#somono

[dominants-dominion-v2]

Creeping into your bed while your sleeping so I can use your holes before you're fully conscious of what's going on.

[prettyyy-boy]

I love being flexible like yes, yes while I’m asleep you can put my legs above my head and fuck into me without me so much as twitching. In fact, please do.

[aic-african]

Water Container, Somono, 1900, Art Institute of Chicago: Arts of Africa

On this container, dynamic slip-painted and low-relief embellishment are combined in a unique manner. The vessel’s round body sits on a low foot and is crowned by a slightly flared neck. An elongated lizard wraps around one side, chasing the tail of an undulating snake that likewise creeps up on the lizard’s tail. Each creature’s body was rendered in a flattened, schematized style and embellished with a diagonal texture applied with twisted-fiber roulette. The dull, cream color of the fired clay was left on the interior of the container in a band around the neck and shoulder, and in a large patch on one side. Red-orange slip, derived from iron oxide, covers the animal’s bodies and the bulk of the pot below them; it also rings the mouth and defines inverted Vs that sit in stacks of two and three around the shoulder. The origin of this vessel is uncertain. Its basic shape—a plump body, short thick neck, and engaged foot—is typical of water storage containers produced by many potters among the Mande and related peoples across central and southern Mali and northern Burkina Faso, including the Somono and Bobo. While red slip painting is also common in these areas, raised and flattened imagery in not seen today. Red slip-painted vessels also are made by the Bobo, who live east of the Somono in Mali and Burkina Faso. Bobo potters use a direct pull method to form the base of a vessel, adding coils when necessary to increase the height. Gift of Keith Achepohl Size: 45.7 x 45.7 cm (18 x 18 in.) Medium: Terracotta and slip

https://www.artic.edu/artworks/185652/

[aic-african]

Water Container, Somono, 1900, Art Institute of Chicago: Arts of Africa

On this container, dynamic slip-painted and low-relief embellishment are combined in a unique manner. The vessel’s round body sits on a low foot and is crowned by a slightly flared neck. An elongated lizard wraps around one side, chasing the tail of an undulating snake that likewise creeps up on the lizard’s tail. Each creature’s body was rendered in a flattened, schematized style and embellished with a diagonal texture applied with twisted-fiber roulette. The dull, cream color of the fired clay was left on the interior of the container in a band around the neck and shoulder, and in a large patch on one side. Red-orange slip, derived from iron oxide, covers the animal’s bodies and the bulk of the pot below them; it also rings the mouth and defines inverted Vs that sit in stacks of two and three around the shoulder. The origin of this vessel is uncertain. Its basic shape—a plump body, short thick neck, and engaged foot—is typical of water storage containers produced by many potters among the Mande and related peoples across central and southern Mali and northern Burkina Faso, including the Somono and Bobo. While red slip painting is also common in these areas, raised and flattened imagery in not seen today. Red slip-painted vessels also are made by the Bobo, who live east of the Somono in Mali and Burkina Faso. Bobo potters use a direct pull method to form the base of a vessel, adding coils when necessary to increase the height. Gift of Keith Achepohl Size: 45.7 x 45.7 cm (18 x 18 in.) Medium: Terracotta and slip

https://www.artic.edu/artworks/185652/

[aic-african]

Water Container, Somono, 1875, Art Institute of Chicago: Arts of Africa

Somono pottery is an ancient tradition that is distinguished by its detailed embellishment, which combines raised bands with impressed and incised patterns. Archaeological excavations have revealed pottery dating from the eleventh to seventeenth century, made in the same principal forms and employing the same basic building and decorating techniques that are seen today. The Somono developed as a social group perhaps as early as the thirteenth century, when the ruling Bamana conscripted or recruited them from various ethnic groups and put them to work on the river. Today Somono are found across the Inland Niger Delta, and although some speak Bamana, many speak the Bozo language. This may explain why the Somono are sometimes considered a subgroup of the Bozo and why scholars occasionally identify their pottery as Bozo. To assist them in their work, Somono potters use a turntable that is made from a shallow bowl placed on an oiled surface. This acts as a very slow wheel, allowing the potter to shape and smooth her vessel as it spins. A small saucer holds the clay in place on the turntable, and the potter uses this as a mold to first shape the base by pressing clay into it, then adding clay in coils to build up the walls and neck. Large decorative water containers such as this one continue to be made today. Throughout the region such pieces are intended for public display and are usually placed in a prominent location in a family’s courtyard. A Somono woman is often given a water container upon marriage, and it remains an important piece of her household furniture throughout her lifetime. The closely spaced lines and dots that make up the patterns on this jar have been incised with a metal comb and impressed with wooden sticks and stamps. Red slip was applied to the pot before firing, and afterwards a white mixture of kaolin and water was rubbed into the patterns to enhance them. These time-consuming techniques were still in use by some older Somono potters in the 1990s, although slip-painted designs are presently gaining popularity throughout the region. Gift of Keith Achepohl Size: 59.7 x 41.9 cm (23 1/2 x 16 1/2 in.) Medium: Terracotta, slip, and kaolin

https://www.artic.edu/artworks/185654/

[aic-african]

Water Container, Somono, 1900, Art Institute of Chicago: Arts of Africa

On this container, dynamic slip-painted and low-relief embellishment are combined in a unique manner. The vessel’s round body sits on a low foot and is crowned by a slightly flared neck. An elongated lizard wraps around one side, chasing the tail of an undulating snake that likewise creeps up on the lizard’s tail. Each creature’s body was rendered in a flattened, schematized style and embellished with a diagonal texture applied with twisted-fiber roulette. The dull, cream color of the fired clay was left on the interior of the container in a band around the neck and shoulder, and in a large patch on one side. Red-orange slip, derived from iron oxide, covers the animal’s bodies and the bulk of the pot below them; it also rings the mouth and defines inverted Vs that sit in stacks of two and three around the shoulder. The origin of this vessel is uncertain. Its basic shape—a plump body, short thick neck, and engaged foot—is typical of water storage containers produced by many potters among the Mande and related peoples across central and southern Mali and northern Burkina Faso, including the Somono and Bobo. While red slip painting is also common in these areas, raised and flattened imagery in not seen today. Red slip-painted vessels also are made by the Bobo, who live east of the Somono in Mali and Burkina Faso. Bobo potters use a direct pull method to form the base of a vessel, adding coils when necessary to increase the height. Gift of Keith Achepohl Size: 45.7 x 45.7 cm (18 x 18 in.) Medium: Terracotta and slip

https://www.artic.edu/artworks/185652/

[aic-african]

Water Container, Somono, 1875, Art Institute of Chicago: Arts of Africa

Somono pottery is an ancient tradition that is distinguished by its detailed embellishment, which combines raised bands with impressed and incised patterns. Archaeological excavations have revealed pottery dating from the eleventh to seventeenth century, made in the same principal forms and employing the same basic building and decorating techniques that are seen today. The Somono developed as a social group perhaps as early as the thirteenth century, when the ruling Bamana conscripted or recruited them from various ethnic groups and put them to work on the river. Today Somono are found across the Inland Niger Delta, and although some speak Bamana, many speak the Bozo language. This may explain why the Somono are sometimes considered a subgroup of the Bozo and why scholars occasionally identify their pottery as Bozo. To assist them in their work, Somono potters use a turntable that is made from a shallow bowl placed on an oiled surface. This acts as a very slow wheel, allowing the potter to shape and smooth her vessel as it spins. A small saucer holds the clay in place on the turntable, and the potter uses this as a mold to first shape the base by pressing clay into it, then adding clay in coils to build up the walls and neck. Large decorative water containers such as this one continue to be made today. Throughout the region such pieces are intended for public display and are usually placed in a prominent location in a family’s courtyard. A Somono woman is often given a water container upon marriage, and it remains an important piece of her household furniture throughout her lifetime. The closely spaced lines and dots that make up the patterns on this jar have been incised with a metal comb and impressed with wooden sticks and stamps. Red slip was applied to the pot before firing, and afterwards a white mixture of kaolin and water was rubbed into the patterns to enhance them. These time-consuming techniques were still in use by some older Somono potters in the 1990s, although slip-painted designs are presently gaining popularity throughout the region. Gift of Keith Achepohl Size: 59.7 x 41.9 cm (23 1/2 x 16 1/2 in.) Medium: Terracotta, slip, and kaolin

https://www.artic.edu/artworks/185654/

[aic-african]

Water Container, Somono, 1900, Art Institute of Chicago: Arts of Africa

On this container, dynamic slip-painted and low-relief embellishment are combined in a unique manner. The vessel’s round body sits on a low foot and is crowned by a slightly flared neck. An elongated lizard wraps around one side, chasing the tail of an undulating snake that likewise creeps up on the lizard’s tail. Each creature’s body was rendered in a flattened, schematized style and embellished with a diagonal texture applied with twisted-fiber roulette. The dull, cream color of the fired clay was left on the interior of the container in a band around the neck and shoulder, and in a large patch on one side. Red-orange slip, derived from iron oxide, covers the animal’s bodies and the bulk of the pot below them; it also rings the mouth and defines inverted Vs that sit in stacks of two and three around the shoulder. The origin of this vessel is uncertain. Its basic shape—a plump body, short thick neck, and engaged foot—is typical of water storage containers produced by many potters among the Mande and related peoples across central and southern Mali and northern Burkina Faso, including the Somono and Bobo. While red slip painting is also common in these areas, raised and flattened imagery in not seen today. Red slip-painted vessels also are made by the Bobo, who live east of the Somono in Mali and Burkina Faso. Bobo potters use a direct pull method to form the base of a vessel, adding coils when necessary to increase the height. Gift of Keith Achepohl Size: 45.7 x 45.7 cm (18 x 18 in.) Medium: Terracotta and slip

https://www.artic.edu/artworks/185652/