BLOCK PRINTS FROM INDIA FOR TEXTILES by Albert Buell Lewis FIELD MUSEUM OF NATURAL HISTORY Chicago 1924

February 18, 2024April 7, 2024Ethnoflorence Leave a comment

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

***

(I)

Indian and Himalayan Folk and Tribal Arts

A Selected Bibliography

BLOCK PRINTS FROM INDIA FOR TEXTILES

वस्त्रों के लिए भारत से प्रिंट के लिए ब्लॉक

by Albert Buell Lewis

XXIV Plates

Photo credit of https://archive.org/details/blockprintsfromi01lewi/page/6/mode/2up / Photo composition by Ethnoflorence

FIELD MUSEUM OF NATURAL HISTORY
Chicago
1924

Photo credit of https://archive.org/details/blockprintsfromi01lewi/page/6/mode/2up / Photo composition by Ethnoflorence

BORDER DESIGN ON THE END OF A WOMAN’S CLOTH

Photo credit of https://archive.org/details/blockprintsfromi01lewi/page/6/mode/2up / Photo composition by Ethnoflorence

In this design the black and red have been stamped, wlhile the yellow and green have been put in by hand. Ten different blocks have been used, separate impressions of nine of which are shown on Plates III and IV. That used for band is shown in Fig. 5. Plate IV: those for bands and 4 in Figs. I and 2, Plate III; for band 3, Figs, 1 & 2, and 4, Plate IV; for band 5. Figs. 3 and 4. Plate III; and for band 6, Fig. 3, Plate IV. The red dots of band 6 were printed by a narrow block which is not shown. This border is a fair example of the ordinary work done in cotton printing, neither the best nor the worst. In most cases the places where the impressions join can be readily seen.

Photo credit of https://archive.org/details/blockprintsfromi01lewi/page/6/mode/2up / Photo composition by Ethnoflorence

Fig. 1

This block shows the same design as Fig. ,l, Plate III, but is a different block from the one from which that impression was made. The holes at the bottom of the cut-out design go through to the top of the block. The design is bordered by a thin wood partition, which shows lighter than the rest of the surface. This part of the block has also been hollowed out, except for partitions every so often, and a fibrous mass firmly packed into the cavities thus formed. One of the cavities has lost its packing.

Fig. 2

The design on this block is shown in Fig. 1 Plate XX.

Photo credit of https://archive.org/details/blockprintsfromi01lewi/page/6/mode/2up / Photo composition by Ethnoflorence

A row of holes has been bored through the block from end to end, and another from side to side, and into these the small holes from the cut-out design open. The depth to which the design is cut is clearly shown on the side. The handle is part of the same piece of wood, as is usually the case, though occasionally it is cut out of a separate piece and pegged on.

Photo credit of https://archive.org/details/blockprintsfromi01lewi/page/6/mode/2up / Photo composition by Ethnoflorence

BLOCK PRINTS FROM INDIA—TWO-COLOR DESIGNS.

While the colors used for these designs may vary, the fine-cut designs with narrow lines are usually printed in black, and the heavier masses in red. The lack of perfect registration of the two colors is in the original blocks, and the agreement is at least as close as in ordinary cotton printing.

**

(II)

THE MASKING TRADITION IN TRIBAL INDIA AND HIMALAYA

34 living traditions explored in the course of this new research program devoted to the masked festivals of the Himalayan region and the Indian subcontinent.

A concise and unique methodology.

Hundreds of masks have already been taken into consideration, identified, localized and often explained in their meaning & unique iconography.

The materials are well represented and explained through the visual explanatory photo compositions Ethnoflorence’s style.

***

INDIAN AND HIMALAYAN BIBLIOGRAPHY

AN EXPLICATED ICONOGRAPHY

ETHNOFLORENCE SELECTION

DIE SAMMLUNG LUIGI BLESIO

a 2003’s Monographic Publication https://issuu.com/hanswarnitz/docs/sammlung_luigi_blesio

BENGHT FOSSHAG

Photo credit of Benght Fosshag – Photo Composition by Ethnoflorence

Photo credit of Benght Fosshag – Photo Composition by Ethnoflorence

Khyak Pyākhan (ख्याः प्याखं) Dance of Nepal

November 9, 2022May 5, 2024Ethnoflorence Leave a comment

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

2008 – 2022

November 9, 2022

(I)

THE MASKING TRADITION IN FOLK & TRIBAL INDIA & HIMALAYA

no 28

Khyak Pyākhan (ख्याः प्याखं) Dance of Nepal

The character Khya in three different but similar, iconographically, representations. -On the left ©Photo credit Kamal Ratna Tuladhar via Wikimedia https://commons.wikimedia.org/wiki/File:Khyah.jpg on the right photo credit updating in progress (4 5 2024)

Khyah, ‘ghost’ translated by Newari, one of the central characters of their folklore, in mythology represents the assistant of the Goddess of wealth Laxmi, iconographically depicted as an obese and hairy semi-human character with a protruding tongue, it is accompanied by his antithetical character, the Kawancha skeleton. Good and bad, bearers of luck and prosperity or disease and misery, domestic Khyahs are believed to reside in attics and dark places in the house, fearing electric lighting, they inspire the Newari dance of Khyas (Khya Pyakha) during various festivals like Yenya (Indrajatra).

On the Letf – Laxmi_dyah_and_khyah Painting showing Goddess Lakshmi and a pair of Khyahs (foreground). © Photo credit of Karrattul via Wikimedia- On the Right – Photo credit Updating in progress

Photo credit Updating in progress

The two aforementioned characters of Khyahs and Kawanchas also appear as secondary characters in some Newar sacred dance dramas.

The images of Khyah and Kawancha can be reproduced in the facades and temples as guardians of the shrine.

The Characters of Khyah and Kawancha – Lagaan Kathmandu Nepal ©Photo credit of Shiv Mirabito

©Photo credit of Shiv Mirabito

***

The characters of Khyah and Kawancha are reproduced on the facade of a shrine. – Photo credit Updating in progress

The Khyah dance known as Khyāh Pyākhan (ख्याः प्याखं), is performed during the Yenya festival in Kathmandu, Durbar square.

The characters of Khyah and Kawancha – Photo credit Updating in progress

Typology of the Khyah

Bārāy Khyāh (बाराय् ख्याः) appears in the rooms where the girls are kept in solitary confinement during their rite of passage.

Bhakun Gwārā Khyāh (भकुं ग्वारा ख्याः), roll on the ground to move.

Dhāpalān Khyāh (धापलां ख्याः) is a hairy Khyah.

Lanpan Khyāh (लँपं ख्याः) blocks the passage of people in the dark streets.

Bun Khyāh: lives in cultivated fields

On the Left Photo credit Kamal Ratna Tuladhar via Wikimedia on the Right Photo credit of an Unknown author via Wikimedia

Photo credit Updating in progress

EXTRACTS

from

OUR PHOTO ARCHIVES COLLECTION

An iconographic evolution of the first issues of Ethnoflorence on the web dated between 2008-2010

©Photo & Composition by Ethnoflorence – Ethnoflorence Photo Archives Collection #144

In the posts of the first years of this site – we are talking about the period between 2008 and 2010 – the photos in our archive were used to start the editorial adventure of Ethnoflorence, a selection from it, it’s still published by us after 14 years. Times and the web have changed profoundly in the meantime, and our
editorial line has evolved over the years, but we still believe in the expressive and educational power of these materials.

FACES OF THE HIMALAYAS

©Photo & Composition by Ethnoflorence – Ethnoflorence Photo Archives Collection

***

Old Southern Nepal male mask with white kaolin patina (#234)

©Photo & Composition by Ethnoflorence – Ethnoflorence Photo Archives Collection #234

Old expressive Southern Nepal Male Mask with Yellow Hat. (#6)

©Photo & Composition by Ethnoflorence – Ethnoflorence Photo Archives Collection #6

Himachal Pradesh Faguli Mela at Nichar निचार Kinnaur An Explicated Iconography

October 9, 2022May 5, 2024Ethnoflorence Leave a comment

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

2008 – 2022

***

October 9, 2022

Editorial Contents of this Issue

A Unique and Exclusive Point of View

(I)

THE MASKING TRADITION IN FOLK & TRIBAL INDIA & HIMALAYA

no 25

Each society lives in the present but its roots are in the past and through the tradition the past is connected with the present.

https://ethnoflorence.wordpress.com/category/mask-the-masking-tradition-in-tribal-india-and-himalaya/

HIMACHAL PRADESH

Faguli Mela at Nichar Kinnaur

Nichar निचार is a small village located in the Kinnaur district of Himachal Pradesh state, Unsha (Usha) Devi Wooden Temple of Nichar is devoted to the goddess Usha known locally as ‘Ukha’.

The local Faguli is characterized by the presence of polychrome masks with side horns.

Photo credit Google Map

While the cut of the eyes is similar to that of the other production areas / Faguli of Himachal Pradesh, the shape of the chin and the presence of the horns characterize these materials.

©Photo credit of Krrish Rastmaan via Facebook

It should be noted that some masks used in Paguli, although similar to the others for the shape of the face of the chin and the polychromy, are not characterized by the presence of horns. (Note the mask on the right below).

©Photo credit of Krrish Rastmaan via Facebook

Danced in parallel lines, similarly with other areas / Faguli, at Nichar the masks perform to the rhythm of the drum and cymbals

it is interesting to note how / that in this festival also the musicians wear masks

(See the two photos below right)

©Photo credit of Krrish Rastmaan

Unusual circumstance compared to other festivals / Faguli already examined / documented.

Dev Shri Bithu Narayan’s Phagli Thachi Valley Mandi district Himachal Pradesh

June 14, 2022May 3, 2024Ethnoflorence Leave a comment

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

June 14, 2022

***

THE MASKING TRADITION IN FOLK & TRIBAL INDIA & HIMALAYA

no 22

Each society lives in the present but its roots are in the past and through the tradition the past is connected with the present.

https://ethnoflorence.wordpress.com/category/mask-the-masking-tradition-in-tribal-india-and-himalaya/

***

Dev Shri Bithu Narayan’s Phagli

Thachi Valley Mandi District

The Dev Shri Bithu Narayan’s Phagli it’s a ritual festival celebrated every three years for a period between 7 and 10 days in the different villages of the Thachi valley, in honor of the most important divinity of the place – Dev Shri Bithu Narayan – (whose mask we will talk about later).

The masks used in this valley, as for similar celebrations in different areas, have a

unique – documented – and well recognizable appearance

important characteristics to be able to discern materials in an ever more precise and scientific way

Dev Shri Bithu Narayan’s mask differs from this general iconographic characterization, as we shall see

These are masks, for the most part, with a white background, mustaches and beards (often light in color), a crown applied to the forehead of the mask with a polychrome and multi-material character. Strips of red fabric decorate the masks.

We will talk about these iconographic elements later.

From an examination of the photographic material it is immediately evident the high number of masks used in the course of this Faguli.

Old wooden masks, often repainted from festival to festival, are placed side by side with more recent materials during the ritual performance.

Wooden dance effigies, sometimes with an obscene character, are exhibited during the performances by some of the masked characters.

***

Among the masks that do not have a white background, a group of

Monkey / Lord Hanuman masks

stand out

characterized also by long beards and richly decorated crowns.

( in the photo published below are documented two masks that seem to be made recently – probably not in wood.)

Monkey masks are among those leading the procession of masks.

***

Another mask (danced with another one identic), certainly the most important of the festival, represents the divine character / mask of

Dev Shri Bithu Narayan

Dev Shri Bithu Narayan Mask

***

An unique iconographic combination

An animal skin pulled on a wooden frame and decorated in the smooth external part surmounted by a dark red monochrome mask, (together with another similar but gray color) is present and documented.

As with the monkey masks, this mask is also often documented along with those who lead the procession of masks.

***

A perforated iconography of the mouth

Going back to examining the iconography of the masks with a white background, which constitute a typical and stylistically uniform corpus, we can see how some of them (we have chosen 3, for example marked by the letters BCD) have a perforated iconography of the mouth – similar to that which found in a mask in Khun’s Phagli, Anni Teshil, Kullu District (Mask A).

Photo credit Updating in Progress

That of the ‘pierced mouths’ is an iconographic feature that we will try to highlight every time it occurs in the different festivals. Rather unusual we can rarely find it even in some Nepalese masks (of which we reproduce below a detail – from our photographic archive).

Back Side of a nepalese mask characterized by a ‘perforated’ mouth – Ethnoflorence Photo Archive Collection

***

A mouth with protruding teeth

Similarly to the category of pierced mouth masks, another group of masks instead features a mouth with protruding teeth, making these masks particularly expressive.

This iconographic typology opens up interesting iconographic comparisons.

Monochromatic masks with a similar stylistic rendering of the teeth are present in our archive – to be attributed to neighboring areas.

***

A crown applied to the top / forehead of the mask

Another characteristic element of these masks is the presence on many of them of a crown applied on the forehead / upper part of the artifact.

Sometimes in fabric, others in cardboard or plastic, these are mobile elements added to the wooden artefact (for older masks) that offer us interesting iconographic elements.

From festival to festival, in addition to being repainted, the mask can also have a different crown from that of the previous festival, as in the case documented in the two photos below, in which the same mask is documented with two different crowns (or as in the second case with a repainted crown)

A 1 – A 2

Photo credit Updating in Progress

B 1 – B 2

The movable crown, applied on the mask with metal sticks, has been repainted like the rest of the mask with a white monochrome color (Image B1).

Photo credit Updating in Progress

Strips of red fabric decorate the masks, attached with small sticks ( C 1 & C 2) as well as some of the crowns (C 3)

Photo credit Updating in progress

***

THE MASKING TRADITION IN TRIBAL INDIA AND HIMALAYA

https://ethnoflorence.wordpress.com/category/mask-the-masking-tradition-in-tribal-india-and-himalaya/

22 living traditions explored in the course of this new research program devoted to the masked festivals of the Himalayan region and the Indian subcontinent.

Thachi valley twisted masks – Photo credit updating in progress – © Photo Composition by Ethnoflorence

A concise and unique methodology.

Valley – Local Museum – Photo credit updating in progress – Photo Composition by Ethnoflorence

Hundreds of masks have already been taken into consideration, identified, localized and often explained in their meaning & unique iconography.

Photo Credit updating in progress

The materials are well represented and explained through the visual explanatory photo compositions Ethnoflorence’s style.

Photo credit updating in progress

EXPLORE FROM HERE

General Link

https://ethnoflorence.wordpress.com/category/mask-the-masking-tradition-in-tribal-india-and-himalaya/

***

Explore a selection of the tens of thousands of images contained on the Ethnoflorence site through searching for Ethnoflorence on GOOGLE or / & BING IMAGE

An iconographic evolution of the first issues of Ethnoflorence on the web dated 2008-2010

Etnoflorence selection / search by image – Google & Bing

Etnoflorence selection / search by image – Google

***

Dhaugi धौगी village Fagli Festival in Sainj tehsil of Kullu district – Himachal Pradesh, India. Animistic Nepalese masks with a long nose

June 6, 2022May 5, 2024Ethnoflorence Leave a comment

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

June 6, 2022

Content of this Issue

(I) Dhaugi धौगी village Fagli Festival in Sainj tehsil of Kullu district – Himachal Pradesh, India. (II) Upcoming Events – Paper Machie Craft making workshop at Odisha Crafts Museum. (III) Animistic Nepalese masks with a long nose

(I)

THE MASKING TRADITION IN FOLK & TRIBAL INDIA & HIMALAYA

21 – XXI – २१

https://ethnoflorence.wordpress.com/category/mask-the-masking-tradition-in-tribal-india-and-himalaya/

***

(I)

Dhaugi धौगी village Fagli Festival in Sainj tehsil of Kullu district – Himachal Pradesh, India.

Over the last few months we have described various traditions linked to the Fagli festival in Himachal Pradesh, focusing on the different types of masks present in these representations of the ‘ritual / traditional’ theater.

Characterized by long beards,moustache and showy earrings, these masks, characteristic of the Sainj valley, have a unique, documented and well recognizable appearance.

©Photo Credit of Vi Ni

In the village of Dhaugi the Fagli is characterized by the presence of about 20 masks; in addition to the mask, the various characters ‘wear’ tree branches which make their look particularly wild – a detail similar to other representations in different areas of the HP – as we will describe and document later.

Compared to other groups of masks typical of other areas or villages – these masks are not characterized by a homogeneous background color – but by variegated colors, which differentiate them chromatically.

The wooden masks are decorated with flowers – beards and earrings.

Photo credit updating in Progress – Photo composition by Ethnoflorence

The mask (below) on the right – semi-flat – differs from most of those in this group. The cut of the eyes, outlined by a white line, is instead typical. The iconographic combination of mouth – teeth – mustache is interesting (also highlighted in white).

As already written, long beards and mustaches are the characterizing elements of the masks of this valley.

©Photo credit of Vi Ni – Photo composition by Ethnoflorence

The decoration of the body of the masked character made with tree branches is similar to that practiced in the Fagli of Malana Village -Harlala Mask Dance Festival (photo on the left below) – (On the right – Dhaugi village – mask) where the dance of the masks is characterized by the presence of three barefoot masked dancers, dressed in traditional clothes and with the body wrapped in branches and green leaves.

Photo credit updating in Progress

The masks used in this village are characterized by a dark background thickly dotted with yellow, the cut of the eyes is typical, short fur mustaches are attached above the mouth, branches and green cannabis leaves surround the body and the ends of the masks. (upper row in the picture below).

Photo credit updating in Progress

A similar ‘body’ decoration is also present in the masked characters of the Fagli of Rumsu Village Naggar Tehsil Kullu District – Himachal Pradesh. Dressed in traditional clothing and covered in branches with green leaves, the dancers act in row, wearing large crowned masks, following a costumed character (without a mask) who directs them (holding an ax). These are five large crowned wooden masks characterized by an ocher background color, decorations of the crown and face of the mask in golden yellow , mustache and eyebrows in black , teeth in white. (See photo below)

Photo credit updating in Progress

Different phases of the Dhaugi village Fagli Festival

©Photo credit of Vi Ni

©Photo credit of Vi Ni

CLIPPINGS SELECTION

Dhaugi Resume

Block / Tehsil → Sainj – District → Kullu – State → Himachal Pradesh

About Dhaugi

According to Census 2011 information the location code or village code of Dhaugi village is 012903. Dhaugi village is located in Sainj tehsil of Kullu district in Himachal Pradesh, India. It is situated 63km away from district headquarter Sainj. Sainj is the sub-district headquarter of Dhaugi village. As per 2009 stats, Dhaugi village is also a gram panchayat.

The total geographical area of village is 399 hectares. Dhaugi has a total population of 2,387 peoples, out of which male population is 1,203 while female population is 1,184. Literacy rate of dhaugi village is 70.05% out of which 76.89% males and 63.09% females are literate. There are about 503 houses in dhaugi village. Pincode of Dhaugi village locality is 175134.

Banjar is nearest town to Dhaugi village for all major economic activities.

(Info Credit of https://villageinfo.in/himachal-pradesh/kullu/sainj/dhaugi.html)

THE MASKING TRADITION IN TRIBAL INDIA AND HIMALAYA

https://ethnoflorence.wordpress.com/category/mask-the-masking-tradition-in-tribal-india-and-himalaya/

21 living traditions explored in the course of this new research program devoted to the masked festivals of the Himalayan region and the Indian subcontinent.

©Photo Credit of Thirtan Valley Official – Photo composition by Ethnoflorence

A concise and unique methodology.

Hundreds of masks have already been taken into consideration, identified, localized and often explained in their meaning & unique iconography.

Photo credit of Ethnoflorence

The materials are well represented and explained through the visual explanatory photo compositions Ethnoflorence’s style.

EXPLORE FROM HERE

General Link

https://ethnoflorence.wordpress.com/category/mask-the-masking-tradition-in-tribal-india-and-himalaya/

Photo credit of Ethnoflorence

(II)

UPCOMING EVENTS

Join us for Paper Machie Craft making workshop at Odisha © Crafts Museum- Kala Bhoomi on 14th June’2022 from 11:00 am to 01:30 pm.

To register call at

8093577674

or email at

info@odishacraftsmuseum.com

Photo credit of Odisha © Crafts Museum- Kala Bhoomi

(III)

EXTRACTS FROM OUR PHOTO ARCHIVES COLLECTIONS

An iconographic evolution of the first issues of Ethnoflorence on the web dated 2008-2010

In the posts of the first years of this site – we are talking about the period between 2008 and 2010 – the photos in our archive were used to start the editorial adventure of Ethnoflorence, a selection from it, it’s still published by us after 14 years. Times and the web have changed profoundly in the meantime, and our editorial line has evolved over the years, but we still believe in the expressive and educational power of these materials.

Some Animistic Nepalese masks with a long nose

(a)

Compared to masks with long noses with a phallic or particularly hooked appearance, this mask instead has a long nose with an unusual cylindrical shape.

***

(b)

The hooked nose of this mask is balanced and well proportioned to the rest of the face and harmonized with the prominent masses of the forehead and chin.

***

(c)

In this third mask the hooked nose is instead disharmonious with respect to the frontal perspective axis of the mask and disproportionate to the general dimensions of the piece.

****

(d)

In this fourth example the nose, particularly pronounced, has been added to the main structure of the mask.

****

(e)

This mask comes from the same iconographic context as mask “d”, similar in the stylistic rendering of the eyes, mouth, holes on the top of the mask, prominent nose (also here attached later to the mask).

Mask “e” it is probably more recent than mask “d”.

A comparative examination of the two masks reveals iconographic affinities (cutting of the mouth and eyes, round face oval ) and techniques (the nose of the two masks, as mentioned, was attacked (with nails) later; holes in the upper section of the masks ).

Mask “d” (left) as already said is older than mask “e” (right).

The upper part of the two masks also has in common the presence of holes probably used to house movable decorations.

***

(IV)

Search for Ethnoflorence

Google or Yahoo images

***

***

Barun Valley (बरुण उपत्यका) – Sankhuwasabha District (सङ्खुवासभा जिल्ला) Bhote caste / Bhutias People Masked Festival, Nepal.

May 10, 2022April 10, 2024Ethnoflorence Leave a comment

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

May 10, 2022

***

(I)

THE MASKING TRADITION IN FOLK & TRIBAL

INDIA & HIMALAYA

no 19

https://ethnoflorence.wordpress.com/category/mask-the-masking-tradition-in-tribal-india-and-himalaya/

***

Barun Valley

(बरुण उपत्यका)

Sankhuwasabha District

(सङ्खुवासभा जिल्ला)

Bhote caste / Bhutias People Masked Festival Nepal

Photo Credit of Rajesh Dhungana

https://commons.wikimedia.org/w/index.php?search=Folklore+Barun+Barun+Sankhuwasabha+Nepal+Rajesh+Dhungana&title=Special:MediaSearch&go=Go&type=image

Creative Commons Attribution – Share Alike 4.0

The ancient tradition of celebrating Losar – new year – dates back to the arrival of Buddhism in Tibet and has its roots in the Bon religion. The festival in Nepal is called Lhochhar and is observed about eight weeks earlier than the Tibetan Losar.

Photo Credit of Rajesh Dhungana Creative Commons Attribution – Share Alike 4.0

The following photographs, taken in Nepal’s Barun Valley – Sankhuwasabha District – during a (2008’s) Bhote caste Masked festival, should be related with this main annual celebration.

As already done for other masked festivals in the region, also in this case we will focus our attention on the iconography of a group of masks present during the celebrations.

A local context in which echoes of pre-Bon culture still seem to be present – as well as an interesting and heterogeneous variety of materials present.

These three dark monochromatic wooden masks – A B C – represent classical characters – wrathful gods / protectors of religion – in the local reinterpretation of classical iconographic canons.

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence Creative Commons Attribution – Share Alike 4.0

The accentuation of the prominent and rounded facial elements is reflected in the stylistic rendering of the five skulls that crown the masks, peculiar of this peripheral style but also typical when and if compared to the more integral one of classical representations.

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence Creative Commons Attribution – Share Alike 4.0

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence Creative Commons Attribution – Share Alike 4.0

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence Creative Commons Attribution – Share Alike 4.0

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence Creative Commons Attribution – Share Alike 4.0

Made with ephemeral materials, mask -D- is colorful and scenographic.

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence Creative Commons Attribution – Share Alike 4.0

Mask D in it’s details

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence Creative Commons Attribution – Share Alike 4.0

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence Creative Commons Attribution – Share Alike 4.0

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence Creative Commons Attribution – Share Alike 4.0

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence Creative Commons Attribution – Share Alike 4.0

The zoomorphic mask -G- is accompanied by the -E & F- wooden masks characterized by a masculine appearance – dark monochromes (with dark yak and horse hairs) – facial elements highlighted by light paint – red (E & F) and yellow (H).

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence – Creative Commons Attribution – Share Alike 4.0

Three dark masks (E F H) with a rather minimal but homogeneous style, to note the round stylistic rendering of the eyes – surrounded by white and red paint.

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence – Creative Commons Attribution – Share Alike 4.0

Mask – I – could have been made with papier mache, and it is characterized by a red background color and rounded eyes (outlined with white color).

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence – Creative Commons Attribution – Share Alike 4.0

Mask – L – has iconographic characters similar to the artefacts – A B C – it differs from them for a bright red background color.

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence Creative Commons Attribution – Share Alike 4.0

Compared to the analogous characters examined previously (ABC & L) the mask – M – seems to have a more refined style.

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence – Creative Commons Attribution – Share Alike 4.0

Overall these 11 masks identified through photographic images, testify to a remote tradition but still alive unique and original in some of its materials.

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence – Creative Commons Attribution – Share Alike 4.0

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence – Creative Commons Attribution – Share Alike 4.0

Photo Credit of Rajesh Dhungana – Photo Composition by Ethnoflorence – Creative Commons Attribution – Share Alike 4.0

***

THE MASKING TRADITION IN TRIBAL INDIA AND HIMALAYA

https://ethnoflorence.wordpress.com/category/mask-the-masking-tradition-in-tribal-india-and-himalaya/

19 living traditions explored in the course of this new research program devoted to the masked festivals of the Himalayan region and the Indian subcontinent.

A concise and unique methodology.

Hundreds of masks have already been taken into consideration, identified, localized and often explained in their meaning & unique iconography.

The materials are well represented and explained through the visual explanatory photo compositions Ethnoflorence’s style.

***

EXPLORE FROM HERE

General Link

https://ethnoflorence.wordpress.com/category/mask-the-masking-tradition-in-tribal-india-and-himalaya/

***

(II)

EXTRACTS FROM OUR PHOTO ARCHIVES COLLECTIONS

An iconographic evolution of the first issues of Ethnoflorence on the web dated 2008-2010

In the posts of the first years of this site – we are talking about the period between 2008 and 2010 – the photos in our archive were used to start the editorial adventure of Ethnoflorence, a selection from it, it’s still published by us after 14 years. Times and the web have changed profoundly in the meantime, and our editorial line has evolved over the years, but we still believe in the expressive and educational power of these materials.

Antique pair of crowned Sherpa masks

– dark crust patina –

(Frontal detail)

Photo & Composition by Ethnoflorence – Ethnoflorence Photo Archives Collection Folders no 290 & 308

Ancient Western Nepalese demon mask with anthropomorphic and geometric figures engraved on its surface

(Side & Frontal details)

Photo & Composition by Ethnoflorence – Ethnoflorence Photo Archives Collection – Folder no 304

Gurung Mask

Sunsan Dharan District

(Frontal and side view – details)

Photo & Composition by Ethnoflorence – Ethnoflorence Photo Archives Collection – Folder no 290

Comparative compositions – Innovative Solutions

The images of the upper parts of the masks (below) are obtained through a professional scanner – obtaining a (very) high definition of the details.

Photo & Composition by Ethnoflorence – Ethnoflorence Photo Archives Collection – Folder no 288 & 290

Photo & Composition by Ethnoflorence – Ethnoflorence Photo Archives Collection – Folder no 288

(III)

Search for Ethnoflorence on

Google or Yahoo Images

Kirtipur Panga Saparu – Gai Jatra – Kwapa – Mukundos Masks

April 22, 2022May 5, 2024Ethnoflorence Leave a comment

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

April 22, 2022

***

THE MASKING TRADITION IN FOLK & TRIBAL

INDIA & HIMALAYA

no 18

https://ethnoflorence.wordpress.com/category/mask-the-masking-tradition-in-tribal-india-and-himalaya/

***

(I)

Kirtipur Panga Saparu – Gai Jatra

gāi means cow and jātrā means festival

गाई जात्रा – सा पारु

is a festival observed by the people of the Newar community of Nepal of the
Kathmandu Valley, celebrated in the month of Bhadra (August – September) –

In this research we will deal with the festival held in Kirtipur, in which different sets of masks are danced every year, linked together by a typical and recurring iconography. A comparative section is dedicated in particular to the iconography of fungus masks and to the masks made from the head of a fish.

On the Left Panga Gaijatra (SaPaRu) 2075 Official Route – on the right the masked group A participating in the festival

Kirtipur किपू

(term derived from the Sanskrit words : Kirti =glory & pur= city )

It’s an ancient city of Nepal, center of Newar culture, located in the Kathmandu valley, southwest of the major city and together with it (Kathmandu), Lalitpur, Bhaktapur and Madhyapur Thimi is one of the five municipalities of the valley.

The center of Gaijatra celebration in Kirtipur falls in a part of the old city known as Panga.

An examination of the most ancient photographic materials reveals a continuity and iconographic similarity of the masks used in the past compared to those in use today.

In the two photos published below, dated 1982, taken by Tom Learmonth, we can see how while are still in use both the mask obtained from a dark-colored fish head and the one in red monochromatic wood.

The smaller flat one seem to have an iconography that is has evolved into materials similar in shape but with a slightly different face’s chromy.

©Photo Credit of Tom Learmonth

The Red Wooden Mask also reappears in one (the first – right) of the two undated black and white photos below, along with the group of smaller oval, flat, masculine ones, of which we have a similar version in the actual material.

(from the photos in b / w it is however difficult to understand the type of color present on the masks)

Photo Credit of Panga Kirtipur via Facebook https://www.facebook.com/photo/?fbid=1156339181210237&set=pcb.1156339441210211

Photo Credit of Panga Kirtipur via Facebook https://www.facebook.com/photo/?fbid=1156339291210226&set=pcb.1156339441210211

The iconography of the red wooden mask over the time is clearer in the compositions published below

Photo Credit Panga Kirtipur via Facebook

As for the mask obtained from the head of a fish

for which there are, in recent times, two versions used (in different sets) , one dark blue (1982 & 2017) and the other in natural color (2018) – (and a third one on wood).

©Photo credit of Photo Credit of Tom Learmonth (on the left) –

The evolution of the male flat one from the monotone version (1982) to the later – (ND – 2019) is evident from this photographic composition.

©Photo credit of Photo Credit of Tom Learmonth (on the left) –

The red wooden mask and the one made from the head of a fish are part of the five Kwapa – Mukundos

used in the Panga Saparu – cow procession –

The third mask – Kwapa – we take into consideration is the one obtained from a Fungus.

It is a dark-colored zoomorphic fungus mask (2011-2015-2017) with facial features outlined by the use of white and red color.

Photo credit updating in progress

From the Left, in 2020 this mask was used (as a set) together with the two other Kwapa described above (blue Fish mask & red wooden mask)

©Photo credit of Galche Dafa Khala

We can call this first group of masks group A

Full Group A – ©Photo Credit of Ruz_nphotography (2021)

Full Group A – Details – © Photo Credit of Ruz_nphotography (2021)

Three major characters – group A

©Photo credit of Shir Irish Shyami – (2019)

The characteristic two-tone flat male masks

***

A different version of the fungus mask of the group A was documented in 2018 in a different group (set) of masks (note how the mask obtained from the fish head of this group has the mouth closed compared to the other two specimens considered above). It is a particularly expressive specimen – note the prominent fangs – outlined (like the rest of the details of the face) with a light color on a dark background.

We can call this second group of masks group B

Photo credit Panga Kirtipur Via Facebook https://www.facebook.com/photo/?fbid=1016334621877361&set=a.788331794677646 -Group B –

***

A similar (looking ? ) fungus mask , is featured in another group, danced together with a fish head mask – iconographically similar to the two examples of Group A & C, but made of wood.

We can call this third group of masks group C

From the photo it is difficult to understand whether the mask is also a fungus or a wooden one carved in the style of a fungus.

Group C – Photo credit Panga Kirtipur Via Facebook

Main Characters of Group C

***

Archaic and powerful, an additional zoomorphic fungus mask is known to be in use in a fourth set of masks

We can call this fourth group of masks group D

Here the complete set of masks of Group D

Sad News

Among the 10 Khawapa (Mukundo) used in Panga Saparu (Gai Jatra) were stolen a few months after it was found. If the lost khwapa has not been found yet, new khwapas are being prepared for the upcoming festival.

Note:

If you see this khwapa anywhere near you, please inform the nearest police station or government office.

Fungus mask – side view & detail of the complex attachment system of the mask to the face

Mask made from a fish head – group D

Photo credit updating in progress

***

***

Food for Tought

Vintage Panga Gaijatra Photo Credit of Panga Kirtipur via Facebook

One Fish head mask with a rich polichromy was published in Petit/Lequindre Nepal Shamanisme et Sculpture Tribale Infolio 2010 & Gisele Krauskopff VOYAGES EN SHANGRILA LE MARCHE’ “IN SITU” DES OBJET D’ART PRIMITIF D’HIMALAYA” ; Renzo Freschi, Himalayan Masks, Lanfranchi Collection 2017.

In the first and third (publication) was also published a Fungus mask, probably belonging from the same set / group of masks.

Some essays devoted to the so called fungus masks

(a)
© Ethnomycologie Nepalaise Masques en Polypores – par Guy Durrieu – Mashedh Humar Adhikari & JP Girolami (in Bull. Soc. mycol. Fr., 130 (1-2) p.57-71 2014.
(b)
© Lettre Du Toit du Monde Numero 25 Mars 2018 – Les Masques – Champignons du Nepal par Francois Pannier
https://www.letoitdumonde.net/images/lettres/pdf/LETTRE-TDM-25.pdf
(c)
© Extraordinary Fungal Masks used by the Indigenous People of North America and Asia – by Robert A. Blanchette (in Fungi volume 10:3 Fall 2017)
https://www.fungimag.com/fall-2017-articles/V10I3%20LR%20Masks%208_12.pdf

****

(II)

Explore a selection of the tens of thousands of images contained on the Ethnoflorence site through searching for Ethnoflorence

GOOGLE / YAHOO or BING IMAGE

PALDI FAGLI Malana मलाणा Village मलाना हिल्स हिमाचल Harlala Mask Dance Festival An Explicated Iconography

February 11, 2022May 3, 2024Ethnoflorence Leave a comment

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

February 11, 2022

***

(A)

CULTURAL EVENTS

PALDI FAGLI – पलदी फागली –

MALANA VILLAGE – मलाणा –

Rakshasa masks

Harlala Mask Dance Festival

मलाना हिल्स हिमाचल

***

Malana is the oldest village in the Kullu district , located on an isolated plateau in the Malana Nala Valley, bordering the Parvati Valley to the northeast of the Kullu Valley. The central square of the village, as it appeared at the end of the 19th century, is reproduced in a photograph published in Lights & Shades of hill life in the Afghan and Hindu highlands of the Punjab, A Contrast – F.G. Gore London 1895.

Extract from Lights & shades of hill life in the Afghan and Hindu highlands of the Punjab, a contrast – F.G.Gore London 1895

Locals narrate that JAMLU RISHI Rishi inhabited this area dictating the rules of coexistence of the population so that the people believe they are the descendant of the Aryan civilization; Legend has it that some soldiers of Alexander the Great’s army took refuge in this isolated village in 326 BC. after being wounded in a battle against Porus, ruler of Punjab, and that these are the ancestors of the Malani people; according to various sources the local population would claim also to be one of the oldest democracies characterized by a parliamentary system ( consisting of lower house called the Kanishthang and an upper house called the Jayeshthang) led by their DEVTA deity JAMLU RISHI.

The Village Temples at Malauna – Extract from Lights & shades of hill life in the Afghan and Hindu highlands of the Punjab, a contrast – F.G.Gore London 1895

Malauna Village from the Rashol Pass – Extract from Lights & shades of hill life in the Afghan and Hindu highlands of the Punjab, a contrast – F.G.Gore London 1895

The residents of Malana speak the Kanashi/Raksh a sort of Tibetan-Burmese language. Their language is considered sacred and people from other villages cannot use it.

Photo Credit of Google Map

Malana Fagli starts between the end of February and the first days of March.

The Fagli is celebrated by the people in the Malana village in honour of their Devta – deity JAMLU. Women of the village act also a traditional dance in the courtyard of Mata Ambika and Mata Renuka manifesting acts of devotion to the deity Jamlu Rishi.

Participants in the Fagli wear the Khooba खूबा, the traditional shoe made of goat wool.

Ritual activities related to the Fagli are carried out by the participants wearing traditional clothes and instead of the ordinary shoes, which are prohibited, they wear the Khooba खूबा, a shoe made of goat wool.

Participants in the Fagli wear the Khooba खूबा, the traditional shoe made of goat wool.

The dance of the masks is characterized by the presence of three barefoot masked dancers, dressed in traditional clothes and with the body wrapped in branches and green leaves.

Rakshasa Masks

The masks used in this village are characterized by a dark background thickly dotted with yellow, the cut of the eyes is typical, fur mustaches are attached above the mouth, branches and green cannabis leaves surround the ends of the masks.

The presence of the branches and leaves gives to these masks a sylvan aspect, they represent three rakshasa / demons and the dance represents the relationship between the village and the Rakshasa.

Each of the three dancers come from one of the three parts – upper, middle and lower- into which the village of Malana is divided; and each of them can wear the mask only after fasting for a whole day.

The masks carry out the ritual circumambulation of the village, the three people consecrated to wear the masks walk barefoot on the snow, which in this winter season falls and accumulates profusely, and all those they meet are thrown into the snow, in a ritual practice which is considered sacred. They also dance around the houses spreading cow dung, which provides insulation from the cold as well. After these activities the three masks go to the main temple of Jamlu Rishi , where traditional food is served to the villagers.

मलाणा खोपरी फागली ||The Mask Fagli || Malana Oldest Democracy

Last Updating 2022 5 10

Paldi Fagli Thati Bir village Banjar Kullu 2022 part I & II पलदी फागली 2022 Part 2 पारंपरिक त्यौहार पुराने रीति-रिवाजों के साथ मनाया जाता है

January 18, 2022April 10, 2024Ethnoflorence Leave a comment

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

January 18, 2022

***

(I)

CURRENT CULTURAL EVENTS

PALDI FAGLI – पलदी फागली –

2022

पलदी फागली 2022 पारंपरिक त्यौहार पुराने रीति-रिवाजों के साथ मनाया जाता है

Himachal Pradesh Masks

THATI BIR VILLAGE

BANJAR KULLU HIMACHAL PRADESH

PART I

Thati Bir village is located in Banjar Tehsil of Kullu district in Himachal Pradesh, India. Thati Bir has a total population of 1,611 peoples. There are about 300 houses in Thati Bir village. Banjar is nearest town to Thati Bir.

Part II

****

BOHADA FESTIVAL – बोहड़ा उत्सव – महाराष्ट्र MAHARASTHRA THANE DISTRICT – Maharashtra –

October 24, 2021May 3, 2024Ethnoflorence Leave a comment

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

October 24, 2021

***

THE MASKING TRADITION IN TRIBAL

INDIA & HIMALAYA

https://ethnoflorence.wordpress.com/category/mask-the-masking-tradition-in-tribal-india-and-himalaya/

no 9

***

We continue our research within the varied universe of popular masks of the Himalayan and Indian region, dedicating ourselves today to an interesting festival in the Thane district of Maharastra, in which, up to 52 masks are danced – and where paper mache has replaced wood in their realization. As always, in addition to a description of the festival, we will focus on the identification of individual iconographic characters.

BOHADA FESTIVAL

– बोहड़ा उत्सव –

In Maharashtra Thane is the principal tribal district having mask cult’s & local traditions linked / involved with their use.

Mask of a Ravanati

Bohada is a three-day tribal masked festival held in Thane and Nashik districts in May, it coincides with the Akshay Tritiya – the third lunar day of the Vaishakh month in the Hindu calendar – after or between Hanuman Jayanti, Gudhi Padva or Naag Panchami; in this festival the masks are taken in procession by the local people, to show gratitude to the Village Goddess Gaon Devi, as they believe these supernatural characters are with them during these rituals and festivals.

Dait & Khanderao masks

The tribal area of Jawhar Tahsil in Thane district, is populated by the Konas, Warlis, Mahadev Kolis, Thakars, Dhor Kolis, Malhar Kolis, Dublas, Korkus and Katkaris people, only these 9 tribes in Maharashtra are known for having a mask’s tradition.

The Bohada festival is organized in 8 villages, the one of Mokhada is considered the birthplace of this tradition, the names of the villages are:

Mokhada Bohada, Thane District – बोहाडा उत्सव मोखाडा

Thane Kardan Bohada ( on Gudi Padva)

Bharsat Meth Bohada( on Akshay Trutia)

Denga Chi Meth bohada

Vehel Pada Bohada , Taluka Vikramgadh

Jawhar Bohada, Thane District, (on Ram Navami)

Poyshet Bohada

Kokada Bohada

The 52 different mask’s characters taken in procession during the festival are :

Naran dev, Masa, Sarjadevi/ Saraswati – Peacocks, Ganpati, Mahadev, Indradev, Khanderao, Kaloba, Niloba, Bhairoba, Kalbhairi, Ram Tati, Kaurav Tati, Hedumba,
Mahisasur, Bakasur, Ravan, Vishnudev, Chanddev, Suryadev, Bhim-Bakasur, Raktadevi, Ghubadevi, Agnidev, Londhya, Narsihva, Satwai, Kumbha karma – Brother of Ravan,
Bhibisan – Brother of Ravan, Krishna, Charnin – a female herder, Toap – a man with cap, Balantin – new mother, Gavalani – a female herder, Garud – Eagle, Waghoba –
Tiger, Sinhva – Lion, Kasav – Tortoise, Dait – a male demon, Bhil Tati, Ekadas – one headed mask, Duvadas – two headed mask, Zakati Tati, Vithoba, Rukhmai, Vetal,
Gajasur, Ghoda, Evana, Dhavloba, Maha Laxmi, Shivaji Maharaj

Mask of a Ravanati – Mask of Kauravtati

Mask of Kaloba – Mask of Lndhya – Mask of Khandera

Mask of Raktadevi – Mask of Vishnu- Mask of Narsimha – Mask of Bhairoba – Mask of Brahmadev

In Jawhar alone, it seems that all the 52 characters are represented during the procession.

Kumbharakana Mask – Londhya Daitya Mask – Narasimha Mask

Thane District

Ambika Mask, Ganapati Mask, Kaloba Mask

Thane District

Surpanakha Mask, Hanuman mask, Saraswati Mask

Thane District

Khandva Mask, Bibhishan Mask, Brahmadev Mask

Thane District

Chandradev Mask, Kalabhairava Mask, Gurav Mask

The festival begins on its first day with the narration of Naradmuni, which is followed by the first prayers or Naman to Ganesha, Saraswati, Maruti, Jambumali and Mahadev.

The festival continues on the second day with the narration of the epic stories of Rama and those of Trimurti, Satvai, Bheem Bakasur, Agni Dev, Sai Dev, Kauravs, Rakta Devi, Vishnu Dev, Kaalbahiri,
Brahma Dev, Indra Dev – interspersed with the performance of actors dressed as Koli women

III

The third day includes the procession of the Songas – the main acts of Narsimha and Hiranyakashyapu are then represented followed by that of Jagdamba killing the Mahisasur – which fact gives rise to the demon – Londhyasur – killed at least by Jagdamba.

***

Throughout the year the masks are carefully preserved and wrapped in cloth and their public view is not available – it is said that Hanuman’s mask should not be touched by any woman to preserve its sacredness. The Mask of the Songa of Jagdamba – (in red) is documented as an object of daily devotion by the family that keeps it in in the devhara (house mandir) as a sort of guardian of the family.

***

The use of the masks made of local

Savar or Pangaro

wood

have disappeared over time due to the problems related to their conservation and the fact that they are too heavy for the actor who has to wear them during the dances.

Instead, local artisans started to use

papier-mâché

resulting in stronger and lighter masks.

***

(II)

THE MASKING TRADITION IN TRIBAL INDIA AND HIMALAYA

Recent Festivals Published General Link

https://ethnoflorence.wordpress.com/category/mask-the-masking-tradition-in-tribal-india-and-himalaya/

UTTARARAKHAND

-Hill Jatra Masks in Pithoragarh-

Masks of the Uttarakhand A Living Tradition – HillJatra Masks in Pithoragarh an explicated meaning and iconography उत्तराखंड के मुखौटे एक जीवित परंपरा – पिथौरागढ़ में हिलजात्रा मास्क एक व्याख्यात्मक अर्थ और प्रतीकात्मकता

-Bikhoti (बिखोती) Bhotiya Ritual Dance Mask Festival of Lata village-

Bikhoti (बिखोती) Bhotiya Ritual Dance Mask Festival of Lata village – Nanda Devi National Park in the Chamoli District , Uttarakhand

-Saloor & Dungra (twin) Villages Ramman Religious Festival and Ritual Theatre of Garhwal-

Uttarakhand Saloor Dungra (twin) Villages Ramman Religious Masked Festival and Ritual Theatre of Garhwal – रमन धार्मिक पर्व

RAJASTHAN

-Gavari Festival Ecstatic Theater Performance Mewar region of Rajasthan – India.-

On the left the Bhanjara gypsy trader gets lampooned to the crowd’s delight. Budia circles the arena in the background,- Bhil tribe’s Gavari ceremony performance in Udaipur, Rajasthan, India – Photo Credit of Photo credit of w david kubiak – https://commons.wikimedia.org/wiki/File:Masked_Gavari_Budia_figure_from_rural_Jaisamand_troupe.jpg

Gavari Festival Ecstatic Theater Performance Mewar region of Rajasthan, India An Explicated Iconography

ASSAM

-Bhari Gan Folk Masks, Rabha people – Goalpara district – Assam – India –

BHARI GAN Masked Ritual Theater Festival – Pati-Rabha Community – AN EXPLICATED ICONOGRAPHY

WEST BENGAL

-Gomira Mask of Kushmandi Area – Dakshin Dinajpur District-

GOMIRA MASKS DANCES OF KUSMANDI AREA – Dakshin Dinajpur District WEST BENGAL an Explicated Iconography कुसमंडी क्षेत्र के गोमीरा मास्क नृत्य – दक्षिण दिनाजपुर जिला पश्चिम बंगाल

-Raban Kata, Masked Dance – Bishnupur – Bankura District-

Raban Kata, Masked Dance – Bishnupur – Bankura District – West Bengal – রাবন কাটা, মুখোশধারী নাচ – বিষ্ণুপুর – বাঁকুড়া জেলা – পশ্চিমবঙ্গ An Explicated Iconography

TELANGANA

-Raj Gond and Kolams Dandari – Ghusadi Telangana Festival Ritual Dance –

Gussadi -Dandari festival in Adilabad district of Telangana

RAJ GOND DANDARI – GHUSADI Adilabad district TELANGANA FESTIVAL RITUAL DANCE गुसाडी दंडार

***

MAHARASTRA

Bohada Festival

BOHADA FESTIVAL – बोहड़ा उत्सव – महाराष्ट्र MAHARASTHRA THANE DISTRICT – Maharashtra –

***

	Netashwa on Magarok Nepálban Magar legend…
	-KHENIS, GHOST EATER… on NEPAL MASK HIMALAYAN TRIBAL AR…
	The Damphu (Nepali:… on Tibetan LION HEADED DAKINI mas…
	PALDI FAGLI PANJAJN… on RAJ GOND DANDARI – GHUSA…
	PALDI FAGLI PANJAJN… on GOMIRA MASKS DANCES OF KUSMAND…

ETHNOFLORENCE INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

Data Base of the Archive of the Posts of Ethnoflorence Skynet Blog 2008-2018 – & of the Ethnoflorence Photo Archive Collection 2018-2023

Category Mask THE MASKING TRADITION IN TRIBAL INDIA AND HIMALAYA

BLOCK PRINTS FROM INDIA FOR TEXTILES by Albert Buell Lewis FIELD MUSEUM OF NATURAL HISTORY Chicago 1924

(I)

Indian and Himalayan Folk and Tribal Arts

A Selected Bibliography

BLOCK PRINTS FROM INDIA FOR TEXTILES

वस्त्रों के लिए भारत से प्रिंट के लिए ब्लॉक

by Albert Buell Lewis

XXIV Plates

FIELD MUSEUM OF NATURAL HISTORY
Chicago
1924

**

Khyak Pyākhan (ख्याः प्याखं) Dance of Nepal

Himachal Pradesh Faguli Mela at Nichar निचार Kinnaur An Explicated Iconography

Dev Shri Bithu Narayan’s Phagli Thachi Valley Mandi district Himachal Pradesh

Dhaugi धौगी village Fagli Festival in Sainj tehsil of Kullu district – Himachal Pradesh, India. Animistic Nepalese masks with a long nose

Dhaugi Resume

About Dhaugi

Barun Valley (बरुण उपत्यका) – Sankhuwasabha District (सङ्खुवासभा जिल्ला) Bhote caste / Bhutias People Masked Festival, Nepal.

Kirtipur Panga Saparu – Gai Jatra – Kwapa – Mukundos Masks

PALDI FAGLI Malana मलाणा Village मलाना हिल्स हिमाचल Harlala Mask Dance Festival An Explicated Iconography

Paldi Fagli Thati Bir village Banjar Kullu 2022 part I & II पलदी फागली 2022 Part 2 पारंपरिक त्यौहार पुराने रीति-रिवाजों के साथ मनाया जाता है

BOHADA FESTIVAL – बोहड़ा उत्सव – महाराष्ट्र MAHARASTHRA THANE DISTRICT – Maharashtra –

(I)

Indian and Himalayan Folk and Tribal Arts

A Selected Bibliography

BLOCK PRINTS FROM INDIA FOR TEXTILES

वस्त्रों के लिए भारत से प्रिंट के लिए ब्लॉक

by Albert Buell Lewis

XXIV Plates

FIELD MUSEUM OF NATURAL HISTORYChicago1924

**

Dhaugi Resume

About Dhaugi

FIELD MUSEUM OF NATURAL HISTORY
Chicago
1924