14/07/2012

CULTURA HIMALAYANA LE MASCHERE INDIA TIBET NEPAL

CULTURA HIMALAYANA

LE MASCHERE

(Italian Version)

PER RIMANERE IN CONTATTO

CON

ETHNOFLORENCE

SOTTOSCRIVI

LA NOSTRA

NEWSLETTER

INSERENDO IL TUO INDIRIZZO EMAIL

nell'apposita casella a destra in alto

 

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PHOTO ETHNOFLORENCE

ALL RIGHTS ARE RESERVED

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MASCHERE HIMALAYANE

 

MAP

 

TRIBALEGLOBALE

 

Genova, Palazzo Imperiale dal 15 giugno al 30 luglio 2012

 

MASCHERE DA NEPAL INDIA TIBET BHUTAN

SEE MORE ON

http://ethnoflorence.skynetblogs.be/archive/2012/07/13/ma...

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PHOTO COURTESY OF

TRIBALE GLOBALE

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SOME CONSIDERATIONS AROUND THE SO CALLED NEPALESE MASKS

ALCUNE CONSIDERAZIONI SULLE COSI' DETTE MASCHERE NEPALESI

è

RECENTE POST NEL QUALE L'EDITORE DI ETHNOFLORENCE ESPRIME UNA PROPRIA OPINIONE IN MERITO A QUESTO TIPO DI MATERIALI TRA L'ARTISTICO E L'ETNOGRAFICO, DI SICURO DOCUMENTI AUTENTICI DI UNA ANTICA TRADIZIONE NON SOLO CULTURALE MA ANCHE PLASTICA.

http://ethnoflorence.skynetblogs.be/archive/2012/06/14/so...

 

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RISPETTO ALLA PECULIARE PLASTICA TRIDIMENZIONALE TIPICA DELL'ARTE TRADIZIONALE AFRICANA

NON INFREQUENTEMENTE GLI AUTORI DI QUESTE MASCHRE HANNO, SOPRATUTTO DI QUELLE COSì DETTE PRIMITIVE, IMPIEGATO SUPERFICI PLASTICHE RIDOTTE, DANDO VITA A VERE E PROPRIE MASCHERE 'PIATTE' NEL QUALE CONDENSARE IMMAGINI SPESSO DAL CARATTERE ARCHETIPICO.

DALLA GRANDE FORZA ESPRESSIVA

MASCHERE CHE TI SEGUONO CON LO SGRARDO

E CHE MUTANO ESPESSIONE A SECONDO DEL NOSTRO PUNTO DI VISTA, SIA OGGETTIVO CHE SOGGETTIVO.

http://ethnoflorence.skynetblogs.be/archive/2012/06/14/so...

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13/07/2012

MASCHERE HIMALAYANE MAP, TRIBALEGLOBALE Genova, Palazzo Imperiale dal 15 giugno al 30 luglio 2012

MASCHERE HIMALAYANE

MAP

TRIBALEGLOBALE

Genova, Palazzo Imperiale dal 15 giugno al 30 luglio 2012

TEXT AND PICTURE

TRIBALEGLOBALE

http://www.tribaleglobale.info/

STAY IN  TOUCH WITH

ETHNOFLORENCE

SUBSCRIBE TO OUR NEWSLETTER

 

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“Tutti gli oggetti visibili, amico, sono solo maschere di cartone. Ma in ogni cosa che succede, nell'azione viva, nel fatto preciso, lì, c'è qualche cosa di sconosciuto ma sempre ragionevole che sporge il profilo della faccia da sotto la maschera cieca. Se l'uomo vuole colpire, deve colpire la maschera! Come può evadere il carcerato se non forza il muro? Per me la balena bianca è quel muro.”

Moby Dick,  capitolo 36, il Cassero

 

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Così Acab rappresenta a Stubb il manifestarsi delle sue paure più profonde, evocando la figura della maschera. 

Forse è la lettura più adeguata per comprendere la funzione profonda delle maschere nepalesi della collezione Mordacci che qui iniziamo ad esporre:  il percorso espositivo negli spazi di Palazzo Imperiale prevede alcune maschere arcaiche assolutamente “primarie”, la loro evoluzione nella tipologia zoomorfa che evoca la scimmia e infine in quelle più influenzate dalla tradizione induista, che pure mantengono l’antico vigore. 

 

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A breve pubblicheremo una nota informativa curata da Andrea Mordacci.

al MAP, presidio di Genova, Palazzo Imperiale dal 15 giugno al 30 luglio 2012

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15/06/2012

SANTAL TRIBAL ARTS DHODRO BANAM LUTE OF THE SANTAL ADIVASI TRIBAL ART

SANTAL TRIBAL ARTS

*

This page could not be possible 

without the precious contribute

of  pictures

by

COLLECTION MUSEE DE LA CASTRE CANNES  © PHOTO CLAUDE GERMAIN

CHRISTIAN LEQUINDRE

http://www.nepaltribalart.com/index.asp?p=65

ROBERT BRUNDAGE PETALUMA CA

http://www.artyeti.com/

SANZA ARTS PREMIERS BRUXELLES

http://sanza.skynetblogs.be/

FREDERIC ROND PARIS

http://www.indianheritage.biz/

HERVE PERDIOLLE PARIS

http://herveperdriollecv.blogspot.com/

MORDACCI  COLLECTION

http://ethnoflorence.skynetblogs.be/a-m-collection-all-ri...

SANATAN KAVADIYA NEW DELHI

http://www.tribalartsindia.com/

RICHARD LAIR

and text 

by

ELIO REVERA BRESCIA

http://artidellemaninere.forumattivo.it/f8-love-driven-ch...

ETHNOFLORENCE

*******

An online

vocabulary of the Santali languge

by

EDWARD LAVALLIN PUXLEY

ON

http://books.google.com/books?ei=vZh8T8L1I4iD0QGK483TCw&a...

*****

Mus+®e de la Castre_Cannes_1991.21.1.jpg

 

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

*

"...une vièle Sarangi, venant du Santal, nom en soi, évocateur. 

 

Sa présence et sa personnalité nous interpellent. 

 

Ce petit chef-d'oeuvre de sculpture  attire notre regard au fond du sien.  

 

C'est bien ici l'exemple d'un objet  d'artisanat, échappant  à son usage pour accéder à l'intemporel".

 

Pierre  Fernandez   Arman

on  

"Voyages Immobiles Trente ans d'Aquisitions d'Art Primitif

du

Musée de la Castre" 

Cannes

l.jpg

(Photo courtesy of Christian Lequindre)

Perché ci circondiamo di bellezza?

E perché questo circondarci non ci ha mai appagato, noi uomini, di ogni dove e di ogni tempo?

Per una semplice ed insieme cogente motivazione: perché ne abbiamo bisogno!

 

Guardo questo oggetto che cari amici hanno avuto l’ardire di porre sotto i miei occhi; l’ardire, perché conoscono la mia limitata cultura ed il mio sconfinato amore per le produzioni artistiche di un altro continente.

 

Ma la loro è una sfida vinta in partenza: questa straordinaria creazione, l’immagine di questa fanciulla dai seni puntuti e da un’ incredibile quanto armoniosa corolla, mi ha conquistato al primo sguardo.

 

Non ha importanza cosa sia.

 

Io ne ammiro le purissime forme, ancestrali, evocative, ardite e stupefacenti: ed i miei sensi sono appagati da quella Dea misteriosa e sublime….avita e sconosciuta: la dea della Bellezza che in ogni cultura ha ricevuto nomi diversi, ma dovunque ha lascito profondissima traccia di sé, col suo passo lieve ed incorporeo.

 ( Elio Revera, socioanalista)

 

Dhodro Banam_5 - Copia.jpg

(Photo courtesy of Robert Brundage)

 

The Santal

carved

their one stringed lutes sometimes in the shape of  a woman,

transfigurating the resonance of the instrument

into

rotundities known from Hindu sculpture and brought to the tribal level by simplifications and distortions demanded by the

shape of the instrument.

 

5.jpg

(Photo courtesy of Frederic Rond)

The prophetic head

with its far-seeing inlaid eyes, traversed at the back by the turning keyes as a kind of ear ornament,

carried aloft on a neck of inordinate length,

is a noble mask.

Through its thin lipped mouth

a

god may speak.

 

dyn007_original_680_606_pjpeg_2592525_3c4d9cdc1f07f7b2d46d9ac58b46f980.jpg

(Photo Courtesy of Sanza Arts Premiers)

Sound and mask,

the prophetic voice

which speaks through mask and instrument,

link auditory and visual experience in one manifestation

of the numinous.

Resume from

Stella Kramrisch

(Unknown India Ritual Art in Tribe and Village)

 

6.jpg

(Photo courtesy of Sanza Arts Premiers)

The Santals

believe

in the magical powers of this musical instrument,

a medium between the human beings and the supernatural.

 

k.jpg

(Photo courtesy of Christian Lequindre)

 

w.jpg

(Photo courtesy of Christian Lequindre)

The Banam

resume

in its various parts the anatomy of an human being:

head, ears, neck, chest and stomach.

The string

is the most important part of the instrument,

because it unites the other parts of the liute together, it's considered as the

breadth

of the Banam.

 

Immagine 002

(Photo Ethnoflorence)

The Head (Bonok) of the instrument represents the Space.

Neck (hatok) and chest (koram) are directly connected with the Respiration and represents the equivalent natural element of the Air.

The stomach (lac) represents the fire.

The ears (lutur) the ether.

The term banam means body and represents the earth.
 

12 (2).jpg

(Photo Courtesy of Sanza Arts Premiers)
 
One oral Myth of the Santal told us the mithologyc origin of the Dhrodo Banam
 
Once upon a time  lived an old couple.
They had seven sons and a daughter who was the youngest of all.
The sons used to go  hunting and the sister cooked meals for them.
Some time later the couple died.
All their sons and daughter came to a forest to live  in the same way as they used to live earlier, the sister cooked the meals and looked after the house while the seven brothers went hunting.
 
One day while their sister was cutting sin arak (leaf-vegetable), one of her fingers got cut, and the blood of the wound got mixed with the vegetable.
She cooked it and served it to her brothers after their return.
They found the vegetable delicious.
So they asked their sister how the vegetable became so tasty, and found that her blood had got mixed with it.
The eldest brother wondered that if her blood could make the food so delicious, how tasty would her flesh be.
So he decided to kill her and share her flesh with his brothers.
Her body was then cut in seven pieces and each brother received a piece.
Except the youngest brother, the other ate the sister's flesh, he went to a pond sadly with his share, the fish, the crab and all the other creatures of the place, seeing this asked him the reason of his sorrow.
The youngest brother narrated them the whole story, after that the creatures of the pond suggested him not to eat the flesh of his sister and instead to put it inside the mound of white ants.
Some year later, in the place grew  a huge guloic tree.
It started to grow beautifull flowers and a melodious sound was heard from the tree.
A jugi who often used to come to the tree for picking up flowers heard this melodious sound and remained astonished.
One day he decided to cut a brunch from the magic tree and with them he constructed the first  musical instrument the
DHODRO BANAM.
 
(Text resumed  from SANTHAL MUSIC Onkar Prasad 1985)
 
*************
 
Dancers, dressed with a Sari, analogous subject we can find   in  old photos of Elwin Verrier and  in the iconography of  some carved panels of the wedding palkee of the Santal Parganas tribe as well as of the Banam.
11.jpg

 (Photo Ethnoflorence)

The narrative typical carving of the panels, in low profile,  it is characterized by human figures in combined front profile view, limbs at times overlapped in telling gestures and lively actions of spontaneously formed group, and are based roughly on one groundline in common, in a cursive notation of figures, human and animal, more valuable and surely less expert, but according to Stella Kramrisch somehow paralleling Egyptian reliefs.

10.jpg

 (Photo courtesy of Frederic Rond)

DANCERS AND MUSICIANS

The Santal wedding  litter is called

 RAHI

and was made by tribal craftsmen themselves.

The RAHI was created with a certain amount of ceremony.

According to Verrier Elwin and Stella Kramrisch

 When work was started, two pigeons were sacrificed;

when it was completed the couple sat on it and were carried to the central Manjhithan where more pigeons or a goat were offered.

THE ACTIVITY OF CARVING WAS PART OF THE MARRIAGE    RITE,  AS    WAS THE PROCESSION     OF      THE  MARRIAGE  LITTER

The themes

The main subjects carved on the Rahi's panels are derived from the local ceremonies, such  as marriages, the Miths of the Santal creation, the totems devoted to the twelve Santal clans, the Santal Hul or Santali rebellion of 1855, and especially the everyday life scenes.

A part of these themes it's common with the carved top of the Banam.

 

  

dyn005_original_400_602_pjpeg_2592525_eb2cb763ec2b0a97b02d93581a669b50.jpg

 (Photo Courtesy of Sanza Arts Premiers)

 

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 (Photo courtesy of Sanza Arts Premiers)

22.jpg

 (Photo courtesy of Sanza Arts Premiers)

14.jpg

 (Photo Ethoflorence)

Dhodro Banam_1.jpg

(Photo courtesy of Robert Brundage)

The Santal

traditionally accompanied many of their dances with two kind of drums the

Tamak' and the Tumdak'

the kettle-drum 'nagara'

and  the

oboe 'shanai'

These musical traditions are reflects on the Banam lutes and Rahi panels

iconography

where

the dancers

are seldom accompanied by musicians too

 

DSCN7107.JPG

(Picture from Tribal Art of Middle India 1951 by Verrier Elwin)

 

33.jpg

(Photo Ethnoflorence)

 

dyn001_original_680_512_pjpeg_2592525_e0aba2c321c57b852aa360899dea390c.jpg

(Photo courtesy of Sanza Arts Premiers)

 

dyn002_original_640_480_pjpeg_2638188_e87409b263c850806b5f490e5650536e.jpg

(Photo courtesy of A. M.)

 

dyn010_original_680_456_pjpeg_2592525_2a94c19faf8d32e643b9c6e222f9ae77.jpg

(Photo courtesy of Sanza Arts Premiers)

 

dyn010_original_680_466_pjpeg_2592525_a7f8e7873eb96ed385b3629e65cad31d.jpg

(Photo Courtesy of Sanza Arts Premiers)

Sometimes musicians and dancers are accompanied also by acrobatic perfomers.

135.jpg

(Photo Ethnoflorence)

HORSES HORSEMEN AND ELEPHANTS

Another quite common iconography that we can find on the Rahi Panels is linked with the presence of elephants, horses and horsemen.

Sometimes these representations are  linked with the marriage procession.

It's possible to find carved  a similar iconography also on the top of  the Banam

 

Dhodro Banam_6(back).jpg

(Photo courtesy of Robert Brundage)

Above

Exceptional iconography of a rider and horse on

the back carved top of a banam lute.

P1000174.JPG

(Photo courtesy of A. M.)

 

17.jpg

(Photo Ethnoflorence)

 

39.jpg

(Photo Ethnoflorence)

 

P1000178.JPG

(Photo courtesy of A.M.)

 

 

DSCF3603.JPG

(Photo Ethnoflorence)

 

SACRO AND PROFANO

 

Bicycle.jpg

(Photo courtesy of Robert Brundage)

A mix of subjects is the iconographic base of this very interesting panel

HUNTING SCENES

1258560570.jpg

(Photo Courtesy A. M.)

 

4106938674.jpg

(Photo courtesy A. M.)

SANTAL HUL

 

148.jpg

(Photo  Ethnoflorence)

 

80.jpg

(Photo Ethnoflorence)

 

81.jpg

(Photo Ethnoflorence)

ANIMALIA AND EVERYDAY LIFE

 

Toddy Palm.jpg

(Photo courtesy Robert Brundage)

 

Animals - Copia.jpg

(Photo courtesy Robert Brundage)

 

Animals.jpg

(Photo courtesy of Robert Brundage)

1 (2).JPG

(Photo courtesy A.M.)

 

4125466665.jpg

(Photo courtesy of A. M.)

*************

 

sketchesfromsant00pedeiala_0169.jpg

(Sketches from Santalistan, Pederson, Mathew A. 1913)

http://archive.org/details/sketchesfromsant00pede

 

The flute

held an important role in the music tradition of the Santal people.

DSCF4677 - Copia.JPG

(Photo Ethnoflorence)

 

3 flutes.jpg

(Photo courtesy of Robert Brundage)

flutes6.jpg

(Photo courtesy of Robert Brundage)

 

DSCF4677.JPG

(Photo Ethnoflorence)

Two flutes

of this particulary rich tipology are present also in the collection of the Musee de la Castre of Cannes.

 1992.16.1.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

EX RICHARD LAIR COLLECTION

1992.16.1_d+®tail.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

EX RICHARD LAIR COLLECTION

1992.17.1.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

 

1992.17.1_d+®tail.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

 

***********

CHADOR BADONI

 

Puppet small wodden idol

 

Definition from 

A vocabulary of the Santali languge

by

EDWARD LAVALLIN PUXLEY

http://books.google.com/books?ei=vZh8T8L1I4iD0QGK483TCw&a...

 

73924_171960832816631_100000081457478_594899_904374_n[1].jpg

(Photo courtesy of Sanatan Khavadiya)

71761_171961089483272_100000081457478_594910_1082616_n[1].jpg

(Photo courtesy of Sanatan Kavadiya)

73844_171962069483174_100000081457478_594925_4013181_n[1].jpg

(Photo courtesy of Sanatan Kavadiya)

74267_171960996149948_100000081457478_594903_6726846_n[1].jpg

(Photo courtesy of Sanatan Kavadiya)

74267_171961002816614_100000081457478_594905_8328388_n[1].jpg

(Photo courtesy Sanatan Kavadiya)

 

puppets48.jpg

 

(Photo courtesy of Robert Brundage)

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JADUPATUA

jadu = magician ; patua –or chitrakar- = painter

Santal Parganas

State of Bihar, India

(Text and pictures courtesy of  Herve Perdiolle)

 

 

Patuas and Jadupatuas from Bihar

(Creation of the world 1980)

 

The Jadu Patuas are painters and story tellers and go from village to village carrying their painted scrolls made of paper sheets sewn together with a bamboo stick on each extremity.

Jadu means "Magician".

The themes they represent on the scrolls are  about a dozen . However, there is different interpretation for each theme. A Jadu Patua can, looking at one scroll, say different stories depending if his audience is Hindu, Muslim or Santal. This last ethnic group is the most important audience for the Jadu Patuas.

 

The Patuas live with the money that the villagers give them after listening to their stories. The fact that they are magicians give a special effect to their intervention because the villagers fear them.

 

One of the most revealing images of the Jadu Patuas' role (in the Santal community) is the

 

"Mritu pat"

 

or

 

"image of the deaths"

 

. When somebody dies in a village near the Jadu Patua's one, the "artist magician" visits the family of the dead with a small and simple image (about 3 x 2 inches) which is supposed to represent the dead in a simple way.

 

Only the late person's pupil is missing.

 

Showing this image to the family, the Jadu Patua tells the story evoking the suffering of the dead whose soul is still trapped in hell.

 

The family then gives an offering to the Jadu Patua in order for him to intervene. The ritual for the Magician painter consists then to paint the dead's pupil in order to free his soul.

 

The principles developed by the Jadu Patuas are :

 

the Baha's feast

(Anonyme, fête de Baha, 1980, couleurs végétales sur papier, 25x460 cm)

(Anonyme, fête de Baha, 1980, couleurs végétales sur papier, 25x460 cm)

a strange mixture of Hindu and Santal myths showing a lot of festivities where tribal dances, sacrifices and drinking sessions scenes are mixed;

 

the creation of the world

(Anonyme, Création du monde, 1990, couleurs végétales sur papier, 20x420 cm)

where we can see the first human couple being born from the coupling of a goose and a gande;

 

the painting of Kali

lai scroll painting

(Anonyme, Kali pat, 1980, couleurs végétales sur papier, 30x240 cm, collection privée.)

composed with 3 or 4 paper sheets only, showing Kali in her most terrifying aspects

 

and a lot of scrolls about

 

Yama

 

the god of hell (showing all the ill treatments, sometimes sexual, given by Yama and his servants to the dead who behaved badly during their lifetime).

 

It seems that the scarier the Jadu Patuas'style gets, the more highly he is regarded.

 

***

 

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13/06/2012

WESTERN NEPAL STONE DHAMI FIGURE HIMALAYA RIFLESSI DAL PROFONDO

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

DSCN3396 (2).JPG

2008 - 2016

**********************************

HIMALAYA

RIFLESSI DAL PROFONDO

GENOVA

PALAZZO IMPERIALE

8

PIAZZA CAMPETTO

until

30 june 2012

 

DSCN3394.JPG

HIMALAYAN

PRIMITIVE FIGURES

FROM

MORDACCI COLLECTION

 

DSCN3396 - Copia.JPG

FOR THE FIRST TIME

IN ITALY

 

3210012321.jpg

http://ethnoflorence.skynetblogs.be/archive/2012/06/13/pr...

 

1329622071.jpg

http://ethnoflorence.skynetblogs.be/archive/2012/06/12/hi...

897597271.jpg

http://ethnoflorence.skynetblogs.be/archive/2012/06/12/ne...

*

 

DSCN3396.JPG

 

DSCN3394 - Copia.JPG

 

DSCN3395.JPG

 

DSCN3395 - Copia.JPG

Mordacci Collection

Ethnoflorence 

2012

All rights Reserved

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PRIMITIVE ANCESTOR KARNALI AREA HIMALAYA RIFLESSI DAL PROFONDO THARU AND SATAR TRIBAL ARTS

2.JPG

HIMALAYA

RIFLESSI DAL PROFONDO

PALAZZO IMPERIALE

 

0001.JPG

GENOVA

ITALY

 

2 (2).JPG

MORDACCI COLLECTION

SEE MORE ON

 

011.JPG

http://ethnoflorence.skynetblogs.be/archive/2012/06/12/hi...

01.JPG

http://ethnoflorence.skynetblogs.be/archive/2012/06/12/hi...

 

001.JPG

http://ethnoflorence.skynetblogs.be/archive/2012/06/12/ne...

The figure of the man in tribal and village art,it's normally used to connote itself, to represent the human being as he is 

seen in the every day life, in the dreams and trances experiences...by the artist, that represents preeminently his spirit, 

the Ancestor

3 (2).JPG

4 (2).JPG

 

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MORDACCI COLLECTION

ETHNOFLORENCE 2012

ALL RIGHTS RESERVED

*****

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*

HIMALAYAN 

ARCHAIC ICONOGRAPHYES

 

16.JPG

(Ethnoflorence Archive)

COMING SOON

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THE ARTISTIC LIVING TRADITION OF THE 

HUMLA AREA

COMING SOON

 

DSCF3573.JPG

Carrying the god on his back 

Humla figure from Ethnoflorence

Archive

 

817044126.jpg

 

4090205667.jpg

 

(Figures of Donors inside a Humla Shrine)

 

01.JPG

(Ethnoflorence Archive)

ETHNOFLORENCE 

2012

ALL RIGHTS RESERVED

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THARU and SATAR

ART

*

in collaboration with

the

Mordacci Collection

we have conduct 

a preliminary scientific analysis of the type of woods used by the Tharu and Satar Tribes of Southern Nepal,and an investigation on the age of artifacts especially in relation to their iconographyes

17.JPG

(Satar Figure Ethnoflorence Archive)

18.JPG

(Detail of a Tharu lateral panel of a Door)

COMING SOON

****

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KHENIS or GHOST EATERS

3005453442.jpg

The KHENIS or GHOST EATERS

http://ethnoflorence.skynetblogs.be/archive/2011/05/01/kh...

are protective figures that can be found at the entrance gates of some villages of the 

LOWER MUSTANG (Baragun Area), after KAGBENI and JHARKOT (DZAR), 

these figures represent

IWI (grand mother) and MEME (grand father) KHENIS gost eaters of the TANGBE village.

 

Each KHENIS figure is re-painted each year for the LUKOR festival (circumbulation of the village area).

 

This kind of protective representations are not found in the villages of the upper Mustang.

 

In this area the protection of the village area from malevolent spirits is done mainly by the edification of "RIGSUM GOMPO" 

along the four cardinal directions and "LHATOS" in specific places of the village area

SEE MORE 

STARTING 

FROM

http://ethnoflorence.skynetblogs.be/archive/2011/05/01/kh...

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*

 

 

 

 

 

 

 

12/06/2012

NEPALESE KARNALI ARCHAIC SHRINE FIGURE HIMALAYA RIFLESSI DAL PROFONDO -TODAS and KOTAS INDIAN NILGIRI HILLS TRIBAL ARTS

1.JPG

HIMALAYA RIFLESSI

DAL 

PROFONDO

PALAZZO IMPERIALE

GENOVA

ITALY

 

 

2.JPG

MORDACCI 

COLLECTION

SEE ALSO 

 

584112148.jpg

HERE

http://ethnoflorence.skynetblogs.be/archive/2012/06/12/hi...

897597271.jpg

AND

http://ethnoflorence.skynetblogs.be/archive/2012/06/12/hi...

page1.jpg

MORE HERE

http://ethnoflorence.skynetblogs.be/album/himalaya-rifles...

***

*

3.JPG

The figure of the man in tribal and village art,it's normally used to connote itself, to represent the human being as he is 

seen in the every day life, in the dreams and trances experiences...by the artist, that represents preeminently his spirit, 

the Ancestor

 

4.JPG

 

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MORDACCI COLLECTION

ETHNOFLORENCE

2012

ALL RIGHT RESERVED

***
**

*

TODAS and KOTAS

tribes

OF

THE INDIAN

NILGIRI HILLS

 TRIBAL ARTS

 

10 Photo Ravi Chandran.jpg

COMING SOON

 

10 Photo Ravi Chandran - Copia.jpg

(Photo courtesy of Ravi Chandran)

***

**

*

 MANAV SANGRAHALAYA

BHOPAL

MUSEUM OF MAN

 

13 MANAV SANGRAHALAYA BHOPAL MUSEUM OF MAN.jpg

COMING SOON

****

**

*

NEPAL

JUMLA REGION

1971 & 1995's

FIELD WORK

PHOTO COURTESY OF

JOHAN REINHARD

 

*

Jumla_Region_1995__16[1].jpg

SEE MORE ON

http://ethnoflorence.skynetblogs.be/archive/2011/11/05/ne...

***

**

*

WESTERN NEPAL, THE  ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC  LIVING TRADITION

I

 

dyn007_original_480_487_pjpeg_2638188_7a7ba3a2fab903620267427811dfed6b.jpg

Photo courtesy of Jean Claud Latombe

http://ethnoflorence.skynetblogs.be/archive/2010/03/01/we...

***

**

*

 

WESTERN NEPAL, THE  ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC  LIVING TRADITION III

 

Photo courtesy of  Paulo Grobel

dyn010_original_412_528_pjpeg_2638188_9479e2a2a585673bad22a7a3e1dd6f75.jpg

 

(Shrine in Tibrikot)

SEE MORE ON

http://ethnoflorence.skynetblogs.be/archive/2010/04/19/au...

***

**

*


HIMALAYA RIFLESSI DAL PROFONDO - THE GRAMA DEVATAS OF SOUTH INDIA - HIMALAYAN MASKS IN GENOVA COMING SOON

3.JPG

The figure of the man in tribal and village art,it's normally used to connote itself, to represent the human being as he is 

seen in the every day life, in the dreams and trances experiences...by the artist, that represents preeminently his spirit, 

the Ancestor

2.JPG

HIMALAYA

RIFLESSI DAL PROFONDO

GENOVA

PALAZZO IMPERIALE

COLLEZIONE MORDACCI

1.JPG

SEE MORE HERE

http://ethnoflorence.skynetblogs.be/album/himalaya-rifles...

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MORDACCI COLLECTION

ETHNOFLORENCE 

2012

ALL RIGHTS RESERVED

********

***

*

 

aiyanar4day-c[2].jpg

(Photo Ron du Bois)

 

Outside the human temporality of man-shaped things,no man-made sign, a simple rough stone marks the presence of the deity,

 

daubed with red colour which holds the memory of blood sacrifices, placed under the branches of sacred tree is part of the Indian 

 

landscape,in this way also the presence of Aiyanar, the Lord, was marked in principle, by a rough of stone, the works of art, small or

 

gigantic, made of clay, larger than life, arrived after, proclaiming his exhistence.

 

img532.jpg

(Photo H.H.)

THE VILLAGE GODS OF SOUTH INDIA

COMING SOON

ETHNOFLORENCE 

2012

ALL RIGHTS RESERVED

********

***

*

 

11.JPG

HIMALAYAN MASKS

AT 

PALAZZO IMPERIALE 

GENOVA

 

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COMING SOON

ETHNOFLORENCE 

2012

ALL RIGHTS RESERVED

****

***

*

TRIBAL ARTS

A

CROSS CULTURAL HERITAGE

COMING SOON

*****

**

*


a


Himalaya riflessi dal profondo - The Village Gods of South India - Tribal Arts a Cross Cultural Heritage

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

2008 - 2016

*************************************************

The figure of the man in tribal and village art,

it's normally used to connote itself,

to represent the human being as he is 

seen in the every day life, in the dreams and trances experiences...

by the artist, that represents preeminently his spirit, 

the Ancestor

(Text by Ethnoflorence all rights reserved)

 

DSCN3187 - Copia.JPG

HIMALAYA RIFLESSI

dal

Profondo

Genova

Palazzo Imperiale

Collezione Mordacci

see more on

http://ethnoflorence.skynetblogs.be/album/himalaya-rifles...

 

DSCN3186.JPG

 

DSCN3187.JPG

 

DSCN3190.JPG

 

DSCN3191.JPG

 

DSCN3192.JPG

 

DSCN3193.JPG

MORDACCI COLLECTION

ETHNOFLORENCE 2012

ALL RIGHTS RESERVED

*************

******

*

 

Katervil_in_front_of_Yallee[1].jpg

(Photo Ron du Bois)

Outside the human temporality of man-shaped things,no man-made sign, a simple rough stone marks the presence of the deity,

daubed with red colour which holds the memory of blood sacrifices, placed under the branches of sacred tree is part of the Indian 

landscape,in this way also the presence of Aiyanar, the Lord, was marked in principle, by a rough of stone, the works of art, small or

gigantic, made of clay, larger than life, arrived after, proclaiming his exhistence.

 

img536.jpg

 

(Photo H.H.)

THE VILLAGE GODS OF SOUTH INDIA

COMING SOON

ETHNOFLORENCE 2012

ALL RIGHTS RESERVED

********

****

*

TRIBAL ARTS

A

CROSS CULTURAL HERITAGE

COMING SOON

******

***

*

 

05/04/2012

TRIBAL ARTS OF THE SANTAL PEOPLE

SANTAL TRIBAL ARTS

*

This page could not be possible 

without the precious contribute

of  pictures

by

COLLECTION MUSEE DE LA CASTRE CANNES  © PHOTO CLAUDE GERMAIN

CHRISTIAN LEQUINDRE

http://www.nepaltribalart.com/index.asp?p=65

ROBERT BRUNDAGE PETALUMA CA

http://www.artyeti.com/

SANZA ARTS PREMIERS BRUXELLES

http://sanza.skynetblogs.be/

FREDERIC ROND PARIS

http://www.indianheritage.biz/

HERVE PERDIOLLE PARIS

http://herveperdriollecv.blogspot.com/

MORDACCI  COLLECTION

http://ethnoflorence.skynetblogs.be/a-m-collection-all-ri...

SANATAN KAVADIYA NEW DELHI

http://www.tribalartsindia.com/

RICHARD LAIR

and text 

by

ELIO REVERA BRESCIA

http://artidellemaninere.forumattivo.it/f8-love-driven-ch...

ETHNOFLORENCE

*******

An online

vocabulary of the Santali languge

by

EDWARD LAVALLIN PUXLEY

ON

http://books.google.com/books?ei=vZh8T8L1I4iD0QGK483TCw&a...

*****

Mus+®e de la Castre_Cannes_1991.21.1.jpg

 

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

*

"...une vièle Sarangi, venant du Santal, nom en soi, évocateur. 

 

Sa présence et sa personnalité nous interpellent. 

 

Ce petit chef-d'oeuvre de sculpture  attire notre regard au fond du sien.  

 

C'est bien ici l'exemple d'un objet  d'artisanat, échappant  à son usage pour accéder à l'intemporel".

 

Pierre  Fernandez   Arman

on  

"Voyages Immobiles Trente ans d'Aquisitions d'Art Primitif

du

Musée de la Castre" 

Cannes

l.jpg

(Photo courtesy of Christian Lequindre)

Perché ci circondiamo di bellezza?

E perché questo circondarci non ci ha mai appagato, noi uomini, di ogni dove e di ogni tempo?

Per una semplice ed insieme cogente motivazione: perché ne abbiamo bisogno!

 

Guardo questo oggetto che cari amici hanno avuto l’ardire di porre sotto i miei occhi; l’ardire, perché conoscono la mia limitata cultura ed il mio sconfinato amore per le produzioni artistiche di un altro continente.

 

Ma la loro è una sfida vinta in partenza: questa straordinaria creazione, l’immagine di questa fanciulla dai seni puntuti e da un’ incredibile quanto armoniosa corolla, mi ha conquistato al primo sguardo.

 

Non ha importanza cosa sia.

 

Io ne ammiro le purissime forme, ancestrali, evocative, ardite e stupefacenti: ed i miei sensi sono appagati da quella Dea misteriosa e sublime….avita e sconosciuta: la dea della Bellezza che in ogni cultura ha ricevuto nomi diversi, ma dovunque ha lascito profondissima traccia di sé, col suo passo lieve ed incorporeo.

 ( Elio Revera, socioanalista)

 

Dhodro Banam_5 - Copia.jpg

(Photo courtesy of Robert Brundage)

 

The Santal

carved

their one stringed lutes sometimes in the shape of  a woman,

transfigurating the resonance of the instrument

into

rotundities known from Hindu sculpture and brought to the tribal level by simplifications and distortions demanded by the

shape of the instrument.

 

5.jpg

(Photo courtesy of Frederic Rond)

The prophetic head

with its far-seeing inlaid eyes, traversed at the back by the turning keyes as a kind of ear ornament,

carried aloft on a neck of inordinate length,

is a noble mask.

Through its thin lipped mouth

a

god may speak.

 

dyn007_original_680_606_pjpeg_2592525_3c4d9cdc1f07f7b2d46d9ac58b46f980.jpg

(Photo Courtesy of Sanza Arts Premiers)

Sound and mask,

the prophetic voice

which speaks through mask and instrument,

link auditory and visual experience in one manifestation

of the numinous.

Resume from

Stella Kramrisch

(Unknown India Ritual Art in Tribe and Village)

 

6.jpg

(Photo courtesy of Sanza Arts Premiers)

The Santals

believe

in the magical powers of this musical instrument,

a medium between the human beings and the supernatural.

 

k.jpg

(Photo courtesy of Christian Lequindre)

 

w.jpg

(Photo courtesy of Christian Lequindre)

The Banam

resume

in its various parts the anatomy of an human being:

head, ears, neck, chest and stomach.

The string

is the most important part of the instrument,

because it unites the other parts of the liute together, it's considered as the

breadth

of the Banam.

 

Immagine 002

(Photo Ethnoflorence)

The Head (Bonok) of the instrument represents the Space.

Neck (hatok) and chest (koram) are directly connected with the Respiration and represents the equivalent natural element of the Air.

The stomach (lac) represents the fire.

The ears (lutur) the ether.

The term banam means body and represents the earth.
 

12 (2).jpg

(Photo Courtesy of Sanza Arts Premiers)
 
One oral Myth of the Santal told us the mithologyc origin of the Dhrodo Banam
 
Once upon a time  lived an old couple.
They had seven sons and a daughter who was the youngest of all.
The sons used to go  hunting and the sister cooked meals for them.
Some time later the couple died.
All their sons and daughter came to a forest to live  in the same way as they used to live earlier, the sister cooked the meals and looked after the house while the seven brothers went hunting.
 
One day while their sister was cutting sin arak (leaf-vegetable), one of her fingers got cut, and the blood of the wound got mixed with the vegetable.
She cooked it and served it to her brothers after their return.
They found the vegetable delicious.
So they asked their sister how the vegetable became so tasty, and found that her blood had got mixed with it.
The eldest brother wondered that if her blood could make the food so delicious, how tasty would her flesh be.
So he decided to kill her and share her flesh with his brothers.
Her body was then cut in seven pieces and each brother received a piece.
Except the youngest brother, the other ate the sister's flesh, he went to a pond sadly with his share, the fish, the crab and all the other creatures of the place, seeing this asked him the reason of his sorrow.
The youngest brother narrated them the whole story, after that the creatures of the pond suggested him not to eat the flesh of his sister and instead to put it inside the mound of white ants.
Some year later, in the place grew  a huge guloic tree.
It started to grow beautifull flowers and a melodious sound was heard from the tree.
A jugi who often used to come to the tree for picking up flowers heard this melodious sound and remained astonished.
One day he decided to cut a brunch from the magic tree and with them he constructed the first  musical instrument the
DHODRO BANAM.
 
(Text resumed  from SANTHAL MUSIC Onkar Prasad 1985)
 
*************
 
Dancers, dressed with a Sari, analogous subject we can find   in  old photos of Elwin Verrier and  in the iconography of  some carved panels of the wedding palkee of the Santal Parganas tribe as well as of the Banam.
11.jpg

 (Photo Ethnoflorence)

The narrative typical carving of the panels, in low profile,  it is characterized by human figures in combined front profile view, limbs at times overlapped in telling gestures and lively actions of spontaneously formed group, and are based roughly on one groundline in common, in a cursive notation of figures, human and animal, more valuable and surely less expert, but according to Stella Kramrisch somehow paralleling Egyptian reliefs.

10.jpg

 (Photo courtesy of Frederic Rond)

DANCERS AND MUSICIANS

The Santal wedding  litter is called

 RAHI

and was made by tribal craftsmen themselves.

The RAHI was created with a certain amount of ceremony.

According to Verrier Elwin and Stella Kramrisch

 When work was started, two pigeons were sacrificed;

when it was completed the couple sat on it and were carried to the central Manjhithan where more pigeons or a goat were offered.

THE ACTIVITY OF CARVING WAS PART OF THE MARRIAGE    RITE,  AS    WAS THE PROCESSION     OF      THE  MARRIAGE  LITTER

The themes

The main subjects carved on the Rahi's panels are derived from the local ceremonies, such  as marriages, the Miths of the Santal creation, the totems devoted to the twelve Santal clans, the Santal Hul or Santali rebellion of 1855, and especially the everyday life scenes.

A part of these themes it's common with the carved top of the Banam.

 

  

dyn005_original_400_602_pjpeg_2592525_eb2cb763ec2b0a97b02d93581a669b50.jpg

 (Photo Courtesy of Sanza Arts Premiers)

 

13.jpg

 (Photo courtesy of Sanza Arts Premiers)

22.jpg

 (Photo courtesy of Sanza Arts Premiers)

14.jpg

 (Photo Ethoflorence)

Dhodro Banam_1.jpg

(Photo courtesy of Robert Brundage)

The Santal

traditionally accompanied many of their dances with two kind of drums the

Tamak' and the Tumdak'

the kettle-drum 'nagara'

and  the

oboe 'shanai'

These musical traditions are reflects on the Banam lutes and Rahi panels

iconography

where

the dancers

are seldom accompanied by musicians too

 

DSCN7107.JPG

(Picture from Tribal Art of Middle India 1951 by Verrier Elwin)

 

33.jpg

(Photo Ethnoflorence)

 

dyn001_original_680_512_pjpeg_2592525_e0aba2c321c57b852aa360899dea390c.jpg

(Photo courtesy of Sanza Arts Premiers)

 

dyn002_original_640_480_pjpeg_2638188_e87409b263c850806b5f490e5650536e.jpg

(Photo courtesy of A. M.)

 

dyn010_original_680_456_pjpeg_2592525_2a94c19faf8d32e643b9c6e222f9ae77.jpg

(Photo courtesy of Sanza Arts Premiers)

 

dyn010_original_680_466_pjpeg_2592525_a7f8e7873eb96ed385b3629e65cad31d.jpg

(Photo Courtesy of Sanza Arts Premiers)

Sometimes musicians and dancers are accompanied also by acrobatic perfomers.

135.jpg

(Photo Ethnoflorence)

HORSES HORSEMEN AND ELEPHANTS

Another quite common iconography that we can find on the Rahi Panels is linked with the presence of elephants, horses and horsemen.

Sometimes these representations are  linked with the marriage procession.

It's possible to find carved  a similar iconography also on the top of  the Banam

 

Dhodro Banam_6(back).jpg

(Photo courtesy of Robert Brundage)

Above

Exceptional iconography of a rider and horse on

the back carved top of a banam lute.

P1000174.JPG

(Photo courtesy of A. M.)

 

17.jpg

(Photo Ethnoflorence)

 

39.jpg

(Photo Ethnoflorence)

 

P1000178.JPG

(Photo courtesy of A.M.)

 

 

DSCF3603.JPG

(Photo Ethnoflorence)

 

SACRO AND PROFANO

 

Bicycle.jpg

(Photo courtesy of Robert Brundage)

A mix of subjects is the iconographic base of this very interesting panel

HUNTING SCENES

1258560570.jpg

(Photo Courtesy A. M.)

 

4106938674.jpg

(Photo courtesy A. M.)

SANTAL HUL

 

148.jpg

(Photo  Ethnoflorence)

 

80.jpg

(Photo Ethnoflorence)

 

81.jpg

(Photo Ethnoflorence)

ANIMALIA AND EVERYDAY LIFE

 

Toddy Palm.jpg

(Photo courtesy Robert Brundage)

 

Animals - Copia.jpg

(Photo courtesy Robert Brundage)

 

Animals.jpg

(Photo courtesy of Robert Brundage)

1 (2).JPG

(Photo courtesy A.M.)

 

4125466665.jpg

(Photo courtesy of A. M.)

*************

 

sketchesfromsant00pedeiala_0169.jpg

(Sketches from Santalistan, Pederson, Mathew A. 1913)

http://archive.org/details/sketchesfromsant00pede

 

The flute

held an important role in the music tradition of the Santal people.

DSCF4677 - Copia.JPG

(Photo Ethnoflorence)

 

3 flutes.jpg

(Photo courtesy of Robert Brundage)

flutes6.jpg

(Photo courtesy of Robert Brundage)

 

DSCF4677.JPG

(Photo Ethnoflorence)

Two flutes

of this particulary rich tipology are present also in the collection of the Musee de la Castre of Cannes.

 1992.16.1.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

EX RICHARD LAIR COLLECTION

1992.16.1_d+®tail.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

EX RICHARD LAIR COLLECTION

1992.17.1.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

 

1992.17.1_d+®tail.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

 

***********

CHADOR BADONI

 

Puppet small wodden idol

 

Definition from 

A vocabulary of the Santali languge

by

EDWARD LAVALLIN PUXLEY

http://books.google.com/books?ei=vZh8T8L1I4iD0QGK483TCw&a...

 

73924_171960832816631_100000081457478_594899_904374_n[1].jpg

(Photo courtesy of Sanatan Khavadiya)

71761_171961089483272_100000081457478_594910_1082616_n[1].jpg

(Photo courtesy of Sanatan Kavadiya)

73844_171962069483174_100000081457478_594925_4013181_n[1].jpg

(Photo courtesy of Sanatan Kavadiya)

74267_171960996149948_100000081457478_594903_6726846_n[1].jpg

(Photo courtesy of Sanatan Kavadiya)

74267_171961002816614_100000081457478_594905_8328388_n[1].jpg

(Photo courtesy Sanatan Kavadiya)

 

puppets48.jpg

 

(Photo courtesy of Robert Brundage)

*****************

JADUPATUA

jadu = magician ; patua –or chitrakar- = painter

Santal Parganas

State of Bihar, India

(Text and pictures courtesy of  Herve Perdiolle)

 

 

Patuas and Jadupatuas from Bihar

(Creation of the world 1980)

 

The Jadu Patuas are painters and story tellers and go from village to village carrying their painted scrolls made of paper sheets sewn together with a bamboo stick on each extremity.

Jadu means "Magician".

The themes they represent on the scrolls are  about a dozen . However, there is different interpretation for each theme. A Jadu Patua can, looking at one scroll, say different stories depending if his audience is Hindu, Muslim or Santal. This last ethnic group is the most important audience for the Jadu Patuas.

 

The Patuas live with the money that the villagers give them after listening to their stories. The fact that they are magicians give a special effect to their intervention because the villagers fear them.

 

One of the most revealing images of the Jadu Patuas' role (in the Santal community) is the

 

"Mritu pat"

 

or

 

"image of the deaths"

 

. When somebody dies in a village near the Jadu Patua's one, the "artist magician" visits the family of the dead with a small and simple image (about 3 x 2 inches) which is supposed to represent the dead in a simple way.

 

Only the late person's pupil is missing.

 

Showing this image to the family, the Jadu Patua tells the story evoking the suffering of the dead whose soul is still trapped in hell.

 

The family then gives an offering to the Jadu Patua in order for him to intervene. The ritual for the Magician painter consists then to paint the dead's pupil in order to free his soul.

 

The principles developed by the Jadu Patuas are :

 

the Baha's feast

(Anonyme, fête de Baha, 1980, couleurs végétales sur papier, 25x460 cm)

(Anonyme, fête de Baha, 1980, couleurs végétales sur papier, 25x460 cm)

a strange mixture of Hindu and Santal myths showing a lot of festivities where tribal dances, sacrifices and drinking sessions scenes are mixed;

 

the creation of the world

(Anonyme, Création du monde, 1990, couleurs végétales sur papier, 20x420 cm)

where we can see the first human couple being born from the coupling of a goose and a gande;

 

the painting of Kali

lai scroll painting

(Anonyme, Kali pat, 1980, couleurs végétales sur papier, 30x240 cm, collection privée.)

composed with 3 or 4 paper sheets only, showing Kali in her most terrifying aspects

 

and a lot of scrolls about

 

Yama

 

the god of hell (showing all the ill treatments, sometimes sexual, given by Yama and his servants to the dead who behaved badly during their lifetime).

 

It seems that the scarier the Jadu Patuas'style gets, the more highly he is regarded.

 

***

 

**

 

*

 

 

 

 

20/02/2012

ARTS PREMIERS SANTAL TRIBAL ART SANTHAL PARGANAS WOODEN PANELS OF THE WEDDING LITTERS

ARTS PREMIERS PRIMITIVE ART TRIBAL SANTAL TRIBE TRIBAL ARTS DHODRO BANAM LUTES OF THE SANTAL PARIS NEW YORK BRUXELLES ART FAIR TRIBAL SHOW ARTE TRIBALE HIMALAYAN TRIBAL ART NEPALESE INDIAN  TIBETAN MASCHERA  (1).JPG

SANTAL PARGANAS PEOPLE CARVED WOODEN PANELS OF THE WEDDING (LITTERS) PALKEE 

 

PHOTO COURTESY 

 

OF

 

A.M.

 

ARTS PREMIERS

 

COLLECTION

 

ALL RIGHTS RESEVED

http://ethnoflorence.skynetblogs.be/a-m-collection-all-ri...

 

ARTS PREMIERS PRIMITIVE ART TRIBAL SANTAL TRIBE TRIBAL ARTS DHODRO BANAM LUTES OF THE SANTAL PARIS NEW YORK BRUXELLES ART FAIR TRIBAL SHOW ARTE TRIBALE HIMALAYAN TRIBAL ART NEPALESE INDIAN  TIBETAN MASCHE.JPG

 

ARTS PREMIERS PRIMITIVE ART TRIBAL SANTAL TRIBE TRIBAL ARTS DHODRO BANAM LUTES OF THE SANTAL PARIS NEW YORK BRUXELLES ART FAIR TRIBAL SHOW ARTE TRIBALE HIMALAYAN TRIBAL ART NEPALESE INDIAN  TIBETAN MASCHE (2).JPG

 

ARTS PREMIERS PRIMITIVE ART TRIBAL SANTAL TRIBE TRIBAL ARTS DHODRO BANAM LUTES OF THE SANTAL PARIS NEW YORK BRUXELLES ART FAIR TRIBAL SHOW ARTE TRIBALE HIMALAYAN TRIBAL ART NEPALESE INDIAN  TIBETAN MASCHE (3).JPG

 

ARTS PREMIERS PRIMITIVE ART TRIBAL SANTAL TRIBE TRIBAL ARTS DHODRO BANAM LUTES OF THE SANTAL PARIS NEW YORK BRUXELLES ART FAIR TRIBAL SHOW ARTE TRIBALE HIMALAYAN TRIBAL ART NEPALESE INDIAN  TIBETAN MASCHE (4).JPG

 

ARTS PREMIERS PRIMITIVE ART TRIBAL SANTAL TRIBE TRIBAL ARTS DHODRO BANAM LUTES OF THE SANTAL PARIS NEW YORK BRUXELLES ART FAIR TRIBAL SHOW ARTE TRIBALE HIMALAYAN TRIBAL ART NEPALESE INDIAN  TIBETAN MASCHE (5).JPG

http://ethnoflorence.skynetblogs.be/a-m-collection-all-ri...

A.M. COLLECTION

ALL RIGHTS RESERVED

ETHNOFLORENCE 

2012

 

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