Sandpainting
Sandpainting is the art of pouring coloured sands, and powdered pigments from minerals or crystals, or pigments from other natural or synthetic sources onto a surface to make a fixed or unfixed sand painting. Unfixed sand paintings have a long established cultural history in numerous social groupings around the globe, and are often temporary, ritual paintings prepared for religious or healing ceremonies. This form of art is also referred to as drypainting.
Drypainting is practised by Native Americans in the Southwestern United States, by Tibetan and Buddhist monks, as well as Indigenous Australians, and also by Latin Americans on certain Christian holy days.
History
Native American sandpainting
In the sandpainting of southwestern Native Americans, the Medicine Man paints loosely upon the ground of a hogan, where the ceremony takes place, or on a buckskin or cloth tarpaulin, by letting the coloured sands flow through his fingers with control and skill. There are 600 to 1,000 different traditional designs for sandpaintings known to the Navajo. They do not view the paintings as static objects, but as spiritual, living beings to be treated with great respect. More than 30 different sandpaintings may be associated with one ceremony.The colours for the painting are usually accomplished with naturally coloured sand, crushed gypsum, yellow ochre, red sandstone, charcoal and a mixture of charcoal and gypsum. Brown can be made by mixing red and black; red and white make pink. Other colouring agents include corn meal, flower pollen, or powdered roots and bark.
The paintings are for healing purposes only. Many of them contain images of Yeibicheii. While creating the painting, the medicine man will chant, asking the yeibicheii to come into the painting and help heal the patient.
When the medicine man finishes painting, he checks its accuracy. The order and symmetry of the painting symbolise the harmony which a patient wishes to reestablish in his or her life. The accuracy of a sandpainting is believed to determine its efficacy as a sacred tool. The patient will be asked to sit on the sandpainting as the medicine man proceeds with the healing chant. It is claimed the sandpainting acts as a portal to attract the spirits and allow them to come and go. Practitioners believe sitting on the sandpainting helps the patient to absorb spiritual power, while in turn the Holy People will absorb the illness and take it away. Afterward, when the sandpainting has served its purpose, it is considered to be toxic, since it has absorbed the illness. For this reason, the painting is destroyed. Because of the sacred nature of the ceremonies, the sandpaintings are begun, finished, used and destroyed within 12 hours.
The ceremonies involving sandpaintings are usually done in sequences, termed "chants", lasting a certain number of days depending on the ceremony. At least one fresh, new sandpainting is made for each day.
Some Navajo laws and taboos relate to the sandpaintings, and protect their holiness:
- Women of child-bearing age are not supposed to sing the chants associated with the yeibicheii. This is both because the ceremony has a possibility of injuring an unborn child, and because of a taboo preventing menstruating women from attending. Post-menopausal women are more likely to be chanters or diagnosticians.
- Authentic sandpaintings are rarely photographed, so as to not disrupt the flow of the ceremony. For many reasons, medicine men will seldom allow outsiders inside a sacred ceremony. Because so many outsiders are curious about sandpainting, some medicine men may create pieces for exhibition purposes only, using reversed colours and variations. To create an authentic sandpainting solely for viewing would be a profane act. The sandpaintings for sale in shops and on the Internet are commercially produced and contain deliberate errors, as the real sandpaintings are considered sacred.
- The earliest credited instance of traditional Navajo sandpaintings being created in a permanent form for sale, have been traced to between 1945 and 1955. The main credit is generally given to a Navajo Hatałii named Fred Stevens, Jr., who developed the primary method of "permatizing" for commercial sandpaintings that is still used.
Indigenous Australian sandpainting
Aboriginal people have taken to transforming their tradition sand paintings into more permanent forms using modern techniques and materials.
Geoffrey Bardon was an Australian art teacher who was instrumental in creating the Aboriginal art of the Western Desert movement, and in bringing Australian indigenous art to the attention of the world."... began to interact with certain issues in 1960s and 70s international painting, especially the extreme schematisation of New York minimalism." In the History of Painting"Lyrical Abstraction in the late 1960s is characterised by the paintings of Dan Christensen, Ronnie Landfield, Peter Young and others, and along with the fluxus movement and postminimalism sought to expand the boundaries of abstract painting and minimalism by focusing on process, new materials and new ways of expression."
This connection is seen most obviously in the connection between the paintings from the late sixties of Peter Young and the paintings that follow in the early seventies produced in the Papunya Tula.
Papunya Tula, or Papunya Tula Artists Pty Ltd, is an artist cooperative formed in 1972 that is owned and operated by Aboriginal people from the Western Desert of Australia. Kaapa Tjampitjinpa is one of the early Papunya Tula artists and is known for Gulgardi. It is notable for being the first work by an Indigenous Australian artist to win a contemporary art award, and the first public recognition of a Papunya painting.
Tibetan sandpainting
sand paintings usually composed mandalas. In Tibetan, it is called dul-tson-kyil-khor.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 the "impermanence" of all contingent and compounded phenomena.
The mandala sand-painting process begins with an opening ceremony, during which the lamas, or Tibetan priests, consecrate the site and call forth the forces of goodness. They chant, declare intention, mudra, asana, pranayama, do visualisations, play music, recite mantras, etc.
On the first day, the lamas begin by drawing an outline of the mandala to be painted on a wooden platform. The following days see the laying of the coloured sands, which is effected by pouring the sand from traditional metal funnels called chak-pur. Each monk holds a chak-pur in one hand, while running a metal rod on its serrated surface; the vibration causes the sands to flow like liquid.
Formed of traditional prescribed iconography that includes geometric shapes and a multitude of ancient spiritual symbols, seed syllables, mantra, the sand-painted mandala is used as a tool or instrument for innumerable purposes. A primary purpose is to reconsecrate the earth and its inhabitants.
When the meditation is complete, the sand painting is ceremoniously destroyed using a Vajra and the sand is then gathered and taken to a body of water for offering.
Japanese tray pictures
, the 40th emperor of Japan, used Bonseki techniques to describe landscapes and natural objects. Several gardens in Kyoto are also believed to have been designed using bonseki. The 1300 essay by the Japanese Zen monk Kokan Shiren, "Rhymeprose on a Miniature Landscape Garden", talks about the principles of bonseki and garden architecture. Bonseki became a popular art form of the Japanese aristocracy during the reign of Ashikaga Yoshimasa. The historical figure with the most profound influence on the Japanese "Way of Tea", Sen no Rikyū, practiced bonseki. From the 15th century in Japan, Buddhist artists in the times of the shōguns practised the craft of bonseki by sprinkling dry coloured sand and pebbles onto the surface of plain black lacquered trays. They used bird feathers as brushes to form the sandy surface into seascapes and landscapes. These tray pictures were used in religious ceremonies. Although the practice of bonseki nearly died out after WWII, there are still actively practicing schools.Table decking
During the 17th and 18th centuries, the royal courts of Europe employed "table deckers", who decorated the side tables at royal banquets having adapted the craft of 'bonseki' from the Japanese. The table deckers sprinkled coloured sands, marble dust, sugars, etc. upon the surface of plain white tablecloths to create unfixed pictures of fruit, flowers, birds and rustic scenery. In between each design spaces were left for fruit bowls and sweetmeat dishes so that the diners could refresh themselves in between the main courses of the feast. These ornate pictures were discarded along with the debris of the feast.As a fine example of the table deckers' craft, Woburn Abbey in Bedfordshire, England possesses an ornate folding screen with three panels, decorated with sand pictures protected by glass. The centre one has five spaces for sweetmeat pyramid dishes while the two side leaves of the screen have three spaces for fruit trays. There are four sand pictures in each corner of the side panels of the screen, featuring 18th-century pastoral scenes, while the remaining areas of the screen are decorated with butterflies, doves, fruit, flowers, etc. The screen would be laid upon the surface of a side table. It doubled as a serving base for elaborate porcelain dishes and glass trays containing fruits, bonbons and sweetmeats, from which the hosts and their guests could help themselves while socialising or stretching their legs between the multiple courses being served on the main table in the dining hall. This screen may have been the work of the German artisan F. Schweikhardt, who specialised in still-life studies in the style of the Dutch painter Jan van Huysum.