Ububoshyi nibwo bukorikori bwagaragaraga cyane kurushi ubundi mu Rwanda rwo hambere, doreko n’ibikoresho byinshi by’icyo gihe byari biboshye.
Abagore n’abakobwa babohaga imice n’ibyibo, bagataka n’insika. Abagabo bo bubakaga amazu n’ingo, bakaboha n’ibikoresho binini, nk’ibitebo, inzugi n’ingobyi. Uko ibikoresho babohamo byatandukanaga bitewe n’ibimera biboneka muri buri karere, byatumaga uturere tugira umwihariko watwo mu buboshyi.
Umuboshyi nyawe yagombaga guhanga ibinogeye ijisho koko. Ni cyo gituma benshi bahamya ko ububoshyi bwageze ku rwego ruhanitse gusumbya ubundi buhanzi mberajisho bwo mu Rwanda rwo hambere.
Ni ubugeni bw’umwimerere; imiterere, imboho inoze n’umusozo nibyo bitagaho cyane mu guha ibibohano agaciro. Ubuhanga bw’umuboshyi bwigaragarizaga mu buryo yihariye bwo gutera amabara no mu gusoza igihangano cye.
Amabara ya kera yose agira amazina yihariye, amwe n’amwe ashobora guhinduka bitewe n’akarere. Uroye imiterere, hari ay’urukirambende nk’itana, hari ameze nk’umwashi, n’ayandi menshi.
Wickerwork characterizes the most remarkable artistic production of ancient Rwanda, and a great variety of objects were made of wicker. Wickerwork, on small scale, was a domestic activity reserved only for women and young girls. They made mats, baskets, and panels that decorated walls. The men built the residences and the fences and wove other large objects: large partitions, walls, and litters with poles. Regional variations of the vegetation used in wickerwork engendered regional specializations, and the result was a large variety of materials, techniques, and shapes.
The requirements and standards were very strict for the advancement of aesthetics in the field of wickerwork. It was a genuine art form: the shape of the object, the technical quality and the finishing touches were the criteria used to judge an object’s value. The aesthetic intentions were clearly marked on the motifs and the finishing touches.
All traditional motifs were in geometric shapes and had names varying from one region to another. There were triangular shaped motifs such as itana; rhombus like abashi; square or tray like umukebo; parallelogram or trapezium such as ikigonjo; zigzag like umuraza; spiral or curved like ibigobe by’uruzi; oblique, parallel, intersecting or simple lines like imyambi; combined patterns such as umugore wishe inzu; patterns without geometric forms such as ikirobera; etc.