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Edwards, Robert Guerin Bruce - Aboriginal Bark Paintings
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| Schrijver: | Edwards, Robert Guerin Bruce |
| Titel: | Aboriginal Bark Paintings |
| ISBN: | 9780851794594 |
| Uitgever: | Rigby Limited, Australië, reprint 1976 0851794599 9780851794594 |
| Bijzonderheid: | dunne geb. hardcover, geen pp-nummering, bijz.foto's in kleur 24/19,5cm |
| Prijs: |
€ 10,70
€ 3,95
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| Meer info | Bark painting is an Australian Aboriginal art form, involving painting on the interior of a strip of tree bark. This is a continuing form of artistic expression in Arnhem Land (especially among the Yolngu peoples) and other regions in the Top End of Australia, including parts of the Kimberley region of Western Australia. Traditionally, bark paintings were produced for instructional and ceremonial purposes and were transient objects. Today, they are keenly sought after by collectors and public arts institutions. The designs seen on authentic bark paintings are traditional designs that are owned by the artist, or his "skin", or his clan, and cannot be painted by other artists. In many cases these designs would traditionally be used to paint the body for ceremonies or rituals, and also to decorate logs used in burials ceremonies. While the designs themselves are ancient, the medium of painting them on a piece of flattened bark is a relatively modern phenomenon, although there is some evidence that artists would paint designs on the bark walls and roofs of their shelters. The earliest surviving bark paintings date from the nineteenth century, an example of which is a bark etching of a kangaroo hunt now in the British Museum, which was collected near Boort in northern Victoria by the British explorer John Hunter Kerr.[1] The modern form of bark paintings first appeared in the 1930s, when missionaries at Yirrkala and Milingimbi asked the local Yolngu people to produce bark paintings that could be sold in the cities of New South Wales and Victoria. The motives of the missionaries were to earn money that would help pay for the mission, and also to educate white Australians about Yolngu culture (Morphy 1991). As the trade grew, and the demand for paintings increased, leading artists such as Narritjin Maymuru started being asked to mount exhibitions. It was, however, not until the 1980s that bark paintings started being regarded as fine art, as opposed to an interesting Indigenous handicraft, and commanded high prices accordingly on the international art markets. Nowadays, the value of a fine bark painting depends not only on the skill and fame of the artist, and on the quality of the art itself, but also on the degree to which the artwork encapsulates the culture by telling a traditional story. |
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