MONTAGNE SACRE MAGIA, MITO, TRADIZIONE IN NEPAL VERONA GALLERA ETNIE 2008

ETHNOFLORENCE

n.875

***

HIMALAYAN ARTS

EXHIBITIONS OF THE PAST

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MONTAGNE SACRE

MAGIA, MITO, TRADIZIONE IN NEPAL

VERONA GALLERA ETNIE

2008

https://ethnoflorence.wordpress.com/2010/06/02/walking-on-the-roads-of-western-nepal-v-nepal-tribal-art-nepal-mask-himalayan-mask/

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GALERIE LE TOIT DU MONDE PARIS

https://ethnoflorence.wordpress.com/category/collection-galerie-le-toit-du-monde-francois-pannier-paris/

&

https://ethnoflorence.wordpress.com/2010/01/25/nepal-mask-himalayan-tribal-art-richard-lair-collection-a-sensitive-selection/

&

https://ethnoflorence.wordpress.com/category/collection-richard-lair/

FRANCOIS PANNIER & RICHARD LAIR

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PHOTO CREDIT OF GALLERIA ETNIE VERONA

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ARTE TRIBALE DEI SANTAL DHODRO BANAM versione italiana di Santal Tribal Arts

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

ROBERT BRUNDAGE PETALUMA CA

http://www.artyeti.com/

SANZA ARTS PREMIERS BRUXELLES

FREDERIC ROND PARIS

http://www.indianheritage.biz/

HERVE PERDIOLLE PARIS

http://herveperdriollecv.blogspot.com/

ANDREA   MORDACCI  

SANATAN KAVADIYA NEW DELHI

http://www.tribalartsindia.com/

RICHARD LAIR

https://ethnoflorence.wordpress.com/category/collection-richard-lair/

and text 

by

ELIO REVERA BRESCIA

ETHNOFLORENCE

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An online

vocabulary of the Santali languge

by

EDWARD LAVALLIN PUXLEY

ON

http://books.google.com/books?ei=vZh8T8L1I4iD0QGK483TCw&hl=it&id=kKcIAAAAQAAJ&dq=chador+badoni&ots=yoby25V1pq&q=BANAM#v=onepage&q=BANAM&f=false

*****

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.

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(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.

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(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)

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(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.

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(Photo courtesy of Christian Lequindre)

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(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.

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(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)

 

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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.

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 (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.

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 (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.

 

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 (Photo Courtesy of Sanza Arts Premiers)

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 (Photo courtesy of Sanza Arts Premiers)

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 (Photo courtesy of Sanza Arts Premiers)

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 (Photo Ethoflorence)

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(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

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

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(Photo Ethnoflorence)

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(Photo courtesy of Sanza Arts Premiers)

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(Photo courtesy of A. M.)

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(Photo courtesy of Sanza Arts Premiers)

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(Photo Courtesy of Sanza Arts Premiers)

Sometimes musicians and dancers are accompanied also by acrobatic perfomers.

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(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

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(Photo courtesy of Robert Brundage)

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

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(Photo courtesy of A. M.)

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(Photo Ethnoflorence)

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(Photo Ethnoflorence)

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(Photo courtesy of A.M.)

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(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.

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(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

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(Photo Courtesy A. M.)

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(Photo courtesy A. M.)

SANTAL HUL

La rivolta dei santal

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(Photo  Ethnoflorence)

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(Photo Ethnoflorence)

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(Photo Ethnoflorence)

ANIMALIA AND EVERYDAY LIFE

Toddy Palm.jpg

(Photo courtesy Robert Brundage)

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(Photo courtesy Robert Brundage)

Animals.jpg

(Photo courtesy of Robert Brundage)

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(Photo courtesy A.M.)

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(Photo courtesy of A. M.)

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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)

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(Photo courtesy of Robert Brundage)

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(Photo courtesy of Robert Brundage)

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(Photo Ethnoflorence)

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

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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

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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&hl=it&id=kKcIAAAAQAAJ&dq=chador+badoni&ots=yoby25V1pq&q=BANAM#v=onepage&q=BANAM&f=false

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(Photo courtesy of Sanatan Khavadiya)

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(Photo courtesy of Sanatan Kavadiya)

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(Photo courtesy of Sanatan Kavadiya)

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(Photo courtesy of Sanatan Kavadiya)

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(Photo courtesy Sanatan Kavadiya)

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(Photo courtesy of Robert Brundage)

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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, 25×460 cm)

(Anonyme, fête de Baha, 1980, couleurs végétales sur papier, 25×460 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, 20×420 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, 30×240 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.

***

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HUMLA PORTRAITS THAKURI PEOPLE WESTERN NEPAL

HUMLA PORTRAITS

part

II

PHOTO BY CHRIS LOMBARDI

https://ethnoflorence.wordpress.com/category/collection-chris-lombardi/

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HUMLA PORTRAITS THAKURI PEOPLE WESTERN NEPAL Photo credit of Chris Lombardi I

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HUMLA PORTRAITS THAKURI PEOPLE WESTERN NEPAL Photo credit of Chris Lombardi II

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HUMLA PORTRAITS THAKURI PEOPLE WESTERN NEPAL Photo credit of Chris Lombardi III

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HUMLA PORTRAITS THAKURI PEOPLE WESTERN NEPAL Photo credit of Chris Lombardi IV

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HUMLA PORTRAITS THAKURI PEOPLE WESTERN NEPAL Photo credit of Chris Lombardi V

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HUMLA PORTRAITS THAKURI PEOPLE WESTERN NEPAL Photo credit of Chris Lombardi VI

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HUMLA PORTRAITS THAKURI PEOPLE WESTERN NEPAL Photo credit of Chris Lombardi VII

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HUMLA PORTRAITS THAKURI PEOPLE WESTERN NEPAL Photo credit of Chris Lombardi VIII

HUMLA PORTRAITS

https://ethnoflorence.wordpress.com/category/collection-chris-lombardi/

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 HUMLA ANNUAL

HOUSEHOLD RITUAL

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A Brahmin priest performes an annual household ritual meant to bring good fortune to a family. 

During the 3 hour ceremony, which involves a lot of chanting and fire, the priest builds a mandala 

on the floor made out of everything of value to a Humli family  salt, oil, spices, grain, flowers, 

fruit, vegetables, paper and cash. At the end, a pure white goat is killed.

(Photo text Chris Lombardi)

https://ethnoflorence.wordpress.com/category/collection-chris-lombardi/

**

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DHAMIS

HUMLA 

ORACLES

Photo Chris Lombardi

https://ethnoflorence.wordpress.com/category/collection-chris-lombardi/

Text by Ethnoflorence

“…ACCORDING GABORIEAU THE DIFFERENTIATION OF THE MASTA GODS ON THE BASIS OF THE LOCATION OF THEIR MAIN SHRINES SUGGESTS THAT MASTA IS ONE GOD WHOSE INCARNATION IN DIFFERENT VILLAGES  AND DIFFERENT FORMS ARE IDEALLY REFERRED TO AS TWELVE…”

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SEE MORE ON

https://ethnoflorence.wordpress.com/category/collection-chris-lombardi/

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SOME CONSIDERATIONS AROUND THE SO CALLED NEPALESE MASKS 

TEXT AND PICTURES

BY

ETHNOFLORENCE

“….Especially for the fact that each of these masks seemed to sum itself a mature iconographic style, almost always

original and quite different from  the other…”

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**

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THARU DOOR

FROM THE PHOTO ARCHIVE OF AN OLD

ITALIAN COLLECTION

MORDACCI ARCHIVEA

04 THARU TRIBAL ART.jpg

***

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*

RICHARD LAIR

COLLECTION

A SENSITIVE SELECTION

08 tris

SEE MORE ON

https://ethnoflorence.wordpress.com/2010/01/25/nepal-mask-himalayan-tribal-art-richard-lair-collection-a-sensitive-selection/

&

https://ethnoflorence.wordpress.com/category/collection-richard-lair/

***

**

*

HIMALAYAN TRIBAL ART

ROBERT BRUNDAGE

AN AMERICAN

POINT OF VIEW

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SEE MORE ON

https://ethnoflorence.wordpress.com/category/collection-robert-brundage-petaluma-ca/

**

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NEPAL.

CHAMANISME ET SCULPTURE TRIBALE.

Christian Lequindre Marc Petit.

01

SEE MORE

ON

https://ethnoflorence.wordpress.com/2012/01/12/nepal-chamanisme-et-sculpture-tribale-christian-lequindre-marc-petit-nepal-tribal-art/

&

https://ethnoflorence.wordpress.com/category/collection-christian-lequindre/

**

*

SANTAL TRIBAL ARTS

2012 EDITION

TEXT BY

ARMAN FERNANDEZ, ELIO REVERA, ETHNOFLORENCE, HERVE PERDIOLLE, STELLA KRAMRISCH

“…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”.

l.jpg

“Perché ci circondiamo di bellezza?

 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! “

https://ethnoflorence.wordpress.com/2012/06/15/santal-tribal-arts-dhodro-banam-lute-of-the-santal-adivasi-tribal-art/ 

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PHURBA PHURBU KILA PHURBAS DAGUES RITUELLES SHAMANISTIC RITUAL DAGGER TIBET NEPALESE RITUAL WEAPON

PHURBU PHURBU KILA PHURBAS DAGUES RITUELLES NEPAL TIBET TRIBAL SHAMANISTIC ART PHURBU PHURBU PHURBA TIBET TIBET TIBET NEPAL NEPALESE ART RITUAL TRIBAL SHAMAN SCIAMANICA SCIAMANESIMO.jpg

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

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

Small metal objects and seeds are hooked inside the drum.

The drumstick is named Gajo.

PHURBU PHURBA PHURBU KILA PHURBA PHURBU PHURBA PHURBA DAGUE RITUAL PUGNALE SCIAMANICO SHAMANISTIC SHAMANIC SCIAMANICO PHURBU PHURBA.jpg

The double sided drum Dhyangro has a close morphological, but not iconographic, affinity with the analogous double sided tibetan drum called NGA-CHEN in which we can re-find an handle, in a form of lotus, installed in the wodden frame of this double sided instrument.

 According Mr Eric Chazot some shamans of the western Nepal don’t use the drum themselves, so the musical accompaniment, essential for the trance, is provided by the untouchables (Art and Shamanism in the Himalayas, on Tribal Arts, 1:1/2000) http://www.tribalarts.com/feature/himalayas/

 The top section of the Phurbus/Dhyangro handle is normally constituted of three faces with different expressions representing human emotions: one  wrathful, one indifferent, the third Joyful.

  A Vajra (in Sanskrit or rdo-rje in Tibetan) or thunderbolt-diamond is carved in the central part of the item held in place by “eternal knots”. On the top of the triangular blade of the Dhyangro handle/phurba we can normally find the representation of the sea-divinity named  Makara (in sanskrit,chu-srin in Tibetan) a monster half crocodile and half elephant. Seldom the makara is replaced with the effigy of Garuda or like in one example of our collection by the really geometric representation of a ram-head. Rarely by anthropomorphic figures. In one piece of our collection the makara figure is ‘crowned’ with three human primitive faces.

 According to Mr Francoise Pannier the central structure of the item, in which the Vajra is positioned vertically above the skull of the Makara could recall the myth of Indra freeing the waters of the earth and killing the serpent Vritra who  had stolen all the water of the world (‘Phurbu, Un hypothese sur ses origines’ in Art Chamanique Népalais, Editions Findakly, Catalogue of the exhibition Masques & Arts Tribaux Himalayens, Galerie Le Toit Du Monde Paris 2007).http://www.letoitdumonde.net/actualites/index.html

PHURBU PHURBA SHAMANISTIC SHAMANIC RITUAL DAGGER DAGUE RITUEL HIMALAYA TIBET NEPAL PUGNALE SCIAMANICO ESORCISMO EXORCISM NEPAL TRIBAL ART PREMIERS PRIMITIVE.jpg

https://ethnoflorence.wordpress.com/category/collection-bill-marsh/

The blade bursts from the jaws of the Makara and  has a three sided strucure, in which are traditionally carved single or entwined pairs of snakes (naga in sanskrit, klu in Tibetan). Their talismanic presence gave to the item the power to make it rain, they are also the guardians of the water and of the undeworld.

 Others subjects carved on the singles blades are the moon and the sun, the trident (Trisul) symbol of the God Shiva, representation of shamans in namaste posture or holding a Dhyangro, the ritual vase  bumba, the water bowls etc.

PHURBU PHURPA SHAMAN NEPAL TIBET RITUAL DAGGER ARTS TRIBAL PREMIERS PRIMITIVE.jpg

RICHARD LAIR COLLECTION

https://ethnoflorence.wordpress.com/category/collection-richard-lair/

https://ethnoflorence.wordpress.com/2010/01/25/nepal-mask-himalayan-tribal-art-richard-lair-collection-a-sensitive-selection/

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AN IMPORTAN AND UNIQUE TAMANG’S SHAMANISTIC KIT

FROM AN AMERICAN COLLECTION

https://ethnoflorence.wordpress.com/2010/01/19/nepal-shaman-art-tamang-shaman-kit-bill-marsh-collection-faces-of-devotion-indian-sculpture-from-the-figiel-collection-on-view-april-10-2010-to-january-16-2012-peabody-essex-museum-salem-ma/

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MASKS OF THE HIMALAYAS THOMAS MURRAY DON TUTTLE

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

2000 2016

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DEMONS AND DEITIES

MASKS OF THE HIMALAYAS

an article edited on Asian Art by THOMAS MURRAY  https://ethnoflorence.wordpress.com/category/collection-thomas-murray-san-francisco/

Photography by Don Tuttle 

Part I: TRIBAL AND SHAMANIC MASKS see and read on

http://www.asianart.com/articles/murray/index.html

Part II: THE SPREAD OF BUDDHISM see and read on

http://www.asianart.com/articles/murray/buddhism.hm

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RICHARD LAIR

COLLECTION

A

SENSITIVE SELECTION

Courtesy of Richard Lair
Nepalese shaman pictures courtesy of    Josh Lustig   http://www.joshlustig.com/; Vincent Van den Berg http://web.mac.com/vincentvandenberg/shi/Index.html , Manishakya http://www.flickr.com/photos/manishakya/  Arts Premiers Collection Bruxelles  , undated nepalese post card.
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  SEE MORE ON
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   ETHNOFLORENCE INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS
 PHOTO ARCHIVE
 1990-2016
MASK
(Inventory no 64)

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A PERSONAL POINT OF VIEW

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THE NEGA CULT IN THE RURAL AREAS OF TAMIL NADU

In rural areas of Tamil Nadu, it’s possible to meet snakes near ant hills and termite mounds, so both of which are regarded and believed as the entrances to the otherworld, for this reason these mounds are frequently marked with ash; offerings of milk or eggs are made by the devotes to the resident Naga.

MORE ON

https://ethnoflorence.wordpress.com/category/aiyanar-village-gods-of-south-india/

 

-KHENIS, GHOST EATERS FIGURE IN KAGBENI VILLAGE, NEPAL. MASQUES & ARTS TRIBAUX HIMALAYENS, PARIS. NEPAL ANIMAL MASK. WESTERN NEPAL PRIMITIVE NAMASTE POSTURE FIGURE. HIMALAYAN MASK HIMALAYAN TRIBAL ART

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

dyn002_original_412_550_pjpeg_2638188_490116ce90782e5384b4b45be787287f.jpg

KHENIS GHOST EATERS FIGURE IN KAGBENI VILLAGE NEPAL

2008 2016

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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.

Photo credit www.trekearth.com/gallery/photo481538.htm

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Photo credit www.trekearth.com/gallery/photo481538.htm

Photo credit for the pictures below www.travelpod.com 

and

http://www.travelpod.com/travel-blog-entries/inoursuitcase/freedom_07-08/1242815220/tpod.html

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Photo credit www.travelpod.com 

and

http://www.travelpod.com/travel-blog-entries/inoursuitcase/freedom_07-08/1242815220/tpod.html

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WESTERN NEPAL THE ARCHETYPAL ICONOGRAPHY OF AN ARTISTIC LIVING TRADITION I

 Photo courtesy of Jean Claud Latombe

https://ethnoflorence.wordpress.com/2010/03/01/nepal-mask-himalayan-tribal-art-western-nepal-the-archetypic-iconography-of-an-artistic-living-tradition-western-nepal-humla-region/

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https://ethnoflorence.wordpress.com/2010/03/01/nepal-mask-himalayan-tribal-art-western-nepal-the-archetypic-iconography-of-an-artistic-living-tradition-western-nepal-humla-region/

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WESTERN NEPAL THE ARCHETYPAL ICONOGRAPHY OF AN ARTISTIC LIVING TRADITION II

Photo courtesy of   Reto Niederhauser 


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See more on

https://ethnoflorence.wordpress.com/2010/03/06/himalayan-tribal-art-western-nepal-the-archetypic-iconography-of-a-living-artistic-tradition-part-ii/

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

Photo courtesy of  Paulo Grobel

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See more on

https://ethnoflorence.wordpress.com/2010/04/19/autres-maitres-de-linde-creations-contemporaines-des-adivasi-musee-du-quai-branly-paris/

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THE PHUR-PA

TIBETAN RITUAL DAGGERS

JOHN C. HUNTINGTON Artibus Asiae – Publishers 6612 Ascona – Switzerland 1975

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MASQUES & ARTS TRIBAUX HIMALAYENS

2007 EXHIBITION

GALERIE LE TOIT DU MONDE

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 

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Photo courtesy of  SANZA ART PREMIERS  BRUXELLES  

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RICHARD LAIR COLLECTION

https://ethnoflorence.wordpress.com/2010/01/25/nepal-mask-himalayan-tribal-art-richard-lair-collection-a-sensitive-selection/

&

https://ethnoflorence.wordpress.com/category/collection-richard-lair/

 A SENSITIVE SELECTION courtesy of Richard Lair.

-Nepalese shaman pictures courtesy of    Josh Lustig   http://www.joshlustig.com/; Vincent Van den Berg http://web.mac.com/vincentvandenberg/shi/Index.html , Manishakya http://www.flickr.com/photos/manishakya/  Arts Premiers Collection Bruxelles , undated nepalese post card.

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ETHNOFLORENCE PHOTO ARCHIVE

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Coming soon

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RURAL ART of the WESTERN HIMALAYA

 SUBASHINI ARYAN

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(Mask inventory no 101)

IMG_1807.JPG

Interesting the iconography of this Himachal Pradesh mask (Museum of Folk and Tribal Art Gurgaon New Dheli  www.museumoffolkandtribalart.in ), collected by Mr KC Aryan for his Museum,  and directly comparable with an item present in the Ethnoflorence Himalayan photo archive.

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MASKS OF THE HIMALAYA

Old Southern Nepal animal mask, Terai area (?), traces of red natural color on natural wood (Inventory no.65)

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Ethnoflorence Himalayan photo archive.

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KANAK MANI DIXIT

-Invitation card of the exhibition “Photo Document: Nineteen Seventies” by Kanak Mani Dixit at Siddhartha Art Gallery, Baber Mahal Revisited, Baber Mahal, Kathmandu , Nepal www.siddharthaartgallery.com

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Photo Gaurav Dhwaj Khadka  http://nepalphotography.wordpress.com/2007/12/28/photography-exhibition-invitation-cards/

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WALKING ON THE ROAD OF WESTERN NEPAL III

Photo Credit Michael N. Leach
www.indianepalphotos.com

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66_Sumdawa_Tray_3_copy[1]

67 Children_copy[1]


68 Animist_shrine_copy[1]

 

69 Old_woman_in_doorway_Tra[1]

70 Komba_protector_deity_T[1]
71 Komba_points_the_way_Tra[1]

 

72_Komba_Tray_2_copy[1]

73_Rishi_Khola_bridge_Tray[1]

74 People_on_porch_Tray_1[1]

75 Woman_Tray_1_copy[1]

76 Blue_carving_Tray_2_cop[1]

Photo Credit Michael N. Leach
www.indianepalphotos.com

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NEPALESE FIGURE

(Inventory no 16)

10660217_1211101308903493_2411161605690867858_n.jpg

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STAY IN TOUCH WITH US

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INDIAN MASKS AT NATURAL HISTORY MUSEUM OF NEW YORK. THE ART OF INDIAN ASIA, Heinrich Zimmer. ALS DIE GOTTEN NOCH JUNG WAREN MASKEN UND SKULPTUREN AUS DEM HIMALAYA. Pierre Zink Eric Chazot.

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

2008 2016
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WESTERN NEPAL

THE ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC LIVING TRADITION III

Photo courtesy of  Paulo Grobel

https://ethnoflorence.wordpress.com/2010/04/19/autres-maitres-de-linde-creations-contemporaines-des-adivasi-musee-du-quai-branly-paris/

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THE ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC LIVING TRADITION III Photo courtesy of  Paulo Grobel

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See more on

https://ethnoflorence.wordpress.com/2010/04/19/autres-maitres-de-linde-creations-contemporaines-des-adivasi-musee-du-quai-branly-paris/

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MASKS OF THE HIMALAYAS

Old fragmentary nepalese mask
(Inventory no. 114)

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Himalayan male mask
(Inventory no 51)

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Old Nepalese male mask
(Inventory no 46)

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Ethnoflorence Himalayan photo Archive

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INDIAN MASKS AT NATURAL HISTORY MUSEUM OF NEW YORK

ETHNOFLORENCE  INDIAN AND HIMALAYAN  PHOTO ARCHIVE.

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 Mask of Ravanna, demon ruler of Lanka, the enemy of Rama in the Ramayana, it’s used in the RAMILLA, a cycle of plays based on Rama’s life. North India 20th century.

2 Shadow puppet of goatskin, representing Rama. Andhra Pradesh, 20th century.

3 Three dimensional figures of Rama, Lankshmane (Rama’s brother) and Sita are used in the Dashahara festival for the Ramilla. Delhi, 20th century.

4 Figure of a Lambadi woman from Gujarat performs a tribal dance with a copper vassel balanced on her head. 20th century.

5 Indian folk painting used in Rajastan by a traveling bard as background while he recites, dances and mimes the story of the hero Pabuji Rathore. The painting depicts scenes from the hero’s life. Mewar, Rajastan, late 19th century.

6 Cloth hangings with woodblock designs show Brahma, patron of the theather, and his consort Sarasvati, patroness of music. Andhra Pradesh, 20th century.

7 In the basket are Rajasthani marionettes used to tell stories of the Rajput princes, of knightly exploits, and of loves lost and found. Rajasthan early 20th century.

8 Peacock feather crowned headdress of the Pootham actor, used by Perawannams of South India, involves a very formal and difficult theater tradition. South Malabar 20th century.

9 Chhau mask of Ravanna, demon king of Lanka, enemy of Rama. State of Seraikella , Bihar 20th century.

10 Chhau mask of Durga, consort of Siva, State of Seraikella , Bihar 20th century.

11 Chhau mask of Ganesha, son of Siva, State of Seraikella , Bihar 20th century.

12 The Nandi Bull of Siva, polychrome wood. Bombay early 20th century.

13 Mask representing Chandama, paper machè, Varanasi, 20th century.

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THE ART OF INDIA

 its mythology and transformations, Heinrich Zimmer,  completed and edited by Joseph Campbell with photographs by Eliot Elisonfon and others, Pantheon Books.

022023

 

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Ethnoflorence Indian and Himlayan library.

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NEPALESE FIGURE

(Inventory no 3)

12592244_1212494392097518_111992540816169242_n.jpg

Ethnoflorence Indian and Himalayan photo Archive

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TAMANG SHAMANIC KIT

SEE MORE ON

https://ethnoflorence.wordpress.com/category/collection-bill-marsh/

 courtesy of BILL MARSH collection; B/W pics courtesy of Josh Lustig   http://www.joshlustig.com/; text courtesy of Italo Bertolasi  from “Jhakri uomini con le ali” Nepal 1971, written  for the exhibition “Viaggi a Oriente”  http://www.italobertolasi.com/viaggioriente.htm  and http://www.italobertolasi.com/index.html.

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Courtesy of Bill Marsh

SEE MORE ON

https://ethnoflorence.wordpress.com/2010/01/19/nepal-shaman-art-tamang-shaman-kit-bill-marsh-collection-faces-of-devotion-indian-sculpture-from-the-figiel-collection-on-view-april-10-2010-to-january-16-2012-peabody-essex-museum-salem-ma/ 

&

https://ethnoflorence.wordpress.com/category/collection-bill-marsh/

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PIERRE ZINK

-ALS DIE GOTTEN NOCH JUNG WAREN
MASKEN UND SKULPTUREN AUS DEM HIMALAYA

QUAND LES DIEUX ETAIENT ENCORE JEUNES
MASQUES ET SCULPTURES DE L’HIMALAYA

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Catalogue of the September 2002 exhibition at Museum of Ritterhaus Offenburg of Mr Pierre Zink Himalayan Art collection.

Text by Mr Pierre Zink (introduction) and Mr Eric Chazot.

https://ethnoflorence.wordpress.com/category/collection-eric-chazot/

Among  the different chapters of the catalogue: L’art chamanique de l’Himalaya (Shamanistische Kunst im Himalaya); Le chamane et ses instruments de pouvoir (Der Shamane und seine Macht-Instrumente); Le dhyangro (Die Dhyangro); Le phurbu (Der Phurbu); Sculptures de protecteur (Skulpturen der Schutzgottheiten); Les instruments de musique (Die Musikinstrumente); Le masques (Die Masken).

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RICHARD LAIR COLLECTION

 A SENSITIVE SELECTION

SEE MORE ON

https://ethnoflorence.wordpress.com/2010/01/25/nepal-mask-himalayan-tribal-art-richard-lair-collection-a-sensitive-selection/

&

https://ethnoflorence.wordpress.com/category/collection-richard-lair/

courtesy of Richard Lair.

Nepalese shaman pictures courtesy of    Josh Lustig   http://www.joshlustig.com/; Vincent Van den Berg http://web.mac.com/vincentvandenberg/shi/Index.html , Manishakya http://www.flickr.com/photos/manishakya/  Arts Premiers Collection Bruxelles  , undated nepalese post card.

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SEE MORE ON

https://ethnoflorence.wordpress.com/2010/01/25/nepal-mask-himalayan-tribal-art-richard-lair-collection-a-sensitive-selection/

&

https://ethnoflorence.wordpress.com/category/collection-richard-lair/

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STAY IN TOUCH WITH US

SUBSCRIBE TO OUR NEWSLETTER

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

NEPAL MASK, NEPAL MONKEY MASK. AUTRES MAITRES DE L’INDE CREATIONS CONTEMPORAINES DES ADIVASI, MUSEE DU QUAI BRANLY PARIS

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

dyn009_original_700_329_pjpeg_2638188_a634d2bb35d3e643d0e23c804a2434b6.jpg

WESTERN NEPAL THE ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC LIVING TRADITION II Photo courtesy of  Paulo Grobel

2008 2016

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WESTERN NEPAL

THE ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC LIVING TRADITION II

Photo courtesy of  Paulo Grobel

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Photo courtesy of  Paulo Grobel.

See more on 

https://ethnoflorence.wordpress.com/2010/04/19/autres-maitres-de-linde-creations-contemporaines-des-adivasi-musee-du-quai-branly-paris/

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THE ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC LIVING TRADITION III

-WALKING ON THE ROADS OF THE WESTERN NEPAL III

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COMING SOON

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MASKS OF THE HIMALAYAS

MASK

(Inventory no 31)

Repainted Rajbansi monkey mask with a yellow color

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MUSEE DE LA CASTRE

 -CANNES, FRANCE, Himalayan Classic, Folk and Tribal Arts new stuff. ETHNOFLORENCE Indian and Himalayan Folk and Tribal arts photo Archive.

See more on

https://ethnoflorence.wordpress.com/2009/12/27/musee-de-la-castre-cannes-france-himalayan-classic-folk-and-tribal-arts-new-stuff-ethnoflorence-indian-and-himalayan-folk-and-tribal-arts-photo-archive/

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And about the old stuff on

https://ethnoflorence.wordpress.com/2009/10/11/musee-de-la-castre-of-cannes-himalayan-room/

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Ethnoflorence Himlayan photo Archive

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-PRIMITIVE FIGURE FROM NEPAL, RICHARD LAIR COLLECTION

Courtesy of Richard Lair.    

https://ethnoflorence.wordpress.com/2010/01/25/nepal-mask-himalayan-tribal-art-richard-lair-collection-a-sensitive-selection/

&

https://ethnoflorence.wordpress.com/category/collection-richard-lair/

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AUTRES MAITRES DE L’INDE

CREATIONS CONTEMPORAINES DES ADIVASI,

 MUSEE DU QUAI BRANLY PARIS

31

 

Scarsamente recensito negli anni della sua scomparsa, il mondo artistico  degli Adivasi è oggi rappresentato nella mostra temporanea  al Museo du Qui Branly di Parigi in undici sezioni, nelle quali il Curatore ha cercato di rappresentare altrettanti microcosmi di questa realtà ormai perduta.

Il confronto iconografico  tra il passato ed il presente è tuttavia in alcuni casi impietoso.

Il visitatore è per esempio accolto nella sua visita da alcuni cavalli in terracotta, opere di artigianato odierno che poco o niente hanno a che fare con l’antica tradizione iconografica degli ‘holy potters’ del Tamil Nadu.

Manufatti moderni che testimoniano un regresso estetico che dalla sublime arte dei Grama Devatas o Village Gods of South India retrocede a mere rappresentazioni artigianali che niente hanno a che fare con le prime.

Stella Kramrisch non le avrebbe di certo inserite nella sua epica esibisione del 1968, Unknown India Ritual Art in Tribe and Village di Philadelphia.

Un Santal Banam, proveniente da una anonima collezione indiana, e pubblicato nel PDF di presentazione della mostra, oltre ad essere evidentemente nuovo, presenta uno scollamento sostanziale con la tipica iconografia ed estetica di questa popolazione.

Una Mostra di manufatti non soltanto nuovi, dunque, ma in molti casi anche lontani dalle originali tradizioni dei popoli presi in considerazione.

AUTRES MAITRES DE L’INDE CREATIONS CONTEMPORAINES DES ADIVASI, MUSEE DU QUAI BRANLY PARIS,  du mardi 30 Mars au Dimanche 18 Juillet 2010, Commissaire General of the Exhibition Mr JYOTINDRA JAIN.

Section 1 : LES REPRESENTATIONS DE L’INDE ADIVASI

Cette section  illustre la situation tribale en Inde à l’époque coloniale, postcoloniale et contemporaine en présentant des textes, cartes et photographies. 

Chromos, gravures et cartes postales représentent les tribus autochtones et peuples « Adivasi » dans une perspective historique.  Les oeuvres des photographes Dayanita Singh et Pablo Bartholomew portent un regard contemporain sur les « Adivasi ».

Section 2: LES PEUPLES

L’exposition présente  onze univers correspondant chacun à un peuple différent ; chacun de ces peuples est  caractérisé par ses productions matérielles rituelles et artistiques.

– Les sculptures Bhuta, Karnataka
-Bas-reliefs architecturaux : les femmes artistes de Chattisgarh
-Andaman et Nicobar, sud-est de l’Inde
-Pièces artisanales Ayyanar : sculptures en terre cuite, Tamil Nadu
-Tombeau de Molela : dieux d’argile, Rajasthan
-Pithora : peintures murales, centre-Ouest du Gujarat
-Figurines tribales en bronze de l’ère Bastar et zones Kondh, Orissa
-Santhal : sculptures sur bois et peintures, West Bengal
-Waghri, Gurajat
-Naga, nord-est de l’Inde
-Peintures Adivasi

Section 3 – Les Artistes Contemporains

Cette troisième  section propose une sélection monographique dans l’oeuvre de deux artistes contemporains : Jivya Soma Mashe (tribu Warli / Thane district) et Jangarh Singh Shyam (peuple Gond / Madya Pradesh).

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AUTRES MAITRES DE L’INDE CREATIONS CONTEMPORAINES DES ADIVASI, MUSEE DU QUAI BRANLY PARIS

ETHNOFLORENCE

INDIAN AND HIMALAYAN 

FOLK AND TRIBAL ARTS

dyn010_original_500_438_pjpeg_2638188_509fa6de3e6c7874c7f706f168126e46.jpg

WESTERN NEPAL THE ARCHETYPAL ICONOGRAPHY OF AN ARTISTIC LIVING TRADITION III

2008 2016

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AUTRES MAITRES DE L’INDE

CREATIONS CONTEMPORAINES DES ADIVASI, MUSEE DU QUAI BRANLY PARIS

01 AUTRES MAITRES DE L'INDE CREATIONS CONTEMPORAINES DES ADIVASI

Scarsamente recensito negli anni della sua scomparsa, il mondo artistico  degli Adivasi è oggi rappresentato nella mostra temporanea  al Museo du Qui Branly di Parigi in undici sezioni, nelle quali il Curatore ha cercato di rappresentare altrettanti microcosmi di questa realtà ormai perduta.

Il confronto iconografico  tra il passato ed il presente è tuttavia in alcuni casi impietoso.

Il visitatore è per esempio accolto nella sua visita da alcuni cavalli in terracotta, opere di artigianato odierno che poco o niente hanno a che fare con l’antica tradizione iconografica degli ‘holy potters’ del Tamil Nadu.

Manufatti moderni che testimoniano un regresso estetico che dalla sublime arte dei Grama Devatas o Village Gods of South India retrocede a mere rappresentazioni artigianali che niente hanno a che fare con le prime.

Stella Kramrisch non le avrebbe di certo inserite nella sua epica esibisione del 1968, Unknown India Ritual Art in Tribe and Village di Philadelphia.

Un Santal Banam, proveniente da una anonima collezione indiana, e pubblicato nel PDF di presentazione della mostra, oltre ad essere evidentemente nuovo, presenta uno scollamento sostanziale con la tipica iconografia ed estetica di questa popolazione.

Una Mostra di manufatti non soltanto nuovi, dunque, ma in molti casi anche lontani dalle originali tradizioni dei popoli presi in considerazione.

AUTRES MAITRES DE L’INDE CREATIONS CONTEMPORAINES DES ADIVASI, MUSEE DU QUAI BRANLY PARIS,  du mardi 30 Mars au Dimanche 18 Juillet 2010, Commissaire General of the Exhibition Mr JYOTINDRA JAIN.

Section 1 : LES REPRESENTATIONS DE L’INDE ADIVASI

Cette section  illustre la situation tribale en Inde à l’époque coloniale, postcoloniale et contemporaine en présentant des textes, cartes et photographies. 

Chromos, gravures et cartes postales représentent les tribus autochtones et peuples « Adivasi » dans une perspective historique.  Les oeuvres des photographes Dayanita Singh et Pablo Bartholomew portent un regard contemporain sur les « Adivasi ».

Section 2: LES PEUPLES

L’exposition présente  onze univers correspondant chacun à un peuple différent ; chacun de ces peuples est  caractérisé par ses productions matérielles rituelles et artistiques.

– Les sculptures Bhuta, Karnataka
-Bas-reliefs architecturaux : les femmes artistes de Chattisgarh
-Andaman et Nicobar, sud-est de l’Inde
-Pièces artisanales Ayyanar : sculptures en terre cuite, Tamil Nadu
-Tombeau de Molela : dieux d’argile, Rajasthan
-Pithora : peintures murales, centre-Ouest du Gujarat
-Figurines tribales en bronze de l’ère Bastar et zones Kondh, Orissa
-Santhal : sculptures sur bois et peintures, West Bengal
-Waghri, Gurajat
-Naga, nord-est de l’Inde
-Peintures Adivasi

Section 3 – Les Artistes Contemporains

Cette troisième  section propose une sélection monographique dans l’oeuvre de deux artistes contemporains : Jivya Soma Mashe (tribu Warli / Thane district) et Jangarh Singh Shyam (peuple Gond / Madya Pradesh).

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MASKS OF THE HIMALAYAS

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MASK

(Inventory no 87)

Old Rajbansi crowned mask

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Old Rajbansi horse mask

(Inv no 57)

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Old metal Newari mask

(Inventory no.40)

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Ancient Rajbansi monkey mask
(Inventory no 79)

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WESTERN NEPAL

THE ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC LIVING TRADITION 

Photo courtesy of Jean Claud Latombe

https://ethnoflorence.wordpress.com/2010/03/01/nepal-mask-himalayan-tribal-art-western-nepal-the-archetypic-iconography-of-an-artistic-living-tradition-western-nepal-humla-region/

06 d1 JC LATOMBE 1

07 d2 JC LATOMBE 2

08 d3 JC LATOMBE 3

See more on 

https://ethnoflorence.wordpress.com/2010/03/01/nepal-mask-himalayan-tribal-art-western-nepal-the-archetypic-iconography-of-an-artistic-living-tradition-western-nepal-humla-region/

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WESTERN NEPAL

THE ARCHETYPIC ICONOGRAPHY OF AN

ARTISTIC LIVING TRADITION II

Photo courtesy of   Reto Niederhauser

09 d4 RETO 1

010 d5 RETO 2

See more on

https://ethnoflorence.wordpress.com/2010/03/06/himalayan-tribal-art-western-nepal-the-archetypic-iconography-of-a-living-artistic-tradition-part-ii/

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WALKING ON THE ROADS OF WESTERN NEPAL I

Photo courtesy of  PARLERDELLES OVERBLOG

https://ethnoflorence.wordpress.com/2010/03/04/nepal-mask-himalayan-tribal-art-walking-on-the-roads-of-the-western-nepal-humla-region-upper-dolpo-nepal/

011 d6 walking 1 1

012 d7 walking 1 2

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See more on

  https://ethnoflorence.wordpress.com/2010/03/04/nepal-mask-himalayan-tribal-art-walking-on-the-roads-of-the-western-nepal-humla-region-upper-dolpo-nepal/

WALKING ON THE ROADS OF WESTERN NEPAL II

See more on

https://ethnoflorence.wordpress.com/2010/03/08/nepal-mask-giuseppe-tucci-nepal-alla-scoperta-dei-malla-humla-il-nepal-piu-lontano-courtesy-of-arte-nomade-walking-on-the-roads-of-the-western-nepal-ii-lart-des-chamanes-dhimalaya-by-myriam-bo/

014 d9 walking 2 1

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– WALKING ON THE ROADS OF THE WESTERN NEPAL III COMING SOON

016 e2 walking 3 1 COMING SOON

017 e2 walking 3 2 COMING SOON

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WESTERN NEPAL

THE ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC LIVING TRADITION III

Photo courtesy of  Paulo Grobel

Tibrikot village sketchs from Ethnoflorence Himalayan  Archive.

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HIMALAYAN METAL MASKS FROM PHIL MORVAN COLLECTION

048 newari mask

049 newari mask

 COMING SOON.

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RICHARD LAIR COLLECTION A SENSITIVE SELECTION

https://ethnoflorence.wordpress.com/2010/01/25/nepal-mask-himalayan-tribal-art-richard-lair-collection-a-sensitive-selection/

&

https://ethnoflorence.wordpress.com/category/collection-richard-lair/

 courtesy of Richard Lair

Nepalese shaman pictures courtesy of    Josh Lustig -https://ethnoflorence.wordpress.com/2009/02/01/nepalese-shamans-a-voyage-in-the-soul-trance-ecstasy-and-healing-with-the-photos-of-josh-lustig/ –  http://www.joshlustig.com/; Vincent Van den Berg http://web.mac.com/vincentvandenberg/shi/Index.html , Manishakya http://www.flickr.com/photos/manishakya/  Arts Premiers Collection Bruxelles , undated nepalese post card.

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NEPAL

SHAMANISM AND TRIBAL SCULPTURE

https://ethnoflorence.wordpress.com/category/collection-christian-lequindre/

 Christian Lequindre, Marc Petit.

In collaboration with NEPAL TRIBAL ART

see more on:

https://ethnoflorence.wordpress.com/2012/01/12/nepal-chamanisme-et-sculpture-tribale-christian-lequindre-marc-petit-nepal-tribal-art/   

&

https://ethnoflorence.wordpress.com/category/collection-christian-lequindre/ 

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09In Jumla, one of the oldest cities in the western region of Nepal, a festival (Mela) is held in principle every year to celebrate the victory of Hindu gods against the Lakhey and Bhakkus, representing ancient tribal beliefs .

Document extracted from a documentary filmed in 2005 in Jumla district.

Photo courtesy  of Christian Lequindre.

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-INDIAN TRIBAL ART, INDIAN TRIBAL MASK, A LOST ICONOGRAPHIC  AND ESTETHIC WORLD

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COMING SOON

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OLD FEATURES DEVOTED TO HIMALAYAN FOLK ART

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TRIBAL ART OF THE HIMALAYAS

by

ERIC CHAZOT

SUMMER 1995

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SUBSCRIBE TO OUR NEWSLETTER

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NEPAL MASK HIMALAYAN TRIBAL ART WESTERN NEPAL, THE ARCHETYPAL ICONOGRAPHY OF AN ARTISTIC LIVING TRADITION. WESTERN NEPAL HUMLA REGION

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

01.JPG

2008-2016

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WESTERN NEPAL

THE ARCHETYPAL ICONOGRAPHY OF AN ARTISTIC LIVING TRADITION

Photo courtesy of Jean Claud Latombe http://ai.stanford.edu/~latombe/mountain/index.htm

“…La natura non contenuta dall’equilibrio del clima prolifica con ebbra esuberanza: l’uomo stesso è natura, una immobilità stupefatta lo cristalizza in una inerzia senza passato; ti muovi in un terreno vergine…” (GIUSEPPE TUCCI about the Humla region).

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“Giuseppe Tucci ricorda come nella regione di Humla si trovassero dei templi dal carattere e stile primitivo,  aperti sul davanti,  il tetto  in paglia  appoggiato su possenti tronchi d’albero, dall’aspetto non dissimile da   quello delle capanne o dei sacrari dell’Assam e della Polinesia , nell’interno  figure di legno scolpite in uno stile frontale rappresentavano nell’immobile ed atemporale  fissità dei volti  le immagini dei donatori, famiglie intere in attonita attesa  poste  intorno ad una  informe pietra, in cui sembrava celarsi  la misteriosa  presenza divina …” (free and personal reinterpertation by Ethnoflorence of an original writing  of G.Tucci,  libera e personale  reinterpertazione il cui spunto è tratto da un testo originale di Giuseppe Tucci)

 

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“Giuseppe Tucci annota come il  Il pandit che gli faceva da guida  si rifiutasse di definire  Induismo la religione delle genti di questa regione,  che con disprezzo   definiva    superstiziosa adorazione di spiriti e demoni, nel termine locale bhut, entità insidiose e vendicative. La paura delle entità ostili ed  invisibili sembrava  incombere e pervadere tutto  intorno,  minacciando i viandanti  da ogni altura  di colle oppure  dai temuti  rami degli alberi maledetti, sui rami dei quali, brandelli di stoffa colorata, appesi dal viandante timoroso, ad ogni alito  di vento prolungavano invisibili  esorcismi…”(free and personal reinterpertation by Ethnoflorence of an original writing  of G.Tucci,  libera e personale  reinterpertazione il cui spunto è tratto da un testo originale di Giuseppe Tucci)

 

1D

“Circa la credenza di alberi creduti maledetti Giuseppe Tucci sottolineva come Devozione non fosse probabilmente la parola più appropiata, per definire il sentimento che ispiravano nei viandanti,  perché era certamente più  la paura il sentimento che li portava  a dedicare una preghiera o ad annodare un brandello di stoffa sui rami di questi alberi trasformati così in muti e temuti simulacri.” Free and personal reinterpertation by Ethnoflorence of an original writing  of G.Tucci,  libera e personale  reinterpertazione il cui spunto è tratto da un testo originale di Giuseppe Tucci)

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Una donna che  non voleva farsi ardere nel rogo del marito morto, secondo una antica tradizione indiana, fu uccisa dai suoi parenti, da quel giorno si trasformò in un vendicativo BHUT che insidiava tutti coloro che non le dimostravano devozione … i bhut più temuti e rispettati sono comunque quelli che aleggiano nei pressi dei ponti o degli scoscesi  sentieri sospesi nel vuoto, lì il viandante deve prestare molta attenzione e devozione. Giuseppe Tucci riporta la storia di un ponte particolarmente temuto, quello di Cotbara, lì si credeva  dimorasse  lo spirito di un  brahamano che si era suicidato proprio in quel luogo. Nessuno osava attraversare quel ponte una volta calato il sole.”…”(free and personal reinterpertation by Ethnoflorence of an original writing  of G.Tucci,  libera e personale  reinterpertazione il cui spunto è tratto da un testo originale di Giuseppe Tucci)

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Photo courtesy Jean Claude Latombe.

https://ethnoflorence.wordpress.com/category/collection-jean-claud-latombe/

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NEPAL

SHAMANISM AND TRIBAL SCULPTURE

  Christian Lequindre, Marc Petit.

24 Marc Petit christian Leqindre www.nepaltribalart.com

In collaboration with NEPAL TRIBAL ART

see more on:

https://ethnoflorence.wordpress.com/2012/01/12/nepal-chamanisme-et-sculpture-tribale-christian-lequindre-marc-petit-nepal-tribal-art/

dyn007_original_426_640_pjpeg__01691e38ead2d31c6cfd3cfd37482b27[1]

dyn007_original_425_640_pjpeg__8ae3527753e7646a46841e3cbf967025[1]

https://ethnoflorence.wordpress.com/2012/01/12/nepal-chamanisme-et-sculpture-tribale-christian-lequindre-marc-petit-nepal-tribal-art/

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-NEPALESE SHAMANS, PICTURES FROM THE VERY EARLY  70’s, courtesy of  KRISHNA S.BEUTEL, pieces from Richard Lair (FRA) and Bill Marsh (USA) Collection.

Richard Lair Collection a sensitive selection on

https://ethnoflorence.wordpress.com/2010/01/25/nepal-mask-himalayan-tribal-art-richard-lair-collection-a-sensitive-selection/

Bill Marsh’s complete shaman kit on

https://ethnoflorence.wordpress.com/2010/01/19/nepal-shaman-art-tamang-shaman-kit-bill-marsh-collection-faces-of-devotion-indian-sculpture-from-the-figiel-collection-on-view-april-10-2010-to-january-16-2012-peabody-essex-museum-salem-ma/

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(Photo courtesy KRISHNA S.BEUTEL, Richard Lair, Bill Marsh).

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-ANTHROPOMORPHIC NEPALESE FRONT COVER BOOK

from Ethnoflorence Collection.

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HIMALAYA

by Jean Pierre GIROLAMI catalogue 

Ilda Suarez Opt’image of the exhibition of the 1997 in Blagnac (FRA) .

GetAttachment[1]

Small but interesting catalogue by Jean Pierre GIROLAMI , passionate supporter of the Himalayan field, he was one of the first to documentate the unknown art of western Nepal.

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EIDOS COLLECTION

OF WESTERN NEPAL FIGURE

041

a new friend of Ethnoflorence, coming soon

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-MAMOIADA, A LIVING TRADITION AN ICONOGRAPHIC COMPARATION

In collaboration with the MUSEO DELLE MASCHERE MEDITERRANEE di MAMOIADA, coming soon.

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MUSEE DE LA CASTRE

CANNES FRANCE

MUSEE DE LA CASTRE, CANNES, FRANCE,

Himalayan Classic, Folk and Tribal Arts new stuff. ETHNOFLORENCE Indian and Himalayan Folk and Tribal arts photo Archive. 

MUSEE DE LA CASTRE NEW ROOM

https://ethnoflorence.wordpress.com/2009/12/27/musee-de-la-castre-cannes-france-himalayan-classic-folk-and-tribal-arts-new-stuff-ethnoflorence-indian-and-himalayan-folk-and-tribal-arts-photo-archive/

MUSEE DE LA CASTRE OLD ROOM

https://ethnoflorence.wordpress.com/2009/10/11/musee-de-la-castre-of-cannes-himalayan-room/

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