08/03/2012

S. R. Mumford, Himalayan Dialogue. Tibetan Lamas and Gurung Shamans in Nepal

S. R. Mumford

Himalayan Dialogue. Tibetan Lamas and Gurung Shamans in Nepal 

Gérard Toffin    

L'Homme     Année   1992     Volume   32     Numéro   121     pp. 212-215

 

TEXT INTEGRAL

 

http://www.persee.fr/web/revues/home/prescript/article/ho...

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Martin Gaenszle, Ancestral Voices. Oral Ritual Texts And Their Social Contexts Among the Mewahang Rai of East Nepal

Martin Gaenszle, Ancestral Voices. Oral Ritual Texts And Their Social Contexts Among the Mewahang Rai of East Nepal 

Münster, LIT, 2002, 338 p., bibl., gloss., ill.

Gérard Toffin

 

Texte intégral

 

http://lhomme.revues.org/index2308.html

 

RELATED WORDS

 

addressed Allen altar ancestral deities aspect Bala beer binomials calabash called ceremonial dialogues chants che:7ma 

chicken clan clients competence concept context crucial cult cultural deixis discussed divine dreams elders 

entextualization event example expression flowers formal Gaenszle go.pa guru head-soul hearth household interaction 

invocations khamag khamag-o khamarj kholo kind Kiranti Kiranti language knowledge Kulunge kupi lawa lexeme life-soul 

Limbu linguistic makpa marriage metonymy Mewahang muddum myth ndgi ndgire Nepali Nepali language notion nuwdgi offerings 

ordinary language particular Paruhang pasug patrilineal performance person pharak place of origin present priest priestly 

reference rice rite ritual journeys ritual language ritual name ritual specialists ritual speech ritual texts sacrifice 

sakchami sakhau Sarahdew saya saya po:kma saya-lo seen shaman situlug social Somnima soul speaker speaking speech genres 

spirits structure suffix sukla Sunuwar superhuman symbolic Tamang Temora term textual Thulung various verb village 

wife-givers words

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A. Höfer, A Recitation of the Tamang Shaman in Nepal

A. Höfer

A Recitation of the Tamang Shaman in Nepal 

 

L'Homme     Année   1996     Volume   36     Numéro   140     pp. 131-132

 

TEXT INTEGRAL

 

http://www.persee.fr/web/revues/home/prescript/article/hom_0439-4216_1996_num_36_140_370170

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Arjun Guneratne, Many Tongues, One People. The Making of Tharu Identity in Nepal

Arjun Guneratne

Many Tongues, One People

The Making of Tharu Identity in Nepal

 

Ithaca-London, Cornell University Press, 2002, xvii + 236 p., bibl., ill., index

 

Gérard Toffin

 

TEXT INTEGRAL

 

http://lhomme.revues.org/index18833.html

 

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OF THE SAME AUTHOR

 

*

 

Ernestine McHugh, Love and Honor in the Himalayas. Coming to Know Another Culture 

 

Philadelphia, University of Pennsylvania Press, 2001, xviii + 180 p., index, ill. 

 

Paru dans L’Homme, 163 | juillet-sptembre 2002

 

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 Philippe Ramirez, De la disparition des chefs. Une anthropologie politique népalaise 

Paris, CNRS Éditions, 2000, 370 p., annexe, gloss., bibl., index, fig., cartes, ph. h. t. 

 

Paru dans L’Homme, 161 | janvier-mars 2002

 

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Geneviève Bédoucha, Éclipse de lune au Yémen. Émotions et désarrois d’une ethnologue

 

Paris, Odile Jacob, 2004, 348 p., ill., gloss.

 

Paru dans L’Homme, 179 | juillet-septembre 2006

 

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Laura M. Ahearn, Invitations to Love. Literacy, Love Letters, and Social Change in Nepal 

 

Ann Arbor, University of Michigan Press, 2001, xvi + 295 p., bibl., index, ill., cartes.

 

Paru dans L’Homme, 179 | juillet-septembre 2006

 

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Martin Gaenszle, Ancestral Voices. Oral Ritual Texts And Their Social Contexts Among the Mewahang Rai of East Nepal Münster, LIT, 2002, 338 p., bibl., gloss., ill.

 

Paru dans L’Homme, 177-178 | janvier-juin 2006

 

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Véronique Bouillier & Gilles Tarabout, eds. Images du corps dans le monde hindou. Paris, CNRS Éd., 2002, 511 p., bibl., carte, ill.

 

Paru dans L’Homme, 175-176 | juillet-septembre 2005

 

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ARTS PREMIERS Bernard Dupaigne, Le Scandale des arts premiers: la véritable histoire du musée du quai Branly

Bernard Dupaigne

Le Scandale des arts premiers: la véritable histoire du musée du quai Branly

Paris

Mille et une nuits, 2006, 262 p.

Anthony Shelton

p. 229-231

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Droits d'auteur

 

© École des hautes études en sciences sociales

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Although various researchers proposed projects to document and analyze the birth of the new Musée du quai Branly most, if not all, were denied privileged access to the field of decision-making and interpretive discussions that established the fascinating contradictory identity of the new institution. In the regrettable absence of proper academic studies, books such as Dupaigne’s, and the series of articles documenting the ups and downs of the Project published over the last decade by Emmanuel Le Roux in Le Monde, are nearly all we have to tell the story of one of the most controversial museum projects undertaken this past decade. The shortcomings of this work, its partiality, its rhetoric, and its use of newspaper, interviews and other sources to substantiate its preconceived conclusions all illustrate why academic museological case studies should not be considered an unwelcome intrusion in affairs of State.

 

While the work claims to deal with the period 1995-2006, most of it focuses on the four years between 1996 and 2000 and concentrates on the conflict between the French anthropological world, particularly the curators of the Musée de l’Homme’s laboratoire d’Ethnologie and the Gaullist art establishment represented by Jacques Kerchache, the arch-villain of the story, and Jacques Chirac. After 2000 the work begins to loose some of its focus and finishes with a general critique of the ambitious and expensive museum projects the Chirac Government has sponsored. The arguments between the two camps, frequently pugnacious, often professionally reprehensible, usually unpleasant and rarely intellectually stimulating, voiced in the main French newspapers, have shaped what may still become a remarkable institution capable of confounding its supporters and critics alike in charting a new intellectual foundation for research on non-Western art and culture. Bernard Dupaigne reiterates tiresome intellectual debates. He documents the admittedly sometimes dubious way authorities acquired additional collections for the new museum (the acquisition of 276 pieces of African art from the Barbier-Mueller Museum and works from other collectors who were friends and clients of Kerchache, while a whole chapter is given to the scandal surrounding the acquisition of Nok terracotta’s that divided the Museums international advisory board and brought it widespread criticism). He expresses outrage and incredulity at the «cronyism» through which Jacques Chirac pushed his project through to completion, the cowardice of Henry de Lumley, the then Director of the Musée de l’Homme for failing to defend the institution, the marginalization of research, corruption, the incompetence which saw the financial cost of the project dramatically escalate, and the arrogance of the architect, Jean Nouvel, for constructing collection storage areas under the flood plain of the Seine.

 

Bernard Dupaigne traces a genealogy of the grand project to unite «primitive art» with the historical traditions of the world’s great civilizations from Malraux (for whom they were «primordial arts») to Kerchache and Jacques Chirac (who preferred the term «arts premiers»), though he fails to mention that Claude Lévi-Strauss, ten years earlier than Malraux, had also harbored similar visions. Kerchache’s attempted unsuccessfully to interest Mitterand in his project, but failed to achieve support until Jacques Chirac, a collector of African art himself, was elected to the Presidency. In 1995 Jacques Chirac made a speech at the Muséum national d’histoire naturelle where he claimed art and ethnology to be two very different things, and thereby according

to Dupaigne ignited the beginning of the hostilities that have characterized the ­development and realization of the Project ever since.

 

In 1996, Jacques Chirac endorsed kerchache’s campaign for an additional gallery in the Louvre to exhibit «arts premiers». Against the opposition of its Director and curators, Kerchache and the architect, Jean-Michel Wilmotte were given the task of designing the Pavillon des Sessions which opened in 2000. Originally Kerchache and Chirac had planned modernizing and restructuring the neglected Musée de l’Homme, but with frequent opposition from its curatorial staff and after a failed attempt to remove the musée de la Marine to enable future expansion, it was felt easier to build a new museum. In 1996 a commission, which included Kerchache and various other political appointments, was established to examine the terms of reference of the proposed new museum. Its report recommended the amalgamation of the collections of the musée national des Arts d’Afrique et d’Océanie (MNAAO) with those of the Museée de l’Homme to create a new Musée des Civilisations et des Arts Premiers. Kerchache, up to his death in 2001, was made advisor to Germain Viatte, the former Director of the musée national d’Art moderne, and entrusted with exhibition planning and interpretation in the new Museum. The accusations and counterpoints between the two camps have seldom quieted. Dupaigne unavoidably, as Director of the Musée de l’Homme’s former Laboratoire d’ethnologie, is unable to act as a neutral or dispassionate observer himself. He argues that at the outset the curators of the Musée de l’Homme were not hostile against the idea of exhibiting non-Western objects as art, but against the idea of «arts premiers», because it denied such objects had history or had undergone change and treated them as «original art» thereby encouraging what he calls a «new obscurantism». As if to prove his point, he includes an appendix, which lists the different collaborative projects, the Musée de l’Homme did with the MNAAO; another listing non-western art exhibits assisted by the Musée de l’Homme; a comparative table of exhibitions done by Kerchache and more usefully a forth appendix which gives a chronological summary of the events between 1962-2006. For Bernard Dupaigne the quai Branly is a «musée pharaonique». He repeatedly accused the new museum project of creating a neocolonial representation of the world, a «palais des arts primitifs». He finds support in the opinions of other anthropologists including Louis Dumont, Daniel de Coppet and Maurice Godelier, but when he discusses how this neocolonial aestheticism should be superseded he repeats only traditional and formulaic dated options – Godelier’s desire for thematic and comparative approaches, or the need for ethnographic contextualization. Dupaigne’s work, more than anything, evidences the bareness of the intellectual debate around the establishment of the quai Branly and while he protests at the polemical and aggressive accusations of Kerchache against his anthropologist colleagues, he ignores similar personal hostilities that the anthropological establishment directed against Kerchache.

 

All in all this is a disappointing book about an apparently disappointing episode in French museological history in which neither the anthropologists or the aesthetes comes out particularly well. Furthermore, the books publication was probably timed to coincide with the opening of the quai Branly to cause maximum embarrassment. However, instead of the re-vindication the author had hoped for, the new Museum with its intellectually challenging temporary exhibitions and the tools for a much greater contextualization of the collections than ever the Musée de l’Homme was able to muster, strongly contradicts many of his central theses. The work may at best be a timely reiteration, using a contemporary case in point, of the intellectual problems surrounding ethnographic representation that have haunted museology without any resolution for nearly a century, but because of the authors complicity in the events he documents, it fails to achieve academic status. With so much political and symbolic capital invested in the Project, these crises of public ethnographic representations became exacerbated to the point that they may have finally reached climacteric where we will all realize the terms of these encounters themselves need to be radically rewritten. That however, would be quite a different book to the one under review.

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Anthony Shelton , « Bernard Dupaigne, Le Scandale des arts premiers: la véritable histoire du musée du quai Branly », 

L’Homme, 183 | juillet-septembre 2007, [En ligne], mis en ligne le 28 juin 2007. 

URL : http://lhomme.revues.org/index9791.html. Consulté le 08 mars 2012.

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27/02/2012

Fosco Maraini Segreto Tibet Leonardo da Vinci 1955

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

2008 - 2016

MARAINI FOSCO MARAINI SEGRETO TIBET.jpg

Fosco Maraini

 

Segreto Tibet

 

Leonardo da Vinci 

 

1955

 

Fosco Maraini (15 November 1912  Florence Italy– 8 June 2004  Florence) was an Italian photographer, anthropologist, 

ethnologist, writer, mountaineer and academic.

 

BIBLIORAPHY

 

1939

Dren-Giong Vallecchi

1951

Segreto Tibet Leonardo da Vinci Editrice 

1957

Ore giapponesi Leonardo da Vinci Editrice

1960

L'isola delle pescatrici Leonardo da Vinci Editrice 

1961

Karakorum, G4 Leonardo da Vinci Editrice

1963

Paropàmiso Leonardo da Vinci Editrice

1973

Incontro con l'Asia De Donato Editore

1978

Giappone e Corea De Agostini

1988

Ore giapponesi nuova edizione Dall'Oglio

1990

Prima della tempesta Shang-Shung

1994

 Fànfole Baldini&Castoldi

1995

Il nuvolario. Principi di nubignosia Semar L'àgape celeste. I riti di consacrazione del sovrano giapponese

All'insegna del pesce d'oro

1996

Tibet. Incanto orizzontale Museo nazionale della montagna Gasherbrum IV. La splendida cima  Vivalda

1997

Gli ultimi pagani Redazione studio Redazionale

1998

Segreto Tibet  Corbaccio Il nuvolario Marsilio I volti del Tibet segreto Lyra Libri Alpi giapponesi.

Fotografi di montagne lontane Museo nazionale della montagna Tibet. Templi scomparsi Ananke

1999

Il miramondo. 60 anni di fotografia Catalogo della mostra Fotografica - Polistampa

Case, amori, universi Mondadori 

2000

Ore giapponesi  Corbaccio

2003

Paropàmiso Mondadori

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RELATED KEYES WORDS

 

abati alcuni Avalokitesvara Bhutan Bodhisattva Budda Budda Supremo buddismo burro capo cappella casa certo ch'è chorten 

cielo Cina cinese civiltà colori culturale Dalai Lama danza dèi dell'Asia dell'Imàlaia Dhyani dice dinanzi divinità dorato 

foto fotografie Gangtok Gautama Gelug-pa giallo Giappone giapponesi gioielli giorno Giuseppe Tucci gòn-kang gran Gyantse 

India indiani invece Khan Kirimtse Kum-Bum l'India lama Ngawang lamaista Lhasa Lobsang lungo Lungshar luogo maestro mandala 

Manjusri mente Milarepa Mingyur mistero mistico monaci Monastero Kyangphu mondo mongolo montagne morte Nepal nuovo occhi 

oggi ormai Padmasàmbhava paese pagoda Panchen Lama parla passa Pemà Chòki piano piccolo pinyin pitture murali poco popolo 

porta Potala rappresenta religiosi resto Rimpoche sacre Sakya sale samsara secolo sembra sente setta Shakti Shigatse siamo 

Sikkim silenzio simbolo Sonam Songtsen-gampo spesso statue tantriche terra terrificante Tibet tibetani Tob-chen trova 

Tsongkhapa umano vajra valle vedere verso viaggio viene visitare Wildo Yatung zionea

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Ainu: Spirit of a Northern People William Fitzhugh Chisato Dubreuil Arctic Studies Center, National Museum of Natural History, Smithsonian Institution in association with University of Washington Press, 1999

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

2008 - 2016

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AINU TRIBAL ARTS PREMIERS PRIMITIVE.jpg

Ainu: Spirit of a Northern People 

 

William Fitzhugh  Chisato Dubreuil

 

Arctic Studies Center, National Museum of Natural History, Smithsonian Institution in association with University 

of Washington Press, 1999

 

RELATED KEY WORDS

 

Ainu art Ainu collections Ainu culture Ainu designs Ainu language Ainu materials Ainu Shinpo Ainu traditional Ainu women 

Ainu-e Amur River animals archaeological areas artifacts artists Asahikawa Asian attush bark basketry baskets Batchelor 

bear bear-sending ceremony began Bikky Sunazawa carved century Chikabumi clothing Culin dance deer early elders ethnic 

ethnographic fish garments gods groups Hakodate Hiller Hitchcock Hokkaido Ainu Honshu human hunting Ikupasuy Fig important 

inaw indigenous iyomante Japan Japanese John Batchelor Jomon kamuy Kayano Kodama kotan Kurile Kurile Ainu Kurile lslands 

Kushiro lacquerware land living ln addition Matsumae native Nibutani NMNH North Pacific northern Northwest Coast objects 

Okhotsk Oyabe patterns photographs Piratori political prayer stick produced region ritual Russian Sakhalin Ainu salmon 

Sapporo Saru River Satsumon sending ceremonies shaman Shigeru Kayano Shimanojo Shiraoi similar southern spirits Starr 

swords tion Tokyo tourist trade traditional Ainu village Wajin whale wood wooden yukar

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MARAINI FOSCO MARAINI Paropàmiso: storie di popoli e culture, di montagne e divinità Fosco Maraini Mondadori, 2003

paropamiso.jpg

Paropàmiso: storie di popoli e culture, di montagne e divinità

Fosco Maraini

Mondadori, 2003

ETHNOFLORENCE 

FOLK AND TRIBAL ARTS

LIBRARY

ABOUT 

FOSCO MARAINI

http://www.foscomaraini.net/

FOSCO MARAINI

 

RELATED KEYES WORDS

 

afghano alcuni Alessandro Allah allora alpinistica appena arrivare ascensione avevamo Bodhisattva Buddha buddhista c'era campo base capitano Shapur capo carovana casa certo chilometri Chitral cielo cima civiltà compagni Corano cresta davvero dèi dell'Asia dell'Hindu-Kush dicendo donne ecco endocosmo erano eravamo Fosco Maraini Franco Alletto Gandhara Gasherbrum gente ghiacciaio ghiaccio Gilgit giorno gran greci gruppo guardare inglese invece islamica kafir Karachi Karakorum l'Islam l'uomo lasciato lungo luogo Maometto Mecca mente metri Mistero mondo montagne monti MuhaMMaD IQBal Mulai Jan Murad musulmani neve Niroghi notte nuovo ormai paese Pakistan Paolo Consiglio parlare Paropàmiso passo pathan pensare Peshawar piccolo piedi poco popoli porta portatori poteva profetiche proprio Punjab punto Rawalpindi religione resto ricordi riuscimmo Rivelazione sacro sahib salita Saraghrar secolo sembra sentire Shapur siamo Silvio soltanto spedizione spesso stava Swat Taxila tenda terra Tirich tratta traversare trovammo umana uomini valanghe valle vedere verso vetta vista zione Zoroastro

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FOSCO MARAINI

BIBLIOGRAPHY

 

1939

 

 

 

Dren-Giong Vallecchi

 

 

 

1951

 

 

 

Segreto Tibet Leonardo da Vinci Editrice 

 

 

 

1957

 

 

 

Ore giapponesi Leonardo da Vinci Editrice

 

 

 

1960

 

 

 

L'isola delle pescatrici Leonardo da Vinci Editrice 

 

 

 

1961

 

 

 

Karakorum, G4 Leonardo da Vinci Editrice

 

 

 

1963

 

 

 

Paropàmiso Leonardo da Vinci Editrice

 

 

 

1973

 

 

 

Incontro con l'Asia De Donato Editore

 

 

 

1978

 

 

 

Giappone e Corea De Agostini

 

 

 

1988

 

 

 

Ore giapponesi nuova edizione Dall'Oglio

 

 

 

1990

 

 

 

Prima della tempesta Shang-Shung

 

 

 

1994

 

 

 

Gnòsi delle Fànfole Baldini&Castoldi

 

 

 

1995

 

 

 

Il nuvolario. Principi di nubignosia Semar L'àgape celeste. I riti di consacrazione del sovrano giapponese

 

All'insegna del pesce d'oro

 

 

 

1996

 

 

 

Tibet. Incanto orizzontale Museo nazionale della montagna Gasherbrum IV. La splendida cima  Vivalda

 

 

 

1997

 

 

 

Gli ultimi pagani Redazione studio Redazionale

 

 

 

1998

 

 

 

Segreto Tibet  Corbaccio Il nuvolario Marsilio I volti del Tibet segreto Lyra Libri Alpi giapponesi.

 

Fotografi di montagne lontane Museo nazionale della montagna Tibet. Templi scomparsi Ananke

 

 

 

1999

 

 

 

Il miramondo. 60 anni di fotografia Catalogo della mostra Fotografica - Polistampa

 

Case, amori, universi Mondadori 

 

 

 

2000

 

 

 

Ore giapponesi  Corbaccio

 

 

 

2003

 

 

 

Paropàmiso Mondadori

 

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24/02/2012

Indian embroideries John Irwin, Margaret Hall HISTORIC TEXTILES OF INDIA AT THE CALICO MUSEUM AHMEDABAD 1973

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

2008 - 2016

D 8.jpg

Indian embroideries

 

John Irwin, Margaret Hall

 

VOLUME II

 

HISTORIC TEXTILES OF INDIA AT THE

 

CALICO MUSEUM

 

AHMEDABAD

 

1973

 

RELATED KEYES WORDS

 

19th century 19th or early Accession affixing mirror discs applique bands beads birds blue border buds butis Buttonhole 

stitch central loop centre chain stitch chakla Chamba chikan embroidery close herringbone stitch coloured cotton coloured 

silks Colours and stitches core of yellow darning decorated discs of mirror early 20th century elephant embroidered with 

coloured embroidered with silk embroidery floral ornament flowering plants form of close frieze Ground Gujarat hanging 

India indigo cotton indigo satin Interlaced stitch Jain Kathiawar Krishna Kutch late 19th Length loop for affixing lozenges 

mashru medallion mirror glass Mochi motifs Mughal orange outlines pair panels contain Panjab pattern peacocks phulkari 

PLATE quilted red cotton round flowers rows running stitch Satin stitch silk and discs silk and silver-gilt silver-gilt 

flat wire silver-gilt thread Silver-gilt thread twisted silver-gilt wire Sindh Small discs Stem stitch Straight stitch 

style surrounded tikis violet white cotton white silks Width yellow silk

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Tribal art traffic: a chronicle of taste, trade and desire in colonial and post-colonial times Raymond Corbey Royal Tropical Institute, 2000

TRIBAL ART PREMIERS PRIMITIVE.jpg

Tribal art traffic: a chronicle of taste, trade and desire in colonial and post-colonial times

 

Raymond Corbey

 

Royal Tropical Institute, 2000

 

RELATED KEYES WORDS

 

Aborigine activities aesthetic African art Amsterdam ancestor figures Anonymous anthropologist antique Antwerp artifacts 

artists Asmat Asmat art auction authentic Baga Batak beautiful Belgian Congo Belgium Berlin bought Brussels carvings 

catalogue century Charles Ratton Chokwe coast colonial contacts context cultural property curators Dayak deal Dirk Smidt 

Dogon Dutch museums East Indies ethnographic museums ethnographics ethnological museums ethnologist example exhibition 

expeditions father French gallery German hands Humboldt Bay Indonesia initial interest Islands Kerchache korwar large 

number Leiden Lemaire Lier Louvre Mali masks material Melanesia missionary Musee Museum fur Volkerkunde Netherlands 

non-western Nyamwezi Olbrechts Papua New Guinea Paris photographed pieces Port Moresby private collection Ratton 

Rijksmuseum Rijksmuseum voor Volkenkunde sell Sentani Lake Sepik shields societies sold spirits style Sukuma Tervuren 

things thousand trade traditional tribal art tribal art dealer tribal objects Tropenmuseum village Volkenkunde Rotterdam 

well-known Wirz woodcarving York Yup'ik

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