Colorado College Logo

  DigitalCC

Use AND (in capitals) to search multiple keywords.
Example: harmonica AND cobos

4 hits

  • Thumbnail for Standing female figure wearing skirt and headdress
    Standing female figure wearing skirt and headdress

    Wood-carved with added white paint. This handsome figure is another Manderman folk piece. She seems to most closely resemble what are often called bhuta figures from 19th-20th-century Karnataka. Bhuta is another term that is used in various ways; in the orthodox tradition it has meaning associated with ghosts, with evil forces, with potentially malevolent spirits. Bhuta has been used as a term to signify those malevolent spritis outside the orthodox traditions of Hinduism and thus has also come to signifiy, more generically, folk deities, powerful forces outside the pantheon of the Hindu tradition; but in this sense these are not necessarily malevolent or destructive; rather they are beings/ forces/ spirits of limited and often highly localized powers. What this figure shares with other Karnataka figures that have been termed bhutas are the material and general form: she is made of wood, rather simply carved, with a strongly stylized, geometric body. Her body is contructed of a series of geometric shapes, with tubular arms, a cylindrical trunk pinched at the waist, her face strongly circular with large ears that project at a direct perpendicular from the cheeks. The details of the face are simplified in a manner that is shared with the marble Jina. There are several details that set this figure apart from better-known so-called bhutas from Karnataka: she seems to wear a garment that covers her upper body, a feature quite unusual in the depiction of females in Indian art in general and in typical bhutas from Karnataka, in which the upper body is also usually nude except for jewelry; her skirt falls in wide gores with only a few folds, while in most bhuta figures from Karnataka the skirt is rendered in a continuous series of thin folds that create a more detailed pattern of vertical forms along the lower body; and rarely are typical Karnataka bhutas painted, as this figure is. Further research may suggest a different provenance, as wooden 'folk' figures hail from many regions.

  • Thumbnail for Santali tribal figure of Shiva, base for Kali figure - detail
    Santali tribal figure of Shiva, base for Kali figure - detail

    Cast bronze with gilding, 25 x 9.25 inches. Santali refers to tribal groups; sometimes it is used to mean tribes of a certain region, but it is also used generically to reference tribals, that is, indigenous Indian peoples who were never fully assimilated into Hindu India. In this sense, images such as these are relevant to discussions of the caste or varna system of South Asia and the official government policy of reservation for Untouchables, Scheduled Castes and Scheduled Tribes that formed a part of the Constitution of the Republic of India. This is comparable to what in the US would be called Affirmative Action, but with much more specific initiatives. The notion that there are indigenous peoples of India who are regarded as having inhabited the subcontinent prior to the appearance of the Aryan tribes who brought their Sanskritic traditions can provide provocative possibilities for discussion in a range of disciplines (Religious Studies, Anthropology, Sociology, History, Art History). These are relatively large (Ganesha is over 3 ft. in height; Siva-Kali about 2 feet) and quite handsome pieces which follow more or less standard Hindu iconographic schemes (the Hindu deities Siva, Kali, Ganesha) but in style depart from the styles of sculpture practiced in Hindu states and courts. Thus they lend themselves to discussions of standard Hindu iconography as well as to the nature of tribal traditions in South Asia; they could also generate interesting discussions of 'classical' versus 'tribal' in Asian art: what makes a work 'folk' art (that is, its origin, its makers or patrons, its formal qualities?). And how have these traditions come to intersect and interact in the last century? While these are designated as 19th century they may in fact be more recent in manufacture.

  • Thumbnail for Standing female figure wearing skirt and headdress - back view
    Standing female figure wearing skirt and headdress - back view

    Wood-carved with added white paint. This handsome figure is another Manderman folk piece. She seems to most closely resemble what are often called bhuta figures from 19th-20th-century Karnataka. Bhuta is another term that is used in various ways; in the orthodox tradition it has meaning associated with ghosts, with evil forces, with potentially malevolent spirits. Bhuta has been used as a term to signify those malevolent spritis outside the orthodox traditions of Hinduism and thus has also come to signifiy, more generically, folk deities, powerful forces outside the pantheon of the Hindu tradition; but in this sense these are not necessarily malevolent or destructive; rather they are beings/ forces/ spirits of limited and often highly localized powers. What this figure shares with other Karnataka figures that have been termed bhutas are the material and general form: she is made of wood, rather simply carved, with a strongly stylized, geometric body. Her body is contructed of a series of geometric shapes, with tubular arms, a cylindrical trunk pinched at the waist, her face strongly circular with large ears that project at a direct perpendicular from the cheeks. The details of the face are simplified in a manner that is shared with the marble Jina. There are several details that set this figure apart from better-known so-called bhutas from Karnataka: she seems to wear a garment that covers her upper body, a feature quite unusual in the depiction of females in Indian art in general and in typical bhutas from Karnataka, in which the upper body is also usually nude except for jewelry; her skirt falls in wide gores with only a few folds, while in most bhuta figures from Karnataka the skirt is rendered in a continuous series of thin folds that create a more detailed pattern of vertical forms along the lower body; and rarely are typical Karnataka bhutas painted, as this figure is. Further research may suggest a different provenance, as wooden 'folk' figures hail from many regions.

  • Thumbnail for Standing female figure wearing skirt and headdress - closeup view
    Standing female figure wearing skirt and headdress - closeup view

    Wood-carved with added white paint.This handsome figure is another Manderman folk piece. She seems to most closely resemble what are often called bhuta figures from 19th-20th-century Karnataka. Bhuta is another term that is used in various ways; in the orthodox tradition it has meaning associated with ghosts, with evil forces, with potentially malevolent spirits. Bhuta has been used as a term to signify those malevolent spritis outside the orthodox traditions of Hinduism and thus has also come to signifiy, more generically, folk deities, powerful forces outside the pantheon of the Hindu tradition; but in this sense these are not necessarily malevolent or destructive; rather they are beings/ forces/ spirits of limited and often highly localized powers. What this figure shares with other Karnataka figures that have been termed bhutas are the material and general form: she is made of wood, rather simply carved, with a strongly stylized, geometric body. Her body is contructed of a series of geometric shapes, with tubular arms, a cylindrical trunk pinched at the waist, her face strongly circular with large ears that project at a direct perpendicular from the cheeks. The details of the face are simplified in a manner that is shared with the marble Jina. There are several details that set this figure apart from better-known so-called bhutas from Karnataka: she seems to wear a garment that covers her upper body, a feature quite unusual in the depiction of females in Indian art in general and in typical bhutas from Karnataka, in which the upper body is also usually nude except for jewelry; her skirt falls in wide gores with only a few folds, while in most bhuta figures from Karnataka the skirt is rendered in a continuous series of thin folds that create a more detailed pattern of vertical forms along the lower body; and rarely are typical Karnataka bhutas painted, as this figure is. Further research may suggest a different provenance, as wooden 'folk' figures hail from many regions.