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Fiercely Modern: Art of the Naga Warrior

July 12, 2013•Art, Exhibitions

Kanika Pruthi of Saffronart discusses the ongoing exhibition on the Nagas currently on view at the Rubin Museum of Art in New York

New York: This summer the Rubin Museum of Art showcases a fascinating exhibition that presents an informed peek into the lives of the Naga people, curated by Jan Van Alphen. The highlight of the exhibition is the remarkable selection and contextualization of the material culture of the Nagas which inform the viewer about their history and ways of life.  The exhibition includes textiles, jewelry, weaponry and ceremonial objects, black-and-white photographs and a video installation.

The Naga are a group of culturally and linguistically linked tribes inhabiting the mountainous regions of north-east India and north-west Burma. Known to be fearsome headhunters, their neighbors avoided confrontations and direct contact with the tribes. This allowed them to develop a distinctive material culture and a complex system of norms and taboos. The British colonization followed by the 20th- century conversion by Baptist missionaries of nearly the entire Naga population to Christianity resulted in drastic changes in their way of life. Nonetheless the Naga did not abandon their long held traditions and today they live between two extremes: they maintain a highly developed aesthetic culture informed by ancestral traditions while still transformed by outside influences. Ancient Naga customs and habits remain alive under a layer of Christian devotion.

Installation shot of "Fiercely Modern: Art of the Naga Warrior" by David DeArmasI

Installation shot by David DeArmas. Image Credit: http://www.flickr.com/photos/rmanyc/8953383208/in/photostream/

A focal point of the exhibition is the large-scale black-and-white photographs by the anthropologist Christoph Fürer-Haimendorf. Assembled during his field research in 1936-1937 and now in the collection of the Welt Museum Wien in Vienna, it is one of the oldest collections of Naga art. These photographs successfully provide a context for the objects on view- this interactive process enabling the viewer to grasp the culture and the artifacts with greater depth.

"Fiercely Modern: Art of the Naga Warrior"

Art of the Naga Warrior. Image Credit: http://www.rmanyc.org/naga

The exhibition is divided into six sections. The first expounds the ritual life of the Naga, highlighting the practice of headhunting and its association with prestige among the tribesmen. This section shows head trophies, ceremonial hats and weaponry.

 

Installation Shot of "Fiercely Modern: Art of the Naga Warrior" by David DeArmas

Installation Shot by David DeArmas. Image Credit: http://www.flickr.com/photos/rmanyc/8953383050/sizes/o/in/photostream/

The second section about clothing explains the meaning of body cloth, the symbols woven into the warp and weft of the cloth- indicating the wearer’s tribe and position. These body cloths are commonly worn over modern clothing during special events.

Installation Shot of "Fiercely Modern: Art of the Naga Warrior" by David DeArmas

Installation Shot of “Fiercely Modern: Art of the Naga Warrior” by David DeArmas. Image Credit: http://www.flickr.com/photos/rmanyc/8953383050/sizes/o/in/photostream/

The third section explains how Naga jewelry goes beyond its functional and ornamental role and like their garments is symbolic of the wearer’s identity and status. On view are chest ornaments, earrings, headdresses, armbands, sashes, girdles, and aprons worn by both men and women.

The forth section presents the artisanry of the Naga tribes, the specific crafts delineates to women or men. This section displays ceremonial baskets made of bamboo and dishes carved out of wood.

Installation Shot of "Fiercelyt Modern: Art of the Naga Warrior" by David DeArmas

Installation Shot by David DeArmas. Image Credit: http://www.flickr.com/photos/rmanyc/8953383050/sizes/o/in/photostream/ 

The fifth section of the exhibition is dedicated to the Morung- the tradition men’s house central to Naga lifestyle. The space served as a community center, school, youth club- all combined in one. According to Naga tradition a boy would typically join at the age of nine or ten and live there until he was married. There he would learn the skills required for adulthood from the older members of his community.

The following section presents wood carvings and sculpture, especially those employed to decorate the Morung. The most impressive woodcarvings were the giant log drums, which are shown in a video in the exhibition alongside models of dugout drums. These dugout drums embodied the community’s potential for happiness and brought with them good luck, wealth, and prosperity.

Installation Shot of "Fiercely Modern: Art of the Naga Warrior" by David DeArmas

Installation Shot of “Fiercely Modern: Art of the Naga Warrior” by David DeArmas. Image Credit: http://www.flickr.com/photos/rmanyc/8952187063/in/photostream/

 

This is the second exhibition hosted by the Rubin Museum of Art on the Naga. It is on view till September 16, 2013. The programme for the exhibition includes a talk with anthropologist Christian Schicklgruber and collector of Naga art John D. Marshall. There are also two short films being shown at the Museum.

To learn more click here.

Visions of India

February 4, 2013•Art, Collectibles

Elisabetta Marabotto of Saffronart shares a note on British Orientalist art in the 19th century

London: Concurring with the collection Visions of India on The Story I wanted to blog about some of the pieces in the collection and the history behind them.

The Hackery by John Gantz & Son. Image Credit: https://www.saffronart.com/TheStory/ItemV2.aspx?iid=35284

The Hackery by John Gantz & Son. Image Credit: https://www.saffronart.com/TheStory/ItemV2.aspx?iid=35284

During the 18th century many British artists undertook the journey to India hoping to make a fortune there so that they could come back home and live comfortably. However it wasn’t as easy as they imagined, and by 1825 this trend began to slowly disappear. Especially after 1857, fewer professional artists traveled to India, and if they did it was for specific commissions.

Untitled, Charles Gold. Image Credit: https://www.saffronart.com/TheStory/ItemV2.aspx?iid=35286

Untitled, Charles Gold. Image Credit: https://www.saffronart.com/TheStory/ItemV2.
aspx?iid=35286

When the first group of British artists arrived in the last quarter of the 18th century, India was already a myth and in different ways remained so until the British left in 1947, maintaining that “exotic” aura around it which fascinated and still fascinates many people.

In addition to professional artists, a conspicuous number of amateur artists, draftsmen, and service-persons produced a good array of works which depicted 19th century India, perhaps not as skillfully as the professionals, but with their same passion and curiosity. Amateur artists were fearless in their search for the unknown and exotic, and overcame misadventures and troubled journeys for their passion.

Hindoo Temple at Muddunpore, Bahar, William Daniell. Image Credit: https://www.saffronart.com/TheStory/ItemV2.aspx?iid=35285

Hindoo Temple at Muddunpore, Bahar, William Daniell. Image Credit: https://www.saffronart.com/TheStory/ItemV2.aspx?iid=35285

While professional painters were mainly commissioned to paint portraits of nabobs and sahibs or historical representations, amateur painters chose to follow their interests and their focus was not restricted. Their field of research was wide and they were extremely prolific in India. In fact, less than one tenth of the material preserved by the India Office Library is by professional artists.

Amateur artists left a very detailed description of the life of the British there, often in a humourous key, and produced romantic and picturesque representations of Indian people, culture, flora and fauna. They are thought to have represented the real India, but although the illustrations are very realistic, they did not represent every aspect of the country. In fact, they often had to satisfy the taste of their audiences in England and thus had to emphasise British beliefs and values.

Hunting a Hog-Deer, Williamson Thomas & Samuel Howitt. Image Credit: https://www.saffronart.com/TheStory/ItemV2.aspx?iid=35292

Hunting a Hog-Deer, Williamson Thomas & Samuel Howitt. Image Credit: https://www.saffronart.com/TheStory/ItemV2.aspx?iid=35292

The large amount of Anglo-Indian literature which includes memoirs, travelogues, poetry and fiction is an incredible source of information about the British perception of India during the 19th century. Some artists also wrote comments and notes to accompany their prints, which are highly informative. We are informed of the architecture of the time and of the ancient temples, of favourite British pastimes such as hunting, of all the different plants and animals that thrived in India. It is evident that certain sights and monuments particularly fascinated the artists and these almost became stereotypes of British orientalist art. The Ganges, Benares, temples’ ruins and women by the river were some of the most represented and beloved themes.

Visions of India is a rare chance to acquire invaluable romantic representations of 19th century India. This is a unique occasion to hold something which will make you remember and learn about bygone times and places which made history.