Sandpainting is the art of pouring colored sand, and powdered pigments from minerals or crystals, or pigments from other natural or synthetic sources to the surface to make a permanent or fixed sand painting. Ungraded sand paintings have a long-standing cultural history in many social groups around the world, and are often temporary, ritual paintings prepared for religious or healing ceremonies. This is also referred to as drypainting.
Drypainting is practiced by Native Americans in the Southwest United States, by Tibetan and Buddhist priests, as well as Australian Aborigines, as well as by Latin Americans on certain Christian holy days.
Video Sandpainting
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Native American sandpainting
In Native American sandpainting (the most famous of which is Navajo (known as Dinà © Å ©)), Human Medicine (or Hata? Ii ) painted loosely on the basis of hogan, where the ceremony took place, or on the skin of deer or tarpaulin, by letting colored sand flow through his fingers with control and skill. There are 600 to 1,000 different traditional designs for sandpaintings known by Navajo. They do not view painting as a static thing, but as a spiritual being, living things are treated with great respect. Over 30 different rafting can be attributed to a ceremony.
Colors for painting are usually accomplished with natural colored sand, crushed gypsum (white), yellow ocher, red sandstone, charcoal, and a mixture of charcoal and gypsum (blue). Chocolate can be made by mixing red and black; red and white for pink. Other dyeing agents include corn flour, flower powder, or root powder and bark.
The paintings are for healing purposes only. Many of them contain pictures of Yeibicheii (Saints). When making a painting, the drug man will chant, asking yeibicheii to come into the painting and help heal the patient.
When the painter finished painting, he checked the accuracy. The sequence and symmetry of the painting symbolizes the harmony the patient wants to rebuild in his life. The accuracy of sandpainting is believed to determine its efficacy as a sacred tool. Patients will be asked to sit on sandpainting as the treatment man proceeds with a healing spell. It is said that sandblasting acts as a portal to attract spirits and allows them to come and go. Practitioners believe sitting on sandpainting helps patients to absorb spiritual power, while in turn the Saints will absorb the disease and take it away. After that, when sandpainting has served its purpose, it is considered toxic, as it has absorbed the disease. For this reason, the painting was destroyed. Due to the sacred nature of the ceremony, the rafting begins, is completed, used and destroyed within 12 hours.
The ceremony involving sandpaintings is usually done in a sequence, called a 'chant', which lasts several days depending on the ceremony. At least one fresh new archive is created for each day.
Some Navajo and taboo laws relate to sandpainting, and protect their holiness:
- Women of childbearing age should not sing hymns associated with yeibicheii . This is because the ceremony has the possibility of injuring an unborn child, and because the taboo prevents menstruation of women from attending. (Some cultures consider menstruation and the presence of blood to be strong spiritual events that must be controlled, as they represent life force.) Post-menopausal women are more likely to be either chanters or diagnosticians.
- Authentic sandpainting is rarely photographed, so it does not interfere with ceremonial flow. For many reasons, male drugs will rarely allow outsiders in sacred ceremonies. Because so many outsiders are curious about sandpainting, some drug men can make pieces for exhibition purposes only, using inverted colors and variations. To create an authentic archive solely for viewing will be a profane action. Sandpainting for sale in stores and on the Internet is commercially produced and contains deliberate errors, since the temples are actually considered sacred.
- The earliest credited examples of traditional Navajo coatings (given in sand color as opposed to rugs or other media) made in permanent form for sale, have been traced back to between 1945 and 1955. Main credit is generally given to Navajo Hata? ii named Fred Stevens, Jr. (Gray Squirrel), which developed the main "permatizing" method for commercial sandpainting that is still in use.
Indigenous Australian sandpainting
Australian Indigenous art has a history that spans over 30,000 years, and a variety of indigenous traditions and styles. This has been studied in recent decades and their complexity has gained increasing international recognition. Aboriginal Art includes a variety of media, including sandpainting, painting on leaves, woodcarvings, stone carvings, sculptures, and ceremonial attire, as well as artistic ornaments found on weaponry as well as tools. Art is one of the main rituals of Aboriginal culture. It is and still is, used to mark territory, record history, and tell the story of "The Dreaming".
Aborigines have transformed their tradition's sand painting into a more permanent form using modern techniques and materials.
Geoffrey Bardon is an Australian art teacher who was instrumental in creating Aboriginal art from the Western Desert movement, and in bringing Australian indigenous art to the attention of the world. "... [directed by Bardon, the elders] began to interact with certain issues in the 1960s and 70s international paintings, especially the extreme schematization of the New York minimalist." In Lyrical Abstraction's "Lyrical Abstraction" History of the late 1960s, was marked by Dan Christensen's paintings, Ronnie Landfield, Peter Young and others, and along with the fluxus and postminimalism movements (the term Robert Pincus-Witten first coined in his pages.) Artforum in 1969 attempted to expand the limits of abstract and minimalist painting by focusing on processes, new materials and new ways of expression. "
This relationship is most evident in the relationship between the paintings of the late sixties Peter Young (artist) and the paintings that followed in the early seventies were produced in his Papuan Tula.
His Tula Papers, or Papus Tula Artists Pty Ltd, is a co-operative artist formed in 1972 which is owned and operated by Aboriginal people from the Australian Western Desert. Kaapa Tjampitjinpa is one of the early Papula Tula artists and is known for being Gulgardi . It is famous for being the first work by Australian Indigenous artists to win contemporary art awards, and the first public recognition of his Papuan paintings.
Tibetan sand coating
Tibetan Buddhist sand is usually made up of mandala . In Tibet, it is called dul-tson-kyil-khor (colored powder mandala). The sand is carefully placed on a large flat table. The construction process takes several days, and the mandala is destroyed shortly after its completion. This is done as a teaching tool and metaphor for "impermanence" (Pali: anicca ) of all contingent and plural phenomena (Sanskrit: Prat? Tya-samutp? Da ).
The process of painting the mandala sand begins with the opening ceremony, where the old, Tibetan priests, sanctify the place and call the power of goodness. They sing, express the intentions, mudra , asana , pranayama , perform visualizations, play music, read spells , etc..
On the first day, the old people began to draw a mandala outline to be painted on a wooden stage. The following days saw the laying of colored sand, which was done by pouring sand from a traditional metal mouthpiece called chak-pur . Each monk holds a chak-pur in one hand, while running a metal rod on its jagged surface; vibration causes the sand to flow like a liquid. Formed from traditional iconography that includes geometric shapes and many ancient spiritual symbols (eg: Ashtamangala and divine attributes yidam ), syllables, mantras, mandalas painted with sand are used as instruments or instruments for countless purposes the number. The ultimate goal is to re-consecrate the earth and its inhabitants. When the meditation is over, the sand paintings are destroyed with ceremonies using Vajra and the sand is then collected and taken to the bodies of water for offering.
Japanese tray image
From the fifteenth century in Japan, Buddhist artists in the days of sh? Gun practice bonseki handicrafts by sprinkling dry sand and gravel onto a plain black surface of a trayed tray. They use bird feathers as a brush to form sandy surfaces into seascapes and landscapes. These tray drawings are used in religious ceremonies. The Japanese esoteric Buddhist teachings were transmitted from East Central Asia after the 8th century, and thus this Japanese Buddhist sensation could share earlier historical roots with more elaborate color Buddhist mandalas made by Tibetan monks.
Table decking
During the 17th and 18th centuries, the European royal palace used a "multilevel table", which adorned the side table at the royal banquet after adapting the 'bonseki' craft from Japan. A multilevel table sprinkled with colored sand, marble dust, sugar, etc. on the surface of a plain white tablecloth to create fruity pictures, flowers, birds and countryside views. Among every design space left for fruit bowls and candied dishes so visitors can freshen up amongst the party's main courses. These decorative photos are thrown away with the debris of the party.
As a fine example of crafting deckers, Woburn Abbey in Bedfordshire, England has an ornate folding screen with three panels, decorated with sand-protected images of glass. The middle one has five rooms for a candied pyramid dish while two side leaf sails have three spaces for a fruit tray. There are four sand images in each corner of the screen's side panel, which show the 18th century pastoral scene, while the remaining areas on the screen are decorated with butterflies, doves, fruits, flowers, etc. The screen will be placed on the side table surface. It doubles as a serving base for elaborate porcelain plates and glass trays containing fruits, bonbons and sweets, from which the host and their guests can help themselves while socializing or stretching their legs between some of the programs presented at the main table at the dining room. This screen may be the work of German artist F. Schweikhardt, who specializes in the study of silent life in the style of Dutch painter Jan van Huysum.
Sandpainting Georgia
Sandpainting as a craft inspired by King George III, who is a watchmaker and craftsman who is an expert in his own field, and interested in the skills shown by royal officials, known as Table Deckers, who decorate the white table at the royal banquet with chunks ornaments decorated with colored sand and unchanged sugars as 'paint', and bird feathers as a brush craft introduced by a European traveler observing the craftsmen working in Japan.
While watching a multilevel table at work, the King suggested that if a temporary sand image placed on the surface of the tablecloth could be permanently fixed in place rather than thrown away with the remnants of the party, it would save a lot of time and energy using many skilled embroaches working hard for such skilled work. So on one occasion, the King shouted to the craftsmen, "Why do not you fix it!" It established a number of artisans including Haas, Schweikhardt and Benjamin Zobel (Memmingen, Germany, September 21, 1762 - London, England, October 24, 1830), all of German origin, to, independently of each other, succeeded in developing appropriate methods to achieve this. purpose, and these photographs are commissioned by a day worthy royal and become highly appreciated by the aristocracy. The King's brother, Duke of York, commissioned a number of works by Zobel and others, though sand artists jealously guarded their methods from their competitors. Zobel describes "pigs in a Moral way"; "Nelson", Duke of York's beloved dog; "Tiger after George Stubbs", and "Vulture and snake" are impressive. Although many Zobel works have survived, some of them by Haas have survived the passage of time, although observers consider his work to be superior to Zobel. This may reflect the different techniques used by each artist. A diarist observes the Zobel layer on the surface of the pedestal with a mixture of arabic gums and white tin and a sprinkling of sand on a sticky surface using a paper funnel that is folded as a brush. He has to work quickly because the glue will dry in a few hours. Some surviving photos have unfinished work on the back. Haas follows closer techniques developed in Japan, but mixes gom arabic dry powder with sand, sprays the mixture through a strainer and uses the bristles as a brush to draw a picture on a pedestal, then fix it with some of the methods he keeps secret.. Due to the humid conditions in many stately homes during the day, the photos failed to last more than a few years. On one occasion, Haas was summoned while working on a non-fixed sand photo. When he returns, he finds one of Windsor Castle's cats huddled in the picture, thus destroying it!
Finally Zobel returned to Memmingen in Bavaria where he continued to pursue his skills. Some of his works are displayed in Memmingen Town Hall. Haas had to hand over the sand paintings, probably because of the ongoing disaster with his photographs. He opened a bakery in Windsor, and the icing on the cake might have been decorated with pictures of colored sugar instead of sand.
With the passing of this Georgian craftsman and the disposal of the Duke of York collection, interest and skill evolved in the sand-drawing work declined. The only royal figure interested in the craft was the late Queen Mary, who accompanied King George V, who left her Georgian sand paintings to the Victoria and Albert Museum, and a collection of photographs of Isle of Wight sand belonging to Carisbrooke Castle Museum on the Isle of Wight.
In the first half of the 20th century Lieutenant Colonel Rybot was a keen collector of sand paintings, which was the source of material from articles written on subjects in art and craft magazines that day. Eventually 37 his collection of sand paintings was a key feature at an auction held at the New Bond Street Sotheby gallery on June 15, 1956.
Victorian-style sand
Thousands of sites exist where it is possible to collect natural colored sand for handicrafts, with a large number of colors available throughout the world that vary with the content of washing of charged mineral water through the sand. But for tourists, the vertical sand cliffs in the Gulf of Alum on the Isle of Wight form the middle of the visual geological phenomenon (best seen after the rain) which sums up the impressive layers of The Needles and Tennyson Downs. Although tourists are no longer encouraged to get their own sand from the cliffs, many companies on the island sell sand for Sandpainting purposes.
After his marriage to Prince Albert and choosing Osborne House near Cowes to become his new family retreat, Queen Victoria was the prime mover in the gentrification of the former supporters, local craftsmen benefited from the entry of wealthy visitors, and a number of artisans for sale. their permanent sand pictures and inconsistent sand jars feature views of the Island as a unique memento of the Isle of Wight.
Some of these sand images are small and rough and un signed, but Edwin and John Dore from Arreton produced some good works in the 1840s. The pictures are the size of a postcard and subject of local view such as Carisbrooke Castle, and other tourist subjects. Edwin always signs old pictures in good hands with Indian mapping and ink pens, one of the most successful mass subjects is 'Collecting bird eggs in the Needles Cliffs'. John Dore used a card adorned with a border printed lace design to execute his sand picture even though his work quality was inferior to his brother.
Only a few island sand artists fill the sky, giving the details a colourwash light as a finishing touch, occasionally leaving doors and windows free of sand that will be blocked with Indian ink. In the 1860s and 1870s, J. Symons of Cowes continued to work well, producing a much larger local scene than the size of a postcard, mounted on an oak or maple frame and signed with the artist's signature on the back. Neates of Newport's fathers and children sell their work from kiosks outside the gates of the Carisbrooke Palace where visitors are offered sand pictures and sand jars at a price of 1/- 2/6 each and the child grows very long fingernails to distribute the sand in the photos. During the 1930s and 1940s, RJSnow of Lake came closest to producing sand pictures by way of Georgian craftsmen, but the size of a postcard, although it produced some well-assigned works, notably the Oddicombe view in Devon, at where the sea and sky are also 'painted' in the sand, but after the war years the quality of postcard sand images worsened with mass-produced articles with little flavor or skill offered for sale for some shillings.
Senegal
In Senegal, the design is attached to the board and is usually a figure in the landscape.
Sand Bottle
In the 1860s to the 1890s Andrew Clemens, a deaf-mute born in Dubuque, Iowa, USA became famous for his expertise of creating non-fixed images using colorful compressed sands in glass jars or chemical jars which is colorful. Sand is collected from a cliff overlooking the Mississippi River. The subject of the sand bottle includes ornately decorated with sentimental poems, sailing vessels, plants, animals and portraits.
He is showing off his work at the St. Louis trade fair. Louis and spent hours making a drawing in a bottle will show to an audience who does not believe that the picture inside is not repaired by smashing the bottle with a hammer. Clemens' sand bottles had become museum items and high-priced antiques that had been sold at auction for thousands of dollars.
Sand carpet
In the province of Drenthe in the Netherlands in the late 19th century, early 20th century, the habit of using a rigid broom to sweep patterns on white sand to form a simple decoration on the tile floors of homes, mostly for special occasions or celebrations. The next day was swept away. This custom was also practiced in Northern Belgium by the Dutch-speaking community while in Hekelgem, 1973 was the sixteenth year of "Old Zandtapijt". Hotels and cafes will employ craftsmen to sprinkle sand ornaments on colored sand that are not fixed on the tile floor on their premises to encourage passing tourists to stop and enjoy local hospitality on their way to Brussels. Roger de Boeck, born in 1930, is a respected exponent of this craft, which uses glue to refine his sand image to a base that suits his sell to visitors to his atelier. In addition to biblical scenes, his best works include portraits of Queen Elizabeth 1953, and US president John Kennedy, in the early 60s. The craft continues, and a small book to celebrate the centenary is published on February 1, 1973.
Maps Sandpainting
Modern culture
In modern times, sandpainting is most often done during the Dia de los Muertos (Day of the Dead) in Mexico and the United States. The streets are adorned with sand paintings which are then swept clean, symbolizing the fleeting nature of life. Of note is the rafting done during the Seattle Dia De Muertos Festival, but the most exciting development is Performance Art of the Sand Animation which has created a new wave of young artists and also rekindled interest in all types of sand paintings.
A number of contemporary artists use sand in a way that departs from certain cultural traditions that explore the technique by sweeping the sand, pouring it, carving it, creating a unique design. His works are temporary and are mainly distributed through documentation or parts of live performances.
Many of these artists were included in an exhibition at the Museum of Art and Design in New York City entitled "Swept Away: Dust, Ashes, and Dirt in Contemporary Art and Design" presented in the gallery in 2012. Curator David Revere McFadden described the reason for curative exhibit as a want to highlight the work of contemporary artists who specialize in what he describes as "unusual, unusual, or unexpected material."
Artists included in sand-related exhibitions and techniques related to sand paintings are: Elvira Wersche, who collects sand from around the world to create geometric-patterned paintings, only to be destroyed as part of the show. Andy Goldsworthy is known for his short works using nature, and began painting sand in 1986, documenting the giant spherical balls of sand on a beach full of bones for exhibitions. Jim Denevan who is famous for his great sand paintings also shared documentation of his process on the coast of California. Igor Eskinja uses dust to paint the architectural plan in the gallery. Cui Fei produced a calligraphy work in the sand using the tradition of chak-pur and brush. Vik Muniz uses dust, chocolate syrup, sand grains, sugar, caviar, magazines, and industrial waste in a way that reflects the sand paintings. The rotating exhibition "Swept Away Project" featured Linda Florence and Joe Mangrum whose work was added to the gallery after the abolition of previous works. Linda Florence uses lime for the stencil pattern to the floor and often uses various materials such as sugar to make the installation. Joe Mangrum poured the colored sand from his hands for two consecutive days on May 8-9, 2012 which he named "Asynchronous Syntropy" and an outside project that acts as a distortion of the museum itself. Mangrum worked a total of 24 hours over a span of two days, spontaneously improvising with the design of his sand paintings, only to remove them quickly under the hustle and bustle of Columbus Circle foot traffic.
Other contemporary artists working with sand include Andrew van der Merwe, based in Cape Town, who carve the image of calligraphy into the sand on the beach; Andres Amador, an American artist who makes designs on the beach; Ahmad Nadalian, an Iranian artist who uses natural soil pigments to paint with sand; and Motoi Yamamoto, who made paintings reflecting hurricanes and natural phenomena using salt.
The current sand painting technique
Most artists use oxidized colored sands and naturally filled minerals, adding powdered charcoal to expand the palette and in some examples of special materials such as iron dust or stone mason dust removed from ecclesiastical sites. Other artists use industrial-colored quartz sand with the capacity to withstand intemperial action and a new generation of strong adhesives. The work is protected with a lacquer spray coating. No protective glass frame is required with sand and adhesive because the painting has proven to be resistant to direct sunlight effects without yellowing varnish
See also
- Other sandpainting
- Pool
- Mandala sand
- Marmotinto
- Rangoli (Indian sandpainting)
- Yantra
- Bonkei (Japanese dry span landscape)
- Process art
- The sand image
References
Source
- Eugene Baatsoslanii Joe, Mark Bahti, Oscar T. Branson, Navajo Sandpainting Art (Publish Treasure Chest, Inc., 1978.) ISBNÃ, 0-918080-20-7
- Gold, Peter (1994). Navajo & amp; Tibetan sacred wisdom: the spiritual circle . ISBNÃ, 0-89281-411-X. Ã, Rochester, Vermont: International Tradition.
- Villasenor, David. Rugs in Sand: Indian Sandpainting Spirit . California, Naturegraph Company, Inc. 1966.
- Wilson, Joseph A.P "Relative Halfway Round The World: Southern Athabascans and Southern Tarim Fugitives", Limina , 11. 2005. pp.Ã, 67-78. URL: https://web.archive.org/web/20060821192325/http://limina.arts.uwa.edu.au/__data/page/90432/wilson.pdf
- Arthur Morrison. Japanese Sand-Pictures pp.Ã, 609-612 . Strand Magazine, 1909.
- G. B. Hughes. Georgian Dessert Table Decorating . Village Life, 21.5.1959.
- F.C.H.. Marmortinto or Sandpainting . Notes and Questions, pp217/8 11.3.1854 [2]
- J. Maskerade. Marmortinto or Sandpainting .Note and Question, pp327/8 8.4.1854 [3]
- Fred Lee Carter. "Lost Art" from sand painters. 215-221 . The Connoisseur Illustrated, 1927.
- Fred Lee Carter. Sand Image . Notes and Questions, 8.12.1928. [4]
- E. McCoy. Picture painted with Sand . Antique, March 1936.
- Bea Howe. Sand Image . House and Gardens, April 1940.
- D. A. Ponsonby. Painters of Sand and Morland pp. 111-113 . The Connoisseur-American Edition, April 1955.
- Lieutenant Colonel Rybot. Auction of Sand Paintings . Sotherby and Co, 15.6.1956
- S. Groves. They Paint in the Sand . The Lady, 22.1.1959.
- J. Toller. The Regency and Victorian Crafts . Ward Lock, 1969.
- C. P. Woodhouse. Victoriana Collector's Handbook . Bell, 1970.
- Bea Howe. Antiques from Victorian House . Batsford, 1973.
- J. Fields. Victoria Handicraft . Heinemann, 1973.
- Pike Brian's sand painter. Painting with Sand-Golden-vol.70 Handicraft . Marshall Cavendish, 1976.
- Joyce Eley. Sand Image . Wight Life, Oct-Nov. 1974.
- A. H. Trelawny. Sand Castle Reminiscence . Village Life, 2.2.1995.
- Etienne le compte. 1873 - 1973 Oud Zandtapijt published Hekelgem 1 February 1973.
- Villasenor, David & amp; Jean. How to Perform Permanent Sand Taking . Villasenor, David & amp; Jean, 1972.
- K. Beese. Sand Painting Technique . Design 60, 1959.
- P. Nelson. Sandpainting . Creative Craft, April 1974.
- Brian Pike. Sand Art .Family Circle Book of Crafts, 1980.
- Brian Pike. The Craft of Sand-painting .The Craftsman Magazine, 1989.
External links
- Original sandpainting by "Sand-Show"/studio theater
Source of the article : Wikipedia
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