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Indian Folk and Tribal Paintings introduces you to one of India s most glorious living traditions its tribal and folk painting. Vibrant and full of colour, it is said of tribal and folk painting that it has no beginning and no end. The rich red earth of river deltas, the fine white paste of crushed rice, the juice of fruits and berries, the wine from the mahua tree, the milk and even the dung, continue to provide the artist in the forest and village with his raw materials, while the floors and walls of his dwelling places, the bark of trees, leaves and, latterly, paper, are his surfaces. Whatever the surface or the medium, these paintings are intrinsically linked with the regional historico-cultural settings from which they arise.
"Waterlife features Mithila art, a vibrant delicate art form of folk painting from Bihar in eastern India. The artist Rambharos Jha grew up on the banks of the legendary river Ganga and developed a fascination for water and water life. In this book he creates an unusual artist's journal, adapting the motifs of the Mithila style to express his own vision. He frames his art with a playful text that evokes both childhood memory and folk legend."--Back cover.
Travelers & scholars have long been puzzled by similarities in the arts of diverse ancient & tribal cultures. It remained for the American art historian Carl Schuster (1904-1969) to discover a set of patterns designed by ancient peoples to illustrate their ideas about kinship. Schuster succeeded in decoding this iconography, which lasted over ten thousand years, crossed continents, & outlived most of the cultures that sheltered it.
The Brooklyn Museum was one of the first North American institutions to collect and exhibit African material culture as art rather than artifact. Today the museum's collection numbers more than six thousand pieces and is noted for its artistic quality and educational value, as well as a breadth and depth that would be impossible to achieve today. Ancient as well as contemporary art is included in the collection's vast holdings, while the figurative sculpture and masks of Central Africa comprise its most significant focus. Nearly two hundred of those pieces are featured in this large-format compendium, which includes essays by the museum's curator of African art and a leading scholar on the subject. Taking readers through a cultural exploration of the continent, the collection encompasses regions from Western Sudan and the Southwestern Congo to the Equatorial Forest and Ethiopia. Carefully photographed and presented in luminous colour, these pieces create a stunning introduction to the rich traditions of African art and culture. AUTHORS: William Siegman served as the Brooklyn Museum's curator of African and Oceanic art from 1987 until his retirement in 2007. He is currently a consulting curator with the Saint Louis Art Museum. Joseph Adande lectures at the National University of Benin, Abomey-Calavi. He was the Andrew W. Mellon Fellow in the Department of the Arts of Africa, Oceania and the Americas at the Metropolitan Museum of Art in New York. Kevin D. Dumouchelle is Interim Assistant Curator of the Arts of Africa and the Pacific Islands at the Brooklyn Museum. ILLUSTRATIONS 235 images
Based on the exhibition Africa: 100 Stm̃me, 100 Meisterwerke, sponsored by the Congress for Cultural Freedom at the Berlin Festival, 1964./ Includes bibliography.
This account of the vanishing art of wmen's tribal tattooing is the record of anthropologist Lars Krutak's ten year research with indigenous peoples around the globe.
Punk body adornment, the most notorious and celebrated of recent styles among youth the subculture, emerged in the mid-1970s and in varying forms has persisted to the present day. This study illustrates the confrontational aesthetic of punk and neo-tribalism, the most shocking form of art. Like members of previous counter groups, denizens of the punk subculture have created a coherent and elaborate system of adornment calculated to horrify the general public. Their aesthetic of shock and negation expresses nihilism, apocalypse, and a profound cultural pessimism. These philosophies are revealed not only through adornment but also through music, art, dance, "fanzines," and dramatizations of violence and other antisocial behavior. Their symbolic inversions, ritual pollutions, and carnivalesque antics violate conventions of daily life. Their anti-commercial, do-it-yourself ethos, with its emphasis on parody and gender confusion and its interest in the exotic and the forbidden, further challenges dominant cultural values and ideologies. As mainstream society and the fashion industry incorporate such countercultural styles, the vanguard in shock aesthetics permutates into new forms of outrage. Here, along with a survey of distinctive styles that have been influenced by punk ethos and aesthetic, is a focus on one new-tribalist, Perry Farrell, who has utilized forms of adornment inspired by non-Western body art and modification (tattooing, piercing, scarification). This informally-taught artist and musician, who once lived in the streets of Los Angeles, founded the band Jane's Addiction and created the Lollapalooza tour. Understanding this key figure in the alternative culture illuminates the subversive and transformative appeal that body art has for American youth.