19/07/2012

ARTE TRIBALE DEI SANTAL DHODRO BANAM

ARTE TRIBALE DEI SANTAL

(english and italian version)

SANTAL TRIBAL ARTS

*

Questa pagina non sarebbe stata realizzabile senza il prezioso contributo di materiale fotorafico da parte di:

This page could not be possible 

without the precious contribute

of  pictures

by

COLLECTION MUSEE DE LA CASTRE CANNES  © PHOTO CLAUDE GERMAIN

CHRISTIAN LEQUINDRE

http://www.nepaltribalart.com/index.asp?p=65

ROBERT BRUNDAGE PETALUMA CA

http://www.artyeti.com/

SANZA ARTS PREMIERS BRUXELLES

http://sanza.skynetblogs.be/

FREDERIC ROND PARIS

http://www.indianheritage.biz/

HERVE PERDIOLLE PARIS

http://herveperdriollecv.blogspot.com/

MORDACCI  COLLECTION

http://ethnoflorence.skynetblogs.be/a-m-collection-all-ri...

SANATAN KAVADIYA NEW DELHI

http://www.tribalartsindia.com/

RICHARD LAIR

and text 

by

ELIO REVERA BRESCIA

http://artidellemaninere.forumattivo.it/f8-love-driven-ch...

ETHNOFLORENCE

*******

An online

vocabulary of the Santali languge

by

EDWARD LAVALLIN PUXLEY

ON

http://books.google.com/books?ei=vZh8T8L1I4iD0QGK483TCw&a...

*****

Mus+®e de la Castre_Cannes_1991.21.1.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

"...une vièle Sarangi, venant du Santal, nom en soi, évocateur. 

Sa présence et sa personnalité nous interpellent. 

Ce petit chef-d'oeuvre de sculpture  attire notre regard au fond du sien.  

C'est bien ici l'exemple d'un objet  d'artisanat, échappant  à son usage pour accéder à l'intemporel".

Pierre  Fernandez   Arman

on  

"Voyages Immobiles Trente ans d'Aquisitions d'Art Primitif

du

Musée de la Castre" 

Cannes

l.jpg

(Photo courtesy of Christian Lequindre)

Perché ci circondiamo di bellezza? E perché questo circondarci non ci ha mai appagato, noi uomini, di ogni dove e di ogni tempo? Per una semplice ed insieme cogente motivazione: perché ne abbiamo bisogno!

Guardo questo oggetto che cari amici hanno avuto l’ardire di porre sotto i miei occhi; l’ardire, perché conoscono la mia limitata cultura ed il mio sconfinato amore per le produzioni artistiche di un altro continente.

Ma la loro è una sfida vinta in partenza: questa straordinaria creazione, l’immagine di questa fanciulla dai seni puntuti e da un’ incredibile quanto armoniosa corolla, mi ha conquistato al primo sguardo.

Non ha importanza cosa sia.

Io ne ammiro le purissime forme, ancestrali, evocative, ardite e stupefacenti: ed i miei sensi sono appagati da quella Dea misteriosa e sublime….avita e sconosciuta: la dea della Bellezza che in ogni cultura ha ricevuto nomi diversi, ma dovunque ha lascito profondissima traccia di sé, col suo passo lieve ed incorporeo.

( Elio Revera, socioanalista)

Dhodro Banam_5 - Copia.jpg

(Photo courtesy of Robert Brundage)

I santal scolpirono i loro liuti antropomorfi, i Dhodro Banam, spesso nella forma di una donna, trasfigurando le risonance dell'istrumento nelle rotondità plastiche conosciute nella scultura Hindu reinterpretate al livello tribale attraverso la simplificazione  e distorsione domandata e dettata dalla particolare forma dello strumento.

The Santal

carved their one stringed lutes sometimes in the shape of  a woman,

transfigurating the resonance of the instrument into rotundities known from Hindu sculpture and brought to the tribal level by simplifications and distortions demanded by the

shape of the instrument.

5.jpg

(Photo courtesy of Frederic Rond)

L'interpretazone che segue dello strumento effettuata da Stella Kramrisch è una delle più acute espresse in queto campo, e allo stesso tempo poetica.

The prophetic head with its far-seeing inlaid eyes, traversed at the back by the turning keyes as a kind of ear ornament, carried aloft on a neck of inordinate length,

is a noble mask.

Through its thin lipped mouth god may speak.

Il banam è considerato infatti un tramite tra l'umano ed il divino.

dyn007_original_680_606_pjpeg_2592525_3c4d9cdc1f07f7b2d46d9ac58b46f980.jpg

(Photo Courtesy of Sanza Arts Premiers)

Il suono dello strumento quasi emanazione del volto femminile diviene profetica voce.

Sound and mask, the prophetic voice which speaks through mask and instrument,

link auditory and visual experience in one manifestation of the numinous.

Resume from

Stella Kramrisch

(Unknown India Ritual Art in Tribe and Village)

6.jpg

(Photo courtesy of Sanza Arts Premiers)

Strumento inteso come medium punto di contatto tra il visbile e l'invisibile.

The Santals believe in the magical powers of this musical instrument, a medium between the human beings and the supernatural.

k.jpg

(Photo courtesy of Christian Lequindre)

w.jpg

(Photo courtesy of Christian Lequindre)

Anatomia umana e iconografia del Banam.

The Banam

resume in its various parts the anatomy of an human being: head, ears, neck, chest and stomach. The string is the most important part of the instrument, because it unites the other parts of the liute together, it's considered as the breadth of the Banam.

Immagine 002

(Photo Ethnoflorence)

The Head (Bonok) of the instrument represents the Space.

eck (hatok) and chest (koram) are directly connected with the Respiration and represents the equivalent natural element of the Air.

The stomach (lac) represents the fire.

The ears (lutur) the ether.

The term banam means body and represents the earth.

12 (2).jpg

(Photo Courtesy of Sanza Arts Premiers)

Mito orale che ci racconta della mitologica origine del Dhodro Banam.

One oral Myth of the Santal told us the mithologyc origin of the Dhrodo Banam

 

Once upon a time  lived an old couple.

 

They had seven sons and a daughter who was the youngest of all.

The sons used to go  hunting and the sister cooked meals for them.

Some time later the couple died.

All their sons and daughter came to a forest to live  in the same way as they used to live earlier, the sister cooked the meals and looked after the house while the seven brothers went hunting.

 

One day while their sister was cutting sin arak (leaf-vegetable), one of her fingers got cut, and the blood of the wound got mixed with the vegetable.

She cooked it and served it to her brothers after their return.

They found the vegetable delicious.

So they asked their sister how the vegetable became so tasty, and found that her blood had got mixed with it.

The eldest brother wondered that if her blood could make the food so delicious, how tasty would her flesh be.

So he decided to kill her and share her flesh with his brothers.

Her body was then cut in seven pieces and each brother received a piece.

Except the youngest brother, the other ate the sister's flesh, he went to a pond sadly with his share, the fish, the crab and all the other creatures of the place, seeing this asked him the reason of his sorrow.

The youngest brother narrated them the whole story, after that the creatures of the pond suggested him not to eat the flesh of his sister and instead to put it inside the mound of white ants.

Some year later, in the place grew  a huge guloic tree.

It started to grow beautifull flowers and a melodious sound was heard from the tree.

A jugi who often used to come to the tree for picking up flowers heard this melodious sound and remained astonished.

One day he decided to cut a brunch from the magic tree and with them he constructed the first  musical instrument the

DHODRO BANAM.

 

(Text resumed  from SANTHAL MUSIC Onkar Prasad 1985)

 

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

 

Dancers, dressed with a Sari, analogous subject we can find   in  old photos of Elwin Verrier and  in the iconography of  some carved panels of the wedding palkee of the Santal Parganas tribe as well as of the Banam.

11.jpg

 (Photo Ethnoflorence)

Ancora Stella Kramrisch caratterizza la plastica iconografia di questi pannelli istoriati dei Santal, parte delle lettighe matrimoniali tipiche dell'etnia Parganas.

 

Il parallelo con i rilievi egiziani è molto sugestivo.

 

The narrative typical carving of the panels, in low profile,  it is characterized by human figures in combined front profile view, limbs at times overlapped in telling gestures and lively actions of spontaneously formed group, and are based roughly on one groundline in common, in a cursive notation of figures, human and animal, more valuable and surely less expert, but according to Stella Kramrisch somehow paralleling Egyptian reliefs.

 

10.jpg

 (Photo courtesy of Frederic Rond)

Seguono informazioni circa la lettiga matrimoniale e della loro iconografia.

 

DANCERS AND MUSICIANS

 

The Santal wedding  litter is called

 

 RAHI

 

and was made by tribal craftsmen themselves.

 

The RAHI was created with a certain amount of ceremony.

 

According to Verrier Elwin and Stella Kramrisch

 

 When work was started, two pigeons were sacrificed;

 

when it was completed the couple sat on it and were carried to the central Manjhithan where more pigeons or a goat were offered.

 

THE ACTIVITY OF CARVING WAS PART OF THE MARRIAGE    RITE,  AS    WAS THE PROCESSION     OF      THE  MARRIAGE  LITTER

 

The themes

 

The main subjects carved on the Rahi's panels are derived from the local ceremonies, such  as marriages, the Miths of the Santal creation, the totems devoted to the twelve Santal clans, the Santal Hul or Santali rebellion of 1855, and especially the everyday life scenes.

 

A part of these themes it's common with the carved top of the Banam.

 

dyn005_original_400_602_pjpeg_2592525_eb2cb763ec2b0a97b02d93581a669b50.jpg

 (Photo Courtesy of Sanza Arts Premiers)

13.jpg

 (Photo courtesy of Sanza Arts Premiers)

22.jpg

 (Photo courtesy of Sanza Arts Premiers)

14.jpg

 (Photo Ethoflorence)

Dhodro Banam_1.jpg

(Photo courtesy of Robert Brundage)

The Santal

traditionally accompanied many of their dances with two kind of drums the Tamak' and the Tumdak' the kettle-drum 'nagara' and  the oboe 'shanai' These musical traditions are reflects on the Banam lutes and Rahi panels iconography where the dancers are seldom accompanied by musicians too

DSCN7107.JPG

(Picture from Tribal Art of Middle India 1951 by Verrier Elwin)

33.jpg

(Photo Ethnoflorence)

dyn001_original_680_512_pjpeg_2592525_e0aba2c321c57b852aa360899dea390c.jpg

(Photo courtesy of Sanza Arts Premiers)

dyn002_original_640_480_pjpeg_2638188_e87409b263c850806b5f490e5650536e.jpg

(Photo courtesy of A. M.)

dyn010_original_680_456_pjpeg_2592525_2a94c19faf8d32e643b9c6e222f9ae77.jpg

(Photo courtesy of Sanza Arts Premiers)

dyn010_original_680_466_pjpeg_2592525_a7f8e7873eb96ed385b3629e65cad31d.jpg

(Photo Courtesy of Sanza Arts Premiers)

Sometimes musicians and dancers are accompanied also by acrobatic perfomers.

135.jpg

(Photo Ethnoflorence)

Animalia nella iconografia dei Santal del Bihar

HORSES HORSEMEN AND ELEPHANTS

Another quite common iconography that we can find on the Rahi Panels is linked with the presence of elephants, horses and horsemen. Sometimes these representations are  linked with the marriage procession. It's possible to find carved  a similar iconography also on the top of  the Banam

Dhodro Banam_6(back).jpg

(Photo courtesy of Robert Brundage)

Above Exceptional iconography of a rider and horse on the back carved top of a banam lute

P1000174.JPG

(Photo courtesy of A. M.)

17.jpg

(Photo Ethnoflorence)

39.jpg

(Photo Ethnoflorence)

P1000178.JPG

(Photo courtesy of A.M.)

DSCF3603.JPG

(Photo Ethnoflorence)

SACRO AND PROFANO

Questo pannello eccezzionale nella resa iconografica ci presenta una sorta di fusione iconografica tra elementi sacri a destra e profani a sinistra.

Caratteristica tipica della libera inventiva di queste popolazioni, comune anche alla plastica 'reinventata' di tutta l'arte popolare della regione himalayana.

Bicycle.jpg

(Photo courtesy of Robert Brundage)

A mix of subjects is the iconographic base of this very interesting panel

HUNTING SCENES

Scene di caccia

archetipi universali

1258560570.jpg

(Photo Courtesy A. M.)

4106938674.jpg

(Photo courtesy A. M.)

SANTAL HUL

La rivolta dei santal

148.jpg

(Photo  Ethnoflorence)

80.jpg

(Photo Ethnoflorence)

81.jpg

(Photo Ethnoflorence)

ANIMALIA AND EVERYDAY LIFE

Toddy Palm.jpg

(Photo courtesy Robert Brundage)

Animals - Copia.jpg

(Photo courtesy Robert Brundage)

Animals.jpg

(Photo courtesy of Robert Brundage)

1 (2).JPG

(Photo courtesy A.M.)

4125466665.jpg

 

(Photo courtesy of A. M.)

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

sketchesfromsant00pedeiala_0169.jpg

(Sketches from Santalistan, Pederson, Mathew A. 1913)

http://archive.org/details/sketchesfromsant00pede

Un altro strumento musicale della tradizione dei Santal è il flauto traverso, ne presentiamo qui alcuni molto interessanti con estremità in bronzo fuse a cera persa.

The flute

held an important role in the music tradition of the Santal people.

DSCF4677 - Copia.JPG

(Photo Ethnoflorence)

3 flutes.jpg

(Photo courtesy of Robert Brundage)

flutes6.jpg

(Photo courtesy of Robert Brundage)

DSCF4677.JPG

(Photo Ethnoflorence)

Two flutes of this particulary rich tipology are present also in the collection of the Musee de la Castre of Cannes.

 1992.16.1.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

EX RICHARD LAIR COLLECTION

1992.16.1_d+®tail.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

EX RICHARD LAIR COLLECTION

1992.17.1.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

1992.17.1_d+®tail.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

***********

CHADOR BADONI

Puppet small wodden idol

Definition from 

A vocabulary of the Santali languge

by

EDWARD LAVALLIN PUXLEY

http://books.google.com/books?ei=vZh8T8L1I4iD0QGK483TCw&a...

73924_171960832816631_100000081457478_594899_904374_n[1].jpg

(Photo courtesy of Sanatan Khavadiya)

71761_171961089483272_100000081457478_594910_1082616_n[1].jpg

(Photo courtesy of Sanatan Kavadiya)

73844_171962069483174_100000081457478_594925_4013181_n[1].jpg

(Photo courtesy of Sanatan Kavadiya)

74267_171960996149948_100000081457478_594903_6726846_n[1].jpg

(Photo courtesy of Sanatan Kavadiya)

74267_171961002816614_100000081457478_594905_8328388_n[1].jpg

(Photo courtesy Sanatan Kavadiya)

puppets48.jpg

(Photo courtesy of Robert Brundage)

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

PITTURA MAGICA DEI SANTAL

JADUPATUA

jadu = magician ; patua –or chitrakar- = painter

Santal Parganas

State of Bihar, India

(Text and pictures courtesy of  Herve Perdiolle)

Patuas and Jadupatuas from Bihar

(Creation of the world 1980)

The Jadu Patuas are painters and story tellers and go from village to village carrying their painted scrolls made of paper sheets sewn together with a bamboo stick on each extremity.

Jadu means "Magician".

The themes they represent on the scrolls are  about a dozen . However, there is different interpretation for each theme. A Jadu Patua can, looking at one scroll, say different stories depending if his audience is Hindu, Muslim or Santal. This last ethnic group is the most important audience for the Jadu Patuas.

The Patuas live with the money that the villagers give them after listening to their stories. The fact that they are magicians give a special effect to their intervention because the villagers fear them.

One of the most revealing images of the Jadu Patuas' role (in the Santal community) is the

"Mritu pat"

or

"image of the deaths"

. When somebody dies in a village near the Jadu Patua's one, the "artist magician" visits the family of the dead with a small and simple image (about 3 x 2 inches) which is supposed to represent the dead in a simple way.

Only the late person's pupil is missing.

Showing this image to the family, the Jadu Patua tells the story evoking the suffering of the dead whose soul is still trapped in hell.

The family then gives an offering to the Jadu Patua in order for him to intervene. The ritual for the Magician painter consists then to paint the dead's pupil in order to free his soul.

The principles developed by the Jadu Patuas are :

the Baha's feast

(Anonyme, fête de Baha, 1980, couleurs végétales sur papier, 25x460 cm)

(Anonyme, fête de Baha, 1980, couleurs végétales sur papier, 25x460 cm)

a strange mixture of Hindu and Santal myths showing a lot of festivities where tribal dances, sacrifices and drinking sessions scenes are mixed;

the creation of the world

(Anonyme, Création du monde, 1990, couleurs végétales sur papier, 20x420 cm)

where we can see the first human couple being born from the coupling of a goose and a gande; the painting of Kali

lai scroll painting

(Anonyme, Kali pat, 1980, couleurs végétales sur papier, 30x240 cm, collection privée.)

composed with 3 or 4 paper sheets only, showing Kali in her most terrifying aspects

and a lot of scrolls about Yama the god of hell (showing all the ill treatments, sometimes sexual, given by Yama and his servants to the dead who behaved badly during their lifetime).

It seems that the scarier the Jadu Patuas'style gets, the more highly he is regarded.

***

**

*

 

 

 

 

05/04/2012

TRIBAL ARTS OF THE SANTAL PEOPLE

SANTAL TRIBAL ARTS

*

This page could not be possible 

without the precious contribute

of  pictures

by

COLLECTION MUSEE DE LA CASTRE CANNES  © PHOTO CLAUDE GERMAIN

CHRISTIAN LEQUINDRE

http://www.nepaltribalart.com/index.asp?p=65

ROBERT BRUNDAGE PETALUMA CA

http://www.artyeti.com/

SANZA ARTS PREMIERS BRUXELLES

http://sanza.skynetblogs.be/

FREDERIC ROND PARIS

http://www.indianheritage.biz/

HERVE PERDIOLLE PARIS

http://herveperdriollecv.blogspot.com/

MORDACCI  COLLECTION

http://ethnoflorence.skynetblogs.be/a-m-collection-all-ri...

SANATAN KAVADIYA NEW DELHI

http://www.tribalartsindia.com/

RICHARD LAIR

and text 

by

ELIO REVERA BRESCIA

http://artidellemaninere.forumattivo.it/f8-love-driven-ch...

ETHNOFLORENCE

*******

An online

vocabulary of the Santali languge

by

EDWARD LAVALLIN PUXLEY

ON

http://books.google.com/books?ei=vZh8T8L1I4iD0QGK483TCw&a...

*****

Mus+®e de la Castre_Cannes_1991.21.1.jpg

 

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

*

"...une vièle Sarangi, venant du Santal, nom en soi, évocateur. 

 

Sa présence et sa personnalité nous interpellent. 

 

Ce petit chef-d'oeuvre de sculpture  attire notre regard au fond du sien.  

 

C'est bien ici l'exemple d'un objet  d'artisanat, échappant  à son usage pour accéder à l'intemporel".

 

Pierre  Fernandez   Arman

on  

"Voyages Immobiles Trente ans d'Aquisitions d'Art Primitif

du

Musée de la Castre" 

Cannes

l.jpg

(Photo courtesy of Christian Lequindre)

Perché ci circondiamo di bellezza?

E perché questo circondarci non ci ha mai appagato, noi uomini, di ogni dove e di ogni tempo?

Per una semplice ed insieme cogente motivazione: perché ne abbiamo bisogno!

 

Guardo questo oggetto che cari amici hanno avuto l’ardire di porre sotto i miei occhi; l’ardire, perché conoscono la mia limitata cultura ed il mio sconfinato amore per le produzioni artistiche di un altro continente.

 

Ma la loro è una sfida vinta in partenza: questa straordinaria creazione, l’immagine di questa fanciulla dai seni puntuti e da un’ incredibile quanto armoniosa corolla, mi ha conquistato al primo sguardo.

 

Non ha importanza cosa sia.

 

Io ne ammiro le purissime forme, ancestrali, evocative, ardite e stupefacenti: ed i miei sensi sono appagati da quella Dea misteriosa e sublime….avita e sconosciuta: la dea della Bellezza che in ogni cultura ha ricevuto nomi diversi, ma dovunque ha lascito profondissima traccia di sé, col suo passo lieve ed incorporeo.

 ( Elio Revera, socioanalista)

 

Dhodro Banam_5 - Copia.jpg

(Photo courtesy of Robert Brundage)

 

The Santal

carved

their one stringed lutes sometimes in the shape of  a woman,

transfigurating the resonance of the instrument

into

rotundities known from Hindu sculpture and brought to the tribal level by simplifications and distortions demanded by the

shape of the instrument.

 

5.jpg

(Photo courtesy of Frederic Rond)

The prophetic head

with its far-seeing inlaid eyes, traversed at the back by the turning keyes as a kind of ear ornament,

carried aloft on a neck of inordinate length,

is a noble mask.

Through its thin lipped mouth

a

god may speak.

 

dyn007_original_680_606_pjpeg_2592525_3c4d9cdc1f07f7b2d46d9ac58b46f980.jpg

(Photo Courtesy of Sanza Arts Premiers)

Sound and mask,

the prophetic voice

which speaks through mask and instrument,

link auditory and visual experience in one manifestation

of the numinous.

Resume from

Stella Kramrisch

(Unknown India Ritual Art in Tribe and Village)

 

6.jpg

(Photo courtesy of Sanza Arts Premiers)

The Santals

believe

in the magical powers of this musical instrument,

a medium between the human beings and the supernatural.

 

k.jpg

(Photo courtesy of Christian Lequindre)

 

w.jpg

(Photo courtesy of Christian Lequindre)

The Banam

resume

in its various parts the anatomy of an human being:

head, ears, neck, chest and stomach.

The string

is the most important part of the instrument,

because it unites the other parts of the liute together, it's considered as the

breadth

of the Banam.

 

Immagine 002

(Photo Ethnoflorence)

The Head (Bonok) of the instrument represents the Space.

Neck (hatok) and chest (koram) are directly connected with the Respiration and represents the equivalent natural element of the Air.

The stomach (lac) represents the fire.

The ears (lutur) the ether.

The term banam means body and represents the earth.
 

12 (2).jpg

(Photo Courtesy of Sanza Arts Premiers)
 
One oral Myth of the Santal told us the mithologyc origin of the Dhrodo Banam
 
Once upon a time  lived an old couple.
They had seven sons and a daughter who was the youngest of all.
The sons used to go  hunting and the sister cooked meals for them.
Some time later the couple died.
All their sons and daughter came to a forest to live  in the same way as they used to live earlier, the sister cooked the meals and looked after the house while the seven brothers went hunting.
 
One day while their sister was cutting sin arak (leaf-vegetable), one of her fingers got cut, and the blood of the wound got mixed with the vegetable.
She cooked it and served it to her brothers after their return.
They found the vegetable delicious.
So they asked their sister how the vegetable became so tasty, and found that her blood had got mixed with it.
The eldest brother wondered that if her blood could make the food so delicious, how tasty would her flesh be.
So he decided to kill her and share her flesh with his brothers.
Her body was then cut in seven pieces and each brother received a piece.
Except the youngest brother, the other ate the sister's flesh, he went to a pond sadly with his share, the fish, the crab and all the other creatures of the place, seeing this asked him the reason of his sorrow.
The youngest brother narrated them the whole story, after that the creatures of the pond suggested him not to eat the flesh of his sister and instead to put it inside the mound of white ants.
Some year later, in the place grew  a huge guloic tree.
It started to grow beautifull flowers and a melodious sound was heard from the tree.
A jugi who often used to come to the tree for picking up flowers heard this melodious sound and remained astonished.
One day he decided to cut a brunch from the magic tree and with them he constructed the first  musical instrument the
DHODRO BANAM.
 
(Text resumed  from SANTHAL MUSIC Onkar Prasad 1985)
 
*************
 
Dancers, dressed with a Sari, analogous subject we can find   in  old photos of Elwin Verrier and  in the iconography of  some carved panels of the wedding palkee of the Santal Parganas tribe as well as of the Banam.
11.jpg

 (Photo Ethnoflorence)

The narrative typical carving of the panels, in low profile,  it is characterized by human figures in combined front profile view, limbs at times overlapped in telling gestures and lively actions of spontaneously formed group, and are based roughly on one groundline in common, in a cursive notation of figures, human and animal, more valuable and surely less expert, but according to Stella Kramrisch somehow paralleling Egyptian reliefs.

10.jpg

 (Photo courtesy of Frederic Rond)

DANCERS AND MUSICIANS

The Santal wedding  litter is called

 RAHI

and was made by tribal craftsmen themselves.

The RAHI was created with a certain amount of ceremony.

According to Verrier Elwin and Stella Kramrisch

 When work was started, two pigeons were sacrificed;

when it was completed the couple sat on it and were carried to the central Manjhithan where more pigeons or a goat were offered.

THE ACTIVITY OF CARVING WAS PART OF THE MARRIAGE    RITE,  AS    WAS THE PROCESSION     OF      THE  MARRIAGE  LITTER

The themes

The main subjects carved on the Rahi's panels are derived from the local ceremonies, such  as marriages, the Miths of the Santal creation, the totems devoted to the twelve Santal clans, the Santal Hul or Santali rebellion of 1855, and especially the everyday life scenes.

A part of these themes it's common with the carved top of the Banam.

 

  

dyn005_original_400_602_pjpeg_2592525_eb2cb763ec2b0a97b02d93581a669b50.jpg

 (Photo Courtesy of Sanza Arts Premiers)

 

13.jpg

 (Photo courtesy of Sanza Arts Premiers)

22.jpg

 (Photo courtesy of Sanza Arts Premiers)

14.jpg

 (Photo Ethoflorence)

Dhodro Banam_1.jpg

(Photo courtesy of Robert Brundage)

The Santal

traditionally accompanied many of their dances with two kind of drums the

Tamak' and the Tumdak'

the kettle-drum 'nagara'

and  the

oboe 'shanai'

These musical traditions are reflects on the Banam lutes and Rahi panels

iconography

where

the dancers

are seldom accompanied by musicians too

 

DSCN7107.JPG

(Picture from Tribal Art of Middle India 1951 by Verrier Elwin)

 

33.jpg

(Photo Ethnoflorence)

 

dyn001_original_680_512_pjpeg_2592525_e0aba2c321c57b852aa360899dea390c.jpg

(Photo courtesy of Sanza Arts Premiers)

 

dyn002_original_640_480_pjpeg_2638188_e87409b263c850806b5f490e5650536e.jpg

(Photo courtesy of A. M.)

 

dyn010_original_680_456_pjpeg_2592525_2a94c19faf8d32e643b9c6e222f9ae77.jpg

(Photo courtesy of Sanza Arts Premiers)

 

dyn010_original_680_466_pjpeg_2592525_a7f8e7873eb96ed385b3629e65cad31d.jpg

(Photo Courtesy of Sanza Arts Premiers)

Sometimes musicians and dancers are accompanied also by acrobatic perfomers.

135.jpg

(Photo Ethnoflorence)

HORSES HORSEMEN AND ELEPHANTS

Another quite common iconography that we can find on the Rahi Panels is linked with the presence of elephants, horses and horsemen.

Sometimes these representations are  linked with the marriage procession.

It's possible to find carved  a similar iconography also on the top of  the Banam

 

Dhodro Banam_6(back).jpg

(Photo courtesy of Robert Brundage)

Above

Exceptional iconography of a rider and horse on

the back carved top of a banam lute.

P1000174.JPG

(Photo courtesy of A. M.)

 

17.jpg

(Photo Ethnoflorence)

 

39.jpg

(Photo Ethnoflorence)

 

P1000178.JPG

(Photo courtesy of A.M.)

 

 

DSCF3603.JPG

(Photo Ethnoflorence)

 

SACRO AND PROFANO

 

Bicycle.jpg

(Photo courtesy of Robert Brundage)

A mix of subjects is the iconographic base of this very interesting panel

HUNTING SCENES

1258560570.jpg

(Photo Courtesy A. M.)

 

4106938674.jpg

(Photo courtesy A. M.)

SANTAL HUL

 

148.jpg

(Photo  Ethnoflorence)

 

80.jpg

(Photo Ethnoflorence)

 

81.jpg

(Photo Ethnoflorence)

ANIMALIA AND EVERYDAY LIFE

 

Toddy Palm.jpg

(Photo courtesy Robert Brundage)

 

Animals - Copia.jpg

(Photo courtesy Robert Brundage)

 

Animals.jpg

(Photo courtesy of Robert Brundage)

1 (2).JPG

(Photo courtesy A.M.)

 

4125466665.jpg

(Photo courtesy of A. M.)

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

 

sketchesfromsant00pedeiala_0169.jpg

(Sketches from Santalistan, Pederson, Mathew A. 1913)

http://archive.org/details/sketchesfromsant00pede

 

The flute

held an important role in the music tradition of the Santal people.

DSCF4677 - Copia.JPG

(Photo Ethnoflorence)

 

3 flutes.jpg

(Photo courtesy of Robert Brundage)

flutes6.jpg

(Photo courtesy of Robert Brundage)

 

DSCF4677.JPG

(Photo Ethnoflorence)

Two flutes

of this particulary rich tipology are present also in the collection of the Musee de la Castre of Cannes.

 1992.16.1.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

EX RICHARD LAIR COLLECTION

1992.16.1_d+®tail.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

EX RICHARD LAIR COLLECTION

1992.17.1.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

 

1992.17.1_d+®tail.jpg

Courtesy of

 Collection Musée de la Castre, Cannes © Photo Claude Germain

 

***********

CHADOR BADONI

 

Puppet small wodden idol

 

Definition from 

A vocabulary of the Santali languge

by

EDWARD LAVALLIN PUXLEY

http://books.google.com/books?ei=vZh8T8L1I4iD0QGK483TCw&a...

 

73924_171960832816631_100000081457478_594899_904374_n[1].jpg

(Photo courtesy of Sanatan Khavadiya)

71761_171961089483272_100000081457478_594910_1082616_n[1].jpg

(Photo courtesy of Sanatan Kavadiya)

73844_171962069483174_100000081457478_594925_4013181_n[1].jpg

(Photo courtesy of Sanatan Kavadiya)

74267_171960996149948_100000081457478_594903_6726846_n[1].jpg

(Photo courtesy of Sanatan Kavadiya)

74267_171961002816614_100000081457478_594905_8328388_n[1].jpg

(Photo courtesy Sanatan Kavadiya)

 

puppets48.jpg

 

(Photo courtesy of Robert Brundage)

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

JADUPATUA

jadu = magician ; patua –or chitrakar- = painter

Santal Parganas

State of Bihar, India

(Text and pictures courtesy of  Herve Perdiolle)

 

 

Patuas and Jadupatuas from Bihar

(Creation of the world 1980)

 

The Jadu Patuas are painters and story tellers and go from village to village carrying their painted scrolls made of paper sheets sewn together with a bamboo stick on each extremity.

Jadu means "Magician".

The themes they represent on the scrolls are  about a dozen . However, there is different interpretation for each theme. A Jadu Patua can, looking at one scroll, say different stories depending if his audience is Hindu, Muslim or Santal. This last ethnic group is the most important audience for the Jadu Patuas.

 

The Patuas live with the money that the villagers give them after listening to their stories. The fact that they are magicians give a special effect to their intervention because the villagers fear them.

 

One of the most revealing images of the Jadu Patuas' role (in the Santal community) is the

 

"Mritu pat"

 

or

 

"image of the deaths"

 

. When somebody dies in a village near the Jadu Patua's one, the "artist magician" visits the family of the dead with a small and simple image (about 3 x 2 inches) which is supposed to represent the dead in a simple way.

 

Only the late person's pupil is missing.

 

Showing this image to the family, the Jadu Patua tells the story evoking the suffering of the dead whose soul is still trapped in hell.

 

The family then gives an offering to the Jadu Patua in order for him to intervene. The ritual for the Magician painter consists then to paint the dead's pupil in order to free his soul.

 

The principles developed by the Jadu Patuas are :

 

the Baha's feast

(Anonyme, fête de Baha, 1980, couleurs végétales sur papier, 25x460 cm)

(Anonyme, fête de Baha, 1980, couleurs végétales sur papier, 25x460 cm)

a strange mixture of Hindu and Santal myths showing a lot of festivities where tribal dances, sacrifices and drinking sessions scenes are mixed;

 

the creation of the world

(Anonyme, Création du monde, 1990, couleurs végétales sur papier, 20x420 cm)

where we can see the first human couple being born from the coupling of a goose and a gande;

 

the painting of Kali

lai scroll painting

(Anonyme, Kali pat, 1980, couleurs végétales sur papier, 30x240 cm, collection privée.)

composed with 3 or 4 paper sheets only, showing Kali in her most terrifying aspects

 

and a lot of scrolls about

 

Yama

 

the god of hell (showing all the ill treatments, sometimes sexual, given by Yama and his servants to the dead who behaved badly during their lifetime).

 

It seems that the scarier the Jadu Patuas'style gets, the more highly he is regarded.

 

***

 

**

 

*

 

 

 

 

29/05/2011

ADIVASI MAGICA INDIA TESORI SCONOSCIUTI DELL'ARTE TRIBALE COLLEZIONE CEOLIN TIRELLI MUSEO POPOLI E CULTURE MILANO

HIMALAYAN MASKS

FROM AN OLD

INDIAN PHOTO ARCHIVE

01.jpg

02.jpg

03.jpg

04.jpg

06.jpg

 05.jpg

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

 

MUSEO POPOLI E CULTURE

MILANO

MAGICA INDIA

TESORI SCONOSCIUTI DELL'ARTE TRIBALE

COLLEZIONE COELIN TIRELLI

http://www.pimemilano.com/index.php?l=it&idn=6&id...

 

03/02/2011

CHADOR BADONI SANTHAL PEOPLE INDIAN PUPPETS SANTHAL TRIBAL ART

CHADOR BADONI

SANTHAL PEOPLE

PICTURES FROM AN OLD

INDIAN PHOTO ARCHIVE

PHOTO CREDIT

SANATAN KHAVADIYA

www.tribalartsindia.co.in

 SANTHAL TRIBAL ART A RESUME

 SEE MORE ON

http://ethnoflorence.skynetblogs.be/archive/2010/02/01/tr...

 

73924_171960832816631_100000081457478_594899_904374_n[1].jpg

71761_171961089483272_100000081457478_594910_1082616_n[1].jpg

74267_171960992816615_100000081457478_594902_8324244_n[1].jpg

 

73844_171962069483174_100000081457478_594925_4013181_n[1].jpg

74267_171960996149948_100000081457478_594903_6726846_n[1].jpg

74267_171961002816614_100000081457478_594905_8328388_n[1].jpg

 

14:35 Publié dans COLLECTION SANATAN KHAVADYA, SANTAL TRIBAL ARTS | Lien permanent | Commentaires (0) | |  Facebook | | | | Pin it! | | |  del.icio.us | Digg! Digg

01/02/2010

TRIBAL ARTS OF THE SANTAL PEOPLE. THE TRIBAL ART OF MIDDLE INDIA, ELWIN VERRIER 1951. OTHER MASTERS OF INDIA CONTEMPORARY CREATIONS OF THE ADIVASIS MUSEE DU QUAY BRANLY, PARIS

-ABOUT THE SANTAL  ART  SEE THE EXHIBITION

Other Masters of India
contemporary creations of the Adivasis
Musee du Quai Branly , Paris.

From  30th march to 18th july 2010

Curators and advisor of the exhibition : Jyotindra Jain,  Jean-Pierre Mohen, Vikas Harish.

-THE TRIBAL ART OF MIDDLE INDIA, ELWIN VERRIER 1951.
 
AFTER 60 YEARS THE TRIBAL ART OF MIDDLE INDIA IS STILL NEGLETED AND UNKNOWN, A LOST WORLD.
 
SANTAL PEOPLE TRIBAL ART, A RESUME
 
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 

001

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.
 
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...
 

002

003a003b003c

004005GetAttachment-28.aspx


01

01a

03 (2)

DSCF4798

04

05

006

06

007

07

08

09

010

011

012

013

014

015

016

017

018

019

020

021

022

023

024

025

026

027

028

029

031

032

033

034

035

036

037

038

039

040

041

042

043

044 bis044

045


046 bis

046 tris

046

046 a

DSCF4802

047

048

049

050

051

052 a

052

053

054

055

056

057 b

057

058

059

060

061

062

063

064

065

065a

030

067

067a

067aa

067aaa

067aaaa

067 a5

067 a6

067 a8

067b

067b (2)

068

069

072

073

074

075

076

077

078

079

080

081 b

081 c2081 c1

081 d

082

 

- THE VILLAGE GODS OF SOUTH INDIA, GRAMA DEVATAS see more on http://ethnoflorence.skynetblogs.be/post/6493657/the-vill...

-"UNIVERSAL PRIMITIVE ARCHETIPIC SYMBOLS IN SOME ANCIENT NORTHERN  INDIAN HIGH RELIEF CARVED WINDOWS FROM SANATAN KHAVADYA COLLECTION NEW DHELI"

See more on http://ethnoflorence.skynetblogs.be/post/7624683/universa...

 5970_102717979740917_100000081457478_77794_294644_n

5970_102717983074250_100000081457478_77795_6797176_n

5970_102718196407562_100000081457478_77801_5514740_n
 

 5970_102718203074228_100000081457478_77803_7740725_n

 

-LIST OF THE 229 ILLUSTRATIONS EDITED IN THE  ELWIN VERRIER SEMINAL CATALOGUE OF  THE 1951 'THE TRIBAL ART OF MIDDLE INDIA'  OXFORD UNIVERSITY PRESS

1 DONGRIA KOND HAIR-PIN OF BRASS
2 MURIA GIRLS HAIR PINS OF CARVED WOOD
3 ELABORATE BRASS FILLET WORN BY BISON HORN MARIA WOMEN IN BASTAR
4 SAORA HAIR-PIN MADE OF BRASS
5 BAIGA HAIR ORNAMENT OF PLAITED REEDS
6 MURIA EAR-RING WITH PENDANT OF RED, WHITE AND BLUE BEADS
7 KUTTIA KOND BRASS HAIR-PINS
8 KUTTIA KOND DANCER, THEIR BODIES DECORATED WITH RED AND WHITE STRIPES
9 GADABA WOMAN WITH HAIR TIED IN DOOR-KNOCKER FASHION
10 SAORA WOMAN WEARING BRASS HAIR PIN AND SHOWING THE ENOMOUSLY DISTENDED LOBELS OF THE EAR, COMMON IN THIS TRIBE
11 MURIA BOY WITH CHARACTERISTIC BEAD HEAD BANDS AND OTHER DECORATIONS
12 BISON HORN MARIA GIRL WEARING BRASS FILLET AND BEAD NECKLACES
13 KUTTIA KOND YOUTH WEARING CAREFULLY MADE  BEAD NECKLACE
14 PHULA, A PARDHAN GIRL OF MANDLA DISCRICT, WEARING SILVER DHAR AND BINDIA
15 DHAR, AND BINDIA ORNAMENTS WORN BY GOND AND OTHER TRIBESMAN IN CHHATTISGARH AND NEIGHBOURING DISCRICTS
16 BONDO GIRL SHOWING THE MASS OF ORNAMENTS WORN BY WOMEN OF THIS TRIBE
17 MURIA NECKLACE AND EAR ORNAMENT FROM NAYANAR
18 PANGIA KOND GIRL SHOWING GREAT SIMPLICITY OF ADORNAMENT
19 SAORA GIRL OF LIABO
20 THANDA PULAYAN WOMAN WEARING LEAF-SKIRT
21 KUTTIA KOND GIRL REWINDING HER GIRDLE AFTER A BATH
22 PICTURE OF JUANG GIRLS
23 SPECIMENS OF BONDO CLOTH PREPARED FROM THE BARK OF THE SHRUB CALOTROPIS GIGANTEA MIXED WITH COLOURED COTTON YARN
24 A KUTTIA KOND GIRL WEARING A SKIRT OF PLANTAIN LEAVES
25 HILL MARIA YOUTHS IN DANCING DRESS: THE SKIRTS ARE A LONG STRIPS OF DRIED LEAF
26 BONDO WOMAN WEAVING BARK CLOTH ON A SMALL TENSION-LOOM
27 SAORA GIRL SPINNING YARN WHICH WILL LATER BE USED BY PANO WEAVERS TO MAKE HER SKIRT
28 TYPICAL GADABA WOMAN'S CLOTH OF THE AREA NEAR THE DUDMA FALLS, ORISSA
29 CHARCTERISTIC SAORA WOMAN'S SKIRT
30 PANGIA KOND GIRL PREPARING COTTON YARN ON A HAND-SPINDLE
31 GADABA WOMAN POUNDING A BALL OF SHREDDEB BARK PREPARATORY TO MAKING IT INTO YARN
32 MURIA MAGICIAN WEARING A WOMAN'S JACKET WITH DECORATION OF CROWRIES AND PEACOCK-FEATHERS
33 JHORIA MURIA ORNAMENT OF COWRIES, BRASS BELLS AND A BOAR'S TUSH
34 GONDHALI MINSTREL IN THE DANGS WEARING COWRIES IN HONOUR OF THE GODDESS BHAWANI, AND AS A PROTECTION AGAINST HOSTILE MAGIC
35 DHULIA DRUMMERS WEARING A COWRIE JACKET   AS A PROTECTION AGAINST THE MAGICAL DANGERS OF A WEDDING
36 MURIA YOUTH WITH COWRIE-DECORATED BAG AND ELABORATE COMB
37 LAMANA WOMAN PREPARES A FRINGE OF COWRIW SHELLS FOR A BISON HORN MARIA HEAD-DRESS
38 LAMANA HANDMADE BAG WITH COWRIE ATTACHMENTS
39 SAORA FRIEZE, SHOWING A SERIES OF COMBS, CUT ON A DOOR
40 BAIGA BAMBOO COMB, WITH COWRIES ATTACHED BY GRASS CORDS
41 CONVENTIONAL PATTERN OF A COMB CARVED ON THE DOOR OF A SAORA HOUSE
42 THREE KUTTIA KOND BAMBOO COMBS
43 BAIGA COMB WITH A HEAD BAND OF PLAITED GRASS
44 MURIA WOODEN COMB
45 MURIA WOODEN COMB WITH METAL FIGURES
46 MURIA WOODEN COMB: THE TWO HORNS ARE OF BEESWAX
47 MURIA WOODEN COMB
48 JUANG COMB CARVED FROM A BIT OF BAMBOO
49 JUANG COMB
50 JUANG COMB
51JUANG COMB OF BAMBOO, DECORATED WITH A TUFT OF SCARLET MINIVET FEATHERS
52 JUANG COMB OF HIGHLY POLISHED EBONY AND BAMBOO
53 JAUNG COMB OF BAMBOO
54 MURIA GIRL WEARING METAL BACKED WOODEN COMBS
55 MURIA YOUTH PREPARING WOOD TO MAKE A COMB
56 BISON HORN MARIA HEAD DRESS
57 DORLA MARIA WITH BUFFALO HORN HEAD DRESS, PHOTOGRAPHED AT A WEDDING BISON HORN MARIA YOUTH
58 BISON HORN MARIA YOUTH
59 DORLA MARIA WITH HEAD DRESS OF CHITAL STAG ANTLERS
60 BISON HORN MARIA YOUTHS PREPARING THEIR HEAD  DRESS FOR A DANCE
61 DHURWA DANCER WITH HEAD DRESS OF WOODEN HORNS
62 KUTTIA KOND DANCER WITH HEAD DRESS OF BRASS HORNS WITH A SMALL BELL ATTACHED AND A TUFT OF PEACOCK FEATHERS
63 KOND YOUTH WEARING THE BILL OF THE GREAT HORNBILL AS A FESTAL HEAD DRESS
64 BHATTRA DANCER AT HE DASSERA FESTIVAL WITH A HEAD DRESS OF RATHER GAUDY COLORED PAPER, BITS OF GLASS AND MICA AND BEADS
65 KUTTIA KOND TOBACCO TUBES
66 KUTTIA KOND TOBACCO TUBES OF DECORATED BAMBOO
67 MURIA TOBACCO CASE IN THE SHAPE OF A WHEEL
68 MURIA TOBACCO CASE SUPPOSED TO REPRESENT A TORTOISE
69 MURIA TOBACCO CASE  SUPPOSED TO REPRESENT A MANGO
70 MURIA TOBACCO CASE WITH DECORATIVE MOTIF OF A GIRL'S NIPPLES
71 MURIA TOBACCO CASE
72 MURIA TOBACCO CASE IN THE SHAPE OF A FISH, WITH SPIKE TO FIT INTO TURBAN
73 MURIA TOBACCO CASE WITH BELLS AND TUSHES AS DECORATION
74 MURIA TOBACCO CASE
75 IRON LAMPSTAND MADE BY LOCAL LOHAR BLACKSMITH FOR USE IN A MURIA MARRIAGE CEREMONY
76 MARRIAGE POST OF SEMI-ANTHROPOMORPHIC PATTERN CARVED BY GOND
77 DETAIL OF SANTAL MARRIAGE LITTER
78 GOND MARRIAGE POST, WITH RED AND BLUE DOTS ON A WHITE GROUND, GLASS TEETH AND COWRIE EYES
79 IRON LAMPSTAND FOR USE AT WEDDING OR OTHER CEREMONIAL OCCASIONS
80 IRON LAMPSTAND MADE BY AN AGARIA FOR USE IN A GOND MARRIAGE CEREMONY
81 DETAIL OF FIG 79
82 MURIA MARRIAGE CROWN MADE OF DATE PALM LEAVES AND WORN BY THE BRIDEGROOM
83 DETAIL OF FIG 84
84 SANTAL MARRIAGE LITTER
85 DETAIL OF ANOTHER SANTAL MARRIAGE LITTER
86 MARRIAGE CROWN MADE OF PALM LEAF AND COLOURED PAPER BY A DHIMAR FOR A GOND BRIDEGROOM
87  GOND REPRESENTATION OF DEMONS, PAINTED IN RED AND BLACK ON THE WHITE WALLS OF A HOUSE
88 DUMMY USED TO ENLIVEN PANGIA KOND FESTIVALS AND DANCERS
89 SAORA WOOD CARVING
90 SAORA WOOD CARVING OF A MAN AND A FISH
91 SAORA WOOD CARVING
92 THE ANGA PEN, CLAN GOD OF MURIAS AND MARIAS
93 BODRAHIN, A FANTASTIC FIGURE OF PARDHAN MYTOLOGY
94 DECORATED WOODEN HORSE WITH HORNS  OF THE BARKING DEER, USED FOR CEREMONIAL DANCES BY THE MURIAS OF BASTAR
95 GOND REPRESENTATION OF DEMONS
96 GOND REPRESENTATION OF DEMONS
97 SAORA WOODEN PILLAR ERECTED TO APPEASE THE GHOST OF AN ANCESTOR WHICH WAS BELIEVED TO BE INTERFERING WITH THE RAINFALL
98 BISON HORN MARIA PILLAR
99 - 100 KORKU MEMORIAL TABLETS CARVED IN TEAK
101 BISON HORN MARIA FUNERARY PILLAR
102 BISON HORN MARIA PILLAR, WITH DETAIL
103 SANTAL CARVING OF SIGMA ON A BANAM FIDDLE
104 STYLIZED COBRA, MODELLED BY A GOND IN CLAY
105 CARVED PANELS FROM BAIGA DOORS
106 PANELS OF A KUTTIA KOND DOOR
107 SANTAL DOOR CARVING OF A FISH
108  KOND DOOR CARVING A FUSH
109 GOND WALL DECORATION REPRESENTING FLYING BIRDS
110 SANTAL WALL DECORATION
111 TYPICAL GOND WALL DECORATION
112 PARDHAN WALL DECORATION
113 MURIA CARVING ON A PILLAR
114 CARVED PANELS OF BAIGA DOORS
115 CARVED PANELS OF BAIGA DOORS
116 PART OF A DOOR CARVED BY A PANO FOR KUTTIA KOND HOUSE
117 CHAIR  MADE BY THE HEADMAN OF A SAORIA PAHARIE VILLAGE
118 A WOODEN TIGER, EMBLEM OF AN URAON VILLAGE
119 WOODEN HORSE CARRIED AS A VILLAGE EMBLEM TO A JATRA
120 URAON EMBLEMS: WOODEN PLOUGH-BULLOCKS
121 URAON YOUTH RIDING ON A WOODEN ELEPHANT  THE EMBLEM OF HIS VILLAGE
122 REPRESENTATION OF DANCERS DRAWN ON THE WALL OF A GOND HOUSE
123 BHUIYA CARVING ON THE CENTRAL PILLAR OF A BOYS' DORMITORY
124 CENTRAL PILLAR OF A SAORA HOUSE
125 BHUIYA IMAGES OF A DIHURI (VILLAGE PRIEST) AND HIS WIFE ON THE VERANDA OF A BOY'S DORMITORY
126 CONVENTIONAL SAORA REPRESENTATION OF THE HUMAN FIGURE, CARVED ON A DOOR
127 JUANG VENUS CARVED ON THE DOOR OF A BOY'S DORMITORY
128 MURIA DOLLS ATTACHED TO WOODEN GONGS AND USED ON DANCING EXPEDITIONS
129 SAORA IMAGE OF THE MAIMED KITTUNG
130 SAORA IMAGES OF DEMIGODS, PATHA MUNDA AND GALBESUM, FROM A SHRINE
131 FEMALE FIGURE MADE BY A GOND TO REPRESENT THE SPIRIT OF A TANK
132 MODELLING, PROBABLY REPRESENTING DANCERS, ON THE WALL OF A GOND HOUSE
133 PARDHAN WALL DECORATION MODELLED IN MUD AND WHITENED WITH CLAY, SYMBOLIZED HUMAN FIGURE
134 DETAIL OF BISON HORN FUNERARY PILLAR, REPRESENTING A PARTY OF DANCERS REFRESHING THEMSELVES WITH RICE BEER
135 SHRINE OF SAHIBOSUM
136 WOODEN FIGURE OF SAHIBOSUM AND HIS WIFE
137 AN ITTAL DRAWING REPRESENTING SAHIBOSUM, MEHMASAHIBOSUM AND THEIR FRIENDS
138 FIGURE OF SAHIBOSUM
139 - 140 - 141 WOODEN FIGURES OF SAHIBOSUM AND HIS WIFE
142 SAORA CARVING ON A DOOR
143 SANTAL CARVING ON A DOOR
144 KOND CARVING ON A DOOR
145 KOND CARVING ON  A DOOR
146 JUANG CARVING ON A DOOR IN THE BOYS' DORMITORY
147  DETAIL OF FIG 148
148 CARVED SANTAL BANAM FIDDLE
149 PARDHAN WALL DCORATION
150 BAIGA MASKED DANCER ENGAGED IN A CHHERTA DANCE
151 BAIGA MASK PARODYING A HINDU ASCETIC
152-3 BHUYA MASKS WORN FOR DIVINATION BEFORE THE ANNUAL CEREMONIAL HUNT
154 MURIA MASKED DANCERS ON A CHAIT DANDAR EXPEDITION
155 MURIA JESTER CALLED THE NAKTA WEARING A MASK AT THE CHHETRA FESTIVAL
156 MASK USED BY THE MURIAS IN THE CHHERTA AND PUS KOLANG DANCES
157 KOND MASKS, USED A SUBSTITUTES FOR HUMAN SKULLS AT HE ANNUAL OR TRIENNIAL SACRIFICE (MERIAH) TO DHARNI PINNU, THE EARTH MOTHER
158 KUTTIA KOND PRIESTS SACRIFICING A FOWL ABOVE MASKS REPRESENTING HUMAN SKULLS
159 BAIGA PICTOGRAPHIC MASK
160 GOND MASK CARICATURING A HINDU ASCETIC
161 GOND RAKSHASA MASK
162 GOND PICTOGRAPHIC MASK
163 PARDHAN RAKSHASA MASK
164 BISON HORN MARIA MASKED DANCERS
165 SAORA WOOD CARVING
166 TWO PEACOCKS MODELLED IN CLAY ON A GRAIN BIN
167 CARVED PEACOCK USUALLY FOUND ON THE KURANRAJAN INSTRUMENTS
168 WOODEN PEACOCKS FROM THE SPIRES OF SADRU SHRINES
169 KOND CARVING  ON A DOOR
170 PEACOCKS CARVED ON THE DOOR OF A SAORA HOUSE
171 SANTAL CARVING OF A PEACOCK ON A DOOR
172 HILL SAORA SHAMAN DIVINING WITH THE HELP OF THE INSTRUMENT CALLED KURANRAJAN
173 LINTEL OF A DOOR IN A SAORA VILLAGE UNDER KOND INFLUENCE
174 WINGED ELEPHANTS, PROBABLY WITH A MYTHOLOGICAL REFERENCE, CARVED ON A BAIGA DOOR
176 SAORA WOOD CARVING
177 - 8CARVING ON THE DOOR OF A SAORA HOUSE
179 CARVING ON THE DOOR OF A BONDO HOUSE
180 CARVING ON THE DOOR OF A SAORA HOUSE
181 PANEL OF A KOND DOOR
182 DRAWING IN CHARCOAL, ON AN OLD CENSUS NUMBER BOARD
183 WOOD CARVING OF HUNTERS CARRYING HOMES A DEER, FROM A SANTAL MARRIAGE-LITTER
184 SANTAL WOOD CARVING
185 KOND WOOD CARVING
186 MURIA CARVING ON THE DOOR OF A HOUSE
187 KOND WOOD CARVING
188 HUNTING SCENE FROM THE SINGANPUR CAVE, RAIGARH
189 KOND WOOD CARVING
190 SAORA WOOD CARVING
191 SAORA WOOD CARVING
192 JUANG CARVING ON THE INNER DOOR OF A BOYS' DORMITORY, KEONJHAR
193 KUTTIA KOND WOODEN PILLAR ERECTED IN A HOUSE
194 WALL PAINTING FROM BHIMENJA PINNU
195 GRAIN BIN DECORATED WITH CONVENTIONAL DESIGNS IN HONOUR OF BHIMUL PINNU
196 WALL PAINTING ON THE VERANDA OF KIRESA KOND'S HOUSE
197  KOND PAINTINGS, IN WHITE ON A RED BACKGROUND, IN HONOUR OF BHIMUL PINNU
198 KOND PAINTINGS FOR BHIMUL PINNU
199 PANGIA KOND GIRL WITH TATOO MARKS, IN HONOUR OF BHIMUL PUNNU
200 KUTTIA KONDS PILLARS, A RELIC OF THE DAYS OF HUMAN SACRIFICE
204 GROUP OF PILLARS ASSOCIATED WITH THE MERIAH SACRIFICE AND IN HONOUR OF THE EARTH MOTHER
205 PAINTING OF RAWAN ON THE WALL OF A HINUIZED SAORA HOUSE
206 WALL DRAWING OF A CAR MADE AT A PATNULKARAN WEDDING
207 GAMALLA MUGGU PAINTNG, IN A GOLLA HOUSE, FOR THE PROPITIATION OF THE DEAD
208 GOND WALL PAINTING IN RED AND BLACK ON  A WHITE GROUND, REPRESENTING INCIDENTS FROM THE LIFE OF KRISHNA
209 A SAORA ARTIST (ITTALMARAN) AT WORK ON A PICTURE ON THE WALL OF  A HOUSE
210 SAORA FERTILITY PICTOGRAPH
211 SAORA FROM PANDUGUDA, GANJAM DISTRICT
212 SAORA DRAWING FROM THE HOUSE OF TISSANO AT TUMULU, GANJAM DISTRICT
213 SAORA PICTURE OF A SHRINE WITH PEACOCK WATCHMAN
214 SAORA PICTURE OF THE HILL ABODE OF THE GOD BORONGSUM
215 SAORA PICTURE OF THE HILL ABODE  OF KURTISUM
216 SAORA PICTURE OF THE HILL ABODE OF  BENASUM
217 SAORA PICTURE TO APPEASE THE DEAD
218 SAORA PICTURE TO DIVERT THE GHOST OF A MAN WHICH PESTERED THE UNHAPPY WIDOW
219 SAORA DRAWING IN HONOUR OF JALIYASUM
220 SAORA PICTURE FROM THE HOUSE OF DALIMO , A SHAMAN
221 SAORA REPRESENTATION OF A HUMAN FIGURE RIDING A BICYCLE
222 SAORA PICTURE ILLUSTRATING THE RELATIONS BETWEEN A SHAMAN AND HIS SPIRIT WIFE
223 SAORA SYMBOL OF THE SUN, UNDER THE NAME OF YUYUNGBOI
224 GROUP OF FIGURES PAINTED NEAR THOSE IN FIG 222
225 SAORA PICTURE FROM THE HOUSE OF GAMRU AT BORAISINGI, GANJAM DISTRICT
226 SAORA PICTURE TO AVERT DISEASE
227 ELABORATE PICTOGRAPH SHOWING THE TRAIN AND MOTOR CAR BY THE GHOST TRAVELS IN THE UNSEEN WORLD
228 SAORA DRAWING OF A MOTOR CAR
229 SAORA PICTURE FROM MANEBA, GANJAM DISTRICT

-ETHNOFLORENCE

A RESUME OF THE VERY EARLY MASKS EDITED ON ETHNOFLORENCE 

dyn009_original_240_320_pjpeg_2638188_09b5097b0eb28b4ffc72d0c44ad569b3[1]

SEE MORE ON

http://ethnoflorence.skynetblogs.be/post/7451908/indian-a...

dyn009_original_240_320_pjpeg_2638188_4ec91b3c4dba127303e57d09c3073847[1]

http://ethnoflorence.skynetblogs.be/post/7451908/indian-a...

dyn009_original_240_320_pjpeg_2638188_85aec1456892274ecaf581c3d94407c5[1]

http://ethnoflorence.skynetblogs.be/post/7451908/indian-a...

 

 

 

 

 

 

30/01/2010

AB ORIGINE OCEANIC ART, MERL LA VOY, FILIPPO BIAGIOLI MAP MUSEO ARTI PRIMARIE PRESIDIO DI SAVONA MERCATO DELLE IDEE

AB ORIGENE, OCEANIC ART,  MERL LA VOY , FILIPPO BAGIOLI

5 Dicembre 2009- 31 Marzo 2010

MAP MUSEO ARTI PRIMARIE  PRESIDIO DI SAVONA MERCATO DELLE IDEE  presso il Mercato Civico di  Corso Mazzini
http://www.tribaleglobale.info/

Following the style of TRIBALEGLOBALE some pictures of the Oceanic pieces actually on display in the exhibition of Savona are here mixed , contaminated, with Himalayan items, in an archetipic dialogue of forms and symbols between the arts of the people of  these two far continents.

The pictures of the MAP, THE MUSEUM OF PRIMARY ART, are kindly courtesy of  the Curator of the Museum and of the TRIBALEGLOBALE project, Mr Giuliano Arnaldi.

Read more on: http://web.mac.com/tribaleglobale.mac/iweb/english/who%20...

About the work of the  italian artist FILIPPO BIAGIOLI see and read more on http://www.filippo-biagioli.com/


The Himalayan items and pictures come from:

Ethnoflorence Collection http://ethnoflorence.skynetblogs.be/

Arts Premiers, Primitive Art Primitif Collection  Bruxelles http://sanza.skynetblogs.be/

Richard Lair Collection http://ethnoflorence.skynetblogs.be/post/7615096/richard-...

Mamberti Dias André Collection http://ethnoflorence.skynetblogs.be/post/7608756/nepalese...  

Josh Lustig  http://www.joshlustig.com/  and http://ethnoflorence.skynetblogs.be/post/6674515/nepalese...-

 Horst Antes Collection http://www.artcyclopedia.com/artists/antes_horst.html , http://www.abaa.org/books/226173686.html ,

Chrisitian Lequindre Nepal Tribal Art http://www.nepaltribalart.com

Sanatan Khavadiya Collection New Dheli www.tribalartsindia.co.in ,
http://ethnoflorence.skynetblogs.be/post/7624683/universa...

Bill Marsh Collection http://ethnoflorence.skynetblogs.be/post/7598651/tamang-s...

01

02

 03

04

 05

06

 07

08

 09

010

011
 

012

013

014

  015

016

017 (2)

018

019
 

024

 021

022

023

026

dyn003_original_480_640_pjpeg__d07b2524b7ec0a36724f67b7995371c2[1]

 025

027

 028

030

029


032


033
 

034

035

 036

037

038
 

039

040

041

 042

043

044


5970_102718209740894_100000081457478_77805_3850157_n[1]

 

046

 

29/01/2010

HIMALAYAN TRIBAL ART HIMACHAL PRADESH TRIBAL ART "UNIVERSAL PRIMITIVE ARCHETIPIC SYMBOLS IN SOME ANCIENT NORTHERN INDIAN HIGH RELIEF CARVED WINDOWS FROM SANATAN KHAVADYA COLLECTION NEW DHELI"

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

dyn006_original_858_355_pjpeg__d6c0bcc05afa6486c101e903fa3148be.jpg

2008 2016

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

RICHARD LAIR COLLECTION

A SENSITIVE SELECTION

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

 

 

GetAttachment[1]

dyn003_original_465_450_pjpeg_2638188_64c11e8750fc037b397afc852a2dd482[1]

See more on

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

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

NEPAL 

SHAMANISM AND TRIBAL SCULPTURE

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

Christian Lequindre, Marc Petit.

In collaboration with NEPAL TRIBAL ART

dyn006_original_425_640_pjpeg__f9b9e70ecc5186e98e12f3a3c4bf44a3[1]

 see more on:

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

and

www.nepaltribalart.com

About the Authors:

MARC PETIT

Writer and collector, he has donated a collection of masks from Nepal to the Musée des Arts Premiers Quai Branly, Paris.

Among his books:

- « A Masque découvert, regards sur les arts primitifs de l’Himalaya », Stock, 1995.

- « La Statuaire archaïque du Népal occidental », Renaud Vanuxem, 2006.

-« Le Masque de la Chine », Musée Jacquemart André, Actes Sud, 2007.

-CHRISTIAN LEQUINDRE

Photographer and collector, he has been resident in Nepal since the 1980s.

He carried out multiple field studies between 1995 and 2005 and produced three documentaries on different masks traditions in Nepal.

He has also directed the Annapurna Gallery in Paris from 1989 to 1995.

Publisher: Infolio

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

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

*

UNIVERSAL PRIMITIVE ARCHETIPIC SYMBOLS IN SOME ANCIENT NORTHERN INDIAN HIGH RELIEF CARVED WINDOWS FROM SANATAN KHAVADYA COLLECTION

NEW DELHI

Unique on the Web.

www.tribalartsindia.co.in

big_1241257140[1]

big_1241257140[1] - Copia (3)


big_1241257140[1] - Copia (2)

big_1241257140[1] - Copia

big_1241257258[1]


big_1241257258[1] - Copia (2) - Copia

big_1241257258[1] - Copia (2)

 

 

big_1241257258[1] - Copia

big_1241257401[1]

big_1241257401[1] - Copia (3)

big_1241257401[1] - Copia (2)


big_1241257401[1] - Copia

 

big_1241259596[1]

big_1241259596[1] - Copia (2) - Copia

big_1241259596[1] - Copia (2)

big_1241259596[1] - Copia

big_1241259716[1]

big_1241259716[1] - Copia (3)

big_1241259716[1] - Copia (2)

big_1241259716[1] - Copia

big_1241259791[1]

big_1241259791[1] - Copia (3)

big_1241259791[1] - Copia (2)


big_1241259791[1] - Copia

 

big_1241259878[1]

big_1241259878[1] - Copia (2)

big_1241259878[1] - Copia (3)

big_1241259964[1]

 

big_1241259964[1] - Copia (3)

big_1241259964[1] - Copia (2)


big_1241259964[1] - Copia

 

big_1241260435[1]

big_1241260435[1] - Copia (3)

big_1241260435[1] - Copia (2)

big_1241260435[1] - Copia

big_1241260531[1]

big_1241260531[1] - Copia (3)

big_1241260531[1] - Copia (2)

big_1241260531[1] - Copia

big_1241260646[1]

big_1241260646[1] - Copia (3)

big_1241260646[1] - Copia

 

big_1241260646[1] - Copia (2)

Courtesy Sanatan Khavadiya

-THE VILLAGE GODS OF SOUTH INDIA

THE MOST COMPLETE PAGE OF THE WEB DEVOTED TO THE GRAMA DEVATAS OF SOUTH INDIA, AND NOT ONLY.

A REPORT ABOUT THE UNIQUE FIELD DOCUMENTATIONS THAT  HARRY HOLTZMAN COLLECTED 50 YEARS AGO.

"The Grama Devatas represent still today an important key to understanding the basic model of thought of a  part of South Indian population, still living the village way of life. These particular forms of image and worship have further the extraordinary characteristic of representing the most ancient tradition of the earliest past brought into the present. From the religious art view point, the village shrines represent an outstanding expression of forms and sites unique to India. Mr Stephen Inglis in his writing "Night Riders: Massive Temple Figures of Rural Tamil Nadu", about the terracotta horses of South Indian Shrines wrote that "... technically they are the most ambitiuous achievements in clay found in India and by any survey probably the largest hollow clay images to be created anywhere." 

dyn004_original_480_640_pjpeg__df198996963b9b8706c08b25e519d63e[1]

 SEE MORE ON http://ethnoflorence.skynetblogs.be/post/6493657/the-vill...