26/10/2009

TRIBAL ART OF THE SANTAL PEOPLE OF BIHAR, ORISSA, WEST BENGALA. Tribal Art Fair 2009 Amsterdam Africa Oceania Asia

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

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2009

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TRIBAL ART OF THE SANTAL PEOPLE OF BIHAR ORISSA WEST BENGALA

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Text by Ethnoflorence photo and pieces from Ethnoflorence Indian and Himalayan Folk and Tribal Art, Art Premiers Art Primitive Collection Bruxelles.

Links from Ethnoflorence Indian and Himalayan Folk and Tribal Art, Art Premiers Art Primitive Collection Bruxelles, Hervé Pedriolle Collection, IGCNA Org, Tribal Art the World of Tribal Art magazine (for the details please scroll dawn).

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In assenza di cataloghi, provenienze, studi etnografici, esibizioni temporanee o permanenti, parlare dell'arte dei Santal people del Bihar, Orissa, West Bengala,  è qualcosa di estremamente arduo.
In un 'epoca in cui anche le arti premiers si sono asservite alle logiche del mercato globale, una piccola produzione artistica di questo tipo sembra non avere spazio;  perché pubblicare un catalogo o finanziare una mostra quando poi il Mercato non se ne può avvantaggiare? E' una questione di numeri... che hanno il colore dei soldi. Meglio  continuare a pubblicizzare sempre  le stesse collezioni Major di Arts Premiers, il ritorno in termini di Pubblicazione/Provenienza assicurerà un certo e già calcolato appeal da esibire in Aste e Gallerie  perpetuando così un Mercato sempre più alla ricerca di chimere  e certezze...e nel frattempo infestato da cinquanta anni da migliaia di oggetti 100% fake.

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Allorché furono intrapresi i primi studi sul terreno l'antica tradizione culturale dei Santal era già entrata in una fase di  rapido e repentino  declino.

Negli anni 90's durante l'inaugurazione di una mostra a Cannes chez le Musee de la Castree il collezionista ed artista nizzardo Fernandez Arman davanti ad un vecchio liuto antropomorfo, recente acquisizione del Museo, ebbe a commentare "..venant du Santal, nom en soi, evocatour. Sa presence et sa personnalité nous interpellent. Ce petit chef-d'oeuvre de sculpture attire notre regard au fond du sien. C'est bien ici l'example d'un objet d'artisanat, ecchapant a son usage pour acceder a l'intemporal"

E come meravigliarsi di questa definizione, i liuti monocorde dei Santal , dhodro banam, sono robuste sculture antropomorfe , intagliate nel  legno gaulico , connotate da sontuose  patine color mogano, considerate dai loro stessi artefici alla stregua di esseri viventi, latori di poteri magici, strumenti mediatici che connettono il mondo visibile con il soprannaturale.

La storia dell' origine dei Banam (che tradotto significa corpo) affonda le sue radici in un arcaico passato fatto di incorrotte tradizioni orali perpetuate di generazione in generazione. Un'origine che affonda la sua nascita nella mitologia dei Santal People. Nel sacrificio di una giovane sorella, nella compassione di un giovane fratello, nella metamorfosi mistica dei resti della prima in un albero di gaulic ... da  un ramo del quale nascerà il primo mitico Banam. Uno strumento che riproduce un suono simile a quello degli esseri umani.

Sui peculiari  elementi strutturali di questo strumento 'rituale', imperniati nel riassumere le varie parti anatomiche del corpo umano e nell'attribuzione a ciascuna di esse di elementi naturali basilari , recepiti anche dalla mitologia dei Santal,(aria, terra, fuoco etc) hanno investigato insigni musicologi indiani; personalmente a queste accademiche e poco evocative descrizioni preferisco le poche righe che Ms Stella Kramrisch dedicò ai Banam nel suo catalogo " Unknown India Ritual Art in Tribe and village" Philadelphia 1968 ".The ... Santal ... carve their one-stringed lutes ... sometimes in the shape of woman ... transfiguring the resonance of the instrument into rotundities known from Hindu sculpture and brought to the tribal level by the simplifications and distortions demanded by the shape of the instrument. The prophetic head with its far-seeing inlaid eyes, traversed at the back by the tuning keys as a kind of  ear-ornament, carried aloft on a neck of ordinate lenght, is a noble mask. Through its thin lipped mouth a god may speak - as he does through the  dance mask of another tribe, the Bhuiya...Arms and hands closely hug the curved plane of the sounding-box body whose firmness is enhanced visually by the broad collar of the necklace....Sound and mask, the prophetic voice which speaks through mask and instrument, link auditory and visual experience in one manifestation of the numinous." 

Quasi una funzione oracolare quella che ci suggerisce il testo, latrice di profezie e divinazioni propiziatorie, utili in un contesto rurale dominato da clans patriarcali nei quali l'elemento musicale svolge un importante ruolo non soltanto culturale ma anche rituale, connesso con la fertilità delle messi, intercalato da danze da tenersi prima e dopo la stagione delle pioggie e tra la semina ed il raccolto. Danze rituali nelle quali donne abbigliate in Sari sono accompagnate da gruppi  di musicisti.

Da un punto di vista iconografico i suddetti gruppi di danzatrici si ritrovano rappresentati sia nei carved tops dei Santal Banam che intagliate ad altorilievo nei pannelli delle loro lettighe nuziali. Anche la celebrazione del matrimonio è pervaso da precise ritualità e importanti funzioni sociali, non ultima quella di legare tra loro i vari clans patriarcali. Circa la funzione rituale della lettiga nuziale Ms Stella Kramrisch ricorda come "...when a Santal crafsman begins his work on the litter,  a pair of pigeons is sacrificed ... when the litter is completed and its owener taken possession two more pigeons are part of anoher sacrifice, ... the activity of carving is part of the marriage rite, as it the procession of the marriage litter...". Lo stile iconografico di questi pannelli è connotato da un estrema, solenne e  monumentale definizione stilistica delle figure, scolpite sia frontalmente che di profilo, parafrasando Ms Stella Kramrisch "...somehow paralleling Egyptian reliefs...". 

Tra i temi 'trattati' in questi pannelli istoriati, oltre alle già succitate danze rituali propiziatorie, si annoverano le fasi del matrimonio stesso, cerimonie locali,  scene di vita quotidiana, i miti di creazione dei Santal e dei relativi 12 Clans, scene di guerra celebrative della ribellione del 1855 (Santal Hul).

Tra il Febbraio ed il Maggio 2007 si è tenuta al Crockerart Museum di Sacramento (CA) la prima mostra in occidente dedicata a questi rari ma splendidi pannelli istoriati dal titolo: Palkee: Wedding Conveyances of North India. http://www.crockerartmuseum.org/exhibitions/exhib_pages/P...

Sul mercato di Katmandu sono apparse ormai da anni 'povere' imitazioni dei pannelli originali, scolpite su vecchie assi si connotano per un stile approssimativo e la totale assenza di patina.

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About the Santal Banam see 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 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 from Hervé Pedriolle collection  see 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...

 

 TRIBAL ART FAIR AMSTERDAM 2009 AFRICA OCEANIA ASIA


Over 2000 exclusive objects from Oceania, Africa, Indonesia, China, Japan, Tibet and Laos, will come together at what is TAF Amsterdam 2009. The exhibition comprises jewellery and sculptures, but also textiles, masks, implements and furniture. Special pieces from far-away countries. In the last weekend of October they are to be seen and purchased in Amsterdam, at the seventh edition of TAF Amsterdam.

www.http://www.tribal-art-fair.nl/

 

 

 

16/10/2009

MASQUES & ARTS TRIBAUX himalayens GALERIE LE TOIT DU MONDE 2007

ETHNOFLORENCE 2009

OLD HIMALAYAN EXHIBITIONS

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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

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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

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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.

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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.

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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

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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

 

 

 

 

11/10/2009

Musee de la Castre of Cannes, Himalayan room.

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

13620892_1332690906744532_5228107378786638546_n.jpg

2009

***

MUSEE DE LA CASTRE

CANNES

HIMALAYAN ROOM

011 nepalese primitive ancestor figure

Statues votive, Nepal, region du lac Rara.

012 votive primitive figure Lake Rara area Nepal

Detail.

012

Detail.

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Detail.

012 v

Base detail view.

013 statues votives Nepal region du lac rara Musee de la castre of Cannes

Detail view.

013 votive figure nepal lake rara area

Detail view.

014 statues votives nepal region du lac Rara Musee de la castre

View.

015

View.

015 bis

View.

017 Masque de cheval, Bhoutan, Masque de protecteur du bouddhisme dharmapala, Tibet, Masque de boue bouthan

View.

017

View.

018

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016

Masque d'Ascete, Nepal

019

Masque de "protecteur du bouddhisme" (dharmapala) Tibet.

020

Masque de cheval, Bhoutan

021

Masque de bouc, Bhoutan

023

Masque de vieille femme Inde Arunachal Pradesh, peuple monpa ou sherdukpen

024

Detail.

025

Masque d divinité Inde, Arunachal Pradesh, Monpa ou sherdukpen

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029

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Masque de singe, Nepal, region du Terai, peuple rajbansi.

035

Masque de 'Chasseur' Inde, Arunachal Pradesh, peau de chevre, feutre, crin.

037

Masques de corbeau, Nepal or Tibet

038 nepal shamanic phurbu

Phurbus.

039 nepal shamanic ritual dagger phurbu

Phurbus.

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BURKE

NATURAL HISTORY MUSEUM 

HIMALAYAN

MASK COLLECTION

014 THARU NEPAL MASK.jpg

015 THARU NEPAL MASK.jpg

016 THARU NEPAL MASK.jpg

Photo credit Burke Museum of Natural History

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25/09/2009

Himalayan crowned male mask. The Music Museum of Nepal. Ethnoflorence coming soon and past edited pages.

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

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2008 - 2016

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PARIS

PARCOURS DES MONDES

2009

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THOMAS MURRAY

http://ethnoflorence.skynetblogs.be/collection-thomas-mur...

MASKS OF THE WORLD

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PHOTO

SANZA ARTS PREMIERS

BRUXELLES

http://sanza.skynetblogs.be/

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SEE ALL THE PAGES OF THOMAS MURRAY ON THE ETHNOFLORENCE ARCHIVE

CLICK THE LINK BELOW

http://ethnoflorence.skynetblogs.be/collection-thomas-mur...

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THE MUSIC MUSEUM OF NEPAL

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The Music Museum of Nepal was founded in the year 1995 with a view to collecting, preserving and glorifying Nepali folk musical instruments. There are more than 100 ethnic groups in Nepal, each with their own culture and traditions to mark every occasion from birth to death with music. Each group organizes various musical ceremonies and plays their own musical instruments in accordance with traditions and rituals. Many groups such as Gaine, Damai, Badi have adopted folk music as their way of life and play folk musical instruments professionally. Our study has found more than 525 kinds of musical instruments in Nepal. 

Folk musical instrument makers, musicians, singers and dancers have long had a lowly position in Nepalese society and their arts and skills have not been fully recognized, appreciated or properly rewarded. Consequently the people of Nepal have not generally developed a national pride in their folk music and successive Governments have not seen the importance in keeping alive the country’s intangible musical heritage. Many songs have undoubtedly already been irrevocably lost; many traditional folk musical instruments have disappeared. Nepalese culture is in a state of flux and the future of the extended family tradition is likewise unstable. Singers, musicians, dancers and instrument makers are consequently increasingly unable to pass on their arts and skilled crafts to their children and grand children.

 

From modest beginnings NFMIM has grown into a vibrant and dynamic institution where people with a common interest in Nepali folk music meet daily. It is a living museum.

 

The museums aims are the preservation and conservation of folk musical instruments and recording folk musicians, singers and dancers audio visually for posterity. These recordings are also used to promote interest in the museum’s work. Field research is ongoing and there is a regular weekly programme of concerts and meetings. The themes of these events are varied, always interesting and have concentrated on the music and/or folk songs of particular ethnic groups, have focused on a particular (often rare) instrument, have featured famous singers and musicians or have been dedicated to the memory of a beloved, past singer or musician.

 

Adults and children are encouraged, inspired and helped to learn playing techniques and in the future the museum hopes to be in a position to establish a research center, archive, library and school of folk music. It is envisaged that this school will provide accreditation and certification for the skills and achievements of musicians, singers, dancers and craftsmen. The museum wishes to promote and improve the status of these people in Nepal’s society and to inform all citizens about the musical heritage it stands to lose if remedial action is not taken before it is too late.

To this end in 2005 Ram Prasad Kadel published an illustrated catalogue of NFMIM’s collection in the Nepali Language ‘Nepali Lokbaajaa’ (Folk Musical Instruments of Nepal). It is hoped that the publication of his book in the English Language will serve to raise international awareness of Nepal’s contribution to world music and will encourage contact from music establishments and music lovers everywhere. The demise of Nepal’s unique musical heritage would not only be a National tragedy but would be a great loss for the wider Musical World.

See more on:

http://www.musicmuseumnepal.org/

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SANTAL MASKED PUPPETS

Tharu tribal art

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ABOUT THE MUSICAL OF TH SANTAL 

SEE MORE STARTING FROM HERE:

http://ethnoflorence.skynetblogs.be/post/6109784/14-dhodr...

santal banam art

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HIMALAYAN PRIMITIVE FIGURE

Carrying the God on his back,

Western Nepal.

detail

http://ethnoflorence.skynetblogs.be/mask-himalaya-india-e...


(Nepal figure no. 5)

 

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SEARCH TRIBAL SCULPTURES FROM WESTERN NEPAL IN THE ETHNOFLORENCE ARCHIVE

CLICK THE LINK BELOW

http://ethnoflorence.skynetblogs.be/tribal-sculptures-fro...

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UNUSUAL HIMALAYAN MALE CROWNED MASK

011 bis

Frontal view.

011 bis (2)

Interesting the balanced geometrical cut of the piece.


012 himalayan folk and tribal art

Cwown detail view.

013 nepal mask

Crown detail view.

014 nepal tribal art

 Frontal view detail.

015 nepalese mask

 Frontal view detail.

017 nepal art

Frontal view detail.

018 himalayan art

Side A view detail.

019 himalayan tribal art

Side A view detail.

020 nepal maske

Side  A view detail.

021 art tribal de l'himalaya

Side A view detail.

021 art tribal de l'himalaya - Copia

Side A geometrical cut.

022 nepal tribal art

 Side A view detail.

023 nepal masque

Side B view.

024 masque himalayen

 Side B view detail.

025 art tribal art brut

 Side B view detail.

026

 Side B view detail.

027

Back side view.

028

Back side view detail.

 029

Back side view.

 

22/08/2009

Nepal folk and tribal art. Western Nepal primitive ancestors figure.

NEPAL SHAMAN ART

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

See more http://ethnoflorence.skynetblogs.be/post/6909408/dhyangro...

NEPAL PHURBU RITUAL SHAMANIC DAGGER

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

nepal tribal art a lost world

Nepal Folk Art a lost world, se more on:

http://ethnoflorence.skynetblogs.be/post/7177977/nepal-ar...

nepal tribal mask (3)

George Hegarty Himalayan Folk and Tribal Art Collection, coming soon. ( http://collections.consciousart.com/GH/southeastasia/G01G... )

Naga tribal art

Naga Tribal Art, coming soon (photos courtesy George Hegarty Collection). 

( http://collections.consciousart.com/GH/southeastasia/G01G...)

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15 Western Nepal primitive sculptures(Jumla, Dunai, and Simikot Regions ). 15 primitif sculptures de l'Ouest du Nepal. Statuaire Arcaique de l'Ouest du Nepal, see more on

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

WESTERN NEPAL AND THARU AREA PRIMITIVE ANCESTORS FIGURE.

035 HIMALAYAN TRIBAL AART

N1 Frontal view.

036 HIMALAYAN TRIBAL ART

Frontal view detail.

037 HIMALAYAN TRIBAL ART

Frontal view detail.

038 HIMALAYAN TRIBAL ART

Frontal view detail.

039 HIMALAYAN TRIBAL ART

Frontal view detail.

040 HIMALAYAN TRIBAL ART

Side A view.

041 HIMALAYAN TRIBAL ART

Side A view.

042 HIMALAYAN TRIBAL ART

Side A view detail.

043 HIMALAYAN TRIBAL ART

Back side view.

044 HIMALAYAN TRIBAL ART

Side B view detail.

045 HIMALAYAN TRIBAL ART

Side B view detail.

046 HIMALAYAN TRIBAL ART

Side B view detail.

047 HIMALAYAN TRIBAL ART

Base of the figure.

048 HIMALAYAN TRIBAL ART

N2 frontal view.

049 HIMALAYAN TRIBAL ART

Frontal view detail.

051 HIMALAYAN TRIBAL ART

Frontal view detail.

050 HIMALAYAN TRIBAL ART

Frontal view detail.

052 HIMALAYAN TRIBAL ART

Base of the figure.

056 HIMALAYAN TRIBAL ART

Side A view detail.

055 HIMALAYAN TRIBAL ART

Side A view detail.

053 HIMALAYAN TRIBAL ART

Side A view detail.

057 HIMALAYAN TRIBAL ART

Side B view.

059 HIMALAYAN TRIBAL ART

Side B view detail.

058 HIMALAYAN TRIBAL ART

Side B view detail.

061 HIMALAYAN TRIBAL ART

Back side view.

062 HIMALAYAN TRIBAL ART

Back side view detail.

063 HIMALAYAN TRIBAL ART

Back side view detail.

064 HIMALAYAN TRIBAL ART

Back side base view.

065 HIMALAYAN TRIBAL ART

 

N3 frintal side view.

066 HIMALAYAN TRIBAL ART

Frontal side view.

067 HIMALAYAN TRIBAL ART

Frontal view detail.

068 HIMALAYAN TRIBAL ART

Frontal view detail.

069 HIMALAYAN TRIBAL ART

Frontal base detail view.

070 HIMALAYAN TRIBAL ART

Base of the figure.

071 HIMALAYAN TRIBAL ART

Side A view detail.

072 HIMALAYAN TRIBAL ART

Side A view detail.

073 HIMALAYAN TRIBAL ART

Side A view detail.

075 HIMALAYAN TRIBAL ART

Side A view detail.

076 HIMALAYAN TRIBAL ART

Side A view detail.

077 HIMALAYAN TRIBAL ART

Side A view detail.

078 HIMALAYAN TRIBAL ART

Back side view detail079 HIMALAYAN TRIBAL ART

Back side view detail.

080 HIMALAYAN TRIBAL ART

Back side view detail.

081 HIMALAYAN TRIBAL MASK

Back side view detail.

082 HIMALAYAN TRIBAL MASK

Back side view detail.

083 HIMALAYAN TRIBAL MASK

Side B view detail.

084 HIMALAYAN TRIBAL MASK

Side B view detail.

085 HIMALAYAN TRIBAL MASK

Side B view detail.

086 HIMALAYAN TRIBAL MASK

Side B view detail.

087 HIMALAYAN TRIBAL MASK

Side B view detail.

088 HIMALAYAN TRIBAL MASK

N4 frontal view.

089 HIMALAYAN TRIBAL MASK

 

Frontal detail view.

090 HIMALAYAN TRIBAL MASK

 

Namaste posture view.

091 HIMALAYAN TRIBAL MASK

Side A view.

092 HIMALAYAN TRIBAL MASK

Side A view detail.

093 HIMALAYAN TRIBAL MASK

Side A view detail.

094 HIMALAYAN TRIBAL MASK

Back side view .

098 HIMALAYAN TRIBAL MASK

Side B view.

099 HIMALAYAN TRIBAL MASK

Side B view detail.

0100 HIMALAYAN TRIBAL MASK

Side B view detail.

0101 HIMALAYAN TRIBAL MASK

Side B view detail.

011 HIMALAYAN TRIBAL ART

N5 frontal view.

012 HIMALAYAN TRIBAL ART

Frontal view detail.

013 HIMALAYAN TRIBAL ART

 

3/4 FRONTAL VIEW DETAIL.

014 HIMALAYAN TRIBAL ART

Frontal view detail.

015 HIMALAYAN TRIBAL ART

Frontal view detail.

016 HIMALAYAN TRIBAL ART

Frontal view detail.

018 HIMALAYAN TRIBAL ART

Side A view detail.

019 HIMALAYAN TRIBAL ART

Side A view detail.

020 HIMALAYAN TRIBAL ART

Side A view detail.

021 HIMALAYAN TRIBAL ART

Side A view detail.

022 HIMALAYAN TRIBAL ART

Back side view detail.

023 HIMALAYAN TRIBAL ART

Back side view detail.

026 HIMALAYAN TRIBAL ART

Back side view detail.

027 HIMALAYAN TRIBAL ART

Back side view detail.

028 HIMALAYAN TRIBAL ART

Side B view detail.

029 HIMALAYAN TRIBAL ART

Side B view detail.

030 HIMALAYAN TRIBAL ART

Side B view detail.

032 HIMALAYAN TRIBAL ART

Side B view detail.

02/10/2008

Four primitive Ancestor sculpture from Western Nepal ( Jumla, Dunai, and Simikot Regions). Tribal sculpture. Squatting figure. Himalayas. ETHNOFLORENCE COLLECTION.

Himalayan primitive statuary sculptures from Western Nepal ( Jumla, Dunai, and Simikot Regions ) . Nepalese primitive guardian and ancestor figures.

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Himalayan primitive sculptures and masks at Musee de la Castree of Cannes (France). (Photo Ethnoflorence)

An interesting group of 15 Western Nepal  primitive sculpture is edited by Ethnoflorence on 

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

 in the same page there are also some interesting photos of Giuseppe Tucci Expedition and for a comparation two rare photos of the Kalash primitive statuary of Kafiristan.

Immagine 001

 

 

Another   interesting and rare group of 4 Tharu posts (one really wide of  h 135 cm) 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 then comparated with the Santal people wedding palkee panels one   on http://ethnoflorence.skynetblogs.be/post/6268451/28-santa... .

 

 

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Another group of  primitive sculptures is edited  on http://ethnoflorence.skynetblogs.be/post/6210825/western-... .

Immagine

 A Western Nepal primitive  reliquary sculpture is edited on http://ethnoflorence.skynetblogs.be/post/6220844/western-...

Immagine 007

N1 Primitive sculpture with long neck in namaste posture. Cm 60.

For a stylistic comparation and related and competent information see http://www.tribalarts.com/feature/himalayas/17.html... .

 Read also the well done and really competent book "La statuaire Archaique de l'Ouest du Nepal", Marc Petit, Jean Pierre Girolami, Galerie Renaud Vanuxem Paris   http://www.priceminister.com/offer/buy/52263812/Petit-Mar... .

Immagine 008

Frontal view.

Immagine 009

Namaste posture.

Immagine 019

Namaste posture view.

Immagine 010

Below frontal view detail.

Immagine 011

Side View.

Immagine 012

Side namaste posture detail view.

Immagine 013

Below side view.

Immagine 014

Back side view.

Immagine 015

Back side view detail.

Immagine 017

Side view B, face detail.

 

Immagine 020

N2 Eroded primitive sculpture in namaste posture. Cm 40.

 

Immagine 021

 

Frontal view detail.

 

Immagine 022

 

Below frontal view.

 

Immagine 023

 

Side view.

 

Immagine 024

 

Side view, namaste posture detail.

 

Immagine 026

 

Below side view.

 

Immagine 027

 

Back side view.

 

Immagine 028

 

Back side view detail.

 

Immagine 030

 

 

Eroded Shamanic figure in namaste posture. Cm 90.

 

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Comparable with an interesting and rare shamanic quintuple bells in bronze,  four  shamans  in namaste posture are placed over of the little four bronze bells. (more on http://ethnoflorence.skynetblogs.be/post/6169443/nepalese... )

 A piece with a similar iconography was edited in the feature : "Art and Shamanism in the Himalayas" http://www.tribalarts.com/feature/himalayas/index.html#23  ( by Eric Chazot and Jean-Pierre Girolami on Tribal Art V 1:1/ 2000) ,  for a comparation see  http://www.tribalarts.com/feature/himalayas/23.html  and also http://www.tribalarts.com/feature/himalayas/19.html  for an unique shamanic quintuple bells on wood.

 

 

Immagine 031

Frontal view detail.

Immagine 033

 

 

 

 

Below frontal view.

 

Immagine 032

 

 

Below frontal view detail.

 

Immagine 034

 

 

 

Side view.

 

Immagine 035

 

Namaste posture side detail view.

 

Immagine 036

 

Back side view. See the hair detail.

 

Immagine 037

 

Back side view.

 

Immagine 038

 

N4 primitive sculpture in namaste posture. Hard wood .Cm 85.

 

Immagine 040

 

Frontal view detail.

 

Immagine 039

 

Frontal view detail.

 

Immagine 041

 

Frontal view.

 

Immagine 043

 

Side view.

 

Immagine 042

 

Side view detail.

 

Immagine 045

 

Side B view.

 

Immagine 044

 

Side B detail view.

 

Immagine 047

 

Below side B view.

 

Immagine 046

 

Below side B detail view.

 

Immagine 048

 

Below side B view detail.

 

 

 

 

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30/08/2008

Montagne Sacre Magia Mito Tradizione in Nepal Verona Galleria Etnie blue Terai Tharu mask

ETHNOFLORENCE

2008

 

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MONTAGNE SACRE

MAGIA, MITO, TRADIZIONE IN NEPAL

VERONA

DAL 15 NOVEMBRE

AL 6 DICEMBRE 2008

 

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GALLERIA ETNIE

GALERIE LE TOIT DU MONDE

 

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ETHNOFLORENCE

MASK

IMG_8320.JPG

(Inventory no.83)

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Nepalese

painted male primitive mask

Tharu people

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