Jansen, Leigh.
Abstract:
Azaria Mbatha's (1941 - ) work incorporates the many and various influences he has
experienced throughout his life. Writers have tended towards essentialist readings of his
work emphasizing proselytizing, resistance or traditional Zulu aspects of his work
discretely. This is not sufficient to gain an accurate representation of his work which
exhibits a spontaneous response to Biblical narratives as he critically appropriates and
modifies texts at will. He utilizes narrative to express and explore his own circumstances
creating works which are able, in turn, to express the plight of anyone who identifies with
his experiences. His work functions both autobiographically and didactically and aspires to
be applicable and encouraging to both the individual and the general public, regardless of
one's culture of origin.
This dissertation aims to present a holistic reading of Mbatha's oeuvre taking into account,
amongst others, his Lutheran kholwa upbringing, the situation in South Africa (especially
in the years under Apartheid), his familial ties to the Zionist church, his training at the
Evangelical Lutheran Church Art and Craft Centre and in Sweden, his foundation within
traditional Zulu cosmology, the influence of members of the Lutheran Theological College
on his theological views, his position as an artist of the diaspora as a result of his self imposed
exile in Sweden and his own interpretation of the Bible, influenced most
profoundly by his father. Such a reading of his work is necessary to decipher aspects of
Mbatha's idiosyncratic approach to the various influences he applied to his work in order
to outline his personal worldview.
His work encompasses many themes, of which three are covered here. Firstly, his
depictions of scenes from the book of Revelation are examined, as are his various
portrayals of the figure of Jesus Christ. Finally, his images of reconciliation in its various
forms are considered.
Interpretations of these works are informed by a consideration of the various influences
already mentioned combined with a visual analysis of each work. It is hoped that this
dissertation will aid in understanding the idiosyncrasies and complexities present in
Mbatha's work and thus aid in preventing further essentialist readings of comparable
artists. For the purposes of this study I have limited my interpretations to his linocuts only.
