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The motive for the creation of any work of art is inevitably complex, in Africa as elsewhere, and the fact that most of the sculpted artifacts known from Africa were made with some practical use in mind (whether for ritual or other purposes) does not mean that they could not simultaneously be valued as sources of aesthetic pleasure.

It is also often assumed that the African artist is constrained by tradition in a way contrasting with the freedom given to the Western artist.

This is not because of any inherent limitation of African culture but because of the historical conditions under which European cultures arrived at their concept of art.

The Western separation of fine art from the lowlier craft (i.e., useful skill) came out of a sequence of social, economic, and intellectual changes in Europe that did not occur in Africa before the colonial period at the very earliest.

But, although there are traditions of art in which the expectations of patrons demand repetition of a set form in African art, there are also traditions of precolonial origin that demand a high level of inventive originality—for example, Asante silk weaving and Kuba raffia embroidery.