ETHOC 024949

Sculpture d’un cormoran burala, totem d’un clan

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024949
Sculpture of a diver duck
Australia, Northeast Arnhem Land
Yolngu. Mid 20th century
Wood, pigments. H 197 cm, Ø 9 cm
Acquired from Berkeley Galleries, London, in 1955; collected by the Rev. Edgar Almond Wells in Milingimbi
MEG Inv. ETHOC 024949
Le totem du cormoran est lié aux cérémonies mortuaires. Cet oiseau se nourrit de poissons-chats dans les étendues d’eau. Au décès, l’âme du défunt entre dans le poisson-chat. Lorsque l’oiseau le mange, cette action symbolise l'âme de la personne arrachée au «bassin de vie». Le cormoran représente les notions de naissance, de vie nouvelle et de mort. Cet objet est utilisé également pour assurer la crue des eaux.

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Australian Aborigines

In the nineteenth century, the Aborigines were classed as the most primitive people on Earth. Not practising agriculture, animal husbandry, metallurgy or weaving, these hunters-gatherers were considered to have no artistic sensibility. Later, anthropological field work showed that this was not the case and revealed refined, sophisticated cultures.

Painting tells us who we are

The Aborigines tell that long ago, in the Dreamtime, mythical beings rose out of the depths of the land, which was still undifferentiated. As they travelled, they left their traces behind them and their actions shaped the landscape and the sky. They named places and animals, separated animals from humans and instituted the laws governing their society.

In Arnhem Land, painting – whether it is on rock walls, carved objects, bark or the bodies of people taking part in rituals – is evidence of the close link between the Aborigines and the ancestral beings. It expresses their attachment to the land, their world view and their identity.


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