STATUARIA ARCAICA DELL’OVEST NEPAL STATUAIRE PRIMITIVE OUEST NEPAL JAJARKOT DISTRICT SHRINE

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

2008 – 2016

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Anthrophomorpic wooden figure standing inside a
shrine on a stone platform, with the arms in
namaste posture.

This important pictures were took in the 1966
March by Nicholas Haimendorf in the Jajarkot district
area  of Samaila-Maina-Jirigao (Nepal)

Copyright SOAS LIBRARY PPMS19_6_TIB_0052A

Tipica figura antropomorfa seduta con le braccia in
namaste posture, posta all’interno di uno shrine
in pietra dominante su di una grande piattaforma
in pietra.

Questa eccezionale testimonianza fotografica fu
scattata nel Marzo del 1966 da Nicholas Haimendorf
nel distretto di Jajarkot area di Samaila-Maina-
Jirigaon.

Copyright SOAS LIBRARY PPMS19_6_TIB_0052

 

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Copyright SOAS LIBRARY PPMS19_6_TIB_0052

 

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

HIMALAYAN MASKS

FROM AN OLD

INDIAN PHOTO ARCHIVE

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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&idnews=1005&onlpg=5

 

ADIVASI ADIVASI INDIA SCONOSCIUTA MUSEO DELLE CULTURE DEL MONDO CASTELLO D’ALBERIS GENOVA ADIVASI TRIBAL ART

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

2008 – 2016

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ADIVASI INDIA SCONOSCIUTA

Adivasi UNKNOWN INDIA was a 2010 exhibition at Museo delle Culture del Mondo Castello D’Albertis Genova.

20 marzo – 22 maggio 2010
Castello D’Albertis – Museo delle Culture del Mondo
Musei di Strada Nuova – Palazzo Bianco

tel.010 2723820    Palazzo Ducale: 010 5574064-65

 www.castellodalbertis.museidigenova.it   www.palazzoducale.genova.it

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 PHOTO COURTESY OF INNERLAND  http://innerland.splinder.com/post/22878383/adivasi

 
Tornano di ‘moda’ gli Adivasi nel 2010, una mostra questa di Genova praticamente in contemporanea con l’analoga
esibizione che si tenne l’anno scorso al Musee du Quai Branly di Parigi ‘Autres Maitres de l’Inde Creations
Contemporaines des Adivasi’ (30.3.10-18.7.10) ‘

 

Non ho avuto modo di visitare la mostra genovese, della quale edito alcune belle fotografie.

 

Lo spirito di quella parigina, come già scritto,mi è sembrato ispirarsi prevalentemente, nelle sue varie sezioni,al
concetto di ‘change and continuity’ delle tradizioni materiali di queste popolazioni(termine ‘change and continuity’
esemplificativo, che riprendo dal titolo di una mostra sulla materia ‘Change and continuity: Folk and Tribal Art of
India’ Lowe Art Museum Miami )

 

Una continuità non scevra di cambiamenti piuttosto radicali rispetto alle espressioni artistiche ‘genuine’ parzialmente
repertoriate per esempio nel 1950 nel catalogo di Verrier Elwin ‘Tribal Art of Middle India’.

 

Per fare un solo esempio, la sezione della mostra parigina dedicata ai ‘Village gods of South India’, vedeva
protagoniste figure in terracotta che stilisticamente erano molto lontane dagli originali per esempio esibiti
nel 1968 a Philadelphia nella storica esibizione di Stella Kramrisch ‘Unknown India Ritual Art in tribe and
Village’. Rappresentazioni stanche ai limiti del caricaturale di una tradizione iconografica ormai, salvo rare
eccezioni , irrimediabilmente perduta in loco (dove per esempio le figure in terracotta sono state  ormai
ampliamene sostituite da quelle in cemento).

 

Più in generale la decontestualizzazione dei pochi materiali genuini degli Adivasi è in gran parte avvenuta prima di
un serio studio degli usi e costumi delle popolazioni che gli avevano prodotti, ciò ha tolto molte ‘basi scientifiche’
alla materia, negli ultimi decenni poi la ‘desertificazione’degli oggetti originali delle aree tribali ha favorito una
parallela produzione di materiali contraffatti. Si potrebbe citare, per esemplificare, la produzione industriale di
‘materiale’ Santhal nel villaggio di Nexalbari. Ma è soltanto un esempio.

 

PRESENCE DES DIEUX PAROLES D’ORACLES LA STATUAIRE PRIMITIVE DE L’OUEST DU NEPAL PRESENCE OF THE GODS – WORDS OF ORACLES THE PRIMITIVE STATUARY OF WESTERN NEPAL

PRESENCE OF THE GODS – WORDS OF ORACLES

The primitive Statuary of Western Nepal

Exhibition

Wednesday June 8 – Friday June 26

HOTEL du GRAND VENEUR
60, RUE de TURENNE
75003 PARIS

OPENED DAILY
Noon – 8 pm

On the occasion of this exhibition a publication
will be released and available

THE PRIMITIVE STATUARY OF WESTERN NEPAL
by
JEAN-LUC CORTES and JEAN-CLAUDE BREZILLON

Bilingual text French & English-432 pages.

 

KINGS OF THE FOREST: THE CULTURAL RESILIENCE OF HIMALAYAN HUNTER-GATHERERS. JANA FORTIER

The book ‘Kings of the Forest:

 The Cultural Resilience of Himalayan Hunter-Gatherers’

 (Honolulu:University of Hawaii Press, 2009) by JANA FORTIER is the most extensively publication devoted to the
Rautes people of Nepal. 

The Raute are one of the last nomadic ethnic group of hunther gatherers, not assimilate into the surrounding farming
population, is estimated at about 650 persons living in the KARNALI and MAHAKALI monsoon rainforest of Western Nepal.

Their language called ‘Raute’ or ‘Khamci’ is classified as Tibeto-Burman and it’s closely related to the language spoken
by two related ethnic groups the Ban Raji (“Little Rulers of the Forest”) and Raji (“Little Rulers”) of the same region
(Fortier and Rastogi 2004).

The closest well-documented language to Raute known at the present time is the Chepang, spoken by an ethnic group of west-central
Nepal who also have been hunter-gatherers until the current generation.

The Raute are known  for their hunting of langur and macaque monkeys for subsistence, hunting has no other purposes but to
consume for their survival , they prepare hunting by sacrificing chicken to the god on the new-moon day.

They also gather wild forest tubers, fruits, and greens on a regular basis.

To obtain grain, iron, cloth, and jewelry, they trade handmade wooden bowls and boxes to local farmers.

They do not sell other forest products, bushmeat, or forest medicinal plants.

Pictures and text courtesy of Jana Fortier.

In the follower pictures  Raute drummers, called Guru, leading a dance in Jajarkot, Nepal.

They act like shamans who dance for many reasons,but especially for the happiness of the Sun deity, known as Berh.

During dances, only the older boys wear shamanic dance regalia.

When they come of age, they give their dance regalia to their younger brothers.

Each dancing dress is sewn with strips of red cloth by their sisters usually.

Raute drummers communicate with Berh through the trance-like drumming.

While drumming, the shamans call themselves “gurao,“ spiritual leaders who even possess the power of turning themselves into
a tigers. Drum made of monkey hide and “Saana” wood. Rautes themselves refer to their drum as a Dhol, and local villagers too
refer to it as a Dhol drum although it doesn’t have the classic Indian Dhol drum shape (Indian Dhol are wider, shorter, and
have a curve in the body of the instrument).

 

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Courtesy of Jana Fortier

KHENIS GHOST EATERS IN TANGBE VILLAGE LOWER MUSTANG NEPAL

The KHENIS or GHOST EATERS are protective figure that can be found at the entrance gates of some villages of the
LOWER MUSTANG (Baragun Area), after KAGBENI and JHARKOT (DZAR), we edit in this post the  pictures of the protective
IWI (grand mother) and MEME (grand father) KHENIS gost eaters of the TANGBE village.

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

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

In this area the protection of the village area from malevolent spirits is done mainly by the edification of “RIGSUM GOMPO”
along the four cardinal directions and “LHATOS” in specific places of the village area.

PHOTO COURTESY OF ETIENNE PRINCIPAUD

Picture n1 IWI and MEME at the entrance gate of Jharkot (Dzar) 2004.
Picture n2 IWI Kagbeni 2007
Picture n3 MEME figure at the entrance gate of Tangbe 2010
Picture n4 MEME figure at the entrance gate of Tangbe 2010 detail.
Picture n5 IWI figure in Tangbe 2010.
Picture n6 IWI figure in Tangbe 2010 detail.
Picture n7 IWI figure in Tangbe 2010 detail.

 

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