26.06.2011

GHURRAS NEPAL GHURRAS DIVINE SUPPORT GHURRAS WOODEN CHURNING ROD HOLDERS FROM NEPAL PAUL DE SMEDT

DIVINE SUPPORT

GHURRAS

WOODEN CHURNING ROD HOLDERS FROM NEPAL

 

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PAUL DE SMEDT

PILGRIMS BOOKHOUSE KATHMANDU NEPAL

2000

 

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07.08.2010

NEPALESE GHURRAS ETHNOFLORENCE INDIAN AND HIMALAYAN FOLK AND TRIBAL ART ARCHIVE

NEPALESE GHURRAS FROM ETHNOFLORENCE INDIAN AND HIMALAYAN FOLK AND TRIBAL ART ARCHIVE

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ETHNOFLORENCE INDIAN AND HIMALAYAN FOLK AND TRIBAL ART ARCHIVE

23.05.2010

WALKING ON THE ROADS OF WESTERN NEPAL IV HIMALAYAN TRIBAL ART NEPAL MASK

-HIMALAYA ET SES SOURCES

ART TRIBAL ET CLASSIQUE

 

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DIMANCHE 30 MAI 2000

VENTE A L'ATELIER RICHELIEU - 75002 PARIS

COMMISSAIRE-PRISEUR HABILITEE: NATHALIE MANGEOT

EXPERT: FRANCOIS PANNIER

http://www.gaiaauction.com/upload/fichiers/12669393704bdf...

-GAIA S.A.S. MAISON DE VENTES AUX ENCHERES PUBLIQUES, 43 RUE DU TREVISE - 75009 PARIS
TEL 33 (0) 1 44 83 85 00
FAX 33(0) 1 44 83 85 01
E-mail  gaia@gaiaauction.com - www.gaiaauction.com

-KATMANDU SHRINES, PART I

Photo kindly courtesy of  Moj Gan

 

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See More on:

http://ethnoflorence.skynetblogs.be/post/7884577/katmandu...

-KHENIS, GHOST EATERS FIGURE IN  KAGBENI VILLAGE, NEPAL.

 

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See More on:

http://ethnoflorence.skynetblogs.be/post/7842348/khenis-g...

-WESTERN NEPAL, THE  ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC  LIVING TRADITION I


Photo courtesy of Jean Claud Latombe

 

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

-WESTERN NEPAL, THE ARCHETYPIC  ICONOGRAPHY  OF AN ARTISTIC LIVING  TRADITION  PART II

Photo courtesy of   Reto Niederhauser

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

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

Photo courtesy of  Paulo Grobel

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-WALKING ON THE ROAD OF WESTERN NEPAL I

Photo courtesy of  PARLERDELLES OVERBLOG

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-WALKING ON THE ROADS OF THE WESTERN NEPAL II

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See more on:
http://ethnoflorence.skynetblogs.be/post/7721880/giuseppe...-

-WALKING ON THE ROADS OF THE WESTERN NEPAL III

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See more on:

http://ethnoflorence.skynetblogs.be/post/7842348/khenis-g...

-MASQUES & ARTS TRIBAUX HIMALAYENS, 2007 Exhibition of the Galerie le Toit du Monde in Paris at Salon du Vieux Colombier
Galerie Le Toit Du Monde 6, rue Visconti - 75006 Paris Tél/Fax : 01 43 54 27 05 / contact@letoitdumonde.net
http://www.letoitdumonde.net/

Photo courtesy of  SANZA ART PREMIERS  BRUXELLES  http://sanza.skynetblogs.be

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Photo courtesy of  SANZA ART PREMIERS  BRUXELLES  http://sanza.skynetblogs.be

WESTERN NEPAL PRIMITIVE FIGURE

ETHNOFLORENCE AN INDIPENDENT POINT OF VIEW

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Ethnoflorence Himalayan photo archive.

-NEPAL. SHAMANISM AND TRIBAL SCULPTURE
MARC PETIT, CHRISTIAN LEQUINDRE

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ABOUT THE AUTHORS OF THE BOOK:


-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 Aldines, 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.

He has, recently, started to edit the web site NEPAL TRIBAL ART  www.nepaltribalart.com

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Photo Courtesy Of Christian  Lequindre

-MASQUES QUI ETES VOUS?

ABBAYE SAINT GERARD DE BROGNE

12 JANVIER - 14 AVRIL 2002

Photo courtesy of Sanza Arts Premiers Bruxelles

http://sanza.skynetblogs.be

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Photo courtesy of Sanza Arts Premiers Bruxelles

http://sanza.skynetblogs.be

HIMALAYAN MASKS

ETHNOFLORENCE AN INDIPENDENT POINT OF VIEW

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Ethnoflorence Himalayan photo archive

-ART OF THE HIMALAYAS, OLD FEATURE

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-WALKING ON THE ROADS OF WESTERN NEPAL IV

PHOTO  CREDIT TIM GALLAUGHER  

 http://picasaweb.google.com/tim.gallaugher

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PHOTO  CREDIT TIM GALLAUGHER

http://picasaweb.google.com/tim.gallaugher

- ART OF THE HIMALAYS: THE CATALOGUES

-ENIGMAS DE LA MONTANAS, MASCARAS TRIBALES DEL HIMALAYA.
ENIGMES DES MONTAGNES, MASQUES TRIBAUX DE L'HIMALAYA.

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The late Gustavo Gili was a friend and a passionate collector of Himalayan masks of Barcelona, in this catalogue, curated by Francois Pannier was edited a part of his collection.

First to collect Himalan art Gustavo Gili put toghether an important and selected collection devoted to the traditional arts of Africa.

The passion for the masks of the Himalayas begun in Gustavo after to have bought his first piece, the mask n1 of the catalogue, a sort of Frankestein item displaying a lot of ancient restaurations.

This remarkable piece, was also edited in the 1989 pivotal catalogue curated by  Francois Pannier and Stephane Mangin:  Masques de l'Himalaya. Du primitif au classique (at that time the mask was in another private collection of Barcelona) and exhibited in the 1991 exhibition at Musee de la Castre of Cannes.

Enigmas de la Montanas is a catalogue that reflects the sophisticate taste of Gustavo, an important catalogue to understand the still 'hidden and unknown' arts of the Himalayas.

- HIMALAYAN MASKS, BACK SIDE

ETHNOFLORENCE A PERSONAL POINT OF VIEW

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Ethnoflorence Himalayan photo archive

 

 

 

 

13.05.2010

KATMANDU SHRINES, INDIAN AND HIMALAYAN MUSICAL INSTRUMENTS AT THE METROPOLITAN MUSEUM OF ART NEW YORK, -MASKS OF THE HIMALAYAS PACE PRIMITIVE Gallery NEW YORK, HIMALAYAN FOLK AND TRIBAL ART

KATMANDU SHRINES, PART I

Photo kindly courtesy of  Moj Gan

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Photo courtesy of Moj Gan

-KHENIS, GHOST EATERS FIGURE IN  KAGBENI VILLAGE, NEPAL.

Kagbeni is a fortified two gates medioeval  village located in a strategic place at the cofluence of two river valleys, situated in a fertile area.

During the 19th century the human guards of the gates become superfluous and were replaced with two human figure moulded from clay each  named KHENIS or Ghost Eaters, primitive iconographic subjects probably remanants of the ancient BON religion.

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Photo credit:

www.trekearth.com/gallery/photo481538.htm

www.travelpod.com  and  www.travelpod.com/travel-blog-entries/inoursuitcase/freed...

-WESTERN NEPAL, THE  ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC  LIVING TRADITION I


Photo courtesy of Jean Claud Latombe

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

-WESTERN NEPAL, THE ARCHETYPIC  ICONOGRAPHY  OF AN ARTISTIC LIVING  TRADITION  PART II

Photo courtesy of   Reto Niederhauser

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

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

Photo courtesy of  Paulo Grobel

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

MASKS OF THE HIMALAYA: ETHNOFLORENCE AND INDIPENDENT POINT OF VIEW

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-MASKS OF THE HIMALAYAS PACE PRIMITIVE Gallery  NEW YORK, October 26 - December 1990, curated by LISA BRADLEY and with the contribute of Eric Chazot.

Front cover: Tibet Gonpo mask,

Catalog designed by Abby Goldstein and Julian Peploe
Photography by Malcom Varon and Sarah Wells.

Printed in Italy by LS Graphic Inc.

Library of Congress Catalog card number: 90-83431

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Catalogo storico per le arti popolari della regione Himalayana, accanto a manufatti cd classici furono incluse anche maschere di carattere animistico.

-HIMALAYAN  ARCHAIC  FIGURE: ETHNOFLORENCE AND INDIPENDENT POINT OF VIEW

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Allora come oggi scarsamente recensite, le arti tradizionali della vasta area himalayana sono latrici di un variegato , ricchissimo e originale repertorio iconografico, frutto della sincretica fusione di stilemi classici e popolari.

Ogni oggetto sembra essere in tal senso latore di una memoria  ancestrale che di volta in volta memorizza, interpreta e rielabora dettagli stilistici dal carattere spesso antinomico, così da  risultare, anche all'osservatore più attento, autentici 'rebus' figurativi, nei quali la presenza di simbologie  archetipicihe universali non è infrequente.

Queste considerazioni non sono però  del tutto valide per la statuaria arcaico-animistica dell'Ovest Nepal.

Queste  sculture  costituiscono la vitale , universale e cristallizzata archetipica testimonianza di culti e credenze popolari  che affondano le proprie radici in un remoto passato  ormai da noi dimenticato ma certamente, un tempo, comune al sentire di  tutti gli uomini.

Sono antecedenti alla differenziazione  ed evoluzione degli stili 'locali', sono opposte alla cd arte tribale, qualcosa che attiene ad una specifica e locale  geolocalizzazione temporale di stili ed iconografie.

Impermeabili alle influenze 'stilistiche' delle religioni major della regione, queste figure riassumono in sè un ricco ed unico  repertorio di credenze sempre più prossimo al collasso.

Uno scientifico e sistematico field work è oggi disperatamente urgente.

Nell'attesa  Ethnoflorence ha intrapreso una mappatura dell'area ed uno studio iconografico-comparativo dei manufatti

-INDIAN AND HIMALAYAN MUSICAL INSTRUMENTS AT THE METROPOLITAN MUSEUM OF ART NEW YORK,

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Coming soon

-VOYAGE IN MONGOLIA IS A 2003 EXHIBITION AT MUSEE  INTERNATIONAL DU CARNAVAL ET DU MASQUE  of BINCHE,
devoted to the Art of  Arunachal Pradesh, Himachal Pradesh, Népal, Bouthan, Tibet,  Mongolie, with items from  the  Musée International du Carnaval et du Masque (M.I.C.M.), and  the Etnografisch Museum of Antwerpen. Nepalese pieces from the Collection of Eric Chazot (Paris).

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About the Exhibition catalogue:

- PREFACE by Michel Revelard
-L'ART DU MASQUE EN HIMALAYA by Eric Chazot and  Michel Revelard
-CHAMANISME ET BOUDDHISME by Jan van Alphen
-LES MASQUES DU NEPAL: LE VISAGE DES DIEUX by Eric Chazot
-LES RITUELS BOUDDHIST


Photo courtesy of  SANZA ART PREMIERS  BRUXELLES  http://sanza.skynetblogs.be


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Photo courtesy of  SANZA ART PREMIERS  BRUXELLES  http://sanza.skynetblogs.be

-THE METROPOLITAN MUSEUM OF ART, NEW YORK

THE ANCIENT ARCHETIPYC ICONOGRAPHY OF THE RITUAL WEAPONS AND ANTHROPOMORPHIC FIGURES FROM UTTAR PRADESH.

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hese anthropomorphic figures, harpoons, ax blades (celts) and anntennae swords were cast and hammered from unalloyed copper.

They may be dated 1500 to 1000 bc.

Given that pure copper is a relatively soft metal and most of the objects ahow little  or no signs of wear, it seems likely that their function was largely dedicatory.

Hoards of such objects have been found across north India, the greatest concentration being in Uttar Pradesh.

The findspots suggest they were ritually deposited in rivers or marshes, though several related antennae swords were recovered in late Indus Valley civilization (ca. 1500 b.c.) burials at Sanauli.

-GHURRAS FROM ETHNOFLORENCE HIMALAYAN PHOTO ARCHIVE

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Ethnoflorence Himalayan Photo Archive

-MASQUES & ARTS TRIBAUX HIMALAYENS, 2007 Exhibition of the Galerie le Toit du Monde in Paris at Salon du Vieux Colombier
Galerie Le Toit Du Monde 6, rue Visconti - 75006 Paris Tél/Fax : 01 43 54 27 05 / contact@letoitdumonde.net
http://www.letoitdumonde.net/

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Photo courtesy of  SANZA ART PREMIERS  BRUXELLES  http://sanza.skynetblogs.be

TWO HIMALAYAN ARCHAIC REALIQUARY FIGURE FROM ETHNOFLORENCE ARCHIVE

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-GAIA S.A.S. MAISON DE VENTES AUX ENCHERES PUBLIQUES, 43 RUE DU TREVISE - 75009 PARIS
TEL 33 (0) 1 44 83 85 00
FAX 33(0) 1 44 83 85 01
E-mail  gaia@gaiaauction.com - www.gaiaauction.com

HIMALAYA ET SES SOURCES

ART TRIBAL ET CLASSIQUE

DIMANCHE 30 MAI 2000

VENTE A L'ATELIER RICHELIEU - 75002 PARIS

COMMISSAIRE-PRISEUR HABILITEE: NATHALIE MANGEOT

EXPERT: FRANCOIS PANNIER

http://www.gaiaauction.com/upload/fichiers/12669393704bdf...

-HIMALAYAN  ANCIENT WOODEN RITUAL HIGH RELIEF CARVED ITEMS 

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http://ethnoflorence.skynetblogs.be/post/6155570/6-himala...

Ethnoflorence Himalayan photo archive
 

 

 

 

 

 

 

12.12.2009

The painted world of the Warlis. Tribal Art of Middle India. Divine Support: Ghurras Wooden Churning-rod holders from Nepal.

-The Painted World of The Warlis. Art and Ritual of the Warli Tribes of Maharashtra. Shodhara Dalmia. Lalit Kala Akademi, 1988, New Delhi.

the_painted_world_of_the_warlis_art_and_ritual_nab034[1]

http://www.exoticindiaart.com/book/details/NAB034/

-Tribal art of Middle India. Verrier Elwin. Oxford University Press, 1951.

the tribal art....pic

http://www.quarksinthepark.org.uk/india/india.html .

-Nepalese shamanic drums and dhyangro handles.

NEPALESE SHAMANIC DRUM

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

NEPALESE SHAMANIC DRUM a

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

NEPALESE SHAMANIC DRUM b

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

- Nepalese Shamanic ritual dagger phurbu.

Nepalese phurbu

Coming soon.

-Divine Support: Ghurras Wooden Churning-rod Holders From Nepal by  Paul De Smedt Paperback (2000).

 GHURRAS DIVINE SUPPORT

 

Paul de Smedt, is a Belgian industrial engineer , in this  book , the first devoted to this matter, the author explores the traditional use of wooden churning-rod holders generally known in the artistic  folk tradition of  Nepal as ghurras, putting  forward a system of classification in order to build up a symbolic interpretation of these items.

GHURRAS a

The Ghurras are  anthropomorphic carved  objects  used to guide the churning-rod during the churning of milk in order to produce butter.

GHURRAS b

-Pic from the 2007 exhibition of the "GALERIE LE TOIT DU MONDE"  (http://www.letoitdumonde.net/)   at the  Mairie du 6e -Salon du Vieux Colombier. 

More on http://sanza.skynetblogs.be/post/5334991/masques--arts-tr...      

and   http://www.letoitdumonde.net/actualites/index.html .


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In the August of 1991 and  for the first time in his  life  Mr De Smetd came across this fascinating wooden object on a stall at the 'Grote zavel' antique market in Brussels. He  was deeply impressed by this sculpture, which was distinctly anthropomorphic in character. The author remember how the  magnificent patina of these item gleamed in the sunlight,  moreover, the sculpture emanated a smell of rancid butter and milk. The stallholder informed him that it was known as a NETTI  or NETTLE  and had been collected in Nepal. He could tell him nothing specific about the real function or exact meaning of the object expect that it was perhaps an 'amulet' or  something linked with the milk or butter.

So Mr De Smetd  began to find the real meaning of this  object. He  tried to built up a collection of these items in order to give to his investigation  statistical basis. This  was the beginning of a passionate and fascinating cultural adventure. During a visit at the Rietberg museum in Zurich the Athor,  assisted by Prof. Bar,  found a publication, issued by the parisian gallery 'Le toit du monde'  (http://www.letoitdumonde.net/)  which provided some of the first information on the matter.

This mysterious object was surely  a holder for a churning rod , commonly used for churning milk in Nepal.

Some passages in the text were  however not clear for Mr De Smetd : 'Les Magars, ethnie Tibeto-Birmane etablie dans les collines de l'ouest et du centre qui vont des hautes valls jusqu'aux Plaines du Terai, fabriquent les elements de baratte terminee par des ailettes dans le recipient de battage.' (Patrick Pevenage). This citation might generate the impression that the manufacture of these objects was only linked  to the Magar tribe.

During his successive trips to Nepal in 1996, 1997 and 1998 the author made many mountain excursions  with his  friends Sukre Ale, Dawa, Surendra, Krisna, Kazi, his grand daughter Sara and his wife Maria. These excursions allowed them to explore the hilly countryside around Kathmandu, Pokhara, Sirubari, Tansen and Gorkha and gave also them the opportunity to establish contact with elderly Nepalese farmers and herdsmen from various different tribes castes.

From their direct conversations with these people of the place, Mr De Smetd could conclude with certainty that almost every tribe and caste make wooden churning- rod holders, each of them in their own specific symbolic way.

The author remarkes also that there are cases of eclecticism in transition areas or as a consequence of migrations. This fact is interesting and important  to explains the rich variety of design of these objects, although they do possess a surprising unity in form due to their anthropomorphic shape and mythological symbolism.

These functional and ritual items are known with different names, depending upon the tribe or caste concerned: tar, tara, nethi, ghurra, ghurlu, ghorlo, loti, neti, netti, in  the  Kathmandu 'market'  are  known as neti or ghurra.

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