Three Warli paintings, of which one is by Jivya Soma Mashe (1934-2018)

Three Warli paintings, of which one is by Jivya Soma Mashe (1934-2018)
Three works:

Jivya Soma Mashe (1934-2018)
Divali, the festival of lights, circa 1990
Rice paste and cowdung on paper
Signed lower right in Marathi: Jivya Soma Mashe
Image/ Sheet: 23" H x 35.5" W

Unidentified artist (b. 20th century)
Palaghata, and village wedding festivities, circa 1990
Rice paste and cowdung on unprimed cotton
Signed lower right corner with the artist's name in Marathi
Image: 36" H x 24" W; Cotton: 41" H x 29" W (approximately)

Unidentified artist (b. 20th century)
Scene with animals hunting humans
Rice paste and cowdung on unprimed cotton
Unsigned
Image: 24" H x 35.5" W; Cotton: 29" H x 40.5" W (approximately)

3 pieces

Provenance: The Collection of Walter and Nesta Spink, Ann Arbor, MI, by 1999

Exhibited: Ann Arbor, MI, Center for South and Southeast Asian Studies, Autumn 1998

Literature: Lakshmi Lal, "The Warlis: Tribal Paintings and Legends" (Bombay, India: Chemould Publications and Arts, 1984), cf. 62, 69.

Other Notes: According to the book referenced above, "On Divali, the festival of lights, as the lamps are lit and firecrackers go off, the 'tarpa,' the Warli pipe, is used to summon young couples of the village to dance in a ring. It is a merry-go-round of light and sound and festivity." The tarpa dance was a visual aspect depicted in many Warli paintings. The tarpa is a "trumpet-like instrument, played in turns by different village men. Men and women entwine their hands and move in a circle around the tarpa player. The dancers then follow him, turning and moving as he turns, never turning their backs to the tarpa. The musician plays two different notes, which direct the head dancer to either move clockwise or counterclockwise. The tarpa player assumes a role similar to that of a snake charmer, and the dancers become the figurative snake. The dancers take a long turn in the audience and try to encircle them for entertainment. The circle formation of the dancers is also said to resemble the circle of life."

The book's author, Lakshmi Lal, mentions that Warli marriages call for a special wall painting to be created for the occasion. It is such an involved process that people work on the painting from morning to dusk because it has to be finished on a singular day, which is the day of the wedding. In addition to this practice, "the picture is drawn in secrecy and kept veiled, a mystery to be revealed only at the auspicious hour. Three holy men arrive, singing. One of them, chosen by the others for his special powers, waits for the divine spirit to enter his body. In this state of exaltation, his perceptions heightened by the coming event, he tears the veil down and names the bride. The wedding is on. The next day, wearing ceremonial headbands, the tribal couple leave for their new home."
Condition Report: Each overall very good condition. The two works on unprimed cotton with soft rippling showing in the unpainted borders, attendant with the materials used. All three works framed floating, either hinged or tipped to the backboards. Not examined out of the frames.Each framed under Plexiglas: 33" H x 44" W x 1" D (or smaller) Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.