boogertman+ Partners Architects: Four Ways Mall: Glass Installation Project & Lefika Cabanas Sun International, Sun City, FNB (First National Bank): Glass mural installation, Cape Town South Africa, Great Park Synagogue, Window Installation, Rosebank, Johannesburg, Ogilvy & Mather, Rightford, Searle – Tripp, Making (Tv.l) (Pty.) Ltd, Interior Glass, Karel Nel, glass works for the exhibition Lost Light at Standard Bank gallery, Johannesburg, The Premier of Gauteng, Premiers’ Excellence Awards, Council of Churches, Life Awards for the Archbishop Desmond Tutu and wife, Lea Tutu and Toyota S.A.

Retief has published on glass and ceramics, including various penned catalogues for exhibitions where he acted as curator:

Books

The Ceramic Art of Robert Hodgins: Bell-Robert Publishing. Cape Town, 2007

Science, Craft and Knowledge: Understanding of science among artisans in India and South Africa – a cross cultural endeavour: Issues on glass manufacture in India: observations made at two different production units. Gauhar Raza & Hester du Plessis (editors)

Protea Book House, Pretoria, 2002

Journals

Maidens and Assassins, The Ceramic Art of Robert Hodgins.

Ceramics: Art and Perception, Wyoming, USA, 2013

Catalogues

Robert Hodgins – Modern Art Projects South Africa.

Catalogue publication to exhibition of the ceramic collection of Harrie Siertsema, 2001

Leading Trends in Studio Glass – Goldfields Press, CONSOL Glass, Tshwane University of Technology. Catalogue publication to the

exhibition, 2005

Conversations with King – Glass group exhibition with Gerry King, Tshwane University of Technology Printing Services, Catalogue publication to the exhibition, 2013

Small temple monuments – Modern Art Projects South Africa. Catalogue publication to the exhibition of sculptural work by Liesl Roos, 2015

Glass as Conveyor of Image – Pretoria Art Museum. Catalogue publication for exhibition, 2015

Featured Reviews – Lights on the Dark Continent: Craft Art Journal no 96, 2016

Course work

Guest Lecturer, The Glass Furnace, Istanbul, Turkey, Guest Lecturer at The Glass Virus, The Large Glass Department, Gerrit Rietveld Academy, Amsterdam. Member of Die Suid Afrikaanse Akademie vir Wetenskap en Kuns (South African Academy of Science and Art), Advisory Member of Chinese Foreign Expert Delegation concerning South African cooperation and production capacity, Hebei, China (2016), Advisory committee member, Department of Fine and Applied Arts, Tshwane University of Technology, Foundation Member, GFA Glass studio, Pretoria, South Africa, Board Member, SAGAS (South African Glass Art Society), South Africa

Collections

Old Mutual, Cape Town, South Africa

King George V National Gallery, Port Elizabeth, Cape Province, South Africa

Durbanville Clay Museum, Durbanville, Cape Province, South Africa

Anglo Boer War Museum, Bloemfontein, Free State Province, South Africa

Private collections: Hong Kong, Vienna, Prague, Detroit, Amsterdam, Johannesburg, Pretoria

Carol Slabolepszy

AFRICAN PAGODA INTERIORS2023-08-25T11:54:27+00:00August 2nd, 2023|Categories: COLAB|

Hares and Graces

In 1999, at the age of 43, I embarked on a Fine Art Degree as a mature student. It was one of the most rewarding things I have ever done and at the end of 3rd year I received an award for Most Outstanding Student. In 2002, I obtained my B. Tech Fine Art from Wits Technikon (now University of Johannesburg), majoring in painting, specifically oils. After my Honours year I spent a year studying Art Teacher Training and particularly enjoy teaching adults.

I love working in different media, quilting and mosaicking are also passions of mine and I paint in water colour when the mood is upon me.

About MY WORK

In 2011, my love for clay and sculpting and a deep need to create my own work, was the start of My Hares and Graces. Initially I only made hares and I am often asked, why hares?

The answer to this apparently philosophical question is actually quite mundane. As my studio is not very big, I needed to work with an animal of a manageable size but more importantly for me, an animal with personality. There are folk stories, legends and cultures around the world where the hare features as an important character or symbol, often as a trickster. Aesop’s Fables, Beatrix Potter and Rudyard Kipling were ever-present reading material when I was a child, and there are many indigenous South African tales featuring hares. I am intrigued by the expression and mood that is conveyed by their ears and body language. Hares are generally bigger than rabbits and mostly wild. Their ears and legs are longer and they are light-boned, extraordinarily fast and nimble. Whilst hares can be solitary and sometimes aggressive, they do live in groups. Some of the collective nouns for hares (which are fun)- are a husk; a drove; a herd; a leap; a leash; a bury; a down and a flick of hares.

Over the years, my creative energy and appreciation for animals, particularly those we have had as pets in our lives, has led me to extend my menagerie to include cats and dogs and although I have never seen a real Pangolin, there are two Pangolin sculptures as well. I am excited to find ways to portray the essence of my subject, whether it is a hare, cat, dog or Pangolin and strive to capture them in a moment of unguarded stillness or quiet alertness. They have been described as sculptures with soul.

I begin the sculpture with an idea of a gesture and the process is an organic one. The mood of the animal reveals itself as I progress and become familiar with the shapes, lines and textures of the animal. All my works are sculpted in clay using photographic and real-life references as well as my imagination. A silicone mould is then made over the clay and the animal is cold cast with a blend of acrylic resin, pigments, metal powder or marble dust. While my sculptures are weather-proof they are not ‘water-proof’ and are happy indoors and out; they just need a bit more care and attention if they are outside.

Every one of my sculptures contains a numbered microchip, identifying it as one of my original pieces. The microchip is a passive radio frequency identity device, otherwise known as an RFID, the same used for a family pet. The random sequence of numbers can be read by your local vet (if you want a giggle). The details of each hare are kept in a data-base and I love this combination of technology and fine art.

My co-creator since the inception of My Hares and Graces has been Petrus Daluka. Petrus is a master craftsman with years of experience and once I have created an animal, he makes all the moulds and does the cold casting.

I have committed to donating a percentage of the sales of My Hares to the Endangered Wildlife Trust’s Riverine Rabbit Project as well as the African Pangolin Working Group and the Rhino Revolution’s Pangolin Protection Programme.

Glassblowing

AFRICAN PAGODA INTERIORS2023-09-26T08:25:30+00:00August 2nd, 2023|Categories: BLOGS|

The history of glass blowing appears to date from the 1^st century BC, in areas presently know as Israel, Iran and Lebanon, however there are further claims that glassblowing was invented by Syrian craftsmen in the Sidon, Aleppo, Hama and Palmyra regions, which were made for everyday, as well as for luxury use. These items were exported throughout the Roman Empire and this later lead to the Romans establishing establishing their own large glassworks. Venice became the pinacol and benchmark for elaborate, ornate, quality glass, with countries like Czechoslovakia and Poland also producing exceptional glass.

It is said that the creation of glass helped advance the science to where they are today and that in China, where the perfect tea receptacle was believed to be the porcelain cup, stopped the Chinese from further developing glass and as a consequence, was set back many centuries in the advancement of science and medicine. Today glassblowing is found throughout the world, with master blowers on every continent.

The methods of creating glass blown items has remained very much the same since the technique was developed. The metal, molten glass with the consistency of molasses, is gathered at the end of a hollow pipe, where air is introduced to create a bubble in order to form a vessel. The shape of the piece is further rounded, in the instance of the diffuser/vases by using a rounded, wood mould, as well as wet newspaper is also used in the process to create consistency in shape. Individual coloured glass pieces can be introduced to create patterns within the piece. During the 17^th century the “gaffer’s chair” was introduced, a bench with two extended arms on which the pipe is moved backwards and forwards to preserve the shape of the molten glass. The chair has subsequently been extended so as to include the glassmaking crew.

It takes three people to bring a Retief mini masterpieces to life, along with the imagination of a skilled artist and the necessary elixa, fire. When looking at these pieces it is difficult to see where he started with the piece and where he ended, the colours beautifully layered, giving a different vibrancy and story each time, you hold them.

Reference: Bair Kerr History of glassblowing

Britannica- “Arts and Culture” – Glassblowing.

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Retief van Wyk

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