09.05.2012
=> Tambours timbales provenant de l'Orissa (Inde)
Deux tambours timbales, Chacun de ceux-ci est constitué d'une cuve en métal recouverte d'une peau ligaturée à la cuve métallique par des lanières de cuir.
Nom vernaculaire: nagara / naqqara
Ethnie: Santal
Pays: Inde (Région de l"Orissa)
Dimension: ~ D: 20 et 38 cm
Matériau: métal, peau / cuir
Collection: sanza
L'Orissa est un des états de l'Inde qui compte une des plus grande concentration de populations tribales ou Adivasis. 62 tribus sont recensées aujourd'hui en Orissa. Parmi celles-ci: les Santal, Gond ou Muria, Munda, Kuttia Kond, Juang, Saora, Gabada, Bonda ....
Restés longtemps à l'écart des infuences extérieures, les Adivasis (Premiers Habitants) ont pu relativement préserver jusqu'à une époque récente leur façon de vivre et ce, plus particulièrement à travers la musique et la danse ainsi que l'art populaire.
Pour d'autres informations voir aussi:
http://sanza.skynetblogs.be/tag/orissa%20adivasis
http://ethnoflorence.skynetblogs.be/archive/2012/04/03/sa...
http://sanza.skynetblogs.be/archive/2008/09/06/panneaux-de-palanquins-de-mariage-santal.html
http://sanza.skynetblogs.be/archive/2008/02/14/portes-santal-orissa-bihar.html
http://sanza.skynetblogs.be/tag/dhodro%20banam
Ci-après une série de photos prises en octobre 1982 dans l'état d'Orissa (Inde)
Région de Chandragiri, Tiruli, Nandapur, Khilua
10:33 Écrit par sanza dans Art de l'Inde, Inde, Orissa | Lien permanent | Commentaires (0) | Trackbacks (0) | Envoyer cette note | 
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05.04.2012
=> TRIBAL ARTS OF THE SANTAL PEOPLE
*****************
SANTAL TRIBAL ARTS
*
This page could not be possible
without the precious contribute
of pictures
by
COLLECTION MUSEE DE LA CASTRE CANNES © PHOTO CLAUDE GERMAIN
CHRISTIAN LEQUINDRE
http://www.nepaltribalart.com/index.asp?p=65
ROBERT BRUNDAGE PETALUMA CA
SANZA ARTS PREMIERS BRUXELLES
FREDERIC ROND PARIS
http://www.indianheritage.biz/
HERVE PERDIOLLE PARIS
http://herveperdriollecv.blogspot.com/
A.M. COLLECTION
SANATAN KAVADIYA
http://www.tribalartsindia.com/
and text
by
ELIO REVERA BRESCIA
http://artidellemaninere.forumattivo.it/f8-love-driven-ch...
ETHNOFLORENCE
*******
An online
vocabulary of the Santali languge
by
EDWARD LAVALLIN PUXLEY
ON
http://books.google.com/books?ei=vZh8T8L1I4iD0QGK483TCw&a...
*****
Courtesy of
Collection Musée de la Castre, Cannes © Photo Claude Germain
"...une vièle Sarangi, venant du Santal, nom en soi, évocatour.
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'Acquisitions d'Art Primitif
du
Musée de la Castre"
Cannes
(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)
(Photo courtesy of Robert Brundage)
The Santal
carved
their one stringed lutes sometimes in the shape of a woman,
transfigurating the resonance of the instrument
into
rotundities known from Hindu sculpture and brought to the tribal level by simplifications and distortions demanded by the
shape of the instrument.
(Photo courtesy of Frederic Rond)
The prophetic head
with its far-seeing inlaid eyes, traversed at the back by the turning keyes as a kind of ear ornament,
carried aloft on a neck of inordinate length,
is a noble mask.
Through its thin lipped mouth
a
god may speak.
(Photo Courtesy of Sanza Arts Premiers)
Sound and mask,
the prophetic voice
which speaks through mask and instrument,
link auditory and visual experience in one manifestation
of the numinous.
Resume from
Stella Kramrisch
(Unknown India Ritual Art in Tribe and Village)
(Photo courtesy of Sanza Arts Premiers)
The Santals
believe
in the magical powers of this musical instrument,
a medium between the human beings and the supernatural.
(Photo courtesy of Christian Lequindre)
(Photo courtesy of Christian Lequindre)
The Banam
resume
in its various parts the anatomy of an human being:
head, ears, neck, chest and stomach.
The stringis 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.
(Photo Ethnoflorence)
The Head (Bonok) of the instrument represents the Space.
Neck (hatok) and chest (koram) are directly connected with the Respiration and represents the equivalent natural element of the Air.
The stomach (lac) represents the fire.
The ears (lutur) the ether.
(Photo Ethnoflorence)
The narrative typical carving of the panels, in low profile, it is characterized by human figures in combined front profile view, limbs at times overlapped in telling gestures and lively actions of spontaneously formed group, and are based roughly on one groundline in common, in a cursive notation of figures, human and animal, more valuable and surely less expert, but according to Stella Kramrisch somehow paralleling Egyptian reliefs.
(Photo courtesy of Frederic Rond)
DANCERS AND MUSICIANS
The Santal wedding litter is called
RAHI
and was made by tribal craftsmen themselves.
The RAHI was created with a certain amount of ceremony.
According to Verrier Elwin and Stella Kramrisch
When work was started, two pigeons were sacrificed;
when it was completed the couple sat on it and were carried to the central Manjhithan where more pigeons or a goat were offered.
THE ACTIVITY OF CARVING WAS PART OF THE MARRIAGE RITE, AS WAS THE PROCESSION OF THE MARRIAGE LITTER
The themes
The main subjects carved on the Rahi's panels are derived from the local ceremonies, such as marriages, the Miths of the Santal creation, the totems devoted to the twelve Santal clans, the Santal Hul or Santali rebellion of 1855, and especially the everyday life scenes.
A part of these themes it's common with the carved top of the Banam.
(Photo Courtesy of Sanza Arts Premiers)
(Photo courtesy of Sanza Arts Premiers)
(Photo courtesy of Sanza Arts Premiers)
(Photo Ethoflorence)
(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
(Picture from Tribal Art of Middle India 1951 by Verrier Elwin)
(Photo Ethnoflorence)
(Photo courtesy of Sanza Arts Premiers)
(Photo courtesy of A. M.)
(Photo courtesy of Sanza Arts Premiers)
(Photo Courtesy of Sanza Arts Premiers)
Sometimes musicians and dancers are accompanied also by acrobatic perfomers.
(Photo Ethnoflorence)
HORSES HORSEMEN AND ELEPHANTS
Another quite common iconography that we can find on the Rahi Panels is linked with the presence of elephants, horses and horsemen.
Sometimes these representations are linked with the marriage procession.
It's possible to find carved a similar iconography also on the top of the Banam
(Photo courtesy of Robert Brundage)
Above
Exceptional iconography of a rider and horse on
the back carved top of a banam lute.
(Photo courtesy of A. M.)
(Photo Ethnoflorence)
(Photo Ethnoflorence)
(Photo courtesy of A.M.)
(Photo Ethnoflorence)
SACRO AND PROFANO
(Photo courtesy of Robert Brundage)
A mix of subjects is the iconographic base of this very interesting panel
HUNTING SCENES
(Photo Courtesy A. M.)
(Photo courtesy A. M.)
SANTAL HUL
(Photo Ethnoflorence)
(Photo Ethnoflorence)
(Photo Ethnoflorence)
ANIMALIA AND EVERYDAY LIFE
(Photo courtesy Robert Brundage)
(Photo courtesy Robert Brundage)
(Photo courtesy of Robert Brundage)
(Photo courtesy A.M.)
(Photo courtesy of A. M.)
*************
(Sketches from Santalistan, Pederson, Mathew A. 1913)
http://archive.org/details/sketchesfromsant00pede
The flute
held an important role in the music tradition of the Santal people.
(Photo Ethnoflorence)
(Photo courtesy of Robert Brundage)
(Photo courtesy of Robert Brundage)
(Photo Ethnoflorence)
Two flutes
of this particulary rich tipology are present also in the collection of the Musee de la Castre of Cannes.
Courtesy of
Collection Musée de la Castre, Cannes © Photo Claude Germain
EX RICHARD LAIR COLLECTION
Courtesy of
Collection Musée de la Castre, Cannes © Photo Claude Germain
EX RICHARD LAIR COLLECTION
Courtesy of
Collection Musée de la Castre, Cannes © Photo Claude Germain
Courtesy of
Collection Musée de la Castre, Cannes © Photo Claude Germain
***********
CHADOR BADONI
Puppet small wodden idol
Definition from
A vocabulary of the Santali languge
by
EDWARD LAVALLIN PUXLEY
http://books.google.com/books?ei=vZh8T8L1I4iD0QGK483TCw&a...
![73924_171960832816631_100000081457478_594899_904374_n[1].jpg](http://static.skynetblogs.be/media/137887/1322701421.jpg)
(Photo courtesy of Sanatan Khavadiya)
![71761_171961089483272_100000081457478_594910_1082616_n[1].jpg](http://static.skynetblogs.be/media/137887/3828667870.jpg)
(Photo courtesy of Sanatan Kavadiya)
![73844_171962069483174_100000081457478_594925_4013181_n[1].jpg](http://static.skynetblogs.be/media/137887/3890803218.jpg)
(Photo courtesy of Sanatan Kavadiya)
![74267_171960996149948_100000081457478_594903_6726846_n[1].jpg](http://static.skynetblogs.be/media/137887/1899040002.jpg)
(Photo courtesy of Sanatan Kavadiya)
![74267_171961002816614_100000081457478_594905_8328388_n[1].jpg](http://static.skynetblogs.be/media/137887/2518435004.jpg)
(Photo courtesy Sanatan Kavadiya)
(Photo courtesy of Robert Brundage)
*****************
JADUPATUA
jadu = magician ; patua –or chitrakar- = painterSantal Parganas
State of Bihar, India
(Text and pictures courtesy of Herve Perdiolle)
(Creation of the world 1980)
Jadu means "Magician".
The themes they represent on the scrolls are about a dozen . However, there is different interpretation for each theme. A Jadu Patua can, looking at one scroll, say different stories depending if his audience is Hindu, Muslim or Santal. This last ethnic group is the most important audience for the Jadu Patuas.
The Patuas live with the money that the villagers give them after listening to their stories. The fact that they are magicians give a special effect to their intervention because the villagers fear them.
One of the most revealing images of the Jadu Patuas' role (in the Santal community) is the
"Mritu pat"
or
"image of the deaths"
. When somebody dies in a village near the Jadu Patua's one, the "artist magician" visits the family of the dead with a small and simple image (about 3 x 2 inches) which is supposed to represent the dead in a simple way.
Only the late person's pupil is missing.
Showing this image to the family, the Jadu Patua tells the story evoking the suffering of the dead whose soul is still trapped in hell.
The family then gives an offering to the Jadu Patua in order for him to intervene. The ritual for the Magician painter consists then to paint the dead's pupil in order to free his soul.
The principles developed by the Jadu Patuas are :
the Baha's feast
(Anonyme, fête de Baha, 1980, couleurs végétales sur papier, 25x460 cm)
(Anonyme, fête de Baha, 1980, couleurs végétales sur papier, 25x460 cm)
a strange mixture of Hindu and Santal myths showing a lot of festivities where tribal dances, sacrifices and drinking sessions scenes are mixed;
the creation of the world
(Anonyme, Création du monde, 1990, couleurs végétales sur papier, 20x420 cm)
where we can see the first human couple being born from the coupling of a goose and a gande;
the painting of Kali
(Anonyme, Kali pat, 1980, couleurs végétales sur papier, 30x240 cm, collection privée.)
composed with 3 or 4 paper sheets only, showing Kali in her most terrifying aspects
and a lot of scrolls about
Yama
the god of hell (showing all the ill treatments, sometimes sexual, given by Yama and his servants to the dead who behaved badly during their lifetime).
It seems that the scarier the Jadu Patuas'style gets, the more highly he is regarded.
***
**
*
08:26 Écrit par sanza dans Art de l'Inde, Orissa | Lien permanent | Commentaires (0) | Trackbacks (0) | Envoyer cette note | Facebook | Imprimer | |