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Sunday, October 7, 2012

Set of 6 Cultural Anthropology Picture Post Cards on Tribes of India by Indian Museum

These are Set of 6 Cultural Anthropology Picture Post Cards on Tribes of India by Indian Museum. Indian Museum published post cards on several themes. On Cultural Anthropology theme Indian Museum, Kolkata published sex of 6 colour picture post cards. Alongwith other theme postcards of Indian Museum i have a set of this Cultural Anthopology post cards in my collection.

This is the cover of Indian Museum which came with this set of 6 colour post cards on Cultural Anthopology.



This is the Folk People couple of Gujarat in their traditional dress post card.




This is the Adi Tribe couple of Arunachal Pradesh in their traditional dress post card.



This is the Onge Tribe couple of Andaman and Nicobar in their traditional dress post card.



This is the Santal Tribe couple of West Bengal in their traditional dress post card. 



This is the Chenchu Tribe couple in their traditional dress post card. 




This is the Riang Tribe couple of Tripura in their traditional dress post card. 



 

Friday, August 24, 2012

Tribal Dances

In my collection i have one first day cover "Tribal Dances" released by Indian Postal Department on 30th April, 1991. This cover depicts the Tribal Dances of several Tribes of India.



Adivasi Lok Nritya

In my collection i have one Adivasi Lok Nritya special cover from Jamshedpur issued in the year 1979 which depicts the Adivasi (Tribal) Woman dancing and they are in their traditional dress and constumes.


Warli Painting Greeting Cards

Recently i bought a set of 8 Greeting Cards from NARAD (National Rural Research & Development Association) which is a voluntary organisation.













Thursday, August 16, 2012

A Happy Couple picture post card

This is "A Happy Couple" picture post card of Vintage period in my collection. A Happy Tribal Couple were shown in this picture post card in their traditional dress and ornaments.



Monday, August 13, 2012

Kodus Tribe

This is the Paper clipping about Kodus Tribe (Kodulu in telugu language) who are living in Agency Areas (Manyam Pranthalu in telugu language) of East Godavari and Vishakapatnam Districts of Andhra Pradesh.

Ths paper clipping published in Sakshi telugu daily news paper on 6th August, 2012.





Chenchulakshmi Tribal Museum Srisailam

This is a paper clipping about Chechulakshmi Tribal Museum in Srisailam published in Sakshi Telugu daily newspaper on 1st July, 2012.

In several parts of India particularly where tribals are living there will be Tribal Museums depicting their heritage and culture. In Andhra Pradesh also there will be some  Tribal Museums one in Araku Valley and there i am taking photos in front of Araku Tribal Museum which i posted in one of my earlier post. Another one is this Chenchulakshmi Tribal Museum of Sraisaliam. Third museum is in the State Capital Hyderabad.

Similar like above 3 there will be several others Tribal Museums also in all over india.

Friday, August 10, 2012

Warli Paintings: Traditional Folk Art From India (Book on Warli Paintings)

Recently i bought one book on Warli Paintings through flipkart.com.  The tile of the book "WARLI PAINTINGS - Traditional Folk Art From India" written by Mr.K.Prakash who is one of the foremost Textile designers of today's time and his Style one of the most quoted in textile Designing and Art circles in India and abroad.

K. Prakash's forte lies in Creating unique designs from the myriad of textile art forms that exist in India. Not only does he create an interesting fusion of these but also succeeds in giving many individual art forms a totally new dimension. It is no wonder that K. Prakash's Creations are so popular even in UK, Japan and the Arabian countries.

Not surprisingly, K. Prakash is also an artist par excellence and today several high league Exhibitions do him Credit while many of his paintings are prized possessions of the rich and famous around the world.

Book Summary of Warli Paintings: Traditional Folk Art From India

Art represents an artist's Relationship with life and everything that is part of it-religion, rituals, livelihood, family, relationships, death... It is in this context alone that the true essence of Warli paintings can be appreciated.

Warli paintings take their name from the Warli Tribe of Maharashtra. Though spread out in Parts of Gujarat and Maharashtra, the Warlis are largely concentrated in the Dahanu and Talaseri talukas of Thane district of Maharashtra. The Region lies on the Sahyadri Hills North of the Western Ghats.

The Warlis have by Tradition been cultivators and gatherers growing a single crop, usually paddy, for subsistence or gathering Forest produce and domesticating livestock. Their Lives are thus inextricably dependent on the vagaries of nature.

The Warlis' relationship with Nature is of respectful exchange. The Forces of nature active in the various seasons are deified in their pantheon, the central place being accorded to the Mother Goddess. This relationship is the pivotal point of the Warli's Cultural life. And Painting is a Symbolic consecration of these forces.

The paintings are executed inside the hut. Walls are first smeared with cowdung. Red mud is then applied to provide the base texture. Pointed Bamboo twigs and thin Rice paste are used to draw patterns.

Traditionally the paintings have always been done by suvasinis (married Women who are not widows). Dhanaleris (married priestesses) sing alongside Creating a festive atmosphere.

The theme and content of the Drawings varies with the occasion and the Deity being worshipped. The designs are intricate, decorative Patterns depicting rituals, Folk tales, Traditions and the main preoccupations of the people : hunting, sowing and harvesting, birth, Marriage and death.

Trees which Play a crucial part in the Warli's livelihood are given careful attention in the paintings. Different varieties of Trees are drawn in detail forming intricate decorative patterns. Birds, squirrels, monkeys, Snakes and other Animals are also depicted in action giving the painting vibrancy and movement. Other elements in nature like streams and rocks are also featured. Human forms are often used to render Abstract patterns and geometrical shapes.

Stylistically, the paintings suggest a relationship with the Neolithic Phase of Rock painting in Central India. Yashodhara Dalmia, in "The Painted World of the Warlis" noted that this period was characterized by paintings drawn in white outline, triangular human and Animal forms with geometric designs on the Cave walls. Besides these similarities there are the sudden emergence of the deer, its body covered with diagonals which, according to her, bears a striking resemblance to the deer of the rock paintings.

There is also the possibility that the Warlis have practiced and preserved traditions of the early Agriculturists for whom nature was an in exhaustive source of bounty. Thus nature was seen as the all encompassing mother who sustained life and Death within her womb. This consciousness of Mother Nature has had an unmistakable influence on every phase of the cultural life of India.

Philosophically, the process of painting for the Warlis appears to be more crucial than the final picture. For the painting is erased or allowed to fade after worship, probably hinting at the transience of all facets of life. The activity of painting has thus a functional role in the social and Spiritual life of the people.

Symbols in the paintings represent the Morphology of the Warlis' universe. Most of them emphasize fertility and Productivity in nature. The centrality of the Mother Goddess, Palaghata, in these drawings have prompted suggestions of the symbolic womb, its protective, nurturing qualities finding parallels within the walls of the house.

The repeated act of painting on every occasion of Worship emphasizes the repeated refuge in the inner 'womb space' enriched with vibrant and frisky life and equated with procreation. Parallels between symbols and Cosmology are carried further. The earthen pot is a repeatedly used motif symbolizing abundance.

Of all the paintings it is those rendered on the occasion of weddings which encapsulate the entire existence of the Warlis. The paintings play a critical role and a marriage cannot take place in their absence. These drawings, called chowks, are designed around Large ornate squares with elaborate concentric patterns. Besides flora and fauna, the groom's procession is often depicted in a corner. The chowk is executed in the homes of both the bride as well as the groom.

All the elements in a chowk are replete with symbolism. The most significant of these is the Goddess of Fertility painted prominently in the centre of the chowk. The other important symbol is the Horse considered to embody Sex and vitality. It is usually shown carrying the newly weds. Expressions of fertility and vigour are believed to protect one from Disease and evil spirits.

Another important occasion for the Warlis in the nava kaniya, the Festival of corn. Inner walls of the hut, Instruments of Cultivation such as the plough and sickle and Domestic tools like the pounder and Flour grinder are imprinted with auspicious motifs and symbols.

Besides marriage and harvest festivals, the Warli women decorate their huts on important occasions like Birth and death.







Thursday, August 9, 2012

vibrant warli.wmv - The Largest Warli Painting by Artists

the largest warli painting by artists of venus academy of fine arts baroda..........................................on the verge of celebrating 50 years gujarat



Warli Tribe - Their Lifestyle Art Heritage and Culture

Warli Tribe - Their Lifestyle Art Heritage and Culture


Good documentary on Warli Tribe their Lifestyle, Art Heritage and Culture.


Wednesday, August 8, 2012

Warli Art Greeting Card from NARAD

In my collection i have some WARLI Art Greeting Cards. I regularly bought them from NARAD (National Rural Research Development Association) which is an organisation to help child education and other activities for Warli and other Tribal Communities.

Below is one of such Warli Greeting Card which i bought from NARAD.