13/06/2012

WESTERN NEPAL STONE DHAMI FIGURE HIMALAYA RIFLESSI DAL PROFONDO

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

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2008 - 2016

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

HIMALAYA

RIFLESSI DAL PROFONDO

GENOVA

PALAZZO IMPERIALE

8

PIAZZA CAMPETTO

until

30 june 2012

 

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HIMALAYAN

PRIMITIVE FIGURES

FROM

MORDACCI COLLECTION

 

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FOR THE FIRST TIME

IN ITALY

 

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

 

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

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

*

 

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Mordacci Collection

Ethnoflorence 

2012

All rights Reserved

***

**

*

 

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

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HIMALAYA

RIFLESSI DAL PROFONDO

PALAZZO IMPERIALE

 

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GENOVA

ITALY

 

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MORDACCI COLLECTION

SEE MORE ON

 

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

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

 

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

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

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

the Ancestor

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MORDACCI COLLECTION

ETHNOFLORENCE 2012

ALL RIGHTS RESERVED

*****

***

*

HIMALAYAN 

ARCHAIC ICONOGRAPHYES

 

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(Ethnoflorence Archive)

COMING SOON

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*

THE ARTISTIC LIVING TRADITION OF THE 

HUMLA AREA

COMING SOON

 

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Carrying the god on his back 

Humla figure from Ethnoflorence

Archive

 

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(Figures of Donors inside a Humla Shrine)

 

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(Ethnoflorence Archive)

ETHNOFLORENCE 

2012

ALL RIGHTS RESERVED

***

**

*

THARU and SATAR

ART

*

in collaboration with

the

Mordacci Collection

we have conduct 

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

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(Satar Figure Ethnoflorence Archive)

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(Detail of a Tharu lateral panel of a Door)

COMING SOON

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*

KHENIS or GHOST EATERS

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The KHENIS or GHOST EATERS

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

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

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

these figures represent

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

 

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

 

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

 

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

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

SEE MORE 

STARTING 

FROM

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

***
**
*

 

 

 

 

 

 

 

12/06/2012

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

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HIMALAYA RIFLESSI

DAL 

PROFONDO

PALAZZO IMPERIALE

GENOVA

ITALY

 

 

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MORDACCI 

COLLECTION

SEE ALSO 

 

584112148.jpg

HERE

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

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AND

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

page1.jpg

MORE HERE

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

***

*

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

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

the Ancestor

 

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MORDACCI COLLECTION

ETHNOFLORENCE

2012

ALL RIGHT RESERVED

***
**

*

TODAS and KOTAS

tribes

OF

THE INDIAN

NILGIRI HILLS

 TRIBAL ARTS

 

10 Photo Ravi Chandran.jpg

COMING SOON

 

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(Photo courtesy of Ravi Chandran)

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**

*

 MANAV SANGRAHALAYA

BHOPAL

MUSEUM OF MAN

 

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COMING SOON

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**

*

NEPAL

JUMLA REGION

1971 & 1995's

FIELD WORK

PHOTO COURTESY OF

JOHAN REINHARD

 

*

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SEE MORE ON

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

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WESTERN NEPAL, THE  ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC  LIVING TRADITION

I

 

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Photo courtesy of Jean Claud Latombe

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

***

**

*

 

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

 

Photo courtesy of  Paulo Grobel

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(Shrine in Tibrikot)

SEE MORE ON

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

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**

*


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

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

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

the Ancestor

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HIMALAYA

RIFLESSI DAL PROFONDO

GENOVA

PALAZZO IMPERIALE

COLLEZIONE MORDACCI

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SEE MORE HERE

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

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MORDACCI COLLECTION

ETHNOFLORENCE 

2012

ALL RIGHTS RESERVED

********

***

*

 

aiyanar4day-c[2].jpg

(Photo Ron du Bois)

 

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

 

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

 

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

 

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

 

img532.jpg

(Photo H.H.)

THE VILLAGE GODS OF SOUTH INDIA

COMING SOON

ETHNOFLORENCE 

2012

ALL RIGHTS RESERVED

********

***

*

 

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HIMALAYAN MASKS

AT 

PALAZZO IMPERIALE 

GENOVA

 

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COMING SOON

ETHNOFLORENCE 

2012

ALL RIGHTS RESERVED

****

***

*

TRIBAL ARTS

A

CROSS CULTURAL HERITAGE

COMING SOON

*****

**

*


a


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

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

2008 - 2016

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

The figure of the man in tribal and village art,

it's normally used to connote itself,

to represent the human being as he is 

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

by the artist, that represents preeminently his spirit, 

the Ancestor

(Text by Ethnoflorence all rights reserved)

 

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HIMALAYA RIFLESSI

dal

Profondo

Genova

Palazzo Imperiale

Collezione Mordacci

see more on

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

 

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MORDACCI COLLECTION

ETHNOFLORENCE 2012

ALL RIGHTS RESERVED

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

******

*

 

Katervil_in_front_of_Yallee[1].jpg

(Photo Ron du Bois)

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

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

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

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

 

img536.jpg

 

(Photo H.H.)

THE VILLAGE GODS OF SOUTH INDIA

COMING SOON

ETHNOFLORENCE 2012

ALL RIGHTS RESERVED

********

****

*

TRIBAL ARTS

A

CROSS CULTURAL HERITAGE

COMING SOON

******

***

*

 

08/03/2012

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

Arjun Guneratne

Many Tongues, One People

The Making of Tharu Identity in Nepal

 

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

 

Gérard Toffin

 

TEXT INTEGRAL

 

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

 

§§§§§§§§§§§§§§§§

 

OF THE SAME AUTHOR

 

*

 

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

 

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

 

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

 

§

 

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

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

 

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

 

§

 

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

 

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

 

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

 

§

 

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

 

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

 

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

 

§

 

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

 

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

 

§

 

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

 

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

 

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07/03/2012

ARTS PREMIERS GHURRAS HIMALAYAN PRIMITIVE ARTS PREMIERS

GHURRAS

NEPAL

Wooden Churning-rod Holders

 

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ETHNOFLORENCE

PHOTO ARCHIVE

2012

ALL RIGHTS

RESERVED

§§§

BIBLIO

Divine support: Ghurras, wooden churning-rod holders from Nepal

Paul de Smedt

Book Faith India, 2000

*

Ghurras Nepal: de la ferme au musée, du paysan au collectionneur

Galerie le Toit du monde, 2007

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RELATED WORDS

26 cm Ethnic anthropomorphic Atman avatar axis Bahun Bahun This ghurra band bears BrahmanBuddhist butter carved caste centre churning process circumference cm Ethnic group cosmic creation hexagon creative crescent moon damaru damaru-drum demons dharma disc is decorated divine endless knot evokesfrontal ghee ghurra gods Gurung head Height Hindu Hinduism incarnation interpreted kalasha kalasha vaseKathmandu Krishna Kurma Limbu linga linga-A triangles Magar milk jugs thekis Mount Mandaramountain walking sticks mythological Narayana Nepal neti Newar ocean pattern petalled lotus flower phallus Photopicture 29 picture 77 primeval principle pyramidal refers religion religious represents ritual rope sacred Sanskrit sculptureserpent motifs Shakti Shiva solar disc soma stylised symbol of Vishnu symbolic meaning symbolisesTamang tantric temple theki koila thousand-petalled lotus flower traditional Nepalese house trishula vajra Vasuki endless knot Vasuki eternal knot Vasuki knot Vedas Vedic wooden churning-rod holders worship yantra yoni yoni-linga designyoni-V

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12/02/2012

ARTS PREMIERS THE SAN FRANCISCO TRIBAL & TEXTILE ARTS SHOW FEBRUARY 2012

2  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

THE SAN FRANCISCO

TRIBAL & TEXTILE

ARTS SHOW

PART II

FEABRUARY 2012

PHOTO COURTESY

OF

MR

SAM SINGER

PART I SEE MORE ON

http://ethnoflorence.skynetblogs.be/archive/2012/02/11/the-san-francisco-tribal-textile-arts-show-february-2012.html

 

1 SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

3  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

4  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

5  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

6  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

7  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

8  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

9  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

10  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

11  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

12  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

13  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

14  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

15  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

16  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

 

17  SAN FRANCISCO TRIBAL ART SHOW PRIMITIVE ARTS PREMIERS MASK AFRICA INDONESIA INDIA TRIAL ART FORT MASON SAN FRANCISCO TRIBAL TEXTILE SHOW MUSEUM COLLECTION COLLECTOR ARTE  TRIBALE TRIBAL ARTS MAGAZINE PARIS NEW YORK.jpg

PHOTO COURTESY OF

MR

SAM SINGER

ALL RIGHTS RESERVED

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26/01/2012

Mapuche Machi’s Rewe Shaman's ledder iconography close point of contact with the archaic figures of Western Nepal

 ETHNOFLORENCE

Stay in touch with us

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1.jpg

http://patagoniamonsters.blogspot.com/

THE ICONOGRAPHY OF THE SHAMANISTIC  LEDDERS  SCULPTURES AND MASKS
OF THE MAPUCHE PEOPLE OF CHILE AND ARGENTINA
HAS CLOSE POINT OF CONTACT WITH THE
STYLE OF THE MORE ARCHAIC FIGURES AND MASKS OF THE
WESTERN NEPAL

 

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Mapuche Machi’s Rewe (shaman’s ladder)

Mapuche Art at the Museo de Arte Popular José Hernández

BUENOS AIRES

ARGENTINA

PHOTO CREDIT

http://amazingbuenosaires.blogspot.com/2007_07_01_archive...

*

The Mapuche shamans called Machi have ritual objects to carry out the ceremony for each medical treatment
 or pleading ritual.

The Mapuche developed the art of stone and wood sculpture with the intention of establishing
communication between Ngünechen (the deity that governs the world) and human beings.

The new shaman provides her- or himself with a wooden pole called Kemukemu.

This pole is transformed into a sacred Rewe (clean and pure space) when she or he is initiated into the realm of a devoted
 Machi in a ritual called Ngeykurewen.

The first Rewe of a Machi has four steps carved into its front, representing the four main sacred spaces.

 

shaman.world.tree[1].jpg

http://www.csulb.edu/~csnider/dickinson.shamanism.html

These steps end at the top of the pole with a carved head representing the human spirits involved in the pleading ceremony.

The Rewe is placed to the right side in front of the Machi’s home.

The Rewe is a means of transportation used by the Machi to reach Wenu Mapu—or the blue space above, where the deities
live—to maintain communication with the sacred spirits.

With time, the Machi acquires new power and skills to appeal for the blessings of Ngünechen and fight against the evil
spirits.

Each new spiritual power merits a new sacred step carved into the pole. This eight-step Rewe seems to have belonged to an
experienced, accomplished Machi with sufficient knowledge and strength to propitiate communication with Ngünechen.

This necessary spiritual mediation allows her or him to face the strongest evil spirits and bring back the right
equilibrium for the community in times of danger or calamity.

TEXT BY

María Catrileo (Mapuche), linguist, Universidad Austral de Chile

CREDIT

http://www.nmai.si.edu/exhibitions/infinityofnations/pata...

*


5 450px-Mapuche_sculptures_in_Museum_of_PreColumbian_Art_Santiago2[1].jpg

6 450px-Mapuche_sculptures_in_Museum_of_PreColumbian_Art_Santiago3[1].jpg

7 450px-Mapuche_sculptures_in_Museum_of_PreColumbian_Art_Santiago5[1].jpg

 

Wooden sculptures in the Museum of Pre-Columbian Art in Santiago, Chile. These are 19th century grave effigies carved by the local Mapuche indigenous people.

PHOTO CREDIT

Koppas

http://commons.wikimedia.org/wiki/User:Koppas

and

http://commons.wikimedia.org/wiki/File:Mapuche_sculptures...

 

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Moon Tears: Mapuche Art and Cosmology
A selection of works from the Domeyko Cassel Collection, Santiago, Chile.

PHOTO CREDIT

http://as.americas-society.org/exhibit.php?id=5

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11/01/2012

COMPARATIO MODERN AND FOLK SHRINES ANNETTE MESSANGER MY VOWS MUSEUM OF MODERN ART NEW YORK PIER PAOLO CALZOLARI NIKI DE SAINT PHALLE MAMAC NICE

 

 COMPARATIO

 

COMPARATIONIS

 

SHRINES

 

FOLK

 

SHRINES

 

and

 

CONTEMPORARY INTERPRETATIONS

 

PART I

 

FULL FATHOM FIVE 1947

 

Jackson Pollock 1912-1956

 

MUSEUM OF MODERN ART

 

NEW YORK

 

ARMAN FERNANDEZ ARMAN(D)

 

 L'OEIL DU TIGRE 1959, MAMAC

 

 NICE

 

SEE MORE ON

 


http://ethnoflorence.skynetblogs.be/archive/2012/01/11/co...

 

PART II

 

 

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Photo courtesy of Jean Claud Latombe

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

 

3644073923_b2ca63f4ef_z[1].jpg

Annette Messager

my vows

 museum of modern art new york

 ETHNOFLORENCE PHOTO ART ARCHIVE.

ANNETTE MESSAGER, French, born 1943.

"MY VOWS" 1988-91

Photographs, colored graphite on paper, string, black tape and pushpins.

Gift of the Norton Family foundation, 1992.

My vows brings together hundreds of photos that each present a small part of a human body: mouth, ear,
foot, nose, genitals, hand, breast, and so on.

Each hangs from a string, joining and partly obscuring others.
Together they make a dense circle whose diameter  is barely greater than the height or arm span of a tall person.
The individual elements, male and female, old and young, seductive and repellent, form a whole that is greater
than the sum of its parts. Physical, psychological and sexual identities commingle in an inexhaustive variety of
unpredictable relationship, which together threaten to overwhelm the stable patterns of our familiar arrangements.

 

pier paolo calzolari fondazione maeght.jpg

PIER PAOLO CALZOLARI

PIOGGIA 2 2006

 FOUNDATION MAEGHT

 (Ethnoflorence photo Archive)

 

3473108546_e6fcfd8286_z[1].jpg

Niki de Saint Phalle

 Neuilly sur Seine (Hauts de Seine) 1930 - San Diego (USA) 2002

Autel O.A.S. 1962-1992 detail

Bronze 252x241x41 cm

Donation de l'artiste Collection Mamac, Nice

Inv. 2001.13.35

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