Inuit Art Eskimo Art Prints, Sculpture

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Articulo:

P98BL13

Precio:

C$315

Titulo:

Tupilak; Shaman

Creado:

1998 - Signed

Artista:

Tookoomee, Simon

Edición:

Pueblo:

Baker Lake

Ref:

Print #13 of the 1998 collection

Tamaño: pulgadas/cm

22" x 18"
55.9 cm x 45.7 cm

Descripción:

Simon Tookoome (December 9, 1934, Chantrey Inlet - November 7, 2010 Baker Lake) was an Utkusiksalingmiut Inuk artist. In his youth, Tookoome and other Utkusiksalingmiut lived along the Back River and in Gjoa Haven on King William Island. Here he met and was influenced by the Netsilik Inuit.

He moved to Baker Lake, Nunavut, Canada in the 1960s when his Inuit band was threatened with starvation. After the arrival of arts advisor's in 1969, Tookoome began to draw and carve stones. He was a founding member of the Sanavik Co-op. He is author, with Sheldon Oberman, of the children's book Shaman's Nephew: A Life in the Far North, which won the $10,000 Norma Fleck Award for Canadian children's non-fiction in 2000. This autobiographical book deals with Tookoome's youthful experiences of the traditional Inuit way of life, including experiences with hunting and encountering non-Inuit culture for the first time. He is also included in Irene Avaalaaqiaq Myth and Reality: In the winter of 1957 to 1958, the caribou took a different route to the calving grounds. We could not find them. All the animals were scarce. We were left waiting and many of the people died of hunger. My family did not suffer as much as others. None of us died. We kept moving and looking. We survived on fish. We had thirty dogs. All but four died but we only had to eat one of them. The rest we left behind. We did not feel it was right to eat them or feed them to the other dogs. My father and his brothers had gone ahead to hunt. We had lost a lot of weight and were very hungry. I left the igloo and I knelt and prayed at a great rock. This was the first time I had ever prayed. Then five healthy caribou appeared on the ice and they did not run away. I thought I would not be able to catch them because there were no shadows. The land was flat without even a rock for cover. However, I was able to kill them with little effort. I was so grateful, that I shook their hooves as a sign of gratitude because they gave themselves up to my hunger. I melted the snow with my mouth and gave them each a drink. I was careful in removing the sinews so as to ease their spirits' pain. This is the traditional way to show thanks. Because of what those caribou did, I always hunted in this way. I respected the animals.

The Shaman's Transformation: A Journey Between Worlds

For centuries, Inuit art has captivated the world with its powerful depictions of animals, spirits, and the transformative journeys undertaken by shamans. These captivating works offer a window into a rich spiritual world where the boundaries between human, animal, and spirit are fluid, and transformation is a central theme. This newsletter explores the historical connection between shamans and the concept of transformation, shedding light on the symbolism embedded within many Inuit artworks.

In traditional Inuit society, the shaman held a unique and vital role. They were intermediaries between the human world and the spirit realm, possessing the ability to communicate with animals, heal the sick, and ensure the community's well-being. Central to their practice was the concept of transformation, a profound shift in form or consciousness that allowed them to access the power and knowledge of the spirit world.

Transformation could manifest in various ways. Shamans might journey to other realms in dreams or visions, their spirits leaving their physical bodies. They could also embody animal spirits, taking on their characteristics and powers. This could involve physical representations, such as wearing animal skins or masks, or a more spiritual merging with the animal's essence. The ability to transform was not merely a performance; it was a deeply felt experience that empowered the shaman to act on behalf of their community.

Inuit art powerfully captures these transformative experiences. We often see depictions of shamans with animal features – perhaps antlers sprouting from their heads, or their bodies merging with those of bears or caribou. These images are not simply representations of animals; they symbolize the shaman's connection to the animal world and their ability to draw upon its strength and wisdom. A shaman might be depicted mid-transformation, highlighting the fluidity between human and animal forms. These visual narratives offer a glimpse into the shaman's spiritual journey and the power they wielded.

The act of transformation was often associated with specific rituals and ceremonies. Drums, chants, and elaborate costumes played a crucial role in facilitating the shaman's journey into the spirit world. These rituals are often reflected in the art, with depictions of ceremonial objects and scenes of shamanic practice. The artwork itself can be seen as a form of ritual, a tangible expression of the shaman's spiritual power and a means of connecting with the spirit world.

Understanding the historical connection between shamans and transformation is key to appreciating the depth and complexity of Inuit art. These artworks are not simply aesthetic objects; they are powerful expressions of a spiritual worldview that emphasizes the interconnectedness of all living things and the transformative potential of the human spirit. By exploring the symbolism embedded within these pieces, we gain a deeper understanding of Inuit culture and the profound role that shamans played in maintaining balance and harmony within their communities.

We invite you to explore our online gallery, where you can discover a diverse collection of Inuit art that reflects this rich tradition of shamanism and transformation. Each piece tells a story, inviting you to connect with the spirit world and experience the power of these.

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