21/04/2010

INDIAN MASKS AT NATURAL HISTORY MUSEUM OF NEW YORK. THE ART OF INDIAN ASIA, Heinrich Zimmer. ALS DIE GOTTEN NOCH JUNG WAREN MASKEN UND SKULPTUREN AUS DEM HIMALAYA. Pierre Zink Eric Chazot.

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

2008 2016
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WESTERN NEPAL

THE ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC LIVING TRADITION III

Photo courtesy of  Paulo Grobel

http://ethnoflorence.skynetblogs.be/post/7824367/autres-m...

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See more on http://ethnoflorence.skynetblogs.be/post/7824367/autres-m...

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MASKS OF THE HIMALAYAS

Old fragmentary nepalese mask
(Inventory no. 114)

14212129_1383417428338546_8999586943295547666_n.jpg

14292405_1383418525005103_8867333200726116955_n.jpg

 

Himalayan male mask
(Inventory no 51)

14329987_1390169984329957_2065999441056771840_n.jpg

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Old Nepalese male mask
(Inventory no 46)

14344151_1387105774636378_2400528625902281735_n.jpg

14191965_1387108031302819_2143969383606645461_n.jpg

Ethnoflorence Himalayan photo Archive

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INDIAN MASKS AT NATURAL HISTORY MUSEUM OF NEW YORK

ETHNOFLORENCE INDIAN AND HIMALAYAN  PHOTO ARCHIVE.

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 Mask of Ravanna, demon ruler of Lanka, the enemy of Rama in the Ramayana, it's used in the RAMILLA, a cycle of plays based on Rama's life. North India 20th century.

2 Shadow puppet of goatskin, representing Rama. Andhra Pradesh, 20th century.

3 Three dimensional figures of Rama, Lankshmane (Rama's brother) and Sita are used in the Dashahara festival for the Ramilla. Delhi, 20th century.

4 Figure of a Lambadi woman from Gujarat performs a tribal dance with a copper vassel balanced on her head. 20th century.

5 Indian folk painting used in Rajastan by a traveling bard as background while he recites, dances and mimes the story of the hero Pabuji Rathore. The painting depicts scenes from the hero's life. Mewar, Rajastan, late 19th century.

6 Cloth hangings with woodblock designs show Brahma, patron of the theather, and his consort Sarasvati, patroness of music. Andhra Pradesh, 20th century.

7 In the basket are Rajasthani marionettes used to tell stories of the Rajput princes, of knightly exploits, and of loves lost and found. Rajasthan early 20th century.

8 Peacock feather crowned headdress of the Pootham actor, used by Perawannams of South India, involves a very formal and difficult theater tradition. South Malabar 20th century.

9 Chhau mask of Ravanna, demon king of Lanka, enemy of Rama. State of Seraikella , Bihar 20th century.

10 Chhau mask of Durga, consort of Siva, State of Seraikella , Bihar 20th century.

11 Chhau mask of Ganesha, son of Siva, State of Seraikella , Bihar 20th century.

12 The Nandi Bull of Siva, polychrome wood. Bombay early 20th century.

13 Mask representing Chandama, paper machè, Varanasi, 20th century.

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THE ART OF INDIA

 its mythology and transformations, Heinrich Zimmer,  completed and edited by Joseph Campbell with photographs by Eliot Elisonfon and others, Pantheon Books.

022023

 

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Ethnoflorence Indian and Himlayan library.

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NEPALESE FIGURE

(Inventory no 3)

12592244_1212494392097518_111992540816169242_n.jpg

 

 

Ethnoflorence Indian and Himalayan photo Archive

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TAMANG SHAMANIC KIT

SEE MORE ON http://ethnoflorence.skynetblogs.be/post/7598651/tamang-s...-

 courtesy of BILL MARSH collection; B/W pics courtesy of Josh Lustig   http://www.joshlustig.com/; text courtesy of Italo Bertolasi  from "Jhakri uomini con le ali" Nepal 1971, written  for the exhibition "Viaggi a Oriente"  http://www.italobertolasi.com/viaggioriente.htm  and http://www.italobertolasi.com/index.html.

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Courtesy of Bill Marsh

SEE MORE ON http://ethnoflorence.skynetblogs.be/post/7598651/tamang-s...-

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PIERRE ZINK

-ALS DIE GOTTEN NOCH JUNG WAREN
MASKEN UND SKULPTUREN AUS DEM HIMALAYA

QUAND LES DIEUX ETAIENT ENCORE JEUNES
MASQUES ET SCULPTURES DE L'HIMALAYA

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Catalogue of the September 2002 exhibition at Museum of Ritterhaus Offenburg of Mr Pierre Zink Himalayan Art collection.

Text by Mr Pierre Zink (introduction) and Mr Eric Chazot.

Among  the different chapters of the catalogue: L'art chamanique de l'Himalaya (Shamanistische Kunst im Himalaya); Le chamane et ses instruments de pouvoir (Der Shamane und seine Macht-Instrumente); Le dhyangro (Die Dhyangro); Le phurbu (Der Phurbu); Sculptures de protecteur (Skulpturen der Schutzgottheiten); Les instruments de musique (Die Musikinstrumente); Le masques (Die Masken).

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RICHARD LAIR COLLECTION

 A SENSITIVE SELECTION

SEE MORE ON

http://ethnoflorence.skynetblogs.be/post/7615096/richard-...

 

courtesy of Richard Lair.

Nepalese shaman pictures courtesy of    Josh Lustig   http://www.joshlustig.com/; Vincent Van den Berg http://web.mac.com/vincentvandenberg/shi/Index.html , Manishakya http://www.flickr.com/photos/manishakya/  Arts Premiers Collection Bruxelles http://sanza.skynetblogs.be/ , undated nepalese post card.

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SEE MORE ON

http://ethnoflorence.skynetblogs.be/post/7615096/richard-...


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STAY IN TOUCH WITH US

SUBSCRIBE TO OUR NEWSLETTER

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

 

08/03/2010

NEPAL MASK Giuseppe Tucci Nepal alla scoperta dei Malla - Humla il Nepal più lontano courtesy of Arte Nomade Walking on the roads of the Western Nepal II -L'ART DES CHAMANES D'HIMALAYA by Myriam Boutoulle on Connaissance des Arts n674 sept

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

dyn009_original_480_640_pjpeg_2638188_c8b29138554144256cf942a56c6a88fc.jpg

2008 2016

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GIUSEPPE TUCCI

ALLA SCOPERTA DEI MALLA

GIUSEPPE TUCCI

LEONARDO DA VINCI EDITRICE Bari 1960

*****

L'ART DES CHAMANES D'HIMALAYA

an interesting article by Myriam Boutoulle  on Connaissance des Arts n674 sept 2009

GetAttachment[2]

Among the interesting chapters: Pouvoirs et rites de possession, Au rytme de la trance, Des masques pour quel usage?

Side the text a shaman  picture from Renzo Freschi collection, pieces from Musee de la Castre of Cannes, Marc Petit, Durand Dessert, Christian Lequindre Collections.

Two other chapters are then devoted to "L'Art Tribal d'Himalaya au Quai Branly" and "Les collectionneurs privés et leur trésor".

Last but not the least the final chapter devoted to the new stuff of the Musee de la Castre of Cannes http://ethnoflorence.skynetblogs.be/post/7544841/musee-de... , the exhibition "Masques de l'Himalaya" at Martigny http://ethnoflorence.skynetblogs.be/post/7254349/masques-... , the Francoise Pannier Gallery "Le Toit du Monde" Paris http://www.letoitdumonde.net/  and http://www.letoitdumonde.net/actualites/index.html .

.

Interesting the list of recent catalogues edited on the matter, "Masques de l'Himalaya" under the direction of Mr  Francois Pannier,   "Nepal shamanisme et sculpture tribale" by Marc Petit and Christian Lequindre, "Himalayas Art and Shamans" Eric Chazot Liliane and Michel Durand Dessert, "Sculptures de bois au Nepal, buffons et protecteurs" B. Goy and Max Itzikovitz, the three catalogues of the Galerie le Toit du Monde of the 2007 devoted the the "Art chamanique népalais".

.WALKING ON THE ROADS OF WESTERN NEPAL

I

http://ethnoflorence.skynetblogs.be/post/7709872/walking-on-the-roads-of-the-western-nepal-hum 

 

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 Photo courtesy of  PARLERDELLES OVERBLOG

See more on  http://ethnoflorence.skynetblogs.be/post/7709872/walking-on-the-roads-of-the-western-nepal-hum 

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WALKING ON THE ROADS OF WESTERN NEPAL

II

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03

04 MUNI SANGU

 

 

05 KHAMPA VILLAGE OF CHOTRA

06 champa village chaurikot

 

07 chaurikot

08 dokpa in Kaigon

 

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(Photo courtesy of Simon 101)

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NEPAL

SHAMANISM AND TRIBAL SCULPTURE

 Christian Lequindre, Marc Petit.

http://ethnoflorence.skynetblogs.be/post/7575469/nepal-ch...

CL 2

 In collaboration with NEPAL TRIBAL ART

CL 1

see more on:

http://ethnoflorence.skynetblogs.be/post/7575469/nepal-ch...

and

www.nepaltribalart.com

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A SELECTION OF PICTURES FROM THE PAST EXHIBITION

HUMLA IL NEPAL PIU' LONTANO

Mostra fotografica-video-convegno Provincia di Macerata, RIDS Nepal, Is.I.A.O. Roma, Arte Nomade

Photo courtesy of Arte Nomade

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http://www.artenomade.com/progetti_multimediali/attuali/M...                               http://www.artenomade.com/progetti_multimediali/attuali/M...

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Courtesy of Arte Nomade  http://www.artenomade.com

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NEPAL FIGURE

(Inventory no 22)

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 (Ethnoflorence Himalayan Photo Archive)

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WESTERN NEPAL

THE ARCHETYPIC ICONOGRAPHY OF A LIVING TRADITION

PART I

 Photo courtesy Jean Claude Latombe

http://ethnoflorence.skynetblogs.be/post/7701713/western-...

b jean claude latombe

See more on http://ethnoflorence.skynetblogs.be/post/7701713/western-...

 

 WESTERN NEPAL

THE ARCHETYPIC ICONOGRAPHY OF A LIVING TRADITION

PART II

 Photo courtesy of   Reto Niederhauser 

 http://ethnoflorence.skynetblogs.be/post/7716824/western-...

a Reto Niederhauser

See more on  http://ethnoflorence.skynetblogs.be/post/7716824/western-...

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THARU ART OF NEPALESE TERAI

 

tharu art 1

 tharu art 2

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SANTAL PEOPLE TRIBAL ARTS

A RESUME

http://ethnoflorence.skynetblogs.be/post/7632624/tribal-a...

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SEE MORE ON  http://ethnoflorence.skynetblogs.be/post/7632624/tribal-a...

PICTURES AND PIECES  from

-Ethnoflorence Indian and Himalayan Folk and Tribal Art http://ethnoflorence.skynetblogs.be/post/7632624/tribal-a...

 -Art Premiers Art Primitive Collection Bruxelles http://sanza.skynetblogs.be/post/7633837/-tribal-arts-of-...

and with the kindly support of

-Detours de Monde web-site http://detoursdesmondes.typepad.com/dtours_des_mondes/201...

-Actufresh web site

http://www.actufresh.fr/2010/les-arts-des-santal.html 

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 MEET HIMALAYAN SPIRITS IN SEOUL

An exhibition of nepalese shamanic art of the 2008 in Seoul.

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See more on http://www.koreatimes.co.kr/www/news/art/2009/10/148_3548...

 

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STAY IN TOUCH WITH US SUBSCRIBE TO OUR NEWSLETTER

25/01/2010

NEPAL MASK HIMALAYAN TRIBAL ART RICHARD LAIR COLLECTION, A SENSITIVE SELECTION

 ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

IMG_1278.JPG

2008-2016

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STAY IN TOUCH WITH US

SUBSCRIBE TO OUR NEWSLETTER

*

NEPAL LAND OF THE MASKS

 

z4

 

Coming soon.

-NEPAL. SHAMANISM AND TRIBAL SCULPTURE, Christian Lequindre, Marc Petit.

In collaboration with NEPAL TRIBAL ART

z 1

see more on:

http://ethnoflorence.skynetblogs.be/post/7575469/nepal-ch...

and

www.nepaltribalart.com 

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RICHARD LAIR

COLLECTION

A SENSITIVE SELECTION

Photo courtesy of Richard Lairs


Nepalese shaman pictures courtesy of    Josh Lustig   http://www.joshlustig.com/; Vincent Van den Berg http://web.mac.com/vincentvandenberg/shi/Index.html , Manishakya http://www.flickr.com/photos/manishakya/  Arts Premiers Collection Bruxelles http://sanza.skynetblogs.be/ , undated nepalese post card.

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(Courtesy of Mr Richard Lair)

- CALLING OF THE SPIRITS....coming soon

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- DIGITAL HIMALAYA

THANGMI FILM COLLECTION

Since 1997, Mark Turin and Sara Shneiderman have been using digital video to document the cultural complex of Thangmi shamanism and its related cosmology.

 

Below are five links of short clips of Thangmi shamans conducting rituals which include cutting hair for purification before ritual practice, a narration of the Thangmi origin myth, a healing ritual in Damarang (Dolakha district, Nepal), and an exorcism ritual and subsequent healing ritual in Kodari (Sindhupalcok district, Nepal).

1) Thangmi Shaman Film: Rana Bahadur Cutting His Hair

This film clip shows the senior shaman (or guru in Thangmi) Rana Bahadur having his head shaved by a relative in preparation for an important ritual. Rana Bahadur shared a great deal of his knowledge with anthropologists Shneiderman and Turin before he passed away in late 2002.

Filmed by Mark Turin in Suspa, Dolakha district, Nepal, 2000

http://www.digitalhimalaya.com/collections/thangmiarchive...


2) Rana Bahadur Origin Song

This film clip shows the senior shaman (or guru in Thangmi) Rana Bahadur narrating a section of the Thangmi origin myth. He beats a plate to the rhythm of his chanting. Rana Bahadur shared a great deal of his knowledge with anthropologists Shneiderman and Turin before he passed away in late 2002.

Filmed by Mark Turin in Suspa, Dolakha district, Nepal, 2000

http://www.digitalhimalaya.com/collections/thangmiarchive...

3) Jit Bahadur Healing Ritual

This film clip shows the young shaman (or guru in Thangmi) Jit Bahadur, the son of Rana Bahadur, beating his drum and going into trance to exorcise the malevolent spirits which have caused a young woman to be ill. The film was shot in complete darkness in an attempt to accurately illustrate the atmosphere of a shamanic seance.

Filmed by Mark Turin in Suspa, Dolakha district, Nepal, 2000.

http://www.digitalhimalaya.com/collections/thangmiarchive...

4) Kodari Guru Healing Ritual I

This film clip shows the senior shaman (or guru in Thangmi) Jhankri Maila, preparing flour effigies of the spirit world on a bamboo winnowing tray. After the preparations are complete, he commences the ritual which is a healing ritual for a young woman who has been feeling unwell for some time.

Filmed by Mark Turin in Kodari, Nepal, January 1998.

http://www.digitalhimalaya.com/collections/thangmiarchive...

5) Kodari Guru Healing Ritual II

This film clip shows the senior shaman (or guru in Thangmi) Jhankri Maila, with a patient. After asking some preliminary questions about his general health and diet, he checks the patient's pulse and heart and blows the infection away. Afterwards, they share a cigarette.

Filmed by Mark Turin in Kodari, Nepal, January 1998

http://www.digitalhimalaya.com/collections/thangmiarchive...

 

dyn002_original_480_640_pjpeg_2638188_4a56fb2f92ed68cca7b62024f254b0a3[1]

More on  http://ethnoflorence.skynetblogs.be/post/6909408/dhyangro...

- NEPALESE SHAMAN KIT FROM BILL MARSH COLLECTION

dyn007_original_604_405_pjpeg_2638188_53e489d64b1f7d8c870402973a4a4671[1]

See more on http://ethnoflorence.skynetblogs.be/post/7598651/tamang-s...

- MUSEE DE LA CASTRE OF CANNES, NEW STUFF

DSCF1103

RENZO FRESCHI multimedia corner...se more on  http://ethnoflorence.skynetblogs.be/post/7544841/musee-de...

-EROTIC WOOD CARVINGS IN NEPALI TEMPLE

GetAttachment[1]

(Photo by Nabin Baral, courtesy)

NABIN BARAL is a valid Nepalese photographer friend and collaborator of the Ethoflorence project, see his  documentary pics,  on

http://www.demotix.com/news/226312/erotic-wood-carvings-n...

- THE VILLAGE GODS OF SOUTH INDIA.

"....I was perplexed because the three sites I had found between Trichinopoly and Madura in that first trip were so extraordinary, so exciting, that I couldn't believe what I was later to verify through foremost authorities in London and Paris: that the village gods (Grama Devatas) were virtually unknown except to a few theologians and anthropologists..." (Harry Holtzman)

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AFTER MORE THAN 50 YEARS THE UNIQUE HARRY HOLTZMAN FIELD DOCUMENTATION OF 130 SHRINES OF THE SOUTH INDIA VILLAGE GODS , GRAMA DEVATAS, IS WHAT REMAIN OF A LOST WORLD.

z3

See more on http://ethnoflorence.skynetblogs.be/post/6493657/the-vill...

- ETHNOFLORENCE EARLY HIMALAYAN PHOTO ARCHIVE, UNDER CONSTRUCTION

z3 (2)

COMING SOON.

19/01/2010

NEPAL SHAMAN ART. TAMANG SHAMAN KIT, BILL MARSH COLLECTION.Faces of Devotion, Indian Sculpture From the Figiel Collection. On view April 10, 2010 to January 16, 2012 Peabody Essex Museum, Salem (MA).

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

13620892_1332690906744532_5228107378786638546_n.jpg

2009

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NEPAL 

SHAMANISM AND TRIBAL SCULPTURE

Christian Lequindre, Marc Petit.

9782884747059[1]

In collaboration with NEPAL TRIBAL ART 

see more on:

http://ethnoflorence.skynetblogs.be/post/7575469/nepal-ch...

cc

62A.jpg

66A.jpg

69C.jpg

and

www.nepaltribalart.com

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MUSEE DE LA CASTRE

NEW ROOM

-MUSEE DE LA CASTRE, CANNES, FRANCE, Himalayan Classic, Folk and Tribal Arts new stuff.

Musee de la castre of Cannes

 

ETHNOFLORENCE Indian and Himalayan Folk and Tribal arts photo Archive see more on :

http://ethnoflorence.skynetblogs.be/post/7544841/musee-de...

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

TAMANG SHAMAN KIT

BILL MARSH COLLECTION

- TAMANG SHAMANIC KIT, courtesy of BILL MARSH collection; B/W pics courtesy of Josh Lustig   http://www.joshlustig.com/; text courtesy of Italo Bertolasi  from "Jhakri uomini con le ali" Nepal 1971, written  for the exhibition "Viaggi a Oriente"  http://www.italobertolasi.com/viaggioriente.htm  and http://www.italobertolasi.com/index.html.

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"...La gente dell'Himalaya sa che le foreste sono abitate da uomini selvaggi.

Ci sono le tribù dei Kusuda e dei Chepang, scoperte dagli antropologi pochi anni fa, ma anche i Ritte Jhakri, neri e pelosi, che vivono con i Suna Jhakri, acquanauti dal pelo fulvo e dorato.

Consiglio di evitare i Latho Jhakri, muti e pazzi, mentre è un dono divino l'incontro con i Bon Jhakri, nani e vegetariani, verdi e caritatevoli, che insegnano le arti sciamaniche.

Di notte, vicino al fuoco e ai monti più alti della terra, ho incontrato più volte chi mi giurava d'esser stato educato da queste creature dei boschi e come prova mi mostrava i regali ricevuti: pietre sonanti, cristalli e strane reliquie antropomorfe fatte di pelo e radici intrecciate. 

Per sopravvivere allo sterminio e a una caccia a streghe e demoni che mi ricorda quella della nostra inquisizione, molti sciamani si sono dovuti mascherare con liturgie indù e buddiste.

Lo sciamano è un uomo coraggioso, un viaggiatore e un mistico che sfida l'ignoto e il mistero dell'esistenza. E' un uomo straordinario che riesce a curarsi da dolorose malattie iniziatiche e da laceranti crisi esistenziali che lo strascinano al limite della follia. E' un artista che inventa psicodrammi e danze estatiche per rinsaldare il gruppo e perpetuare così i miti del Clan. E' uno psicologo contadino che ristabilisce l'equilibrio armonioso tra il "dentro" e il "fuori", tra il corpo e l'anima, tra l'uomo e dio. E' un medico e un erborista che conosce le piante maestre e pscichedeliche, un econauta in viaggio nella natura selvaggia in compagnia degli animali eletti a spiriti guida.

Col "volo magico", il viaggio interiore,scopre il ritmo vibratorio e le forme dell'Universo. Sale in Paradiso e scende con coraggio nel regno della Morte, la Terra del Grande Ritorno.

Noi, viaggiatori verso Oriente, li abbiamo scelti come maestri del viaggio...".

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Among the pieces of this Shamanic kit, the interesting iconography of the phurbu and dhyangro handle is comparable with some pieces exhibited in the 2007 Francois Pannier exhibition of Paris.

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Photo courtesy of  Arts Premiers Primitive Art Collection Bruxelles.

And with some items recently exhibited in the Musee de la Castre of Cannes.

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The shamanic 'mirror' from an iconographic view point an unique piece.

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HIMALAYAN SHAMANIC DRUMS IN THE DRUM MUSEUM COLLECTION

- HIMALAYAN  SHAMANIC STUFF OF THE DRUMMUSEUM COLLECTION . Courtesy of Drummuseum
http://www.drummuseum.com/Navigation/Himalaya/index.asp?h...,  Shaman pics photo courtesy of Mariarosa Genitrini http://www.nepalese.it/ .

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-Faces of Devotion, Indian Sculpture From the Figiel Collection. On view April 10, 2010 to January 16, 2012  Peabody Essex Museum, Salem  (MA)

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-ETHNOFLORENCE EARLY HIMALAYAN ARCHIVE, UNDER CONSTRUCTION, COMING SOON.

DSCF0013

 

27/12/2009

MUSEE DE LA CASTRE, CANNES, FRANCE, Himalayan Classic, Folk and Tribal Arts new stuff. ETHNOFLORENCE Indian and Himalayan Folk and Tribal arts photo Archive.

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

NEPAL TRIBAL ART MASK ETHNOFLORENCE .jpg

2008 - 2018

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MUSEE DE LA CASTRE

CANNES FRANCE

 Himalayan Classic, Folk and Tribal Arts new stuff.

ETHNOFLORENCE Indian and Himalayan Folk and Tribal arts photo Archive.

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THE PAST

 

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Old Stuff see more on

 / http://ethnoflorence.skynetblogs.be/post/7356418/musee-de...

 

NOW

NEW

HIMALAYAN ROOM

 

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CANNES MUSEE DE LA CASTRE
LES NOCTURNES visites jasqu'a 20,30 le 26, 27, 28, 29, 30 DECEMBRE, 2, 3, Janvier 2010.
Un événement Ville de Cannes.
Rens: 04 93 38 55 26 - www.cannes.com
Bus: 1,2,7, et 20, Arret "Souquet".

Among the shamanic items on display imposing  the shaman ritual 'armor' or 'vetement' from the Dhaulagiri area, from the same area a 'baguette de tambour' with an interesting antrophomorphic top namaste posture figure and the symbols of the three worlds exactly, from an iconographic view point, carved below; a particulary decorated  holy vase bumba and 'his' wooden carved altar or 'autel' (in the back side of wich, not visible to the public, there is carved a primitive figure in namaste posture;  the best items of the exhibition are however in my opinion  a massive phurbu with a shaman 'errant' (?)on the top, and a Dhyangro handle with the same exact iconography (a part the top phurbu figure, bien sure), from the same artistic hand and ... shaman's kit very probably. In the upper section of the handle is exceptionally carved an human figure, a shaman, in namaste posture.

The great part of these new acquisition of the Museum were on display in the Mr Francois Pannier exhibition of the 2007 in Paris and publicated in the catalogue edit by the Galerie Le Toit du Monde at that time.

 In a Multimedia section of the new room of the Musee de la Castre are available some shamanic B/W pics from the photo collection of Mr Renzo Freschi (Milan, Italy).


Only one primitive figure, the female, of the couple traditionally attribuited to the carvers of the  Lake Rara area ,  remains now on display in direct contrapposition with a Vishnu wooden panel carved in  high relief and linked with the Newari art production of the Katmandu Valley.

The masks on display are now 14, in great part linked with the Monpa culture of the Arunachal Pradesh (follow a short list below).

In a 'vetrine' devoted to the Tibetan culture some classic painted Tsakali, linked with ritual porpouses as well as consacrations, initiations, funerals; a "Chapeaux Noirs" ritual and symbolic ornament linked with the headdresses used in this dance that is part of the most vast Cham representation, a 'tablier' representing Mahakala, a Perak from Ladakh, a wooden block with protective motifs (among the others).

Short list of the masks now on diplay:

-Raijbanshi polichromy Monkey mask from south east area  of Therai (ENG) Singe, Style Raijbanshi, Nepal sud-est du Terai (zone frontaliere indo-nepalaise)(FRA). Maschera  policroma rappresentante una scimmia nello stile dei Raijbanshi, area del Terai,  sud-est nepal (ITA).
-Old  woman monochromy mask, Monpa-sherdukpen style, India, Arunachal Pradesh (ENG). Vielle femme, style Monpa-sherdukpen, Inde,Arunachal Pradesh (FRA).
Maschera femminile attribuibile all'area di produzione dei Monpa-sherdukpen, India,Arunachal Pradesh(ITA).
- Yak polichromy head mask, Monpa-sherdukpen style, India, Arunachal Pradesh (ENG). Tete de yak, style Monpa-sherdukpen, Inde,Arunachal Pradesh, bois polychrome, cornes et polis de yak (FRA). Testa di yak lignea policroma, corna e peli di yak, Monpa-sherdukpen, India,Arunachal Pradesh(ITA).
- Divine personage mask, Nepal, wood,  iron, kaolin (ENG). Personage divin, Nepal, Bois, fer, kaolin (FRA).
Maschera di personaggio divino, Nepal, legno, ferro, caolino (ITA).
- Horse mask, Bhoutan, polichromy papier masché (ENG) Cheval, Bhoutan, Papier maché polychrome (FRA). Maschera rappresentane una protome equina, carta pesta policroma, Butan (ITA).
- Male mask, trace of pholicromy, Monpa-sherdukpen style, India, Arunachal Pradesh (ENG).
Bouffon (?)  style Monpa-sherdukpen, Inde,Arunachal Pradesh, bois , traces de polichromie (FRA). Maschera maschile lignea con tracce di policromia, Monpa-sherdukpen, India,Arunachal Pradesh(ITA).
-Krodha mask, Tibetan cultural area, papier maché (ENG) Divinité protectrice à l'aspect courroucé (Khrodha). Aire culturelle tibetaine. Papier maché polychrome. (FRA). Maschera policroma della divinita protrettrice Krodha, carta pesta, area di produzione della maschera sottostante l'influenza culturale tibetana (ITA).
-Male mask, Nepal (ENG). Ascete-mendiant (?) Nepal (FRA). Maschera maschile di asceta mendicante (?), Nepal (ITA).
-Male mask. Nepal Katmandu valley, polichromy wood (ENG) Personnage masculin, Nepal, Vallée de Katmandu, bois polychrome (FRA). Maschera maschile, area di provenienza valle di Katmandu, legno policromo (ITA).
-Nyapa or Nyaro mask, Monpa-sherdukpen area, India, Arunachal Pradesh (ENG). Personnage démoniaque (Nyapa or Nyaro), style Monpa-sherdukpen, Inde, Arunachal Pradesh, Peau de chevre, feutre, crin, textile (FRA). Spettacolare maschera di personaggio demoniaco  Nyapa or Nyaro, Monpa-sherdukpen, India, Arunachal Pradesh, peli e crini di cavallo, feltro e tessuto (ITA).
- Couple of Kiengpa masks, Monpa-sherdukpen area, India, Arunachal Pradesh (ENG). Couple de Kiengpa squelettes , style Monpa-sherdukpen, Inde, Arunachal Pradesh, bois, kaolin, pigment rouge (FRA). Coppia di maschere Kiengpa, Monpa-sherdukpen, India, Arunachal Pradesh, legno, caolino, pigmenti di colore rosso (ITA).
-Crow monochromy mask, Tibet/Nepal (ENG). Corbeau Tibet, zone frontaliere sino-nepalaise(?), bois peint, textile(FRA): Maschera di corvo a monocromia scura, area di provenienza Tibet/Nepal, area di ingluenza culturale Tibet(?)(ITA).

 

02

 02 bis

03

 05 bis

05

06 C

 06c

07

08

09 a

09

010

011

012

013

014

015

016

017

018

019

020

021

022

023

024

025

028

031

032

035

036

037

039 bis

039 tris

039

040

042

043

044 b

045 c

 

International extra-european musical instruments collection of the Musee de la Castre of Cannes, coming soon.

045

COMING SOON.

046

 COMING SOON.

13/12/2009

Kings of the forest, the cultural resilience of Himalayan hunter-gatherers. Jai Purnima Festival Patan.-Faces of Devotion, Indian Sculpture From the Figiel Collection On view April 10, 2010 to January 16, 2012 Peabody Essex Museum (MA)

Kings of the Forest:

The Cultural Resilience of Himalayan Hunter-Gathers , by Jana Fortier, University of Hawaii Press, 2009.

09

A hunter-gatherer society is one whose primary subsistence method involves the direct procurement of edible plants and animals from the wild, foraging and hunting without significant recourse to the domestication of either.

 "There is no need for us to live like you."

The RAUTE PEOPLE of the Karnali and Makahali regions of Western Nepal is a nomadic indigenous ethnic group, which population is estimated in around 650 persons, their language is classified as Tibeto-Burman, closely related to the one spoken by two related ethic groups, the Ban Raji and Raij , the closest documentated language to the Raute is probably the Chepang, spoken by this ethnic group of West-Central Nepal. Officially recongnized by the Nepalese Government, the Raute are known for their life-subsistence linked with the  hunting of  macaque, langur monkeys, bats, porcoupine, and the gathering of wild forest tubers, fruits, and greens. To obtain grain, iron and cloths they trade handmade typical wooden bowls and boxes to the local farmers. The Raute however don't sell other products of the forest, bushmeat or forest medicinal plants.

In the present  world  this last  primitive hunter-gatherer society  living in the monsoons rainforest of Western Nepal  struggles with the  deforestation and encroachment, language loss, political domination by surrounding communities.  The book explores how this ethnic group is tryong to maintain its traditional way of life .

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*

 MASQUES de l'HIMALAYA ,

Martigny - Valais - Suisse 16 May 2009 a fin Decembre 2010 - Fondation Bernard et Caroline de Watteville Fondation a but culturel.

himalayan Mask at Martigny 2

Rue du Levant 34 1920 Martigny Tel. 41 (0) 27 720 49 20

himalayan Masks at Martigny 3

www.museesaintbernanrd.ch

himalayan mask Martigny

See more on: http://ethnoflorence.skynetblogs.be/post/7254349/masques-...

-Shamans holding Dhyangro drums, Rasuwa Disrict.

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Photo courtesy Ujjwal Pyakurel "Prayas" Katmandu Nepal. See more on http://ethnoflorence.skynetblogs.be/post/6909408/dhyangro...

-JAI PURNIMA FESTIVAL PATAN. Photos courtesy Vincent Van den Berg http://web.mac.com/vincentvandenberg/shi/Index.html .

 

JAI PURNIMA FESTIVAL (4)

 

(http://web.mac.com/vincentvandenberg/shi/Index.html)

-The nepalese shaman is the bridge, the link and mediator between the real and invisible world.

The double sided membrane drum Dhjangro is the peculiar, indispensable, and one  of the most important, pharaphernalia of the western nepal  shamans.

Small metal objects and seeds are hooked inside the drum.

The drumstick is named Gajo.

JAI PURNIMA FESTIVAL (6)

(http://web.mac.com/vincentvandenberg/shi/Index.html)

A rich group of phurba daggers and Dhyangro handles is edited in Art Chamanique Népalais, Editions Findakly, Catalogue of the exhibition Masques & Arts Tribaux Himalayens, Galerie Le Toit Du Monde Paris 2007. http://www.letoitdumonde.net/actualites/index.html

DHYANGRO HANDLES AND PHURBUS

Other items are present in Art Tribal Du Nepal, Les Editions Errance, Catalogue of the omonimous exhition at the Ile Du Demon Galerie, 1981 Paris.


The handle of the drum has the same  iconogrphy of another 'weapon' of the Nepalese shamans, the ritual and talismanic dagger named in Tibetan phurba and in Sanskrit Kila,  used to restrain evil entity and harmful occult influences.

The iconography  of the Dhyangro handle  can vary from one local group to another, from the geometric to the more elaborate and figurated style.

According the research of Mr Michael Oppitz this kind of artifact is an exception among the normal iconography of the Asian shamans drums, in which we can find the prevalence of single-faced streched frame drums.

The single-faced shamanic's drum is diffused also in Nepal, Mr Oppitz divides the localization of these drums in three regional and local  categories: the Dhaulagiri  type localized  among the North Magar Shamans, the Chantel, Bhuja Khola and the Kami of the Jajarkot district; a second tipology diffused in the Annapurna area and used by the Thakali and Gurung shamans; a third kind called of the "jungle" charachteristic of the Chepang shamans. ('The metamorphosis of a Ritual object' in Art Chamanique Népalais, Editions Findakly, Catalogue of the exhibition Masques & Arts Tribaux Himalayens, Galerie Le Toit Du Monde Paris 2007.

JAI PURNIMA FESTIVAL

http://web.mac.com/vincentvandenberg/shi/Index.html)

 

The double sided drum Dhyangro has a close morphological, but not iconographic, affinity with the analogous double sided tibetan drum called NGA-CHEN in which we can re-find an handle, in a form of lotus, installed in the wodden frame of this double sided instrument.

According Mr Eric Chazot some shamans of the western Nepal don't use the drum themselves, so the musical accompaniment, essential for the trance, is provided by the untouchables (Art and Shamanism in the Himalayas, on Tribal Arts, 1:1/2000) http://www.tribalarts.com/feature/himalayas/

In the two following pics an assistant of the shaman hold an holy vase bumba.

JAI PURNIMA FESTIVAL (2)

(http://web.mac.com/vincentvandenberg/shi/Index.html)

The top section of the Phurbus/Dhyangro handle is normally constituted of three faces with different expressions representing human emotions: one  wrathful, one indifferent, the third Joyful.

 A Vajra (in Sanskrit or rdo-rje in Tibetan) or thunderbolt-diamond is carved in the central part of the item held in place by "eternal knots". On the top of the triangular blade of the Dhyangro handle/phurba we can normally find the representation of the sea-divinity named  Makara (in sanskrit,chu-srin in Tibetan) a monster half crocodile and half elephant. Seldom the makara is replaced with the effigy of Garuda or like in one example of our collection by the really geometric representation of a ram-head. Rarely by anthropomorphic figures. In one piece of our collection the makara figure is 'crowned' with three human primitive faces.

JAI PURNIMA FESTIVAL (3)

(http://web.mac.com/vincentvandenberg/shi/Index.html)

According to Mr Francoise Pannier the central structure of the item, in which the Vajra is positioned vertically above the skull of the Makara could recall the myth of Indra freeing the waters of the earth and killing the serpent Vritra who  had stolen all the water of the world ('Phurbu, Un hypothese sur ses origines' in Art Chamanique Népalais, Editions Findakly, Catalogue of the exhibition Masques & Arts Tribaux Himalayens, Galerie Le Toit Du Monde Paris 2007). http://www.letoitdumonde.net/actualites/index.html

The blade bursts from the jaws of the Makara and  has a three sided strucure, in which are traditionally carved single or entwined pairs of snakes (naga in sanskrit, klu in Tibetan). Their talismanic presence gave to the item the power to make it rain, they are also the guardians of the water and of the undeworld.
Others subjects carved on the singles blades are the moon and the sun, the trident (Trisul) symbol of the God Shiva, representation of shamans in namaste posture or holding a Dhyangro, the ritual vase  bumba, the water bowls etc.

For an iconographic's anthology of bumba simbols see on ART CHAMANIQUE NEPALAIS - NEPALESE SHAMANIC ART, pag. 80/81 Editions Findakly 2007. http://www.letoitdumonde.net/actualites/index.html

-Faces of Devotion, Indian Sculpture From the Figiel Collection On view April 10, 2010 to January 16, 2012  Peabody Essex Museum (MA)

3482[1]

The Peabody Essex Museum (MA) recently acquired the Dr. Leo Figiel Collection of Indian sculpture––widely-regarded as the finest collection of its kind.

This exhibition presents a dramatic selection of ritual bronzes spanning the last millennium featuring depictions of deified heroes, pastoral gods and goddesses, and totemic animal spirits. These bronzes were principally made for Hindu ritual practice in the west and southwest regions of India and are the best examples of local and vernacular artistry. A complement to neighboring galleries of traditional and contemporary Indian art, this exhibition offers an opportunity to explore the connections between India’s artistic past and present.

 

05/12/2009

Himalayan crowned mask, Martino Nicoletti Books, Kevin Bubrisky books, Santal people Tribal Arts, a Resume,Nepalese shamanic ritual daggers Phurbu coming soon. Ramman religious Masked festival of the Garwal Himalayas coming soon.

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

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2009

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HASANA MAGAZINE

NEPALI NATIONAL MONTHLY

4155048740_31a7be4c10[1]

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MARTINO NICOLETTI

BOOKS

SEE MORE

http://ethnoflorence.skynetblogs.be/post/7369097/martino-...

foto-di-martino-nicoletti[1]

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KEVIN BUBRISKI

SEE HERE

http://ethnoflorence.skynetblogs.be/post/7442685/kevin-bu...

kevin bubriski

 

************************************************SANTAL PEOPLE TRIBAL ARTS A RESUME

SANTAL WEDDING PALKEE PANEL

About the SANTAL BANAM se more on:

http://ethnoflorence.skynetblogs.be/post/6109784/14-dhodr...
http://sanza.skynetblogs.be/post/6241521/art-et-musique-d...
http://sanza.skynetblogs.be/post/6250339/art-et-musique-d...
http://www.tribalarts.com/feature/santal/

About the SANTAL  CARVED WEDDING PALKEE PANELS see more on:

http://sanza.skynetblogs.be/post/6221941/panneaux-de-pala...
http://ethnoflorence.skynetblogs.be/post/7109086/santal-p...

About the SANTAL FLUTES see more on:

 http://ethnoflorence.skynetblogs.be/post/6163132/4-tribal... .

About the SANTAL PAINTED SCROLLS  visit the Hervé Pedriolle collection , se more on:
http://santalparganas.blogspot.com/

About the Oral Tradition and Primal Elements in the Santhal Musical Texts see the interesting writing  by Mr Onkar Prasad  on:

http://ignca.nic.in/ps_01014.htm .

About the CARVED SANTAL DOORS see more on:

http://sanza.skynetblogs.be/post/5546402/portes-santal--o...

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MASK

(Inventory no. 22)

HIMALAYAN BLACK CROWNED MASK

I have seen and collected in the years a wide number of Himalayan crowned masks, the style of which is always different and peculiar . Another  never explored field of Himalayan art.

 

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NEPALESE SHAMANIC RITUAL DAGGER

PHURBU COMINS SOON

 

HIMALAYA SHAMAN PHURBU

HIMALAYA SHAMAN PHURBU 2

NEPAL SHAMAN PHURBU

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INTERESTING NEPAL MASK

SEE MORE

http://ethnoflorence.skynetblogs.be/post/7297419/himalaya...

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RAMMAN

Religious MASKED  festival and ritual theatre of the Garhwal Himalayas, India, coming soon.

RAMMAN FESTIVAL

Photo credit IGNCA http://www.ignca.nic.in/ramkatha_0001.htm

 

-WESTERN NEPAL, THE ARCHETYPIC  ICONOGRAPHY  OF A LIVING ARTISTIC TRADITION  PART I and II starting from http://ethnoflorence.skynetblogs.be/post/7721880/giuseppe...-

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16/10/2009

MASQUES & ARTS TRIBAUX himalayens GALERIE LE TOIT DU MONDE 2007

ETHNOFLORENCE 2009

OLD HIMALAYAN EXHIBITIONS

*

MASQUES & ARTS TRIBAUX himalayens

http://sanza.skynetblogs.be/archives/tag/masques%20arts%2...

Du vendredi 30 novembre au lundi 31 décembre 2007 

La 

GALERIE LE TOIT DU MONDE

présente

à la Mairie du 6e -Salon du Vieux Colombier-

 

 Masques
Art chamanique népalais
 Ghurra du Népal

*

PHOTO CREDIT OF SANZA ARTS PREMIERS

BRUXELLES

http://sanza.skynetblogs.be/tag/masques%20arts%20tribaux%...

 

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Tambour dhyangro de chaman (shaman) Jhankri

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Dagues rituelles (phurbu) & Poignées de tambour (dhyangro)

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Statuaire et masques

 

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

PHOTO CREDIT SANZA ARTS PREMIERS

http://sanza.skynetblogs.be/archives/tag/masques%20arts%2...

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ETHNOFLORENCE

BOOK SELECTION

2009

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

MARTINO NICOLETTI 

HIMALAYAN VOLUMES:

http://martinonicoletti.blogspot.com/
Read more on: http://martinonicolettivolumes.blogspot.com/

CHOD VOLUMElowlow[1]

CHOD. IL SACRIFICIO DI SE'

There are still today, right in the heart of the Himalayas, a few rare practitioners of Bön -  the ancient pre-Buddhist religion of Tibet - who undertake a long ritual pilgrimage through the “power places” of the Dolpo region. Sacred sites inhabited by mountain deities and water spirits. Wild places infested by demons and dangerous ghosts. In an universe perceived as a constant and delicate interaction between human beings and the invisible forces that inhabit the cosmos, the main purpose of the pilgrimage is to placate local spirits, thereby repairing any cracks that might have appeared in the relationship between these two worlds.

The journey is often undertaken as a means of warding off dangerous epidemics,  a peculiar form of exorcism or  therapeutic procedure to fight specific illnesses inflicted by supernatural beings. As the pilgrimage unfolds, the practitioners,  having attracted the spirits attention with wildly provocative acts, then evoke their presence by playing magical musical instruments: trumpets made from human femurs (kangling) and hourglass-shaped drums (damaru) in which the bins are actually human skulls. According to Tibetan liturgical tradition, these drums are attributed with having particular evocative powers, especially when it comes to spirits connected to the funerary dymension or invisible beings belonging to the “wrathful” pantheon.

The central focus of the pilgrimage is the performance of a meditation ritual of self-sacrifice called “chöd” (lit. “cutting through”). The officiant first invites a whole host of invisible beings of various type and different hierarchical status to gather, and then visualizes his own body being totally dismembered by a female divinity of wisdom (dakini). As soon as the various body parts have been detached, they are thrown into a huge cauldron and once properly cooked, they are transformed into pure substances and a “nectar of immortality”, so that they can be offered to  invited guests during a special ceremonial banquet.

Beyond being merely a sacrificial offering to local spirits, the chöd reveals profound philosophical meanings connected to the notion of universal compassion (bodhicitta). In that sense, the sacrifice is a rare opportunity to benefit invisible living beings, still imprisoned in the samsara (the never ending cycle of births and deaths), by providing them with spiritual nourishment.

In an even deeper sense, the ceremony, by the total offering of oneself to invisible guests, enables the practitioner to radically cut off his attachment to his physical body and to overcome his identification with his own illusory Ego: the intangible enemies of any true spiritual progress.

Texts, excepts from the field-work diary of the author and pictures describe this archaic ritual. A video-CD enriches the work. This contains a Super8 film of the author, the song of the chöd singed by the monks of the Triten Norbutse monastery, in Nepal, and an original artistic contribution of the Italian singer Franco Battiato.

Kathmandu Cover low[1]

KATHMANDU LECONS DE TENEBRES .

An art book devoted to the abyssal Himalayan metropolis of Kathmandu. Fragments from the travel note book, encounters, poems, tales, visions, accompanied by a rare selection of black and white photographs.

The work, printed in Bangkok in 2009, is published in a numbered limited edition of 108 copies, each enriched by a personal artwork of the author.

The same work is also available in a commercial edition, published and distributed by One Edition, a Thai publisher specialised in contemporary Asian literature.

liminalia -nicoletti JPG[1]

THE ECSTATIC BODY. NOTES ON  SHAMANISM AND CORPOREITY IN THE HIMALAYAS.


“The shaman who entertains the gods by dancing and music, is the same man who entertains the audience through the more performative aspects of the séance. Here, it is ordinary people who exploit the situation, coming to attend a performance that, in primis, has been organised for the gods.

SHAMANISM SOLITUDES. ECSTASY, MADNESS AND SPIRIT POSSESSION IN THE NEPAL HIMALAYAS.

An itinerary – only apparently circular – furrows the universe of Kulunge Râi shamanism in Nepal. A nomadic religion, generated within the space of a double geography that weaves vivid visionary foreshortenings into the flat weft of reality.

 

An extraordinary journey through the principal places composing the universe of shamanic reality: the “call” by the spirits of the wood. The dreams and initiatic visions; the vocational sickness and flight into the forest – mandatory steps on the path to obtaining powers; the praxis of healing and funerary rituals, centred on the experience of a “magic journey” accomplished by crossing different regions of the cosmos; the body’s function and corporeity within the choreutic-musical world of shamanism: a body acting as temple and simulacrum for a divine epiphany. As a frontier between worlds. A vocal and sonorous body capable of starting up the great shamanic machine.


THE ANCESTRAL FOREST. MEMORY, SPACE AND RITUAL AMONG THE KULUNGE RAI OF EASTERN NEPAL.

Lost among the high hills of eastern Nepal, which has meant centuries of cultural isolation, the Kulunge Rai ethnic group have tenaciously maintained their religious tradition ever since their ancient origins. Bearing witness to a far-off past of hunting and nomadic life, their myths and legends form a plot and scenario that comprise a multitude of invisible entities: the “hunter-spirits” and the “monkey spirits”, the undisputed sovereigns of the forest world; Laladum, the deity who resembles a little girl, the initiator of young shamans from the villages of the area; the Nagi, or ophidiomorphic-spirits, dwelling in the waters, the totem ancestors of the Kulunge Rai group; Molu, a mythical forefather, lost in the woods and transformed into a deity.

 

A fascinating journey through the oral memory, the sacred geography and religious imaginary of this people. An ideal itinerary that progressively abandons the inhabited world and enters the abysses of the mythical woodlands – the silent witnesses of the group’s ancient life style – only to lose itself in the thick of the immense forests that even today surround the settlements of the Kulunge Rai.

 

Starting from the cults of domestic deities, the research goes on to analyse the rituals that accompany the souls of the dead and the village farming cults, as a necessary step before dealing with the hunting cults and the hidden paths beaten by Kulunge Rai shamans.

RIDDUM. THE VOICE OF THE ANCESTORS.

“One day, the aged shaman Sancha Prasâd Râi told me the story of his people. The story that even today the elders of the Kulunge Râi tribe hand down orally from generation to generation, under the name of 'riddum'.

This story starts a long, long time ago. It begins before all the objects that surround us were manifest in their infinite variety, and even before human beings appeared on the face of the Earth.

For the Kulunge Râi, the riddum is the sacred tale describing the origin of the cosmos, of nature and the living beings that populate it. Expounded using the formula of a specific ritual language, the riddum is narrated whenever an important religious ritual is celebrated. According to the Kulunge Râi, the ritual language of the riddum is the primordial language, the one that the ethnic group’s forefathers once used daily for communication. With every passing generation, it began to be forgotten. Many other different idioms arose and thus the primordial tongue of the riddum began its slow, but inexorable, eclipse. Among human beings, only a few continued to hand it down, in order to keep alive a dialogue with the ancestors who lived in mythical times, and with the gods of their own religious tradition”. 
 
A singular performance, to which, besides the chance of direct witness of the epiphany of gods, spirits and demons, is added the no less stimulating possibility of witnessing human destinies suspended over an uncertain fate”.

 

13/10/2009

Nepalese rice sickle, Musee de la Castre Cannes.Off topic Jackson Pollock Full Fathom five. Rara Lake Nepal.

ETHNOFLORENCE

2009

INDIAN AND HIMALAYAN FOLK  AND TRIBAL ARTS

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MUSEE DE LA CASTRE

CANNES

SEE MORE HERE

http://ethnoflorence.skynetblogs.be/post/7356418/musee-de...

018 musee de la castre cannes

Nepalese ritual daggers phurbu.

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

NEPAL

CHAMANISME ET SCULPTURE TRIBALE

MARC PETIT CHRISTIAN LEQUINDRE

ED INFOLIO SEPT 2009

 

Marc Petit christian Leqindre www.nepaltribalart.com

NEPAL, Chamanisme et Sculpture Tribale, Marc Petit, Christian Lequindre, ed. Infolio sept 2009.

 

Visit NEPAL TRIBAL ART the new site dedicated to Tribal Arts of Nepal and the Himalayas:
www.nepaltribalart.com

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NEPALESE

DEUS LOCI

01.jpg

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NEPALESE PHURBU

(old Ethnoflorence photo archive)

 

 

017 phurbu coming soon

Nepalese shamanic ritual daggers phurbu, coming soon.

001

Nepalese rice sickle with smooth patinated wooden handle.

002

Frontal view.

003

Detail.

004

Detail

 

 

 

 

19/04/2009

DHYANGRO DHYANGRO. NEPALESE SHAMAN DRUM. WESTERN NEPAL DOUBLE SIDED SHAMANIC DRUM. NEPALESE phurbu coming soon. Ethnoflorence collection and photo archive.

ETHNOFLORENCE

SELECTION 2009

STAY IN TOUCH WITH US

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The double sided membrane drum Dhyangro is the peculiar, indispensable, and one  of the most important, pharaphernalia of the western nepal  shamans. 

 ETHNOFLORENCE COLLECTION AND PHOTO ARCHIVE.

01 bis bis

Photo kindly courtesy   Josh Lustig   http://ethnoflorence.skynetblogs.be/post/6674515/nepalese...

 

                                               §§§

"...La gente dell'Himalaya sa che le foreste sono abitate da uomini selvaggi. Ci sono le tribù dei Kusuda e dei Chepang, scoperte dagli antropologi pochi anni fa, ma anche i Ritte Jhakri, neri e pelosi, che vivono con i Suna Jhakri, acquanauti dal pelo fulvo e dorato. Consiglio di evitare i Latho Jhakri, muti e pazzi, mentre è un dono divino l'incontro con i Bon Jhakri, nani e vegetariani, verdi e caritatevoli, che insegnano le arti sciamaniche. Di notte, vicino al fuoco e ai monti più alti della terra, ho incontrato più volte chi mi giurava d'esser stato educato da queste creature dei boschi e come prova mi mostrava i regali ricevuti: pietre sonanti, cristalli e strane reliquie antropomorfe fatte di pelo e radici intrecciate.  Per sopravvivere allo sterminio e a una caccia a streghe e demoni che mi ricorda quella della nostra inquisizione, molti sciamani si sono dovuti mascherare con liturgie indù e buddiste. Lo sciamano è un uomo coraggioso, un viaggiatore e un mistico che sfida l'ignoto e il mistero dell'esistenza. E' un uomo straordinario che riesce a curarsi da dolorose malattie iniziatiche e da laceranti crisi esistenziali che lo strascinano al limite della follia. E' un artista che inventa psicodrammi e danze estatiche per rinsaldare il gruppo e perpetuare così i miti del Clan. E' uno psicologo contadino che ristabilisce l'equilibrio armonioso tra il "dentro" e il "fuori", tra il corpo e l'anima, tra l'uomo e dio. E' un medico e un erborista che conosce le piante maestre e pscichedeliche, un econauta in viaggio nella natura selvaggia in compagnia degli animali eletti a spiriti guida. Col "volo magico", il viaggio interiore,scopre il ritmo vibratorio e le forme dell'Universo. Sale in Paradiso e scende con coraggio nel regno della Morte, la Terra del Grande Ritorno. Noi, viaggiatori verso Oriente, li abbiamo scelti come maestri del viaggio..." "Jhakri uomini con le ali" Nepal 1971, text by Italo Bertolasi for the exhibition "Viaggi a Oriente"  http://www.italobertolasi.com/viaggioriente.htm , courtesy Italo  Bertolasi http://www.italobertolasi.com/index.html

01 tris

Nepalese Shaman holding the ritual Dhyangro and Gajo, photo courtesy Philip Adkins Collection, Huntington West Virginia USA.

01 rasuwa district

Shamans holding Dhyangro drums, Rasuwa Disrict. Photo courtesy Ujjwal Pyakurel "Prayas" Katmandu Nepal.

                                            §§§

Mountains and shamans are strictly linked together.

dyangro 11 k

 

In Nepal the uncontaminated  mountain's peak are believed to be the  house of the local  divinities Pantheon.

dhyangro 11 h

In the western Nepal region of Solukhumbu every year  during the "...   primavera inoltrata, gli sciamani della regione si danno appuntamento per un pellegrinaggio. Meta di questo pellegrinaggio collettivo è Salpa, un lago montano, consacrato al culto del dio induista Shiva e considerato dimora di dèi puri e di potenti spiriti. Il dio Shiva è qui venerato come divinità locale ma soprattutto come figura di sciamano prototipico. Stando infatti ai miti e alle leggende locali, Shiva è considerato il primo sciamano divino, il fondatore dell’attività degli sciamani nonché il detentore e il dispensatore delle conoscenze esoteriche e dei poteri magici di monopolio sciamanico. Sotto questo profilo, Shiva è una figura direttamente associata alla vocazione sciamanica stessa, esperienza durante la quale il dio si paleserebbe ai neofiti nel corso di sogni e visioni dal carattere prettamente iniziatico..."

dyn002_original_480_640_pjpeg_2638188_4a56fb2f92ed68cca7b62024f254b0a3[1]

Nepalese phurbu coming soon http://ethnoflorence.skynetblogs.be/post/7008506/ethnoflo... .

Close to the Salpa Lake there is the holy mountain of Silucha, together with Salpa this place is believed "... dalle genti del luogo la sorgente inesauribile di potenti energie invisibili, da cui dipende strettamente la vita delle comunità umane che abitano la regione, la prosperità dei villaggi e dei campi che li circondano, la salute delle persone che si trovano sotto la giurisdizione invisibile di questi luoghi sacri. La stessa diretta associazione tra il dio Shiva e la vetta montana di Silucha scaturisce naturalmente da uno degli attributi più frequenti del dio: quello di asceta solitario residente nelle remote ed elevate regioni montane. Qui, in assoluta solitudine, il dio si dedicherebbe con fervore alla pratica meditativa, coltivando gli stati più profondi del samadhi. Il pellegrinaggio, che dura vari giorni, ha il suo culmine durante una notte di luna piena. È durante questa notte che fedeli e sciamani si danno convegno: canti e danze, animano l’atmosfera per tutto l’itinerario. La musica dei tamburi sciamanici, unita a lunghe e continuate danze rituali, permettono a molti degli sciamani di cadere in una profonda condizione estatica. Una transe rituale che consente loro di dare pubblica prova dei propri poteri come chiaroveggenti e come dominatori degli elementi naturali, primo tra tutti il fuoco: maneggiare o manipolare ferri incandescenti, lambire con la propria lingua la lama arroventata di spade e pugnali è infatti la prova più tangibile del loro privilegiato status. Tutto ciò accade con il costante accompagnamento della musica, vero strumento capace di indurre una condiziona estatica e di attingere a piene mani alla fonte stessa dei poteri sciamanici..." Text courtesy MARTINO NICOLETTI "Sciamani duellanti tra le sacre montagne dell'Himalaya"   (edited on Il Velino www.ilvelino.it).

 Martino Nicoletti is a young Italian eclettic intellectual and  well-known author of some of the most interesting books devoted to the Nepalese shamanic matter of the recent past years; texts such as  "Shamanic Solitudes. Ecstasy, Madness and Spirit Possession in the Nepal Himalayas" or "The Ancestral Forest. Memory, Space and Ritual among the Kulunge Rai of Eastern Nepal" as well as  "Riddum. The Voice of the Ancestors" are really important contributions for our field . http://martinonicolettivolumes.blogspot.com/

 Visit the web site of Mr Nicoletti on  http://martinonicoletti.blogspot.com/ .

 

042

 

The nepalese shaman is the bridge, the link and mediator between the real and invisible world.

The double sided membrane drum Dhjangro is the peculiar, indispensable, and one  of the most important, pharaphernalia of the western nepal  shamans.

Small metal objects and seeds are hooked inside the drum.

The drumstick is named Gajo.

01 bis

A rich group of phurba daggers and Dhyangro handles is edited in Art Chamanique Népalais, Editions Findakly, Catalogue of the exhibition Masques & Arts Tribaux Himalayens, Galerie Le Toit Du Monde Paris 2007. http://www.letoitdumonde.net/actualites/index.html

Other items are present in Art Tribal Du Nepal, Les Editions Errance, Catalogue of the omonimous exhition at the Ile Du Demon Galerie, 1981 Paris.


The handle of the drum has the same  iconogrphy of another 'weapon' of the Nepalese shamans, the ritual and talismanic dagger named in Tibetan phurba and in Sanskrit Kila,  used to restrain evil entity and harmful occult influences.

The iconography  of the Dhyangro handle  can vary from one local group to another, from the geometric to the more elaborate and figurated style.

According the research of Mr Michael Oppitz this kind of artifact is an exception among the normal iconography of the Asian shamans drums, in which we can find the prevalence of single-faced streched frame drums.

The single-faced shamanic's drum is diffused also in Nepal, Mr Oppitz divides the localization of these drums in three regional and local  categories: the Dhaulagiri  type localized  among the North Magar Shamans, the Chantel, Bhuja Khola and the Kami of the Jajarkot district; a second tipology diffused in the Annapurna area and used by the Thakali and Gurung shamans; a third kind called of the "jungle" charachteristic of the Chepang shamans. ('The metamorphosis of a Ritual object' in Art Chamanique Népalais, Editions Findakly, Catalogue of the exhibition Masques & Arts Tribaux Himalayens, Galerie Le Toit Du Monde Paris 2007).

294488696_56ebb5b713[1]

The double sided drum Dhyangro has a close morphological, but not iconographic, affinity with the analogous double sided tibetan drum called NGA-CHEN in which we can re-find an handle, in a form of lotus, installed in the wodden frame of this double sided instrument.

According Mr Eric Chazot some shamans of the western Nepal don't use the drum themselves, so the musical accompaniment, essential for the trance, is provided by the untouchables (Art and Shamanism in the Himalayas, on Tribal Arts, 1:1/2000) http://www.tribalarts.com/feature/himalayas/

The top section of the Phurbus/Dhyangro handle is normally constituted of three faces with different expressions representing human emotions: one  wrathful, one indifferent, the third Joyful.

 A Vajra (in Sanskrit or rdo-rje in Tibetan) or thunderbolt-diamond is carved in the central part of the item held in place by "eternal knots". On the top of the triangular blade of the Dhyangro handle/phurba we can normally find the representation of the sea-divinity named  Makara (in sanskrit,chu-srin in Tibetan) a monster half crocodile and half elephant. Seldom the makara is replaced with the effigy of Garuda or like in one example of our collection by the really geometric representation of a ram-head. Rarely by anthropomorphic figures. In one piece of our collection the makara figure is 'crowned' with three human primitive faces.

According to Mr Francoise Pannier the central structure of the item, in which the Vajra is positioned vertically above the skull of the Makara could recall the myth of Indra freeing the waters of the earth and killing the serpent Vritra who  had stolen all the water of the world ('Phurbu, Un hypothese sur ses origines' in Art Chamanique Népalais, Editions Findakly, Catalogue of the exhibition Masques & Arts Tribaux Himalayens, Galerie Le Toit Du Monde Paris 2007). http://www.letoitdumonde.net/actualites/index.html

305816921_f959d9476e[1]

The blade bursts from the jaws of the Makara and  has a three sided strucure, in which are traditionally carved single or entwined pairs of snakes (naga in sanskrit, klu in Tibetan). Their talismanic presence gave to the item the power to make it rain, they are also the guardians of the water and of the undeworld.
Others subjects carved on the singles blades are the moon and the sun, the trident (Trisul) symbol of the God Shiva, representation of shamans in namaste posture or holding a Dhyangro, the ritual vase  bumba, the water bowls etc.

 02

 

Dhyangro handle, dark wood with superbe red reflexes.

03

In this  Dhyangro handle the Makara's traditional iconography is replaced by the head of an elephant crowned with three massive primitive human faces.

04 bis

 

 Makara detail.

05

Something of really 'african' in the style, patina and shape of these small but at the same time  monumental unusual faces.

04

Detail.

The iconographic style of these three faces is similar with the same one of a black primitive nepalese mask that has a forehead and patina really similar with them.

06

Middle Hills mask.

07

Frontal view detail.

08

Frontal view detail.

09

Side A view .

010

Side B view.

011

Back side view.

011 bis

Shamanic holy place of work.

012

Dhyangro handle, dark brown croustine patina.

013

Detail.

014


Primitive faces carved on the upper section of the item.


016

Comparable with the iconography of a primitive Middle Hills mask.

015

Shaman holding Dhyangro and Gajo, in the upper section of the blade is carved also the ritual shamanic vase bumba.


For an iconographic's anthology of bumba simbols see on ART CHAMANIQUE NEPALAIS - NEPALESE SHAMANIC ART, pag. 80/81 Editions Findakly 2007. http://www.letoitdumonde.net/actualites/index.html

087 bis a


The shaman Mashini performing a ritual of benediction and protection. We can see the ritual vase bumba on the head of the man facing the shaman.

Photo courtesy Mariarosa Genitrini  http://www.nepalese.it/

019

 

Interesting Dhyangro handle, excellent light brown croustine patina, the Makara subject is replaced by a powerful and extremly stylized head of ram.

020

Detail.

021

Detail.

022

Detail.

 

023

Ram head detail.

024

In this blade  of the item is graved a crownching shaman in namaste posture.

023

Shaman in namaste posture.

  This posture  is comparable for example with the analogous subject present in one  quintuple shamanic's bell or in a Sulpa.

 

025

Quintuple bell.

024 bis

Sulpa.

In the western  Nepal we can find also wodden shamanic's  figure.

044 (2)

 

Shaman in namaste posture.

029

Detail.

030

Shaman in namaste posture, in the back side of the item is carved the tipical shaman coiffure comparable with a photo of Josh Lustig.

305819255_338dec7fc7[1]

Shaman.

DSCF1043


The head of this shaman sculpture is 'crowned' by the presence of two human primitive faces on the right and left side (one lost). The back side is analogous with the other shamanic sculpture.

026

Detail.

027

Detail.

028

Detail of one of the heads carved on the coiffure.

The Namaste posture is common in the Western Nepal primitive sculptures, 15 original items are edited by Ethnoflorence on:

http://ethnoflorence.skynetblogs.be/post/6958870/15-weste...

An interesting and rare group of 4 Tharu posts and 4 Western Nepal sculptures is edited by Ethnoflorence on   http://ethnoflorence.skynetblogs.be/post/6166203/4-tharu-...  .

 The iconography of some Tharu panels is comparated with the Santal people one on http://ethnoflorence.skynetblogs.be/post/6268451/28-santa... .

Another group of  primitive sculptures are edited by Ethnoflorence  on http://ethnoflorence.skynetblogs.be/post/6210825/western-...  and http://ethnoflorence.skynetblogs.be/post/6305346/four-pri...

 

030 bis bis

Shamans holding Dhyangro drums.

032

 

Dhyangro handle, superbous red patinated wood encrusted with a light brown patina.

033

Detail.

034

Bumba detail.

037

Face detail.

036

Trisul detail.

038

Face detail.

039

Detail.

040

 

Detail.

041

Detail.

dyn004_original_500_333_jpeg_2638188_0ab3dcc72a9711e5b7ea58b4bf7404fd[1]

Nepalese shaman holding Dhyangro Drum.

070

Dhyangro handle, dark wood whit a superbe light brown croustine patina. Sherpa people (?).

071

Face detail.

074

Face detail.

072

Detail.

073

Makara detail.

The wrathful expression of the face carved in this item is comparable with style of this masks of the Ethnoflorence Collection.

075 BIS

Mask n1.

 

dyn004_original_500_341_jpeg_2638188_3ec4f9f5365c5ad48f75aa40db3dcea0[1]

Shaman holding a Dhyangro.

043a

 

Shaman Dhyangro.

043b

Detail

043bis

Detail.

043c

Detail

043d

Dhyangro's Drumstik Gajo.

dyn004_original_333_500_jpeg_2638188_18b7b1ba6d8d3e96f93a8ae762d24a69[1]

Shaman holding Dhyangro.

051a

Dhyangro.

051b

Detail.

062

Dhyangro drums. Photo Ethnoflorence, Ethnoflorence Himalayan Archive.

044

Dhyangro handle.

050

Superbous light brown croustine patina.

046

Detail.

045

Makara detail.

047

Detail.

052

Dhyangro handle, dark wood patina. In the place of the makara is represented the head of Garuda.

055

Face detail.

058

Face detail.

059

Face detail.

057

Detail.

056

Garuda head.

053

Detail.

 063

Dhyangro handle, dark wood patina with red reflexes.

065

 

Face detail.

067 bis

Face detail.

067

Face detail.

068

Detail.

068 bis

Detail.

082

Shaman's revolution.

084

Stylized Dhyangro handle, dark wood encrousted with a superbe dark brown patina.

085

Detail.

086

Detail.

087

In this blade of the handle is engraved a bumba.

087bis

Shamanic bumba holy vase.

088

Detail.

089

Detail.

083

Offering.

090

Minimal and stylized Dhyangro handle, dark wood with superbe red reflexes and encrousted patina.

The carved faces on the top of the item are four. Reutilized like phurba.

091 bis

 

Detail.

092 bis

Detail.

093 bis

Detail.

093

Detail.

091 abis

Detail.

Dhyangro 11 a

 

N11 Detail view.

dhyangro 11 b

N11 detail view.

dhyangro 11 c

N11 detail view.

dhyangro 11 e

N11 detail view.

dhyangro 11 f

N11 detail view.

dhyangro 11 g

N11 detail view.

dhyangro 11 h

N11 detail view.

dhyangro 11 i

N11 detail view.

dhyangro 11 l

N11 detail view.

dhyangro 11 m

N11 detail view.

dhyangro 11 n

N11 detail view.

dhyangro 11 o

N11 detail view.

dhyangro 11 p

N11 Makara detail view.

dhyangro 11 r

N11 detail view.

dyangro 11 k

N11 detail view.

WORK IN PROGRESS...