Sandart-
Ancient & Modern
by Amy Lenzo
This
article is about three indigenous sand-based art practices:
the Navajo sandpainting ceremony, the sand mandalas of Tibetan Buddhism,
and Aboriginal ground art. Each of these practices is a distinct
& complex expression of a specific culture, which can only be
properly understood within its cultural context, so I will attempt
to bring some of this context to the fore in talking about them.
I
will use the term 'art' to refer to these practices even though
they differ in many ways from what we in the western world usually
think of as art. For example, for the most part, the model for a
western artist today is a talented individual working in isolation,
in a particular medium, producing work to be exhibited &/or
sold. In this model art exists in a sphere separate from the daily
lives of most people & is not meant to have any purpose other
than aesthetic. The process of making and selling art is largely
a commercial enterprise; pretty much devoid of spiritual content.
What's
Different Here?
Indigenous arts use a very different model. Each of these three
art practices are made within the context of community for a specific
purpose, in cultures that make no distinction between the spiritual
and secular realms. In each of these three indigenous cultures,
life, art & spirituality exist as one interconnected organism,
where life itself is sacred, as are the natural & symbolic elements
that, together, sustain it.
Another
major difference between these three practices and most western
art is the temporal sense associated with their exhibition &
preservation. There is an irony here, however, because while we
try to preserve western art, hanging it in museums with special
machines to regulate the air & light quality, etc., the materials
from which it is made are in themselves impermanent. Over time they
fade, fray and disintegrate. In each of these indigenous forms,
on the other hand, the value of the work is experiential, accessed
through the process of making it. As soon as the artwork is complete,
the materials from which it is made are cleared away, and the work
is destroyed. However, the patterns that the art reproduces are
integral to the culture that makes them. The memory of their form
is embedded in cultural mythology or religious perceptions that
have existed unchanged for thousands of years now. Lastly, unlike
much western art, none of these practices are made in a single medium,
but combine visual, oral and literary elements.
Each of three forms uses the representation of space, whether psychic
or physical, as its basis. In early times people created homes out
of the landscape that surrounded them. For example, the dwellings
of desert communities in northwestern Africa and the middle East
are made of the earth & sand, and there are similar sites throughout
the world. The dwellings built by the Dogon people of Mali were
symbolic models of the universe. They built their villages in pairs
to represent heaven & earth, and cleared the land for them in
spirals, to emulate the energy of the earth. A similar principle
underlies traditional Japanese gardening, where a miniature version
of the entire natural world is created through the microcosmic representation
of natural materials into a garden landscape.
Mandala
The use of symbology to render macrocosmic space into a microcosmic
representation is one of the fundamental elements in all shamanic,
or 'magical', systems of thought. According to these systems, the
macrocosm, or whole system, exists in the microcosm, or each individual
part of that system (this is also the idea described in the modern
scientific theory of fractals). In shamanic practice, therefore,
one reproduces the microcosm and in doing so evokes, or effects,
the macrocosm. The mandala is one of the primary forms that illustrates
this principle, and each of the three indigenous art practices we're
talking about uses the mandalic form for this purpose. Each practice,
or mandala, is organised around a central point. Symbolically, this
point is a crucial element, because it marks the point of origin
from which all things come into being.
Aboriginal
Dreamtime
All Aboriginal art is a reinactment of the Dreamtime- a set of ritual
practices which constantly reinvent & maintain the indigenous
world through the repetition of aboriginal creation myths called
Dreamings. The concept of Dreamtime is sometimes hard for the western
mind to comprehend because it describes a time without differentiation
between past, present & future. It is the primordial time of
creation when the ancestors dreamed life into the earth and all
the creatures that live upon it; it exists both now, and in the
moment of its reinactment, to maintain and ensure the world's continued
existence. Mircea Eliade describes it another way, as 'sacred time'-
"a mythical time... not preceded by another time, because no
time could exist before the appearance of the reality narrated in
the myth. The first manifestation of a reality is equivalent to
its creation by divine beings: hence, recovering this time of origin
implies the ritual repetition of the god's creative act"
Through
an elaborate kinship system, each aboriginal man and woman inherits
the rights and responsibilities for a specific part of the landscape
and/or the natural world, along with the Dreaming that created it,
and the specific designs that harbour & evoke the ancestral
energies of that Dreaming. These rights & responsibilities are
always held in common between two individuals, or two groups [one
inherits patralineally, and one inherits matralineally] and they
manage this inheritance co-operatively. As a result, virtually all
aboriginal art of this kind is made by at least two people.
Ground
Art
One of the most sacred of aboriginal ceremonies is done in associatiion
with elaborate ground art. Within the context of these
ground sculptures, which are always holy and usually practised in
secret, concentric circles are used to provide the means for ancestral
power to surface, and also to return to the ground. The alternately
coloured red and white concentric circles mark the exact spot in
the desert where the Great Ancestor spirit energy is believed to
have first emanated from the ground. It is an initiation ceremony
of great power, in which an older man, a shaman, initiates the others
into the primal mysteries of Aboriginal life. In this ritual, the
initiates lay with their ears to the ground while the shaman pounds
the earth rhythmically with a strong pole, which represents the
connection between humans and the spirits of the ancestors.
Bark Paintings
Traditional aboriginal designs are now produced in acrylic paint,
but these designs used to be painted exclusively on bark, or drawn
in the sand. In these paintings, concentric circle imagery is used
differently than in the ceremony we just spoke about. Sometimes
it is used to show the element of fire and the waves of energy emanating
from it. In other contexts, these circles indicate other elements
within the natural world. The viewer's ability to interpret the
images depends upon their knowledge of Aboriginal mythology and
the particular dreaming depicted. In this way, western audiences
can be exposed to Aboriginal art and yet their understanding of
it will be different from an aboriginals, whose interpretation
will be similarly be different from someone familiar with the area
where it was painted, and theirs from the people who hold the Dreaming
for that image.
Aboriginals
view everything as an interconnected field of subtle energy emanations.
As I mentioned earlier, in Aboriginal cosmology all time exists
at once. Everything contains within its form the memory of its creation,
its history and future, as well as its present, and the designs
used to represent them reflect this perception in various ways.
These images are not abstract designs, but simplified versions of
what is actually seen and/or felt to be there. An image might indicate
the food sources in an area, along with the paths that have led
to them in the past, and might even show events that have occurred
on these hunts.
For example, you might see an image depicting various food sources
and the trails leading to them, where concentric circles indicate
watering holes, or the witchety grub (which is a popular food source);
the 'U' shapes signify an action, with the shape next to it indicating
the type of action, like straight lines might indicate the digging
sticks necessary to find the food source.
In
1988 a small group of Aboriginal artists colaborated on an Aboriginal
Memorial, constructed as a response to the Australian bicentennial,
which commemorated 200 years of European settlement. In a memorial
to Aboriginal people, past, present and future, they carved 200
hollow log coffins- one for each year of European colonisation-
to honour the thousands of Aboriginals who had been killed in that
period. The exhibit is now on permanent display in Canberra.
Navajo
Sandpainting-
Though their forms are very different, Native American and Native
Australian cosmologies have much in common. They are both cultures
rooted in a specific landscape. In Navajo sandpaintings, as in Aboriginal
art, images are not symbolic in the usual sense of the word, but
always refer to specific elements existing in either physical or
mythological space. When a mountain is depicted in a Navajo chant,
for example, it almost always refers to a mountain also existing
in the landscape. In both cultures, land is holy & specific
sites hold specific sacred associations.
Navajo
Sandpaintings are complex healing ceremonies- performed for the
benefit of a tribal member who requests them. Like Aboriginal Dreamings,
Sandpainting rituals are reinactments of the native legends which
provide the foundation for all aspects of Navajo life. There are
several different types of sandpainting ceremonies- known as 'ways'-
Blessingways, used for prevention; Holyways, for healing; and Evilways,
for exorcism. The appropriate 'way' will be chosen by a Hand-Trembler,
or native Shaman, and executed by a trained 'chanter' who will draw
the paintings and perform the songs and dances associated with it.
In
the Sandpainting ceremony, the painting functions as a mandala,
with the person who is ill, or out of balance (the Navajo believe
that all illness is a symptom of being out of balance with the natural
order) placed in the middle of the painting. After the painting
is finished, the chanter rubs their skin with sand from the images,
bringing him or her back into the balance depicted by the painting.
Every
aspect of this ceremony has significance. The hogan where the ritual
takes place is built to precise dimensions in a specific geography.
The ceremony always begins at dusk, and is completed at dawn, in
accordance with Navajo beliefs of origin and emergence. The images
for each painting are determined by the legend it is depicting and
the sand is coloured with natural materials collected from sacred
sites under specific conditions, each colour indicating a direction
and/or other specific properties. In addition, every item and every
person who comes into the physical or psychic sphere of the ceremony
goes through a purification ritual before they enter.
Buddhist
sand-mandalas
Like Aboriginal art and Navajo Sandpainting, Tibetan mandalas represent
a cosmology, but theirs is not linked to geographic place. Instead,
the Tibetan mandala depicts metaphysic space, a multileveled map
of spiritual consciousness and, unlike the other two, it uses an
abstract symbology.
The
Tibetan mandala, like the other two forms, is a precise rendering
of traditional patterns. The dimensions of the structure must be
geometrically exact. These designs are used to produce the state
of mind for various kinds of mediation and as initiations for monks
into higher states of spiritual awareness. Each of four monks painting
a mandala are working on a different direction. Using long, cone-shaped
metal tools with a hole at one end, sand is tapped onto the surface
of the mandala, a few grains at a time. This meditative act of mandala
creation is accompanied by rhythmic chanting of the names of God,
or traditional prayers.
Tibetan
symbology consists primarily of circles, squares, and triangles.
The circle is the key to the mandala- in fact the word mandala means
circle in Sanskrit- it represents the unity of all existence, and
the unbounded chaos of heaven. Squares represent the order of the
four directions and the boundaries of human life on earth. Triangles
stand for the trinity beyond duality and have different meanings
depending on whether the point is upwards or downwards, or the two
are intertwined, when it represents the realised human psyche.
The
center of the mandala is almost always a circle, often surrounding
a deity. This center is surrounded by a ritual number of squares
& circles, symbolising the inseparable interconnection of the
two elements. Complex religious ritual draws the divine essence-
the One- down into the center of the mandala, where it is embodied
in the form and therefore accessible to the monks working with the
imagery. The numerous circles within the mandala depict a multitude
of centers existing simultaneously on many levels.
To build a Tibetan mandala is to evoke the 'structuring principle'
that brings cosmic elements into alignment, and gives them form.
For the Tibetans, as for the aboriginal Australians and Navajo peoples,
deities or sacred ancestral energies are understood to exist in
the forms of these traditional designs, and rendering the designs
gives them life. These are sacred ceremonies of great power, almost
always practised within the sanctity of Buddhist temples.
To
the person making the mandala, there is a profound sense of identification
with the principles of the mandala. They enter into the form and
directly experience its effects. The 'T' shapes on the sides of
the central square indicate places of entry into the core of the
mandala, while the particular qualities of the shape also serve
to help guard the inner sanctum of knowledge held in that center.
Although
the effect of the Tibetan mandala ritual is experienced internally
by each participant, it is practised within a religious context
common to the whole culture, and the enlightenment which is the
goal of Tibetan Buddhism is not an individual goal but one dedicated
to the benefit of all humanity. When the ritual is complete, the
powdered sand, which is believed to be impregnated with the divine,
is poured into running water to disperse its blessings to all.
Many
contemporary indigenous artists continue to produce the traditional
forms Ive discussed here, while others are experimenting with
different forms and/or materials. However, the innate spirituality
and purposeful nature of the ancient forms are almost inevitably
present- at some level- even in the less traditional work. Sometimes
this content disturbs the boundary between politics and art, making
images that assert indigenous peoples and their values in the face
of a world that is often hostile and/or indifferent to them.
The
1989 Magicians de la Terre exhibition which was shown at the Pompidou
Centre in Paris showcased art from cultures all over the world;
current examples of both traditional & contemporary art from
indigenous peoples were exhibited next to urban western art. Much
of the western artwork was clearly influenced by the beauty and
power of the ancient images. It is ironic that all three of the
cultures we've been discussing here- Native Americans, Tibetans
& Australian Aboriginals- are groups whose worlds are particularly
threatened by the world that we as westerners inhabit. In order
for us to develop a more ethical and responsible position towards
these indigenous cultures, as well as create more rewarding art
practices in our own, we need to go beyond being inspired by the
aesthetics of their art. This means not just picking and choosing
pleasant aspects of other cultures to incorporate into our own,
but it is a matter of respect, and beginning to recognise we have
something important to learn from these perspectives on life and
art, and iving in harmony with the environment which are so different
from our own.
Reading
List:
Native
American Culture & Navajo Sandpainting-
Native American Expressive Culture (A Collection of articles and
photographs of contemporary native art from the Akwe:kon Journal)
Navajo
Medicine Man Sandpaintings, by Gladys Reichard- Dover Publications:
1977
Sandpaintings
of the Navajo Shooting Chant, by Franc Newcomb & Gladys
Reichard, Dover Publications:1975
Aboriginal
Art & Culture-
Voices of the First Day: Awakening in the Aboriginal Dreamtime,
by Robert Lawlor- Inner Traditions:1991
Aboriginal
Art, by Willie Caruana- Thames & Hudson: 1993
Action
for Aboriginal Rights- PO Box 300, Malvern, 3144, Victoria, Australia
Web Site: http://www.vicnet.net.au/~aar/
Tibet-
A Cultural History of Tibet, by D. Snellgrove & H. Richardson-
Shambala:1995
Sacred
Tibet, by Philip Rawson- Thames & Hudson: 1991
General-
Conversations Before the End of Time: Dialogues on Art, Life
& Spiritual Renewal, by Suzi Gablik- Thames & Hudson:
1995
The
Reenchantment of Art, by Suzi Gablik Thames & Hudson:1991
Overlay:
Contemporary Art & the Art of Pre-history, by Lucy Lippard-
The New Press:1983
The
Sacred and the Profane: The Nature of Religion, by Mircea Eliade-
Harcourt, Brace & Jovanovitch: 1959
Mandala,
by Jose & Miriam Arguelles- Shambala: 1985
Man
& His Symbols, by Carl G. Jung- Arkana: 1964
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