10/04/2014

Darmapala mask Nepal Ramman Garwal festival

 ETHNOFLORENCE

N 751

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MASK OF THE DAY

Edited in the catalog of the auction

The Cobbs Auctioneers

April 27 2013

http://www.thecobbs.com/index.html

and described as

a

'Darmapala mask'

folk interpretation of a more classical iconography

http://ethnoflorence.skynetblogs.be/aaa-mask-of-the-day/

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 Lot 296

9.000 / 12.000 usd

sold for

6.000 usd

Provenance: 
Lawrence Hultberg

NY

http://ethnoflorence.skynetblogs.be/aaa-mask-of-the-day/
a9_lot295_4-max.jpg

 

I think that the publication of masks recently sold or passed on auction is particularly interesting to understand the orientation of the taste compared to an universe, the one of the so called  masks of India and the Himalayas, as rich and varied from an iconographic point of view as profoundly unknown.

Photo credit of

The Cobbs Auctioneers

http://ethnoflorence.skynetblogs.be/aaa-mask-of-the-day/

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FOLK

INDIAN AND HIMALAYAN

MASKS

AN HIDDEN HERITAGE

Ramman:

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religious festival

and ritual theatre of the

Garhwal

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Photo credit of

UNESCO

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HIMALAYAN ARTS EXHIBITION OF THE PAST

 

"Le Nove Porte: sciamanesimo e arte contemporanea".

Roma Sala Santa Rita 4 novembre - 1 dicembre 2011.

 

 

An extraordinary multimedia exhibition - conceived by Romano MastromatteiItalian anthropologist who died in 2010 - posing a direct comparison  belonging to the expression of the archaic shamanic religions with the activity of some contemporary artists.

The title of the initiative, "The nine doors," was directly inspired by Asian mythology shaman.


As recalled by Martino Nicoletti: "Nine people are the dangerous steps that the shaman must be able to unseal during his ecstatic journey into the cosmos. Narrow Nine symbolic thresholds to be crossed to reach the most remote regions of the underworld or the highest of the heavens, in order to confront , face to face with the divine. "

The exhibition was curated by Bruno Cora' (art critic, Burri Foundation), by Martino Nicoletti (ethnologist and artist of the University of the West of Scotland, UK), by Orfeo Pagnani (art director, Exòrma Editions, Rome)

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SHAMANIC COMPOSITION

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Photo courtesy of

Tishenko Gallery

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PARIS TRIBAL 2014

INDIAN HERITAGE GALERY

Photo courtesy of Sanza Arts Premiers

& David Van Der Elst courtesy of Indian Heritage gallery

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see more on

http://sanza.skynetblogs.be/

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DEUS LOCI

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22/04/2013

JOSEPH BEUYS AND THE SHAMAN MARTINO NICOLETTI EXHIBITION

JOSPEH BEUYS AND THE SHAMAN

A MULTIMEDIA EXHIBITION

CURATED BY MARTINO NICOLETTI

Joseph Beuys and the shaman: a multimedia exhibition as a concrete example of dialogue between contemporary art and anthropology

Inspired by the rare and precious collection of Joseph Beuys's "blackboards" (created in 1980 during a visit to Perugia and currently hosted in a dedicated section at the Museo di Palazzo Penna) the exhibition's -- held in 2011-2012 and curated by the ethnologist and artist Martino Nicoletti -- enlightened the visitor about shamanic elements characterising the work and thought of the German artist.

In this sense, besides written information, documentary photographs, images and objects directly related to Beuys artworks and Himalayan shamanic art, the exhibition provided visitors with a selection of artistic videos, multimedia installations and sound sculptures, created by various artists and inspired by the cosmology and visionary universe of Asian shamanism. 

It was indeed thanks to this set of artworks that the concrete presence of Beuys's blackboards and a series of shamanic ritual artefacts on show at the exhibition could fluidly and osmotically communicate, providing access to a wider understanding in which art and content relating to the remote world of Asian shamanism could merge. 

An original video documentary -- curated by Marco Nicoletti and elaborated on the basis of visual documents related to Beuys' work and interviews to international experts as Michal Oppitz and Italo Tomassoni -- provides a series of critical contents related to Joseph Beuys and his connection to the world of Asian shamanism. 

Catalogue of the exhibition: Nicoletti Martino, "L'uomo che dialogava con il coyote: una breve incursione sul tema Joseph Beuys e sciamanesimo", ("The Man who Talked with the Coyote: About Joseph Beuys and Asian Shamanism"), Roma, Exòrma, 2011.

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23:27 Publié dans COLLECTION MARTINO NICOLETTI, VIDEO DOCUMENTARY | Lien permanent | Commentaires (0) | |  Facebook | | | | Pin it! | | |  del.icio.us | Digg! Digg

Joseph Beuys e lo sciamano exhibition Martino Nicoletti

JOSEPH BEUYS E LO SCIAMANO

MULTIMEDIAL EXHIBITION

CURATED 

BY 

MARTINO NICOLETTI

Ispirandosi alla collezione di Lavagne create da Joseph Beuys nel 1980, in occasione di una visita a Perugia, e attualmente ospitate al Museo Civico di Palazzo della Penna, l'evento illumina sugli elementi sciamanici presenti nell'opera del Maestro tedesco.

L'evento, curato dall'etnologo e artista Martino Nicoletti della University of the West of Scotland, avvicina, per la prima volta in Italia, la figura del grande artista tedesco Joseph Beuys, all'universo religioso magico ed estatico dello sciamanesimo asiatico. 

Attorno al potente e denso epicentro rappresentato dalle Lavagne, ruota un variegato quanto pulviscolare caleidoscopio fotografico di rituali estatici, video, suoni, disegni cosmologici e oggetti sciamanici originali capaci di condurre il visitatore a una radicale rilettura di Beuys secondo una prospettiva inconsueta e densa di suggestioni. 

In un perfetto innesto formale e concettuale, una serie performance dal vivo e una serie di installazioni artistiche -- create dallo stesso Martino Nicoletti e dedicate ai temi del volo magico sciamanico e della connessa discesa agli inferi -- si integrano con la presenza delle Lavagne e con frammenti connessi all'opera di Beuys come artista figurativo e come performer. L'evento ospita altresì opere di Alessandra Campoli, di Slobodan Dan Paich e una installazione fotografica creata da Orfeo Pagnani.

Un originale documento filmato, curato da Marco Nicoletti e realizzato sulla base di immagini di repertorio e interviste a esperti internazionali quali Micheal Oppitz e Italo Tomassoni, offre un approfondimento critico all'evento e ai suoi stessi contenuti. 

Catalogo dell'evento:

- Nicoletti Martino, L'uomo che dialogava con il coyote: una breve incursione sul tema Joseph Beuys e sciamanesimo, Roma, Exòrma, 2011-

Perugia - Museo civico di Palazzo della Penna

18 dicembre 2011 -- 9 aprile 2012

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23:20 Publié dans COLLECTION MARTINO NICOLETTI | Lien permanent | Commentaires (0) | |  Facebook | | | | Pin it! | | |  del.icio.us | Digg! Digg

04/11/2011

LE NOVE PORTE SCIAMANESIMO E ARTE CONTEMPORANEA ROMA 10 NOVEMBRE CONFERENZA Michael Oppitz, Bruno Corà, Martino Nicoletti, Galina Sychenko

LE NOVE PORTE

SCIAMANESIMO E ARTE CONTEMPORANEA

http://www.youtube.com/watch?v=NnGEq5ATcIw

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http://www.youtube.com/watch?v=NnGEq5ATcIw

ROMA

SALA SANTA RITA

ORARIO DI APERTURA

LUNEDI' - VENERDI'

10-18

INGRESSO LIBERO

LA ESPOSIZIONE RIMANE APERTA SINO AL

1 DICEMBRE 2011

CONFERENZE NELL'AMBITO DELLA MOSTRA

10 NOVEMBRE ORE 18:00

INTERVENTI DI MICHAEL OPPITZ BRUNO CORA' MARTINO NICOLETTI GALINA SYCHENKO

17 NOVEMBRE ORE 16:00

LECTIO BREVIS E VISITA DIDATTICA DI

GIANCARLO ARIENTOLI

INTERVIENE

MARIO PESCE

24 NOVEMBRE ORE 18:00

PERFORMANCE SONORA DI RENATO RANALDI

TIMPANO ARMONICO

E

INTERVENTO DI GALINA SYCHENKO

http://www.youtube.com/watch?v=NnGEq5ATcIw

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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-...

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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

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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”.