Use of Uganda’s Flora and Fauna as a Source of Inspiration for Ceramic Art Production

Samuel Kidega *

Department of Vocational, Special Needs and Inclusive Education, Faculty of Education, Mountains of the Moon University, P.O. Box-837, Fortportal, Uganda.

Philip Kwesiga

Department of Art and Industrial Design, Faculty of Vocational Studies, Kyambogo University, P.O. Box-1, Kampala, Uganda.

George Sizoomu

Department of Art and Industrial Design, Faculty of Vocational Studies, Kyambogo University, P.O. Box-1, Kampala, Uganda.

*Author to whom correspondence should be addressed.


Uganda is a country in East Africa that boasts of rich biodiversity in its flora and fauna. These have served as a source of inspiration for various artistic endeavors, including ceramic art production. In this paper, we explored the ways in which Uganda's flora and fauna have influenced ceramic art production, ranging from functional to purely aesthetic pieces. The paper begins with an overview of Uganda's biodiversity and the cultural importance of art in the country. It then delves into the various ways in which flora and fauna have been represented in ceramic art, covering themes such as plant and animal forms, textures, and colors. The paper also discusses the various techniques employed by Ugandan ceramic artists in creating their pieces, including hand-building, wheel-throwing, and firing methods. Finally, the paper considers the challenges faced by Ugandan ceramic artists in marketing their work and maintaining their artistic traditions in the face of globalisation. In conclusion, the paper argues that the incorporation of Uganda's flora and fauna in ceramic art production serves not only as a means of artistic expression, but also as a way of preserving and celebrating the country's rich biodiversity.

Keywords: Uganda, fauna, flora, inspiration, ceramic, art production

How to Cite

Kidega , Samuel, Philip Kwesiga, and George Sizoomu. 2023. “Use of Uganda’s Flora and Fauna As a Source of Inspiration for Ceramic Art Production”. Asian Journal of Language, Literature and Culture Studies 6 (3):234-43.


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