View allAll Photos Tagged Repousse
Circular bronze box mirror which depicts a repoussé relief of Eros intervening in a quarrel between two Pans.
Greek, Late Classical, mid-4th century BCE.
Diameter: 13.3 cm/5.25 in.
Met Museum, New York (07.259)
Où va la jeune Indoue, ....................... Where will the young Indian girl,
Fille des Parias, ................................. daughter of the pariahs,
Quand la lune se joue, ........................ go when the moon dances
Dans le grand mimosa? ..................... In the large mimosa tree?
Elle court sur la mousse .................... She runs on the moss
Et ne se souvient pas ........................ And does not remember
Que partout on repousse ................... That she is pushed around
L'enfant des parias; ............................ The child of outcasts;
Le long des lauriers roses, ................. Along the oleanders,
Rêvant de douce choses, Ah! ............ Dreaming of sweet things, Ah!
Elle passe sans bruit .......................... She goes without noise
Et riant à la nuit. ................................. And laughs a night.
La-bas dans la foret plus sombre, ...... There in the dark forest
Quel est ce voyageur perdu? ............. Who is the lost traveler?
Autour de lui ....................................... Around him
Des yeux brillent dans l'ombre, .......... Eyes shining in the darkness,
Il marche encore au hasard, éperdu! . He wonders randomly, aimless and lost!
Les fauves rugissent de joie, ............. The wild beasts roar of joy,
Ils vont se jeter sur leur proie, ............ They will pounce on their prey,
La jeune fille accourt .......................... The girl runs to him
Et brave leur fureur: ........................... And braves their fury
Elle a dans sa main la baguette ......... She has in her hand the baton
où tinte la clochette des charmeurs! ... with tinkle bell charms!
L'étranger la regarde, ......................... The stranger looks at her,
Elle reste éblouie. ............................... and remains dazzled.
Il est plus beau que les Rajahs! .......... He is more beautiful than the Rajahs!
Il rougira, s'il sait qu'il doit ................... He will blush if he knows he must owe
La vie à la fille des Parias. .................. his life to the daughter of the pariahs.
Mais lui, l'endormant dans un rêve, .... But they fall asleep and drift into a dream,
Jusque dans le ciel il l'enleve, ............ Up in the sky, they are transported,
En lui disant: 'ta place est là!' .............. The traveler tells her: 'your place is here!'
C'était Vishnu, fils de Brahma! ............ It was Vishnu, son of Brahma!
Depuis ce jour au fond de bois, .......... From that day on, in the depths of the dark forest,
Le voyageur entend parfois ................ a traveler may sometimes hear
Le bruit léger de la baguette ............... the slight noise of the baton
Où tinte la clochette des charmeurs! .. with the tinkle bell charms!
Rose de moi et la texture de mon amie Lenabem Anna
L'amour est une dentelle
La nuit s’est penchée
Sur nos cœurs en discorde
Une ombre les précédait
Effaçant tous nos projets
J’ai voulu raréfier
De toutes mes larmes
Purifiées par ma pensée
Les troubles de notre dualité
J’ai cherché les pourquoi
J’ai trouvé je ne sais quelle friche
Rien d’ineffable pour moi
Ma vie supportable pour toi
Tes viles sautes d’humeur
Me transposaient dans l’épouvante
Que notre amour se meurt
Au fond de nos deux cœurs
Je t’ai redis des je t’aime
Ils étaient doux comme soie
Tu m’a enfin sourit sans haine
Et Je n’ai plus eu cette peine
Notre nuit au loin s’est couchée
Emportant les ombres perverties
J’ai vu le soleil des amours se lever
Découvrir les ombres de notre fidélité
J’ai repoussée tous ces soirs
Qui m’apportaient le grand ténébreux
Désormais je vous ferai voir
Mes soleils dans mon armoire
Les bonheurs me rappellent
Que l’amour est une dentelle facettée
Mais qu’il faut laisser passer belle
La lumière des joies éternelles.
Écrit par TiKalo eu sur le net
Over time in Greek and Roman art, the image of the gorgon Medusa evolved from that of a horrifying, monstrous creature into a more appealing, almost human representation. This high relief repoussé roundel made in the late 100s or early 200s A.D. replaces the hideous visage and fangs of early representations with an elegant woman's face. The writhing snakes of the early Medusa's hair here give way to a thick windblown hairstyle reminiscent of that worn by Alexander the Great, with two small wings sprouting from her forehead. The snakes are now confined to a single example at each temple with their tails neatly knotted beneath her chin. The knitted brows and tightly closed, downturned mouth give this Medusa a melancholy rather than ferocious expression.
A luxury item, this roundel is made of silver with gilding added to Medusa's hair and eyes. Four silver rivets in the border mark the places where bronze guides were fastened to the back so that the roundel could be threaded onto a strap, probably as a bridle ornament.
Roman, 150–235 CE.
Getty Villa Museum (96.AM.207)
This closeup reveals that parts of this statue have, actually, been robbed out over the last two millennia. The decorative phalerae on the bridle of the horse are missing, with its sockets exposed. We know from surviving examples that the round one would have had repoussé portraits of gods and/or emperors, and the rectangular one on the snout of the horse may have had an image of Victoria or a symbol of the emperor's authority.
There is no mention of the equestrian statue dedicated to the Emperor Marcus Aurelius in ancient literary sources, but it was in all likelihood erected in 176 CE, along with numerous other honors on the occasion of his triumph over the Germanic tribes, or in 180 CE soon after his death. There were many equestrian statues in Rome at that time: late-Imperial descriptions of the areas of the city listed 22 such statues, called equi magni, that is larger-than-life-size, just like the monument to Marcus Aurelius. The latter statue, however, is the only one to have survived to the present, and by virtue of its integrity it soon assumed the symbolic value for all those who wished to present themselves as heirs to Imperial Rome. Its location in the Lateran is first recorded in the tenth century, but it is likely that it had been there from at least the end of the eighth century, when Charlemagne wanted to copy the layout of Campus Lateranensis when he transferred a similar equestrian statue, taken from Ravenna, to his palace in Aachen. In 1538 Pope Paul III ordered the Farnese family to have the statue moved to the Capitoline Hill, which had become the headquarters of the city's authorities in 1143. A year after its arrival, the Roman Senate commissioned Michelangelo to refurbish the statue. The great Florentine artist did not just limit himself to planning an appropriate site for the monument, but made in central element in the magnificent architectural complex known as the Piazza del Campidoglio.
Roman, probably 176 CE. Gilded bronze
Musei Capitolini, Rome (inv. MC3247)
A repost.
Happy New Year! It is snowing here in Calgary, -11C (feels like -16C).
Thank you all for the visits, faves and comments during the past year (2024)! Can't thank you enough. My apologies for rarely doing the same.
I don't have a fireworks image or anything remotely New Year. Instead, I am using a quick shot (from ages ago) of a prayer wheel that I have had for a few decades, bought in Dubai, Oct/Nov 1972, when we were on local leave from Oman. This city is in the United Arab Emirates (UAE) and the capital of the Emirate of Dubai.
In my imagination (and maybe in yours, too), this wheel can turn and turn forever, repeating prayers (and hope) that some day the world will change and each one of us would be able to live in peace, no matter what part of the world one lives. Hopefully, the year 2025 will begin to change in that direction - it definitely needs to.
Wishing you all a healthy, happy and peaceful New Year. If you are out on the roads, please don't drink and drive.
en.wikipedia.org/wiki/Prayer_wheel
"In Buddhism, a prayer wheel is of a hollow metal cylinder, often beautifully embossed, mounted on a rod handle and containing a tightly wound scroll printed with a mantra. Prayer wheels come in many sizes: they may be small, attached to a stick, and spun around by hand, medium-sized and set up at monasteries or temples, or very large and continuously spun by a wind or water mill.
Prayer wheels are used primarily by the Buddhists of Tibet and Nepal, where hand-held prayer wheels are carried by pilgrims and other devotees and turned during devotional activities.
According to Tibetan Buddhist belief, spinning a prayer wheel is just as effective as reciting the sacred texts aloud. This belief derives from the Buddhist belief in the power of sound and the formulas to which deities are subject. For many Buddhists, the prayer wheel also represents the Wheel of the Law (or Dharma) set in motion by the Buddha.
The prayer wheel is also useful for illiterate members of the lay Buddhist community, since they can "read" the prayers by turning the wheel.
The external cylinder of a prayer wheel is made out of repoussé metal, usually gilded bronze. The wheel is supported on a handle or axis made of wood or a precious metal. On the outside of the cylinder are inscriptions in Sanskrit (or sometimes Tibetan) script (often Om mani padme hum) and auspicious Buddhist symbols. This outer part is removable to allow for the insertion of the sacred text into the cylinder. The uppermost point of the prayer wheel forms the shape of a lotus bud.
The cylinder contains a sacred text written or printed on paper or animal skin. These texts might be sutra or invocations to particular deities (dharani or mantras). In Tibetan prayer wheels, the mantra Om Mani Padme Hum is printed in an ancient Indian script or in Tibetan script, usually on the outside as well as on the scroll inside. "Om mani padme hum" is the most important mantra of Buddhism. It is the six syllable mantra of the Bodhisattva of compassion Avalokiteshvara. The Dalai Lama is said to be an incarnation of Avalokiteshvara, so the mantra is especially revered by his devotees." From religionfacts,com.
Made these for Week 7 of the 52 Earrings challenge. The mold was made in silicone putty from a repousse metal leaf crafted by my husband-- I loved it so much I just had to make polymer copies of it! I used chalk, pencil and heat-set oil paints to color these.
For more on my process, visit my blog at storiestheytell.blogspot.com
Photo André Knoerr, Genève. Reproduction autorisée avec mention de la source.
Utilisation commerciale soumise à autorisation spéciale préalable.
Information coronavirus COVID-19
Après avoir adopté l'horaire du samedi en semaine à partir du 23 mars, les TPG passent à un horaire "dimanche +" dès le 1er avril 2020. D'autres restrictions ultérieures ne sont pas exclues.
Durant la semaine, cet horaire sera ponctué de renforts aux heures de pointe du matin et du soir.
Les lignes 36, 39, 56, 59, 62, 63, 75, 76, 77, 78, T ainsi que les lignes Express 5+, E+, G+ et les services nocturnes et Noctambus ne seront pas exploités.
Les lignes 64, M et N ne circulent que sur territoire français avec l'horaire du samedi.
La Be 6/10 1802 n'aura que brièvement porté les couleurs de James Bond 007 dont la sortie du film "Mourir peut attendre" prévue le 8 avril a été repoussée en novembre 2020.
Elle stationne ici au terminus en tiroir du CERN sur la ligne 18.
22119
Copper alloy peaked helmet. Made from beaten copper alloy sheet, the helmet is approaching the Roman coolus helmet in form, with a broad neck guard with La Tène style decoration. The central repoussé palmette is flanked by lobed stems and further ornamented by symmetrical bosses scored for enamelling. The base of the headpiece is encircled with two pairs of parallel incised lines.
The left side of the headpiece is torn and dented, damage on the right side is slighter. The cheekpiece attachments are very fragmentary, and the cheekpieces themselves are missing entirely, but it appears that they were held in place by expanded rivets with scored heads. Rivet holes and a circular patch of discoloration at the peak of the headpiece suggest the original presence of a plume holder or mount, now also missing.
England, Iron Age, La Tène style decoration, ca. 50-150 CE.
British Museum (1872,1213.2)
Cumdach (book shrine) of the Cathach, 1062–94 and late 14th century with later additions and repairs, bronze, gilt silver, wood, crystal, and glass, 19 x 25 x 5.25 cm (National Museum of Ireland)
When Rendile women dance, one goes in front and shakes her necklaces, then another one comes around and her. A kind of tenderness gesture but made with violence!
The Rendille: Pushed away by their neighbours, they henceforth inhabit a vast territory : from the Kaisut Desert to the east (one of Kenya's most arid regions) to the shores of Lake Turkana to the west and the Chalbi Desert to the north.They are semi-nomadic, that is to say both nomad and pastoralist. Clans live in temporary settlement called gobs. Gobs are usually near dug wells and are given the name of the clan, subclan or the elder of the family. The Rendille never stay long at the same place to look for water sources and pasturing areas. They have to move 3 to 5 times a year. Villages are typically made of two dozen houses with about 120 individuals. They are composed of a group of semi-spherical huts made of branches and covered with leather or canvas. Women are in charge of taking the houses apart and putting them back in the new location. Near the huts, an enclosure of crabbed branches protects camels for the night. Each kind of animal they keep (camels, sheeps, goats, cattle) have a separate camp that is taken cared of by people of a different age-set. Unlike other pastoral tribes, the Rendille favour camels rather than cattle, because they are better suited to the environment. The Rendille depend heavily on these animals for many of their daily needs: food, milk, clothing, trade and transport. The Rendille are skilled craftsmen and make many different decoration or ornaments. The warriors often wear proudly a distinctive visor-like hairstyle, dyed with red ochre. As for the women, they wear several kilos beads. The Rendille receive empooro engorio beaded collars for marriage, made of palm fibers, girafe or elephant hairs. Like the Maasai with cows, camels are bled in order to drink their blood. The Rendille are closely aligned with the Samburu, by economic and kinship's ties. They have often adopted their language. Marriage is not allowed within one's own clan, and is arranged by parents as for most tribes. Each wife lives in her own home with her children, and mothers have a high status. Society is strongly bound by family ties. The Rendille still believe in their God, called Wak or Ngai. They also have fortune-tellers who predict the future, and perform sacrifices to make it rain. Special ceremonies take place at a child's birth. A ewe or goat is sacrificed if it is a girl, a ram if a boy. The girl is blessed 3 times while 4 for the boy. In the same way, mother drinks blood for 3 days for a babygirl, 4 days for a babyboy. The weeding ceremony takes time. The prospective groom must give the bridewealth (gunu) to the bride's family: 4 female and 4 male camels (half for the father, the remaining camels for the rest of the family). One of them is eaten at the ceremony. The bride wears jewellery made of glass and metal, necklaces of beads and wire, headbands, and a large circular earings. She will join her husband's family after marriage. The elders discuss problems in a ritual circle called Nabo, in which women are allowed to enter. They also meet there to pray, receive guests and perform ceremonies.
Les Rendille: Repoussés par leurs voisins, ils habitent désormais un vaste territoire, qui va du Désert de Kaisut à l’est (l’une des régions les plus arides du Kenya) aux rives du Lac Turkana à l’ouest et au Désert de Chalbi au Nord.Ils sont semi-nomades, c’est-à-dire à la fois nomades et pasteurs. Les clans vivent dans des installations temporaires appelées gobs. Les gobs sont souvent situés près des puits à main auxquels on donne le nom du clan, sous-clan, ou de l’aîné de la famille. Les Rendille ne restent jamais longtemps au même endroit pour chercher des sources d’eau et des pâturages. Ils doivent se déplacer 3 à 5 fois par an. Les villages sont de façon typique faits de deux douzaines de maisons totalisant environ 120 individus. Ils sont composés d’un groupe de huttes semi-sphériques faites de branches et couvertes de cuir ou toiles. Les femmes sont chargées de démonter les maisons et les ré arranger dans leur nouveau lieu d’habitat. Près des huttes, un enclos de branches épineuses protège les dromadaires pour la nuit. Chaque type d’animal (dromadaires, brebis, chèvres, bétail) ont un camp séparé dont s’occupent des individus de différentes classes d’âge. Contrairement à d’autres tribus pastorales, les Rendile privilégient les dromadaires au bétail, car ils sont plus adaptés à leur environnement. Ils dépendent largement de ces animals pour nombre de leurs besoins quotidiens : nourriture, lait, habits, commerce et transport. Les Rendille sont des artisans qualifiés et créent des décorations et ornements divers. Les guerriers portent souvent fièrement une coiffure distinctive en forme de visière, coloré avec de l’ocre. Les femmes quant à elles portent plusieurs kilogrammes de perles. Les Rendille reçoivent les colliers de perles empooro engorio pour le mariage, faits de fibres de palmier, de poils de giraffe ou d’éléphant. De la même façon que les Maasai avec les vaches, les dromadaires sont saignés pour boire le sang. Les Rendille sont intimement liés aux Samburu, par des liens économiques et de parenté. Ils ont souvent adopté leur langue. Le mariage n’est pas autorisé à l’intérieur d’un même clan et est arrangé par les parents comme pour la plupart des tribus. Chaque femme vit dans sa propre maison avec ses enfants, et les mères ont un statut très reconnu. La société est solidement lié par les attaches familiales.Les Rendille croient dans un Dieu qu’ils appellent Wak ou Ngai. Ils ont aussi des voyants qui prédisent l’avenir, et réalisent des sacrifices pour faire pleuvoir. Des cérémonies spéciales ont lieu à la naissance d’un enfant. Une brebis ou chèvre est sacrifiée si c’est une fille, un bélier si c’est un garçon. La fille est bénie 3 fois, 4 pour le garçon. De la même manière, la mère boit du sang pendant 3 jours pour une petite fille, 4 pour un petit garçon. La cérémonie du mariage prend du temps. Le futur époux doit payer le prix de la mariée (gunu) à la famille de celle-ci : 4 dromadaires femelles et 4 dromadaires mâles (la moitié pour le père, les dromadaires restant pour le reste de la famille). L’un d’eux est mangé à la cérémonie. La mariée porte des bijoux faits de verre et de métal, des colliers de perles et de fils de fer, des bandeaux, et de larges boucles d’oreille circulaires. Elle rejoindra la famille de son mari après le mariage. Les aînés discutent les problèmes dans un cercle rituel appelé Nabo, dans lequel les femmes sont interdites d’entrer. Ils se rassemblent aussi à cet endroit pour prier, recevoir des invités et accomplir des cérémonies.
© Eric Lafforgue
San Rafael Arcangel / Saint Raphael the Archangel
Santa Cruz or Binondo, Manila second quarter of the
nineteenth century (1825–50)
ivory, gold, silver, baticuling wood, silk velvet, silvergilt threads
head to toe: 12" (30 cm)
left to right arm to arm: 6" (16 cm)
chest to back: 2" (5 cm)
base: H: 9 1/2" (24 cm) D: 10 1/2" (26 cm)
Opening bid: PHP 800,000
Provenance: An old Cavite family
ABOUT THE WORK
EXQUISITE ICONOGRAPHY: Loaves, Fish, Coronets and Catmon Flowers
by AUGUSTO MARCELINO REYES GONZALEZ III
This compelling ivory statuette of “San Rafael Arcangel” comes from the cherished altar of an old Cavite trading, shipping, and logistics family and was likely acquired originally from a “taller” workshop of religious images in Binondo or Santa Cruz in Manila. The young Archangel is depicted wearing an exquisite coronet of flowers and leaves executed in chased 14 karat gold and filigree wirework; an unusual blonde wig of Victorian sausage curls; silvergilt repousse wings; vestments embroidered with “catmon” flowers, buds, and leaves in silvergilt threads, along with appliquees of cherubs and leaves in “dorado de fuego” fire–gilded solid silver; a lavishly embroidered center stole with vase, tree–of–life, “boteh” paisley form, and large flower motifs one on top of the other, the top vase/cartouche with the unmistakable Carmelite crest featuring Mount Carmel in Palestine and the three stars symbolizing the three periods of the history of the Order; San Rafael’s attributes of a basket with loaves (an opulent chased and repousse 14 karat gold basket with “catmon” floral and “lubi–lubi” foliar details with ivory loaves) on the left hand and a simple silvergilt staff with a fish on the right hand; and gilded feet to simulate shoes/slippers. The gilded “peana” base is also exceedingly elegant: four separately–carved acanthus leaves emanate from the midsection of the urn and act as bracket supports for the upper section of the peana. It is a feast for a devotee’s, a connoisseur’s, and a collector’s discriminating eyes.
This exquisite San Rafael Arcangel is outstanding because despite its being a “de vestir” (dressed) image with the expected ivory head, hands, and perhaps feet, the entire statuette is actually made of ivory. It is thought that it was probably created at a transitional time from 1800–1850 when solid ivory tabletop images, which were in entirely different styles (baroque, rococo, and neoclassical) and consumed more of the luxurious and expensive elephant tusk, were for economic reasons finally being overlooked in favor of the more sustainable albeit baroque “de vestir” ones with only the heads, hands, and occasionally even the feet of ivory. However, one must be reminded that all kinds of classical Roman Catholic religious images --- the life–sized hardwood statues for the “retablo” altars, the smaller wooden statues for domestic veneration, the luxurious solid ivory statuettes intended for the affluent religious orders in Intramuros and for export to Madre Espana, Mexico, and the Latin American colonies, the life–sized processional as well as tabletop ivory “de vestir” images --- were already being produced simultaneously by the Sangley artisans and their indio assistants since the formalization of the Spanish conquest of these islands in 1571: the establishment of the settlements of Cebu (1565) and Manila (1571).
There are tabletop ivory “de vestir” images at the Museo Oriental in Valladolid, Spain that are documented to have come from Manila in the late 1500s. The famous “de vestir” processional image of the “Nuestra Senora del Santisimo Rosario”/ “La Naval de Manila”/Our Lady of the Most Holy Rosary at the Santo Domingo church dates from 1587–93. Three extant examples from the late–1700s to the mid– 1800s illustrating the collective transition in preference from solid ivory to “de vestir” come to mind: 1) An unbelievable “Calvario” tableau of 12” inches/30.48 cm tall solid ivory figures (Cristo Expirante, Mater Dolorosa, San Juan Evangelista, and Santa Maria Magdalena), late eighteenth century (1775–1800), Ex Coll: Maximino Molo Agustin Paterno family, Santa Cruz, Manila, currently in the Paulino and Hetty Que Collection; 2) A tabletop “Nuestra Senora del Pilar” with ivory head and hands, Nino Jesus with ivory head and hands, the linear body painted off–white and embellished with painted scrollwork (in gold leaf) to mimic a solid ivory piece from the eighteenth century, mid–nineteenth century (1850s), Ex Coll: Maximino Molo Agustin Paterno family, Santa Cruz, Manila; 3) A relatively big “de vestir” statuette of a kneeling “Santa Maria Magdalena Penitente,” 1860s–70s, in its high quality and singular style thought to have come from the taller of escultor Leoncio Asuncion y Molo, sold years ago at a major Leon Gallery auction, currently in an important Cavite collection.
The opulent overall concept, excellent craftsmanship, prodigal use of ivory, and exquisite quality of the goldwork point to the distinct possibility of this “San Rafael Arcangel” piece originating from the “taller” workshop of the early maestro Leoncio Asuncion y Molo in Santa Cruz, Manila (1813–1888). The preeminent sculptor was known to have produced magnificent and memorable religious figures life–sized and tabletop in ivory and wood (“marfil y madera”) with singular expressions, full gestures, and perfect, lean anatomies (almost ballet dancer–like) which set them apart from the undistinguished work of other sculptors of religious images. Considered as Leoncio Asuncion’s magnum opus was a spectacular, life–sized, processional tableau of “La Tercera Caida”/The Third Fall of Jesus Christ --- featuring a burdened “Jesus Nazareno” collapsing from a heavy cross, a helpful Simon of Cyrene, three angry Jews, a trumpeteer, two Roman foot soldiers, including another Roman soldier astride a horse --- which was brought out in procession during the “Semana Santa”/Holy Week rites in Santa Cruz, Manila from the 1860s until World War II, when it was assumed destroyed during the Liberation of Manila in February 1945. Leoncio Asuncion y Molo came from an artistic family with affluent origins in the Molo de San Agustin clan of Santa Cruz, Manila --- descended from a migrant Chinese apothecary in the late 1700s --- and were closely related to the Molo Agustin Paterno family, one of the richest, most highly–educated, and most cultured in 1800s Manila.
In the Roman Catholic tradition, “San Rafael Arcangel” Saint Raphael the Archangel is one of The Three Archangels who are specifically named in the Bible. In the larger Christian traditions, The Seven Archangels stand before the Throne of God: Michael, Gabriel, Raphael, Barrachiel, Judiel, Uriel, and Sealtiel. Raphael is the “Divine Healer.” In the Deuterocanonical (“Second Canon”) books of the Roman Catholic Bible (called Apocrypha by the Protestants), in the books of Tobit and 1 Enoch, is the story of the Archangel Raphael and how he guided and assisted Tobias the righteous father and Tobias the righteous son who were exiled to Persia during the Assyrian conquest, 800 years before Christ. Tobias the father sent Tobias the son to Ragues, a distant city, to retrieve substantial money lent to a relative, with Azarias (the Archangel Raphael) as his companion. The trip was dangerous at every turn. At the Tigris river, a huge fish tried to devour Tobias the son but Azarias prevented it. At the city of Rages, at the house of his relative Raguel, Tobias the son was engaged to the former’s beautiful daughter Sara. Seven suitors had died before him; Azarias assured him that he alone would be spared. Tobias the son married the beautiful Sara, daughter of his relative Raguel. The journey back home ended up happily with Tobias the son and his wife Sara, and companion Azarias, returning to Tobias the father, who had become blind from pigeon droppings. Azarias instructed Tobias the son to cure his father’s blindness with the gall of the huge fish which tried to devour him; Tobias the father was promptly healed of his blindness. Thus, the iconography of Saint Raphael the Archangel with the staff, the fish, loaves of bread, and the young Tobias.
The most famous image of San Rafael Arcangel in the islands is the patron saint of Calaca city, Batangas: It is dark–colored --- the only exposed wooden parts are the head and hands --- whether from dark wood or from the patina of nearly two centuries, it is not known; stands about 12” inches/30.48 cm high (without its pedestal); wears a repousse silver coronet; is dressed entirely in 80 % Mexican solid silver repousse with floral and foliar motifs in the style of the 1860s–70s; depicts the saint with his attributes of a basket of loaves set on cloth on his left hand and a staff with a fish with his right hand; wears silver boots. The image dates stylistically from the 1830s.
Aside from Calaca city, Batangas, other parishes with San Rafael Arcangel as the titular patron are in Linmansangan, Binalonan, Pangasinan; San Rafael, Tarlac city; Mabiga, Mabalacat, Pampanga; San Rafael, Lubao, Pampanga; San Rafael, Macabebe, Pampanga; Park avenue, Pasay city; Balut island, Tondo, Manila; San Rafael, Rodriguez, Rizal province; Lucena City, Quezon province; and Real, Quezon province. This exquisite ivory San Rafael Arcangel, a magnificent example of Philippine religious art, is on par with the renowned holdings of the National Museum, the Intramuros Administration, as well as the AERA Collection at the Villa Escudero, the Paulino and Hetty Que Collection, and the Mario and Mimi Que Collection.
Lot 142 of the Leon Gallery auction on June 17, 2023. Please see leon-gallery.com/auctions/The-Spectacular-Mid-Year-Auctio... for more information.
We're working through lots of variations to layer more and more texture, form and color into this concept. Sometimes the fact that there are two of us makes things easier, and then sometimes it doesn't .
Brass, color on metal, repousse, chasing, fabricated. 3.25 in long
8F3A9310 - Parce que la hiérarchie est très strictement inscrite dans le comportement des groupes d'éléphants, il n'est pas évident pour cette jeune mère d'accéder au point d'eau avec son jeune. Il lui faudra s'y reprendre à plusieurs reprises, après s'être fait repoussée plusieurs fois, pour enfin accéder à l'eau et laisser boire son petit pour un bref instant. Observation en période de sécheresse d'un point d'eau dans la région de Savuti, parc national de Chobe, au Botswana
Shaft Grave V, Grave Circle A, Mycenae. 1600-1500 BC.
National Archaeological Museum, Athens.
Gold death-mask known as the "Mask of Agamemnon". This mask depicts the imposing face of a bearded noble man. It is made of a gold sheet with repoussé details. Two holes near the ears indicate that the mask was held in place of the deceased's face with twine.
Once part of a large cemetery outside the acropolis walls, Grave Circle A was discovered within the Mycenaean citadel by Heinrich Schliemann in 1876 under the supervision of the Greek Ephor of Antiquities Panagiotis Stamatakis.
The tombs in Grave Circle A contained a total of nineteen burials: nine males, eight females and two infants. With the exception of Grave II, which contained a single burial, all of the other graves contained between two and five inhumations.
The amazing wealth of the grave gifts reveals both the high social rank and the martial spirit of the deceased: gold jewelry and vases, a large number of decorated swords and other bronze objects, and artefacts made of imported materials, such as amber, lapis lazuli, faience and ostrich eggs. All of these, together with a small but characteristic group of pottery vessels, confirm Mycenae's importance during this period, and justify Homer's designation of Mycenae as 'rich in gold.'
Shaft Grave V contained three male burials. Two of the deceased wore gold death-masks, one of which is known as the "Mask of Agamemnon". The grave gifts included gold breastplates, elaborate bronze swords and daggers, gold and silver vessels, an ostrich egg rhyton and a wooden pyxis. There was less gold jewelry that in the female graves, but a great number of amber beads.
Filigree (also less commonly spelled filagree, and formerly written filigrann or filigrene) is a delicate kind of jewellery metalwork, usually of gold and silver, made with tiny beads or twisted threads, or both in combination, soldered together or to the surface of an object of the same metal and arranged in artistic motifs. It often suggests lace and remains popular in Indian and other Asian metalwork. It was popular as well in Italian and French metalwork from 1660 to the late 19th century. It should not be confused with ajoure jewellery work, the ajoure technique consisting of drilling holes in objects made of sheet metal.
The English word filigree is shortened from the earlier use of filigreen which derives from Latin "filum" meaning thread and "granum" grain, in the sense of small bead. The Latin words gave filigrana in Italian which itself became filigrane in 17th-century French
History
Though filigree has become a special branch of jewellery in modern times, it was historically part of the ordinary work of the jeweler. Indeed, all the jewelry of the Etruscans and Greeks (other than that intended for the grave, and therefore of an unsubstantial character) was made by soldering together and so building up the gold rather than by chiselling or engraving the material.
Ancient work
Archaeological finds in ancient Mesopotamia indicate that filigree was incorporated into jewelry since 3,000 BC. Specific to the city of Midyat in Mardin Province in upper Mesopotamia, a form of filigree using silver and gold wires, known as "telkari", was developed in the 15th Century. To this day, expert craftsmen in this region continue to produce fine pieces of telkari.
The Egyptian jewelers employed wire, both to lay down on a background and to plait or otherwise arranged jour. But, with the exception of chains, it cannot be said that filigree work was much practiced by them. Their strength lay rather in their cloisonné work and their molded ornaments. Many examples, however, remain of round plaited gold chains of fine wire, such as those that are still made by the filigree workers of India, and known as trichinopoly chains. From some of these are hung smaller chains of finer wire with minute fishes and other pendants fastened to them.
In ornaments derived from Phoenician sites, such as Cyprus and Sardinia, patterns of gold wire are laid down with great delicacy on a gold ground, but the art was advanced to its highest perfection in the Greek and Etruscan filigree of the 6th to the 3rd centuries BC. A number of earrings and other personal ornaments found in central Italy are preserved in the Louvre and in the British Museum. Almost all of them are made of filigree work. Some earrings are in the form of flowers of geometric design, bordered by one or more rims each made up of minute volutes of gold wire, and this kind of ornament is varied by slight differences in the way of disposing the number or arrangement of the volutes. But the feathers and petals of modern Italian filigree are not seen in these ancient designs. Instances occur, but only rarely, in which filigree devices in wire are self-supporting and not applied to metal plates.
The museum of the Hermitage at Saint Petersburg contains an amazingly rich collection of Scythian jewelry from the tombs of the Crimea. Many bracelets and necklaces in that collection are made of twisted wire, some in as many as seven rows of plaiting, with clasps in the shape of heads of animals of beaten work. Others are strings of large beads of gold, decorated with volutes, knots and other patterns of wire soldered over the surfaces. In the British Museum a sceptre, probably that of a Greek priestess, is covered with plaited and netted gold wipe, finished with a sort of Corinthian capital and a boss of green glass
Asia
It is probable that in India and various parts of central Asia filigree has been worked from the most remote period without any change in the designs. Whether the Asiatic jewellers were influenced by the Greeks who settled on that continent, or merely trained under traditions held in common with them, it is certain that the Indian filigree workers retain the same patterns as those of the ancient Greeks and work them in the same way, down to the present day. Wandering workmen are given so much gold, coined or rough, which is weighed, heated in a pan of charcoal, beaten into wire, and then worked in the courtyard or verandah of the employer's house according to the designs of the artist, who weighs the complete work on restoring it and is paid at a specified rate for his labour. Very fine grains or beads and spines of gold, scarcely thicker than coarse hair, projecting from plates of gold are methods of ornamentation still used.
Cuttack, of the eastern Indian state Odisha, features traditional filigree work. It known as tarakasi in the Oriya language and most filigree work revolves around images of deities. Due to lack of patronage and modern design ideas, it is a dying art. Also noted is silver filigree of Karimnagar in Telangana state.
Threaded silver works date back to 3000 BC in the Near East. The cities of Mardin and Beypazari in Turkey are famous for its many workshops and stores in traditional historic bazaars.
Medieval Europe
Passing to later times, there are in many collections of medieval jewel work reliquaries, covers for Gospel books, etc., made either in Constantinople from the 6th to the 12th centuries, or in monasteries in Europe, in which studied and imitated Byzantine goldsmiths' work. These objects, besides being enriched with precious stones, polished, but not cut into facets, and with enamels, are often decorated with filigree. Large surfaces of gold are sometimes covered with scrolls of filigree soldered on, and corner pieces of the borders of book covers, or the panels of reliquaries, are frequently made up of complicated pieces of plaited work alternating with spaces encrusted with enamel. Byzantine filigree work occasionally has small stones set amongst the curves or knots. Examples of such decoration can be seen in the Victoria and Albert, and British Museums. Examples include the Cross of Lothair in Aachen.
In the north of Europe, the Saxons, Britons and Celts were from an early period skillful in several kinds of goldsmiths' work. Admirable examples of filigree patterns laid down in wire on gold, from Anglo-Saxon tombs, may be seen in the British Museum, notably a brooch from Dover, and a sword-hilt from Cumberland. The Staffordshire Hoard of Anglo-Saxon gold and silver (estimated 700 CE) discovered in a field in Staffordshire, England, on 5 July 2009 contains numerous examples of very fine filigree described by archaeologist Kevin Leahy as "incredible".
Irish filigree work of the Insular period is more thoughtful in design and more extremely varied in pattern. The Royal Irish Academy in Dublin contains a number of reliquaries and personal jewels, of which filigree is the general and most remarkable ornament. The Tara brooch has been copied and imitated, and the shape and decoration of it are well known. Instead of fine curls or volutes of gold thread, the Irish filigree is varied by numerous designs by which one thread can be traced through curious knots and complications, which, disposed over large surfaces, balance one another, but always with special varieties and arrangements difficult to trace with the eye. The long thread appears and disappears without breach of continuity, the two ends generally worked into the head and the tail of a serpent or a monster.
The reliquary containing the "Bell of Saint Patrick" is covered with knotted work in many varieties. A two-handled chalice, called the "Ardagh Chalice" found near Limerick in 1868, is ornamented with work of this kind of extraordinary fineness. Twelve plaques on a band round the body of the vase, plaques on each handle and round the foot of the vase have a series of different designs of characteristic patterns, in fine filigree wire work wrought on the front of the repoussé ground.
Much of the medieval jewel work all over Europe down to the 15th century, on reliquaries, crosses, croziers, and other ecclesiastical goldsmiths' work, is set off with bosses and borders of filigree. Filigree work in silver was practised by the Moors of Spain during the Middle Ages with great skill, and was introduced by them and established all over the Iberian Peninsula, hence it was carried to the Spanish colonies in America. The Portuguese filigree work of the 17th and 18th centuries is of extraordinary complexity, and silver filigree jewelry of delicate and artistic design is still made in considerable quantities throughout the country.
The manufacture spread over the Balearic Islands, and among the populations that border the Mediterranean. It is still made all over Italy, and in Portugal, Malta, Macedonia, Albania, the Ionian Islands and many other parts of Greece. That of the Greeks is sometimes on a large scale, with several thicknesses of wires alternating with larger and smaller bosses and beads, sometimes set with turquoises, and mounted on convex plates, making rich ornamental headpieces, belts, and breast ornaments. Filigree silver buttons of wire-work and small bosses are worn by the peasants in most of the countries that produce this kind of jewelry.
Silver filigree brooches and buttons are also made in Denmark, Norway, and Sweden. Little chains and pendants are added to much of this northern work.
Some very curious filigree work was brought to Great Britain from Abyssinia after the Battle of Magdala: armguards, slippers, and cups, some of which are now in the Victoria and Albert Museum. They are made of thin plates of silver, over which the wirework is soldered. The filigree is subdivided by narrow borders of simple pattern, and the intervening spaces are made up of many patterns, some with grains set at intervals.
Methods of fabrication and uses
The art may be said to consist in curling, twisting and plaiting fine pliable threads of metal, and uniting them at their points of contact with each other, and with the ground, by means of flux such as borax, by the help of the blowpipe. When granulated motifs are desired, small beads are made traditionally by using precious metal wire or fine sheet to start with, which is cut up in small pieces mixed with flux and placed in the small holes of a pitted block of charcoal (or any other suitable refractory material) and are then melted with a blowpipe (or today with a blowtorch), after which the bits of wire curl up and take a natural spherical like shape to end up in minuscule grains which slightly differ one from the other.[9][10] Small grains or beads of the same metals are often set in the eyes of volutes, on the junctions, or at intervals at which they will set off the wirework effectively. The more delicate work is generally protected by framework of stouter wire.
Brooches, crosses, earrings, buttons and other personal ornaments of modern filigree are generally surrounded and subdivided by bands of square or flat metal, giving consistency to the filling up, which would not otherwise keep its proper shape.
Filigree jewelry design, and its twisting and soldering techniques, have an application in other metal-work such as wrought iron hanging wall brackets and silertoned doors.
Granulated work
A few words must be added as to the granulated work. Such decoration consists of minute beads, globules of gold, soldered to form patterns on a metal surface. Granulation was employed by Mesopotamian craftsmen. Sumerians are thought to be the first to practice this technique of metalwork. Its use is rare in Egypt. It occurs in Cyprus at an early period, as for instance on a gold pendant in the British Museum from Enkomi in Cyprus (10th century BC). The pendant is in the form of a pomegranate, and has upon it a pattern of triangles, formed by more than 3,000 minute globules separately soldered on. It also occurs on ornaments of the 7th century BC from Camirus in Rhodes. But these globules are large, compared with those found on Etruscan jewelry. Fortunato Pio Castellani, who had made the antique jewelry of the Etruscans and Greeks his special study, with the intention of reproducing the ancient models, found it for a long time impossible to revive this particular process of delicate soldering. He overcame the difficulty at last, by the discovery of a traditional school of craftsmen at Sant'Angelo in Vado, by whose help his well-known reproductions were completed. (Wikipedia)
"Comment l’inanimé devient-il animé ? Comment l’homme instaure-t-il une relation insolite ou intime avec des objets ? Un groupe d’anthropologues s’est penché sur ces questions, à l’heure où notre conception de l’humain vacille et que ses frontières ne cessent d’être repoussées.
À propos de l'exposition
Nombreux sont les objets qui ont un statut plus proche de celui d’une personne ou d’une créature que d’un simple objet. Objets d’art – occidental ou non occidental, populaire ou contemporain –, ou produits high tech – robots, machines, etc. – se voient régulièrement attribuer, dans leur utilisation, des capacités d’action insoupçonnées, qui en font des quasi-personnes. Comme l’enfant qui voue une passion à son doudou ou celui qui peste contre son ordinateur ou son mobile en lui reprochant d’être incompétent ou têtu. Comme le chamane qui convoque les esprits à travers une statuette prenant les traits des dieux.
Ce transfert ou cette confusion qui s’opère alors entre l’humain et le non-humain, et la relation particulière et personnalisée qui les lie, dans les cultures les plus variées, est le vaste sujet de cette exposition d’anthropologie. Une incursion par la robotique, via l’œuvre pionnière de Masahiro Mori, permettra de comprendre le rôle de l’anthropomorphisme dans les artefacts les plus divers, et ce qui se joue lorsqu’un robot à l’apparence trop humaine – ou toute autre pièce au réalisme intimidant – croise notre regard, jusqu’à le déstabiliser."
www.quaibranly.fr/fr/expositions-evenements/au-musee/expo...
Fibula (rear chamber, Regolini-Galassi Tomb, Cerveteri), 670–650 B.C.E., gold, 29.2 cm long Museo Gregoriano Etrusco, Musei Vaticani)
Another riff on the lotus pod theme, this time using a variety of coloration effects including patination with fire and chemicals in combination with color on metal.
Brass, Copper, Cold Joined, Repousse
3.5 in. dia
Om........
AKA Repousse
Thin sheets of metal can be drawn on and stretched to create a low-relief sculpture. Namaste!
5x5
Plate (identified as King Shapur II hunting boar), 4th century C.E. (Sasanian, Iran), silver and gilt, 5 x 24 cm (National Museum of Asian Art, Smithsonian Institution, Washington, D.C.)
Rostrillo or Facial Aureola
18th Century
Spanish Colonial
Solid Silver
A massive and impressive 18th century Spanish colonial silver ROSTRILLO -- mistakenly referred to as a Resplendor -- with beautiful hand chasing and repousse. Overall very high silver content with good age tarnished patina. Displayed on a high quality custom made stand.
Dimensions: overall height on display stand is 18 inches. Resplendor measures 13 inches wide x 12 inches high. Weight: 14.25 troy ounces.
Condition: old loss around inner band
Done in repoussé relief, this round pendant depicts the torso bust of a winged angel giving a benediction and holding a staff.
Byzantine, made in Constantinople, ca. 500-600 CE.
Getty Villa Museum, on loan from James E. and Elizabeth J. Ferrell (VL.2017.6.2)
Cumdach (book shrine) of the Cathach, 1062–94 and late 14th century with later additions and repairs, bronze, gilt silver, wood, crystal, and glass, 19 x 25 x 5.25 cm (National Museum of Ireland)
Taken from the top of the pedestal...
Liberty Enlightening the World (French: La liberté éclairant le monde), commonly known as the Statue of Liberty (French: Statue de la Liberté), has stood on Liberty Island in New York Harbor, welcoming visitors, immigrants, and returning Americans, since it was presented to the United States by the people of France. Dedicated on October 28, 1886, the gift commemorated the centennial of the signing of the United States Declaration of Independence and has since become one of the most recognizable national icons--a symbol of democracy and freedom.
The 151-foot (46-meter) tall statue was sculpted by Frédéric Auguste Bartholdi and stands atop Richard Morris Hunt's 154-foot (93-meter) rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. Maurice Koechlin, chief engineer of Gustave Eiffel's engineering company and designer of the Eiffel Tower, engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper and adoption of the repoussé technique, where a malleable metal is hammered on the reverse side. The Statue of Liberty depicts a woman clad in Roman Stola and holding a torch and tablet, and is made of a sheeting of pure copper, hung on a framework of steel with the exception of the flame of the torch, which is coated in gold leaf.
Affectionately known as Lady Liberty, the figure is derived from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Her left foot, fitted in Roman sandals, tramples broken shackles, symbolizing freedom from opression and tyranny, while her raised right foot symbolizes Liberty and Freedom refusing to stand still. Her torch signifies enlightenment. The tablet in her hand represents knowledge and shows the date of the Declaration of Independence--July 4, 1776. The seven spikes on the crown represent the Seven Seas and seven continents. Visually the the Statue of Liberty draws inspiration from the ancient Colossus of Rhodes of the Greek Sun-god Zeus or Helios, and is referred to in the 1883 sonnet The New Colossus by Emma Lazarus, which was later engraved inside.
The Statue of Liberty National Monument was designated a landmark by the New York City Landmarks Preservation Commission in 1976.
Statue of Liberty National Monument New Jersey State Register (1971)
Statue of Liberty National Monument National Register #66000058 (1966)
"This crown was made to adorn a sacred image of the Virgin Mary venerated in the cathedral of Popayán (Colombia). A symbol of the Virgin’s divine queenship, the crown is encircled by golden vinework set with emerald clusters in the shape of flowers, a reference to her purity. The diadem is topped by imperial arches and a cross-bearing orb that symbolizes Christ’s dominion over the world."
Dame Carcas personnage légendaire de la ville de Carcassonne.
femme de Ballak, prince musulman de Carcassonne, tué au combat contre Charlemagne. Elle décide alors de défendre la ville face à l'armée franque et l'aurait repoussée.
Après un long siège, voyant l'armée de Charlemagne quitter la plaine devant la Cité, elle fit sonner les cloches de la ville. Un des hommes de Charlemagne se serait écrié « Carcas sonne ! », d'où le nom de la Cité...
(Sold on Etsy, see profile for more info)
-= Déjà Vu =-
Re-visit the past for the first time with this unique bracelet by 19 Moons! This one of a kind work recalls the beauty of 20th century- a collage antique metal buttons, and antiquated technology given life anew. There are 8 objects in all mounted on the sturdy silver form: Four exquisitely detailed vintage buttons in gold, silver and bronze with various patterns, a 1920's watchdial, a 1940's typewriter key (V), a 1920's cash register key (4) and the centerpiece is a gorgeous 1930's ruby jewel watch movement inverted inside its art nouveau casing. The bracelet form and findings are a combination of sterling silver and pewter, finished with a fabulous art-nouveau toggle style clasp. A stunning ensemble of early 20th century design- and so unique! Don't miss this treasure for the wrist.
Size: 8.5" L (May be shortened by request)
Line: X-Machina
© 2008-2009 19 Moons, All Rights Reserved
Cumdach (book shrine) of the Cathach, 1062–94 and late 14th century with later additions and repairs, bronze, gilt silver, wood, crystal, and glass, 19 x 25 x 5.25 cm (National Museum of Ireland)
Vue du Mont Fuji et du Mont Ashitaka au loin, Hara (étape 14)
Série des 53 étapes du Tokaido (Route de la mer de l'Est)
Oeuvre d'Utagawa Hiroshige (Japon, 1797-1858)
1855
Période Edo, Japon
Hiroshige hitsu
estampe (nishiki-e),
papier et encre
Oeuvre de la collection du musée d'art oriental de Venise, présentée dans l'exposition Hiroshige. De Edo à Kyoto vues célèbres du Japon, au palais Grimani du 20 septembre 2014 au 15 janvier 2015
www.palazzogrimani.org/mostre-ed-eventi/hiroshige/
Cette exposition très bien scénographiée dans les salles du palazzo Grimani permet de voir de nombreuses oeuvres (estampes) de Hiroshige appartenant aux collections du musée d'art oriental de Venise. Ce musée, dont le fond japonais est très riche, se trouve hébergé depuis de nombreuses années dans des locaux trop exigus au 3ème étage du palais Ca' Pesaro, le musée d'art moderne de Venise. Sa réinstallation dans un palais plus vaste a été sans cesse repoussée, ce qui l'oblige à exposer ses collections dans d'autres musées.
Album sur le musée d'art oriental (photos dalbera)
www.flickr.com/photos/dalbera/sets/72157627615989247
Photo Annie Dalbéra
Cumdach (book shrine) of the Cathach, 1062–94 and late 14th century with later additions and repairs, bronze, gilt silver, wood, crystal, and glass, 19 x 25 x 5.25 cm (National Museum of Ireland)
Exquisite framed silver works from an altar frontal
Estimate: PHP 120,000 - 130,000
19th century
Central Luzon
Silver, kamagong
16 x 55 cm (6 x 21 1/2 in)
During the Spanish colonization of the Philippines, only the best artisans – including silversmiths – were used to work on ornamentations to decorate the churches’ altars. This excellently crafted work in fine silver were parts of a large and intricate church altar frontal incorporating ivyleaf morning glory (Ipomea hederacea) with foliates and vines interlacing sinuously, combining repoussé and chasing techniques to obtain an exceptionally naturalistic appearance. As morning glory flower blooms and dies within a single day but the vine produces new flowers every day during its growth season, it has come to symbolize the renewable nature of love, and to Christians the finite nature of life. Framed beautifully in dark kamagong wood.
Lot 207 of the Salcedo Auctions auction on 26 September 2020. Please see salcedoauctions.com for more details.
Fibula (rear chamber, Regolini-Galassi Tomb, Cerveteri), 670–650 B.C.E., gold, 29.2 cm long Museo Gregoriano Etrusco, Musei Vaticani)
This bowl was decorated using the repoussé technique, in which reliefs are hammered from the inside. On the bottom is a star-shaped rosette of eight points with acanthus leaves, from which tendrils terminating in flowers and fan-shaped palmettes rise. Erotes on each side fly toward one another.
Greek, Hellenistic, 2nd-1st century BCE. Said to be from Olbia (near modern Parutyne, Northern Black Sea region, formerly Russian Empire, now Ukraine)
Met Museum, New York (22.50.2)
© Hughes Léglise-Bataille/Wostok Press
France, Nanterre
19.01.2010
Plusieurs centaines de jeunes ont affronte les forces de l'ordre pres du lycee Joliot Curie a Nanterre le 19/10/2010 pour la deuxieme journee consecutive. Plusieurs voitures ont ete brulees, du mobilier urbain detruit, avant que les casseurs soient repousses dans la cite Pablo Picasso.
Hundreds of youth fought the police near the college Joliot Curie in Nanterre, in the suburbs of Paris, on October 19, 2010 for the second day in a row. A couple of cars were burned and bus stops smashed before they were pushed back in the Pablo Picasso complex.
Newar (/nɪˈwɑːr/; Nepal Bhasa: नेवार, endonym: Newa; Nepal Bhasa: नेवा, Pracalit script: ) or Nepami, are the historical inhabitants of the Kathmandu Valley and its surrounding areas in Nepal and the creators of its historic heritage and civilisation. Newars form a linguistic and cultural community of primarily Indo-Aryan and Tibeto-Burman ethnicities following Hinduism and Buddhism with Newar language as their common language. Newars have developed a division of labour and a sophisticated urban civilisation not seen elsewhere in the Himalayan foothills. Newars have continued their age-old traditions and practices and pride themselves as the true custodians of the religion, culture and civilisation of Nepal. Newars are known for their contributions to culture, art and literature, trade, agriculture and cuisine. Today, they consistently rank as the most economically, politically and socially advanced community of Nepal, according to the annual Human Development Index published by UNDP. Nepal's 2011 census ranks them as the nation's sixth-largest ethnicity/community, with 1,321,933 Newars throughout the country.
The Kathmandu Valley and surrounding territories constituted the former Newar kingdom of the Nepal Mandala. Unlike other common-origin ethnic or caste groups of Nepal, the Newars are regarded as an example of a nation community with a relict identity, derived from an ethnically-diverse, previously-existing polity. Newar community within it consists of various strands of ethnic, racial, caste and religious heterogeneity, as they are the descendants of the diverse group of people that have lived in Nepal Mandala since prehistoric times. Indo-Aryan tribes like the Licchavis, Kosala, and Mallas (N) from respective Indian Mahajanapada (i.e. Licchavis of Vajji, Kosala, and Malla (I)) that arrived at different periods eventually merged with the local population by adopting their language and customs. These tribes however retained their Vedic culture and brought with them their Sanskritic languages, social structure and Hindu religion, which was assimilated with local cultures and gave rise to the current Newar civilisation. Newar rule in Nepal Mandala ended with its conquest by the Gorkha Kingdom in 1768.
ORIGIN OF THE NAME
The terms "Nepāl", "Newār", "Newāl" and "Nepār" are phonetically different forms of the same word, and instances of the various forms appear in texts in different times in history. Nepal is the learned (Sanskrit) form and Newar is the colloquial (Prakrit) form. A Sanskrit inscription dated to 512 in Tistung, a valley to the west of Kathmandu, contains the phrase "greetings to the Nepals" indicating that the term "Nepal" was used to refer to both the country and the people.
The term "Newar" or "Newa:" referring to "inhabitant of Nepal" appeared for the first time in an inscription dated 1654 in Kathmandu. Italian Jesuit priest Ippolito Desideri (1684–1733) who traveled to Nepal in 1721 has written that the natives of Nepal are called Newars. It has been suggested that "Nepal" may be a sanskritization of "Newar", or "Newar" may be a later form of "Nepal". According to another explanation, the words "Newar" and "Newari" are colloquial forms arising from the mutation of P to W, and L to R.
As a result of the phonological process of dropping the last consonant and lengthening the vowel, "Newā" for Newār or Newāl, and "Nepā" for Nepāl are used in ordinary speech.
HISTORY
For about a thousand years, the Newar civilization in Central Nepal preserved a microcosm of classical North Indian culture in which Brahmanic and Buddhist elements enjoyed equal status. Snellgrove and Richardson (1968) speak of 'the direct heritage of pre-Islamic India'. The Malla dynasty was noted for their patronisation of the Maithili language (the language of the Mithila region) which was afforded an equal status to that of Sanskrit in the Malla court. Maithil Brahmin priests were invited to Kathmandu and many Maithil families settled in Kathmandu during Malla rule. Due to influx of people from both north (Tibet) and south (Bihar) who brought with them not only their genetic and racial diversity but also greatly moulded the dominant culture and tradition of Newars.
The different divisions of Newars had different historical developments. The common identity of Newar was formed in the Kathmandu Valley. Until the conquest of the valley by the Gorkha Kingdom in 1769, all the people who had inhabited the valley at any point of time were either Newar or progenitors of Newar. So, the history of Newar correlates to the history of the Kathmandu Valley (or Nepala Mandala) prior to the establishment of the modern state of Nepal.
The earliest known history of Newar and the Kathmandu Valley blends with mythology recorded in historical chronicles. One such text, which recounts the creation of the valley, is the Swayambhu Purana. According to this Buddhist scripture, the Kathmandu Valley was a giant lake until the Bodhisattva Manjusri, with the aid of a holy sword, cut a gap in the surrounding hills and let the water out. This apocryphal legend is supported by geological evidence of an ancient lakebed, and it provides an explanation for the high fertility of the Kathmandu Valley soil.
According to the Swayambhu Purana, Manjusri then established a city called Manjupattan (Sanskrit "Land Established by Manjusri"), now called Manjipā, and made Dharmākara its king. A shrine dedicated to Manjusri is still present in Majipā. No historical documents have been found after this era till the advent of the Gopal era. A genealogy of kings is recorded in a chronicle called Gopalarajavamsavali. According to this manuscript, the Gopal kings were followed by the Mahispals and the Kirats before the Licchavis entered from the south. Some claim Buddha to have visited Nepal during the reign of Kirat King Jitedasti. Newar reign over the valley and their sovereignty and influence over neighboring territories ended with the conquest of the Kathmandu Valley in 1769 by the Gorkhali Shah dynasty founded by Prithvi Narayan Shah.
Prior to the Gorkha conquest, which began with the Battle of Kirtipur in 1767, the borders of Nepal Mandala extended to Tibet in the north, the nation of the Kirata in the east, the kingdom of Makwanpur in the south and the Trishuli River in the west which separated it from the kingdom of Gorkha.
ECONOMIC HISTORY
Trade, industry and agriculture have been the mainstay of the economy of the Newars. They are made up of social groups associated with hereditary professions that provide ritual and economic services. Merchants, craftsmen, artists, potters, weavers, dyers, farmers and other castes all played their part in creating a flourishing economic system. Elaborate cultural traditions which required the use of varied objects and services also fueled the economy. Towns and villages in the Kathmandu Valley specialized in producing particular products, and rich agriculture produced a surplus for export.
For centuries, Newar merchants have handled trade between Tibet and India Besides exporting locally manufactured products to Tibet. Rice was another major export. Porters and pack mules transported merchandise over mountain tracks that formed the old trade routes. Since the 18th century, Newars have spread out across Nepal and established trading towns dotting the mid hills. They are known as jewelry makers and shopkeepers. Today, they are engaged in modern industry, business and service sectors.
CASTES AND COMMUNITIES
Newars forms an ethnolinguistic community distinct from all the other ethnic groups of Nepal. Newars are divided into various endogamous clans or groups on the basis of their ancient hereditary occupations, deriving its roots in the classic late-Vedic Varna model. Although first introduced in the time of the Licchavis, the present Newar caste system assumed its present shape during the medieval Malla period.
Artisan castes: "Ritually pure" occupational castes (Sat-Shudra): Balami (field workers and farmers), Bha/Karanjit (death ritual specialists), Chipā/Ranjitkar (dyers), Duhim/Putwar/Dali (carriers), Gathu/Mālākār/Mali (gardeners), Khusa/Tandukar (palanquin bearers/farmers), Pahari/Nagarkoti (farmers from Valley outskirts), Kau/Nakarmī (blacksmiths), Nau/Napit (barbers), Puñ/Chitrakar (painters), Sayami/Mānandhar (oilpressers), etc.
Banra/Baré/Shakya: Buddhist temple priests and also traditionally goldsmiths.
Brahmin: The two main groups are: Rajopadhyaya (Dyabhāju Brāhman or Bājyé) who are purohits for Hindu Newars, and Maithil Brahmin (Jhā Bajé) who are temple priests of Kathmandu's various Hindu shrines.
Chyamé/Chamaha: Traditionally fishermen, sweepers. A Scheduled Caste.
Dhobi: Traditionally washermen. A Scheduled Caste.
Dyahla/Podé: Traditionally temple cleaners, fishermen, sweepers. A Scheduled Caste.
Gubhāju/Bajracharya: Buddhist purohits and temple priests of Kathmandu's various Buddhist shrines.
Jyapu: Traditionally farmers; majority of Newar population inside Kathmandu Valley. Also includes Suwāl, Basukala, etc. (Bhaktapur Hindu Jyapus), Kumhā/Prajapati (potterers and clay workers), Awalé (brickmakers), Sāpu (descendants of Gopāl dynasty), etc.
Jogi/Kapali (Newar caste): A caste associated as being descendants of the Kanphata Yogi sect. Also traditionally tailors, musicians. Previously, a Scheduled Caste.
Kshatriya: Chatharīya Srēṣṭha aristocratic bloc which includes Malla descendants, their numerous Hindu courtier clans (Pradhan, Pradhananga, Maskay, Hada, Amātya, Mathema, etc.) and Kshatriya-status specialists like Joshi (astrologers), Vaidya (Ayurvedic practitioners), Rajbhandārī (treasurers), Karmāchārya (Tantric priests), Kayastha (scribes), among others.
Kulu/Dom: Traditionally leather workers. A Scheduled Caste.
Nayé/Khadgi: Traditionally butchers and musicians. Previously, a Scheduled Caste.
Panchthariya Srēṣṭha: Chief Hindu trader and merchant group including Shrestha (administrators and traders).
Rajkarnikar or Halwai: Traditional confectioners and sweetmakers. Kathmandu Halwais are Buddhist, whereas Lalitpur Halwais are Hindu.
Shilpakar: Wood carvers.
Tamrakar: Trader and merchant group from Lalitpur; traditionally involved as coppersmiths.
Urāya/Udās: Chief Buddhist trader, merchant and artisan group including Tuladhar and Bania (merchants), Kansakar (bronzesmiths), Sthapit, Kasthakar (architects/carpenters), etc.
RELIGION
According to the 2011 Nepal Census, 87.38% of the Newars were Hindu and 10.74% were Buddhist.
Out of the three main cities of the Kathmandu Valley which are historically Newar, the city of Patan is the most Buddhist containing the four stupas built by Indian emperor Ashoka. Bhaktapur is primarily Hindu, while Kathmandu is a mix of both. Generally, both Hindu and Buddhist deities are worshiped and festivals are celebrated by both religious groups. However, for ritual activities, Hindu and Buddhist Newars have their own priests (Rajopadhyaya Brahmins for Hindus and Vajracharyas for Buddhists) and varying amounts of cultural differences.
Religiously, the Newars can be classified as both Hindu and Buddhist. The major cults are Vajrayana Buddhism and Tantric Hinduism. The former is referred to as Buddhamarga, the latter as Sivamarga. Both creeds have been established since antiquity in the valley. Both Buddhamargi and Sivamargi Newars are Tantricists, Within the Newar community, many different esoteric Tantric cults of Buddhist, Shaiva, and Vaishnava denominationd are practiced. In this regard, cults of the Mother Goddesses and their consorts, the Bhairavas, are particularly important.
The most important shrines in the Valley are Swayambhunath (Buddhist) and Pashupatinath (Hindu). Different castes worship different deities at different occasions, and more or less intensively. Only the higher echelons in the caste system claim to be exclusively Buddhist or Hindu. The Vajracharyas, Buddhist priests, will adamantly maintain that they are Buddhists, and so will the Bare (Shakya) and the Uray (Tuladhars, et al.), whereas, the Dyabhāju Brāhman, the Jha Brāhman, and the dominant Shresthas will maintain that they are Hindus. Further down in the caste hierarchy no distinction is made between Buddhists and Hindus. Hindu and Buddhist alike always worship Ganesh first in every ritual, and every locality has its local Ganesh shrine (Ganesh Than).
Although Newar Buddhism (Vajrayana) had been traditionally practiced in the Kathmandu Valley, Theravada Buddhism made a comeback in Nepal in the 1920s and now is a common form of Buddhism among Buddhamargi Newars.
LANGUAGE
"Nepal Bhasa" is classified as among the Sino-Tibetan languages but it has greatly derived much of its grammar, words and lexicon from the influences of southern Indo-Aryan languages like Sanskrit, Prakrit, and Maithili. Newars are bound together by a common language and culture. Their common language is Nepal Bhasa or the linguistic progenitor of that language. Nepal Bhasa is the term recognised by the government.
Nepal Bhasa already existed as a spoken language during the Licchavi period and is believed to have developed from the language spoken in Nepal during the Kirati period. Inscriptions in Nepal Bhasa emerged from the 12th century, the palm-leaf manuscript from Uku Bahah being the first example. Nepal Bhasa developed from the 14th to the late 18th centuries as the court and state language. It was used universally in stone and copper inscriptions, sacred manuscripts, official documents, journals, title deeds, correspondence and creative writing.
In 2011, there were approximately 846,000 native speakers of Nepal Bhasa. Many Newar communities within Nepal also speak their own dialects of Nepal Bhasa, such as the Dolakha Newar Language. Nepal Bhasa is of Tibeto-Burman origin but has been heavily influenced by Indo-Aryan languages like Sanskrit, Pali, Bengali and Maithili.
SCRIPTS
Nepal Bhasa script is a group of scripts that developed from the Brahmi script and are used primarily to write Nepal Bhasa and Sanskrit. Among the different scripts, Ranjana, Bhujinmol, and Prachalit are the most common. Nepal script is also known as Nepal Lipi and Nepal Akhala.
Nepal Bhasa scripts appeared in the 10th century. For a thousand years, it was used on stone and copper plate inscriptions, coins (Nepalese mohar), palm-leaf documents and Hindu and Buddhist manuscripts. Devanagari began to be used to write Nepal Bhasa in the beginning of the 20th century, and Nepal script has limited usage today.
LITERATURE
Nepal Bhasa is one of the five languages in the Sino-Tibetan family with an ancient literary tradition. Literature in Nepal Bhasa began as translation and commentary in prose in the 14th century AD. The earliest known document in Nepal Bhasa is called "The Palmleaf from Uku Bahal" which dates from 1114 AD during the Thakuri period.
Classical Nepal Bhasa literature is represented by all the three major genres—prose, poetry, and drama. Most of the writings consist of prose including chronicles, popular stories and scientific manuals. Poetry consists of love songs, ballads, work songs, and religious poetry. The earliest poems date from the 1570s. Epic poetry describing historical events and tragedies are very popular. The ballads Sitala Maju, about the expulsion of children from Kathmandu, Silu, about an ill-fated pilgrimage to Gosaikunda, and Ji Waya La Lachhi Maduni, about a luckless Tibet trader, are sung as seasonal songs.
The dramas are based on stories from the epics, and almost all of them were written during the 17th and 18th centuries. Nepal Bhasa literature flourished for five centuries until 1850. Since then, it suffered a period of decline due to political oppression. The period 1909–1941 is known as the Nepal Bhasa renaissance period when writers defied official censure and braved imprisonment to create literary works. Modern Nepal Bhasa literature began in the 1940s with the emergence of new genres like short stories, poems, essays, novels and plays.
POLITICS
NEWA AUTONOMOUS STATE
Newa Autonomous State is a proposed federal state of Nepal which establishes the historical native homeland of Newa people as a federal state. The historical territories of Newars is called Nepal Mandala. The Newa Autonomous State mandates to reconstruct the district division and create an autonomous Newa province. It includes historically Newa residing settlements and Newa dominant zones of Kathmandu, Bhaktapur, Lalitpur, Newa towns of Dolakha, Newa settlements of Nuwakot, Newa settlements of Makwanpur, Newa settlements of Ramechhap, Newa settlements of Sindupalchok, Newa settlements of Kavre West.
DANCE
MASKED DANCE
The Newar dance consists of sacred masked dance, religious dance without the use of masks known as Dyah Pyakhan, dance performed as part of a ritual and meditation practice known as Chachaa Pyakhan (Nepal Bhasa: चचा प्याखं) (Charya Nritya in Sanskrit) and folk dance. There are also masked dance dramas known as Daboo Pyakhan which enact religious stories to the accompaniment of music.
DHIME DANCE
The dance done in the tune of Dhime are Dhime dance.
MUSIC
Traditional Newa music consists of sacred music, devotional songs, seasonal songs, ballads and folk songs. One of the most well-known seasonal songs is Sitala Maju. The ballad describes the expulsion of children from Kathmandu in the early 19th century. Another seasonal song Silu is about a pilgrimage to Gosaikunda that went wrong. Ji Waya La Lachhi Maduni is a tragedy song about a newly married couple. The ballad Rajamati about unlucky lovers is widely popular. In 1908, maestro Seturam Shrestha made the first recording of the song on gramophone disc in Kolkata.
Common percussion instruments consist of the dhimay, khin, naykhin and dhaa. Wind instruments include the bansuri (flute), payntah (long trumpet) and mwahali (short trumpet), chhusya, bhusya, taa (cymbals), and gongs are other popular instruments. String instruments are very rare. Newa people call their music Dhime Baja.
The musical style and musical instruments are still in use today. Musical bands accompany religious processions in which an idol of a deity is placed in a chariot or portable shrine and taken around the city. Devotional songs are known as bhajan may be sung daily in community houses. Hymn societies like Gyanmala Bhajan Khala hold regular recitals. Dapa songs are sung during hymn singing seasons at Temple squares and sacred courtyards.
Gunla Bajan musical bands parade through the streets during Gunla, the 10th month of the Nepal Sambat calendar which is a holy month for Newar Buddhists. Musical performances start with an overture which is a salutation to the gods.
Seasonal songs and ballads are associated with particular seasons and festivals. Music is also played during wedding processions, life-cycle ceremonies and funeral processions.
ART
The Newars are the creators of most examples of art and architecture in Nepal. Traditional Newar art is basically religious art. Newar devotional paubha painting, sculpture and metal craftsmanship are world-renowned for their exquisite beauty. The earliest dated paubha discovered so far is Vasudhara Mandala which was painted in 1365 AD (Nepal Sambat 485).[72] The murals on the walls of two 15th-century monasteries in the former kingdom of Mustang in the Nepal Himalaya provide illustrations of Newar works outside the Kathmandu Valley. Stone sculpture, wood carving, repoussé art and metal statues of Buddhist and Hindu deities made by the lost-wax casting process are specimens of Newar artistry. The Peacock Window of Bhaktapur and Desay Madu Jhya of Kathmandu are known for their wood carving.
Building elements like the carved Newar window, roof struts on temples and the tympanum of temples and shrine houses exhibit traditional creativity. From as early as the seventh century, visitors have noted the skill of Newar artists and craftsmen who left their influence on the art of Tibet and China. Newars introduced the lost-wax technique into Bhutan and they were commissioned to paint murals on the walls of monasteries there. Sandpainting of mandala made during festivals and death rituals is another specialty of Newar art.
Besides exhibiting a high level of skill in the traditional religious art, Newar artists have been at the forefront of introducing Western art styles in Nepal. Raj Man Singh Chitrakar (1797-1865) is credited with starting watercolor painting in the country. Bhaju Man Chitrakar (1817–1874), Tej Bahadur Chitrakar (1898-1971) and Chandra Man Singh Maskey were other pioneer artists who introduced modern style paintings incorporating concepts of lighting and perspective.
TRADITIONAL PAINTING
Paubhā
Thanka
ARCHITECTURE
There are seven UNESCO World Heritage Sites and 2,500 temples and shrines in the Kathmandu Valley that illustrate the skill and aesthetic sense of Newar artisans. Fine brickwork and woodcarving are the marks of Newar architecture. Residential houses, monastic courtyards known as baha and bahi, rest houses, temples, stupas, priest houses and palaces are the various architectural structures found in the valley. Most of the chief monuments are located in the Durbar Squares of Kathmandu, Lalitpur and Bhaktapur, the old royal palace complexes built between the 12th and 18th centuries.
Newa architecture consists of the pagoda, stupa, shikhara, chaitya and other styles. The valley's trademark is the multiple-roofed pagoda which may have originated in this area and spread to India, China, Indochina and Japan. The most famous artisan who influenced stylistic developments in China and Tibet was Arniko, a Newar youth who traveled to the court of Kublai Khan in the 13th century AD. He is known for building the white stupa at the Miaoying Temple in Beijing
SETTLEMENTS
Durbar squares, temple squares, sacred courtyards, stupas, open-air shrines, dance platforms, sunken water fountains, public rest houses, bazaars, multistoried houses with elaborately carved windows and compact streets are the characteristics of traditional planning. Besides the historical cities of Kathmandu, Lalitpur, Bhaktapur, Madhyapur Thimi, Chovar, Bungamati, Thankot and Kirtipur, small towns with a similar artistic heritage dot the Kathmandu Valley where almost half of the Newar population lives.
Outside the valley, historical Newar settlements include Nuwakot, Nala, Banepa, Dhulikhel, Panauti, Dolakha, Chitlang and Bhimphedi. The Newars of Kathmandu founded Pokhara in 1752 at the invitation of the rulers of Kaski. Over the last two centuries, Newars have fanned out of the Kathmandu Valley and established trade centers and settled in various parts of Nepal. Bandipur, Baglung, Silgadhi and Tansen in west Nepal and Chainpur and Bhojpur in east Nepal contain large Newar populations.
Outside Nepal, many Newars have settled in Darjeeling and Kalimpong in West Bengal, Assam, Manipur and Sikkim, India. Newars have also settled in Bhutan. Colonies of expatriate Newar merchants and artisans existed in Lhasa, Shigatse and Gyantse in Tibet till the mid-1960s when the traditional trade came to an end after the Sino-Indian War. In recent times, Newars have moved to different parts of Asia, Europe and America.
FESTIVALS
Newar religious culture is rich in ceremony and is marked by frequent festivals throughout the year. Many festivals are tied to Hindu and Buddhist holidays and the harvest cycle. Street celebrations include pageants, jatras or processions in which a car or portable shrine is paraded through the streets and sacred masked dances. Other festivals are marked by family feasts and worship. The celebrations are held according to the lunar calendar, so the dates are changeable.
Mohani (Dasain) is one of the greatest annual celebrations which is observed for several days with feasts, religious services, and processions. During Swanti (Tihar), Newars celebrate New Year's Day of Nepal Sambat by doing Mha Puja, a ritual in which a mandala is worshipped, that purifies and strengthens one spiritually for the coming year. Similarly, Bhai Tika is also done during Swanti. It is a ritual observed to worship and respect a woman's brothers, with or without blood relation. Another major festival is Sā Pāru when people who have lost a family member in the past year dress up as cows and saints, and parade through town, following a specific route. In some cases, a real cow may also be a part of the parade. People give such participants money, food and other gifts as a donation. Usually, children are the participants of the parade.
In Kathmandu, the biggest street festival is Yenya (Indra Jatra) when three cars bearing the living goddess Kumari and two other child gods are pulled through the streets and masked dance performances are held. The two godchildren are Ganesh and Bhairav. Another major celebration is Pahan Charhe when portable shrines bearing images of mother goddesses are paraded through Kathmandu. During the festival of Jana Baha Dyah Jatra, a temple car with an image of Karunamaya is drawn through central Kathmandu for three days. A similar procession is held in Lalitpur known as Bunga Dyah Jatra which continues for a month and climaxes with Bhoto Jatra, the display of the sacred vest. The biggest outdoor celebration in Bhaktapur is Biska Jatra (Bisket Jatra) which is marked by chariot processions and lasts for nine days. Sithi Nakha is another big festival when worship is offered and natural water sources are cleaned. In addition, all Newar towns and villages have their particular festival which is celebrated by holding a chariot or palanquin procession.
Paanch Chare is one of the many occasions or festivals celebrated by the Newa community, natives from Kathmandu Valley, Nepal. This is celebrated on the Chaturdasi (Pisach Chaturdashi) day according to new lunar calendar on the month of Chaitra.
CLOTHING
Western wear is the norm as in urban areas in the rest of the country. Traditional costumes consist of haku tapuli(black cap), dhakatapuli(dhaka cap),trousers (suruwā) and long shirts (tappālan) and gaa(long length shawl)for men, blouse,bhoto (misālan) and hakupatashi, Chireparshi(sari) and gaa(long length shawl) for women and ankle-length gowns (bhāntānlan) for girls. Ritual dresses consist of pleated gowns, coats and a variety of headresses. Similarly, a shawl (gā) are worn by men and women. Traditionally, Newar women wear a shoe made out of red cloth, Kapaà lakaan. It is decorated with glitters and colorful beads (potya). One of the major parts of Newar dress ups is bracelets (chūra) and mala(necklaces).
CUISINE
Meals can be classified into three main categories: the daily meal, the afternoon snack and festival food. The daily meal consists of boiled rice, lentil soup, vegetable curry and relish. Meat is also served. The snack generally consists of rice flakes, roasted and curried soybeans, curried potato and roasted meat mixed with spices.
Food is also an important part of the ritual and religious life of the Newars, and the dishes served during festivals and feasts have symbolic significance. Different sets of ritual dishes are placed in a circle around the staple Bawji (rice flakes or Flattened) to represent and honour different sets of deities depending on the festival or life-cycle ceremony.[
Kwāti (क्वाति soup of different beans), kachilā (कचिला spiced minced meat), chhoyalā (छोयला water buffalo meat marinated in spices and grilled over the flames of dried wheat stalks), pukālā (पुकाला fried meat), wo (वः lentil cake), paun kwā (पाउँक्वा sour soup), swan pukā (स्वँपुका stuffed lungs), syen (स्येँ fried liver), mye (म्ये boiled and fried tongue), sapu mhichā (सःपू म्हिचा leaf tripe stuffed with bone marrow), sanyā khunā (सन्या खुना jellied fish soup) and takhā (तःखा jellied meat) are some of the popular festival foods. Dessert consists of dhau (धौ yogurt), sisābusā (सिसाबुसा fruits) and mari (मरि sweets). Thwon (थ्वँ rice beer) and aylā (अयला local alcohol) are the common alcoholic liquors that Newars make at home.
Traditionally, at meals, festivals and gatherings, Newars sit on long mats in rows. Typically, the sitting arrangement is hierarchical with the eldest sitting at the top and the youngest at the end. Newar cuisine makes use of mustard oil and a host of spices such as cumin, sesame seeds, turmeric, garlic, ginger, mint, bay leaves, cloves, cinnamon, pepper, chilli and mustard seeds. Food is served in laptya (लप्त्य plates made of special leaves, held together by sticks). Similarly, any soups are served in botā (बोटा bowls made of leaves). Liquors are served in Salinchā (सलिंचाः bowls made of clay) and Kholchā (खोल्चाः small metal bowls).
Newar people are much innovative in terms of cuisine. They have a tradition to prepare various foods according to the festivals. Some of the popular cuisines that are prepared with the festivals are:
LIFE-CYCLE CEREMONIES
Elaborate ceremonies chronicle the life cycle of a Newar from birth till death. Newars consider life-cycle rituals as a preparation for death and the life after it. Hindus and Buddhists alike perform the "Sorha Sanskaar Karma" or the 16 sacred rites of passage, unavoidable in a Hindu person's life. The 16 rites have been shortened to 10 and called "10 Karma Sanskar" (Nepal Bhasa: दश कर्म संस्कार). These include important events of a person's life like "Jatakarma" (Nepal Bhasa: जातकर्म) (Childbirth), "Namakaran" (Nepal Bhasa: नामकरण) (Naming the child), "Annapraasan" (Nepal Bhasa: अन्नप्राशन) (First rice feeding ceremony), "Chudakarma" or "Kaeta Puja" (first hair shaving and loin cloth ceremony), "Vivaaha" (Nepal Bhasa: विवाह) (Wedding), among others.
CHUDAKARMA CEREMONY (Bare Chuyegu/Acharyabhisheka or Bratabandha/Upanayana)
Once such important rite of passage ceremony among the male Newars is performing the loin-cloth and head-shaving ceremony called Chudākarma (Nepal Bhasa: चुडाकर्म) or Kaeta Puja (Nepal Bhasa: काएत पूजा) which is traditionally performed for boys aged five to thirteen according to the religious affiliation Newars identify with.
In this ceremony, Buddhist Newars - Gubhāju-Baré (Bajracharya-Shakya), Urāy, Jyapu and few artisan castes like Chitrakār - perform their Pravrajyā (Sanskrit: प्रवराज्या) and Chudākarma ceremony by mimicking Gautama Buddha's ascetic and medicant lifestyle and the steps to attain monkhood and nirvana where the boy stays in a Buddhist monastery, Vihara, for three days, living the life of a monk and abandoning all material pleasures. On the fourth day, he disrobes and returns to his family and henceforth becomes a householder Buddhist for the rest of his life. The Buddhist priestly clan Gubhāju-Baré (Bajracharya and Shakya) go through an additional initiation ceremony called Bare Chuyegu (becoming a Baré) while Bajracharya boys are further required to go through Acharyabhisheka (Sanskrit: आचार्याभिषेक) which is a Tantric initiation rite that qualifies a Bajracharya to perform as a purohita.
Hindu Newars perform the male initiation ceremony as a ritual observance of the brahmachārya - the first stage in the traditional four stages of life. During the ritual, the young boy renounces family and lineage for the celibate religious life. His head is fully shaved except a tuft in the top, he must don yellow/orange robes of the mendicant, he must beg rice from his relatives and prepare to wander out into the world. Having this symbolically fulfilled the ascetic ideal, he can be called back by his family to assume the life of a householder and his eventual duty as a husband and a father. Twice-born (Brahmin and Kshatriya) Newars - Rajopādhyāyas and Chatharīyas - additionally perform the Upanayana initiation where the boy receives his sacred thread (Sanskrit: यज्ञोपवीत) and the secret Vedic mantras - RV.3.62.10 (Gāyatrī mantra) for Brahmins and RV.1.35.2 (Shiva mantra) for Chatharīyas. The boy is then fully inducted into his caste status as a Dvija with the obligation to observe henceforth all commensal rules and other caste obligations(Nepal Bhasa: कर्म चलेको).
MACHA JANKU
This is the rice feeding ceremony, "Annapraasan" (Nepal Bhasa: अन्नप्राशन). It is performed at the age of six or eight months for boys and at the age of five or seven months for girls.
IHI CEREMONY
For a female child, Ihi (Ehee)(Nepal Bhasa: ईहि) short for Ihipaa (Eheepā)(Nepal Bhasa: ईहिपा) (Marriage) is performed between the ages of five to nine. It is a ceremony in which pre-adolescent girls are "married" to the bael fruit (wood apple), which is a symbol of the god Vishnu. It is believed that if the girl's husband dies later in her life, she is not considered a widow because she is married to Vishnu, and so already has a husband that is believed to be still alive.
BAHRA
Girls have yet another ceremonial ritual called Bahra Chuyegu(Nepal Bhasa: बराह चुयेगु) when a girl approaches puberty. This is done in her odd number year like 7,9 or 11 before mensuration. She is kept in a room for 12 days hidden and is ceremonially married to the sun god Surya.
JANKWA
Jankwa or Janku is an old-age ceremony which is conducted when a person reaches the age of 77 years, seven months, seven days, seven hours, seven minutes, seven-quarter. Three further Janku ceremonies are performed at similar auspicious milestones at age 83, 88 and 99. The first Janwa is called "Bhimratharohan", the second "Chandraratharohan", the third "Devaratharohan", and the fourth "Divyaratharohan". After the second Jankwa, the person is accorded deified status.
VIVAAHA (WEDDING)
The next ceremony common to both boys and girls is marriage and the rituals performed are similar to most normal Hindui marriages. The Newar custom, similar to that of Hindus, is that the bride almost always leaves home at marriage and moves into her husband's home and adopts her husband's family name as her own. Cross-cousin and parallel-cousin marriage is forbidden. Marriage is usually arranged by parents who use a gobetween(lamee). Marriage by elopement is popular in some peripheral villages.
The Sagan ceremony where auspicious food items are presented is an important part of life-cycle rituals.
All Newars, except the Laakumi and Jogi caste, cremate their dead. The Jogis bury their dead. As part of the funeral, offerings are made to the spirit of the deceased, the crow and the dog. The crow and the dog represent ancestors and the god of death. Subsequently, offerings and rituals are conducted four, seven, eight, 13 and 45 days following death and monthly for a year and then annually.
Buddhist Newars also make a mandala (sand painting) depicting the Buddha on the third day after death which is preserved for four days.
NEWA GAMES
The games which had been played by prasanga people from their ancient time can be classified as Newa games.
Kana kana pichha (Blindfold game), Piyah (a game played with stone by pushing stone within the marks drawn in the ground), Gatti ( another game played with stone by hand), pasa are some games played by Newar people since ancient time.
NOTABLE NEWAR PEOPLE
Sankhadhar Sakhwa (879 AD) philanthropist, related to Nepal Sambat
Shukra Raj Shastri (1894-1941), Freedom Fighter, Martyr
Gangalal Shrestha (1919-1941), Freedom Fighter, Martyr
Dharma Bhakta Mathema (1908-1941), Freedom Fighter, Martyr
Ganesh Man Singh (1915-1997) Freedom Fighter, Leader
Pushpa Lal Shrestha (1924-1978), Founder of Communist Party of Nepal
Marich Man Singh Shrestha (1942-2013) Ex. Prime Minister
Sahana Pradhan (1927-2014), Leader of CPN-ML, Ex. Deputy PM
Baikuntha Manandhar (b. 1952), Fastest Runner who competed at four consecutive Olympic Games, from 1976 to 1988.
Siddhicharan Shrestha (1912-1992), Poet, aka Yug Kavi
Chittadhar Hridaya (19 May 1906 – 9 June 1982), Poet, aka Kavi Keshari
Satya Mohan Joshi (b.1920), Scholar of history and culture
Narayan Gopal (1939-1990), Singer, aka Swar Samrat
Pashupati Bhakta Maharjan, Chief secretary of King Birendra and King Gyanendra of Nepal
Tara Devi (1945-2006), Singer, aka Swar Samragi
Kashiraj Pradhan (b.1905), Pro democracy leader in erstwhile Kingdom of Sikkim
Phatteman Rajbhandari, Singer
Nahakul Pradhan, pro democracy leader in erstwhile kingdom of Sikkim
Prem Dhoj Pradhan (b.1938), Singer
Ganga Prasad Pradhan, main translator of Nepali Bible
Madan Krishna Shrestha (b.1950), Actor
Shiv Shrestha, Actor
Kumar Pradhan, Historian
Shree Krishna Shrestha, (19 April 1967 – 10 August 2014), Actor
Durga Lal Shrestha, (b. July 1937), poet of Nepal Bhasa and Nepali
Poornima Shrestha, (b. 6 September 1960), Bollywood film playback singer
Narayan Man Bijukchhe, (b. 9 March 1939), writer, Member of the Legislature Parliament of Nepal
Binod Pradhan, Bollywood cinematographer
Adrian Pradhan, Vocalist
Namrata Shrestha, famous Nepali actress
Karna Shakya, environmentalist, conservationist, hotel entrepreneur, writer and philanthropist
Tara Bir Singh Tuladhar, artist and composer on the classical string instrument Sitar
Aashirman DS Joshi, Actor
Ayushman Joshi, Actor
Sanju Pradhan, Footballer
Jharana Bajracharya - Miss Nepal 1997
Usha Khadgi - Miss Nepal 2000
Payal Shakya - Miss Nepal 2004
Sadichha Shrestha,(b. 23 November 1991), Miss Nepal World 2010
Sahana Bajracharya - Miss Nepal Earth 2010 | Model| Actress | Media Personality
Malina Joshi - Miss Nepal World 2011
Sarina Maskey - Miss Nepal International 2011
Shristi Shrestha - Miss Nepal World 2012 & Miss World 2012-Top 20 finalist
Nagma Shrestha - Miss Nepal Earth 2012 | Miss Nepal Universe 2017
Ishani Shrestha - Miss Nepal World 2013 & Miss World 2013- Beauty With A Purpose | Top 10 finalist
Prinsha Shrestha - Miss Nepal Earth 2014
Sonie Rajbhandari - Miss Nepal International 2014
Evana Manandhar - Miss Nepal 2015
Asmi Shrestha - Miss Nepal 2016
Ronali Amatya - Miss Nepal International 2018
Anushka Shrestha - Miss Nepal World 2019 & Miss World 2019- Beauty With A Purpose | Miss Multimedia | Top 12 finalist
Meera Kakshapati - Miss Nepal International 2019
Ashish Pradhan - Footballer
WIKIPEDIA
Calvario
Binondo, Manila and San Miguel de Mayumo, Bulacan 1890s
ivory, silver, velvet, silvergilt threads,
baticuling wood, glass, enamels
Cristo::
wingspan: 8" (20 cm)
head to toe: 11" (28 cm)
body: 1 1/2" x 1" (4 cm x 3 cm)
Mater Dolorosa: 12" x 5" x 3 1/2" (30 cm x 13 cm x 9 cm)
Maria Magdalena: 7" x 4" x 3"(18 cm x 10 cm x 8c m)
San Juan Evangelista: 11" x 5" x 4"(28 cm x 13 cm x 10 cm)
Virina: 28" x 20" x 11"(71cm x 51cm x 28 cm)
Base: 7" x 26" x 16" (18 cm x 66 cm x 41 cm)
Opening bid: PHP 800,000
Property from the Don Maximo Viola Collection, San Miguel, Bulacan.
Provenance: Maximo Viola, Descendants of Maximo Viola
About the Work
By Augusto Marcelino Reyes Gonzalez III
Commissioned by D Maximo Viola y Sison (1857– 1933): a contemplative and reflective tabletop “Calvario” tableau. The “Cristo Expirante” has a resigned expression. It has long hair of “jusi” fibers and on its head are a silvergilt crown of thorns and “tres potencias” symbolizing the three powers of the Lord: Authority (Exousia in Greek), Ability (Dunamis in Greek), and Strength (Kratas in Greek), it wears a “tapis” loincloth of silvergilt repousse with flowers and leaves. The cross itself is of kamagong wood with linear lanite inlay terminating in silvergilt repousse “cantoneras” on three of its exposed sides; there are the requisite INRI plaque (“Jesus the Nazarene, King of the Jews,” in unusual silvergilt openwork) surmounting the cross, the reverse–painted red glass sun framed by silver rays above the Cristo, and the silver skull and bones representing Golgotha below the Cristo; the cross exudes silvergilt repousse rays with flowers and leaves which symbolize the Cristo’s divinity. The Cristo is flanked by the two thieves, San Dimas the good thief to the Cristo’s right and Gestas the unrepentant thief to the left, as dictated by tradition; San Dimas gestures towards the Cristo but Gestas ignores both of them; both San Dimas and Gestas are polychrome “de tallado” wooden figures with their carved “tapis” loincloths painted red for some reason. The other principal figures in the tableau are the grieving “Mater Dolorosa” (Mary the Sorrowful Mother) on the left, a silvergilt “rostrillo” (of the distinct 1890s type) around its face and a silvergilt heart pierced by a dagger on its breast, clad in a gold robe and blue cape; a distraught “San Juan Evangelista” (Saint John the Apostle and Evangelist) on the right, a silvergilt “paraguas” halo on its head, clad in a red robe and green cape; and a prostrate and desperate “Santa” Maria Magdalena (Saint Mary Magdalene) at the foot of the cross, a silvergilt “paraguas” halo on its head, clad in a purple robe and yellow cape. All the velvet vestments are embroidered with floral and foliar designs of the 1890s genre. In the tradition of nineteenth century (Victorian) “miniaturismo,” many charming glass baubles, reputedly created by the inmates of the Bilibid Prison (according to the prewar–postwar collector Felipe Kleimpell Hidalgo), dot the base of the tableau. There are country folk: a farmer (well –dressed, looks like a prince), his wife, daughter, and a female vendor with a basket on her head, all wearing cheery dresses. Plants and flowers. There are all kinds of animals: dogs, cats, birds, geese, sheep, goats, even antlered deer. There is a “Roman centurion” on a horse between the Cristo and San Dimas, although the horse looks like anything but one. The surface of the base is textured to simulate earth. Overall, it is a very interesting tableau. “Calvario” tableaux (Calvary scenes) were necessary appurtenances of Roman Catholic evangelization and catechesis in the past centuries. They depicted the Crucifixion: the “Cristo Expirante” (dying) or even the “Cristo Moribundo” (dead) Jesus Christ on the cross, his nearest and dearest --- “Mater Dolorosa” (Mary his Sorrowful Mother), “San Juan Evangelista” (Saint John the Apostle and Evangelist), and “Santa Maria Magdalena” (Saint Mary Magdalene) at the foot of the cross. To the faithful, they were daily reminders of the ultimate sacrifice by Jesus Christ. They were the visualizations of “Semana Santa” (Holy Week), “Viernes Santo” (Good Friday), “Las Siete Palabras” (The Seven Last Words), “La Procesion del Entierro” (Burial Procession), and “El Triduo Pascual” (Easter Triduum), all central themes of Roman Catholicism leading to Easter, the Resurrection of Christ, the most central theme of all.
Lot 139 of the Leon Gallery auction on June 17, 2023. Please see leon-gallery.com/auctions/The-Spectacular-Mid-Year-Auctio... for more information.
Dans l’abside du chœur, autel majeur Louis XIV en bois peint, dessiné par C. Van Nerven au XVIIIe siècle; de part et d’autre du retable, peint par S.J. Van Helmont au début du XVIIIe siècle et figurant la Cananéenne, portique à colonnes corinthiennes et entablement surmonté de deux vases ornés de guirlandes ; au-dessus, baldaquin lambrequiné et manteau royal immense. Précédant l’autel, stalles en chêne du premier quart du XVIIIe siècle, dont les sculptures, dues à J.-B. van der Haeghen et J. Bergé, racontent la légende de saint Nicolas. Fermant le chœur, grille Louis XV en fer forgé et repoussé, avec dorures, provenant de l’abbaye norbertine de Ninove et acquise en 1806.
In the choir apse, Louis XIV major altar in painted wood, designed by C. Van Nerven in the 18th century; on either side of the altarpiece, painted by S.J. Van Helmont at the beginning of the 18th century and depicting the Canaanite woman, portico with Corinthian columns and entablature surmounted by two vases decorated with garlands; above, lambrequined canopy and immense royal mantle. Preceding the altar, oak stalls from the first quarter of the 18th century, whose sculptures, due to J.-B. van der Haeghen and J. Bergé, tell the legend of Saint Nicholas. Closing the choir, Louis XV gate in wrought and embossed iron, with gilding, coming from the Norbertine abbey of Ninove and acquired in 1806.
A shrine in the garden of the Patan Museum, Nepal.
More photos from the trip : www.flickr.com/photos/darrellg/albums/72157709610673461
From Wikipedia : "The Patan Museum is a museum located in Patan, Lalitpur, Nepal. The museum falls under the UNESCO’s World Heritage Sites. The Patan Museum was inaugurated in 1997 by Late King Birendra Bir Bikram Shah. The Patan Museum displays the traditional sacred arts of Nepal in an illustrious architectural setting. Its home is an old residential court of Patan Darbar, one of the royal palaces of former Malla Kings of the Kathmandu Valley. The Museum’s exhibits cover a long span of Nepal’s cultural history and some rare objects are among its treasures. Most of the objects are cast bronzes and gilt copper repoussé work, traditional crafts for which Patan is famous."
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© D.Godliman
Photo André Knoerr, Genève. Reproduction autorisée avec mention de la source.
Utilisation commerciale soumise à autorisation spéciale préalable.
La motrice Mirage Be 4/6 1674 est engagée sur la "Museumslinie" 21 desservant le Musée des Trams du Burgwies. A cette dernière course de la journée (horaire hivernal) elle affiche déjà "Bahnhof Oerlikon". Une des deux motrices Mirage Be 4/6 1674-1675 préservées stationne en effet au dépôt d'Oerlikon tandis que l'autre est exposée au Musée.
Les VBZ ont été trop pressés de déclasser les douze autres Mirages initialement prévus pour la réserve et manquent actuellement cruellement de matériel. Ceci d'autant plus que la signature d'un contrat pour l'achat d'une nouvelle génération de motrices ne cesse d'être repoussée!
Sto. Niño or Holy Child
In the posture of the Salvador del Mundo or Savior of the World
18th Century
FILIPINO. Vigan, Ilocos Sur.
Ivory head and hands joined to a wooden body. Glass eyes. Fiber wig. The whole mounted on an elaborate Rococo inspired base.
Dimensions: With base: 43 cm H x 23 cm L x 11 cm W or 17” x 9” x 4 1/2”
Without base: 30 cm x 13 cm x 9 cm or 12” x 5” x 3 1/2”
Provenance: Property of a distinguished Manila gentleman.
Purchased in Vigan, Ilocos Sur.
A charming and highly sophisticated image of the Sto. Niño or Holy Child categorized as a Salvador del Mundo or Savior of the World. The earliest prototypes of these images came from Flanders (the Netherlands); and the earliest extant example of this type in the Philippines is that of the Sto. Niño of Cebu believed to have been brought to the islands by Ferdinand Magellan in 1521.
The figure of the child Jesus stands with his weight on his right leg and his right foot thrust slightly forward. The left leg is relaxed and the left foot thrust back for balance. The body leans to the right with exceptionally naturalistic pose. The image exhibits much movement as can be detected by the gesticulating hands and the undulating feet with the right foot slightly elevated to suggest arrested motion.
The Salvador wears a Tabard giving the whole a slightly medieval air. A tabard is a sleeveless jerkin consisting only of front and back pieces with a hole for the head The tabard is made of silver worked in repoussé of interlocking, rhomboid shapes. The round collar is particularly noteworthy as it is beautifully chased in foliate shapes. Underneath, the child wears unbleached cotton undergarments consisting of pantaloons and a shirt with long sleeves that covers his arms. The tabard is seamed and closed at the back. The Christ child is shod in boots.
The head is exceptionally well carved with the face beautifully rendered. The face is slightly elongated. The forehead is broad and the eyebrows are arched and painted brown almost the color of coffee. Inset glass eyes. The nose is long and straight. The lips are thin and slightly pursed with the edges tilting upward in a slight intimation of a smile. Dimples appear on his cheeks. The lips are outlined in an orange-red tinge typical of most ivory images made in the Philippines. Navarro de Pintado (1986, p. 107) describes the color as “crimson” but a closer analysis reveals that Gatbonton’s assessment of the “orangish” hue are more on point (1983, p. 27 ).
The Christ child wears a wig of fiber hair. On top of his head, he wears an imperial crown (Corona Imperial) made of repoussé silver fire-gilded in gold in the technique which has come to be known as dorado de fuego (or dorado al fuego). The orb is similarly gilded.
Dorado de fuego or fire gilding is a time honored process by which an amalgam of gold is applied to metallic surfaces. The technique is highly dangerous and volatile because it involves the use of Mercury which, when melted, gives off toxic fumes. If absorbed (which is easily done by inhalation), the fumes can cause neurological and other bodily disorders and even death. The dorado de fuego technique have subsequently been supplanted by electroplating gold over nickel which is more economical and less dangerous.
The Salvador is mounted on an elaborate, rococo inspired base or peana. The base is original to the image which helps to date the piece to the 18th century. The Rococo is an artistic style that blossomed in the middle part of the 18th century as a reaction against the excessive regulation and symmetry of the baroque. The style derives its name from a combination of the French words rocaille (stone) and coquilles (shell). And the style manifested in curvilineal and asymmetrical shapes, light colors and a fondness for gold and gilding. The shape and form of this base, in fact, recalls the fanciful limestone grottoes so popular during the period.
The image of the Sto. Niño or the Holy Child has been popular since the earliest days of the Spanish colonial period. This is evident in the writings of Manila’s first Archbishop, Domingo de Salazar, writing of Filipino craftsmen who
“… are so skillful and clever that, as soon as they see any object made by a Spanish workman, they reproduce it with exactness.... they have produced marvelous work with both the brush and the chisel, and I think that nothing more perfect could be produced than some of their [ ] statues of the Child Jesus which I have seen.” 1
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1 Text taken from the Gutenberg Project. The Gutenberg text says “Marble images of the Christ child” but I heavily suspect that Salazar probably was referring to ivory images.
List of Works Consulted:
Blair, E. H. and J. A. Robertson. The Philippine Islands, 1493–1898. www.gutenberg.org/files/13701/13701-h/13701-h.htm. October 11, 2004. Accessed January 15, 2016. www.gutenberg.org/files/13701/13701-h/13701-h.htm.
Finishing Techniques in Metalwork. 2016. Accessed January 14, 2016. www.philamuseum.org/booklets/7_42_77_1.html.
Jose, R. T. 1990. Images of Faith: Religious ivory carvings from the Philippines. Pasadena: Pacific Asia Museum.
Gatbonton, E. B. 1979. A Heritage of saints: Colonial santos in the Philippines. Hong Kong: Editorial Associates.
Gatbonton, E. B. 1983. Philippine religious carvings in ivory. Illus. by R. Figueroa. Manila: Intramurous Administration.
Navarro de Pintado, B. 1985. Marfiles cristianos del Oriente en Mexico [Christian oriental ivories in Mexico]. Mexico City: Fomento Cultural Banamex.
The Crown of the Virgin of the Immaculate Conception was created in stages ca. 1660 (diadem) and ca. 1770 (arches). Created in Popayán, Colombia of gold, repoussé and chased with emeralds.
Les stéréos d'indiens sont très cher ! Rare aujourd’hui, alors même si celle-ci est très loin des plus belles réalisées, je l'ai acheté pour... 5 € ! Et aux vues des rayures et défauts... j'ai repoussé longtemps sa mise en anaglyphe.
Toutes les stereoviews d’indiens après 1890 sont en général prises lors d'expositions internationales ou de semi-spectacle.( penser à ce négrier de Buffalo Bill) .D'une manière générale, il y a toujours un détail qui vous montre que bien qu'en liberté et armée, ces Indiens sont souvent sous bonne garde !
En fait, dans des camps, entouré de militaires... Après les avoir trompés, volé, massacré littéralement, les Indiens sont devenus aujourd'hui une des fiertés des Américains ! Bon que les réels descendants indiens aujourd'hui pourrissent dans des endroits sans culture des sols possible ni travail... On ne peut pas penser à tout non plus !
Alors danse des fantômes/des anciens ou de la pluie... Quelle importance, on ne voit pas vraiment grandes choses ! En arrière-plan, je pense à un atelier de tissage, très tendance déjà. Un atelier de poterie et sculpture ne doivent pas être bien loin... À l’extrême gauche, un couple avec ombrelle profite du spectacle monté derrière l'enclot en sécurité.
Enfant, j'ai toujours été du côté des Indiens, dans les westerns américains. Je ne sais pas réellement pourquoi ! Le cow-boy, lui, passait son temps à boire des minis verres de whiskies, se bagarrer entre eux pour des femmes à gros seins (cela ne devait pas encore me travailler ! ) et le pire a mangé tous les jours des flageolets avec du café chaud ! Petit, je n'avais pas droit au café et les flageolets, bon oui un jour ou deux mais pas toute la vie...
Alors que l'Indien perfide se fondait dans le décor, dissimulés derrière deux feuilles de thé, ils étaient capables de berner n’importe qui, même si l'arbre avançait des fois ! Et juste en posant une oreille sur une traverse de voie de chemin de fer, il vous donnait les horaires de passage à la minute près ! Sans parler des traces laissées dans le sable du désert ; il reconnaissait le poids, le sexe et vous donnait le N° de Sécurité sociale du cavalier.
Et je ne parle pas des signaux de fumer et de tam-tam...
Ni des stereoviews très cher !
www.cairn.info/zoos-humains-et-exhibitions-coloniales--97...
Indian stereos are very expensive! Rare today, so even if this one is very far from the most beautiful realized, I bought it for... 5 €! And in view of the scratches and defects... I have long postponed its anaglyph setting.
All Indian stereoviews after 1890 are usually taken at international exhibitions or semi-shows (think of this Buffalo Bill slaver). In a general way there is always a detail that shows you that although free and armed, these Indians are often under good guard!
In fact, in camps, surrounded by military... After deceiving them, stealing, literally slaughtering the Indians, today they have become one of the pride of the Americans! Good that real Indian descendants today rot in places without possible soil cultivation or labor... We can’t think of everything either!
Then dance ghosts/ elders or rain... How important, we don’t really see big things! In the background I think of a weaving workshop, very trendy already. A pottery and sculpture workshop should not be far away... On the far left a couple with parasel enjoy the show mounted behind the enclosure in safety.
As a child I was always on the side of the Indians, in the American westerns. I don’t really know why! The cowboy, he spent his time drinking minis glasses of whiskies, fighting with each other for women with big breasts (it wasn’t supposed to work me out yet! ) and the worst thing to eat every day is flageolets with hot coffee! Small I was not entitled to coffee and flageolets, good yes a day or two but not all life...
While the treacherous Indian melted into the scenery, hidden behind two tea leaves they were able to fool anyone, even if the tree moved sometimes! And just by placing an ear on a railway crossover, it gave you the timetable for passing to the minute ready! Not to mention the tracks left in the desert sand; it recognized the weight of the sex and gave you the social security number of the rider.
And I’m not talking about smoking signals and tam-tam...
Nor stereoviews very expensive!
Bowl with a Medallion Depicting Dionysos and Ariadne; Unknown; about 100 B.C.; Silver with gilding; 16.2 × 2.7 cm
LA Getty Villa 83.AM.389.1
The center of this shallow bowl is decorated with a separately made emblema (medallion), which was hammered from the back using the repousse technique and further embellished from the front to depict a youthful Dionysos and Ariadne together with a seated Silenos. Sprouting from the rocky ground, two leafy grape tendrils surround the figures. The god of wine is largely nude, wearing only a short cloak, with his thrysos standing upright beside him. He embraces Ariadne with his right arm, caressing her chin with his left. The ground, draperies, hair, jewelry, thyrsos staff and tendril are all gilded, as are the pattern bands around bowl itself.