{"product_id":"batja-marawili-narulwuy-baykultji-67x20cm","title":"Batja Marawili Narulwuy, Baykultji, 67x20cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artist - Batja Marawili Narulwuy\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Yirkala\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eHomeland - Gurrumuru\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - \u003cspan\u003eBuku-Larrŋgay Mulka Centre\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 6092-22\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eMaterials - Earth pigments on fire-hardened Stringybark\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H67 W20 D1 (irregular shape)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - \u003cspan\u003eArtwork posted flat and ready to hang with a metal mount\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003e\u003cspan\u003eOrientation - OK to hang as wished. Strung to hang as pictured\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork Story\u003c\/h5\u003e\n\u003cp\u003eThe journey of freshwater through country to the sea is thematic for many of the clan groups of northeast Arnhem Land. This water is still fire imbued as the agent of metamorphoses of Bäru himself from human to reptile. The diamond design occurs also in the setate of Yathikpa where bäru was burnt and changed into crocodile form. The diamonds in this design however are notched with a set of small bars which indicate the presence of the log (hollow log coffin or larrakitj) traversing the water and thereby denoting Baykultji. This barrier marks the division between salt-affected and fresh waters. In sacred song Baru the ancestral crocodile sits on the seaward side accompanied by his disciples Baliny and Nyungala (Barramundi and Ox-eye herring) waiting for his prey (wallaby). Gany’tjurr the Reef heron is an archetype of the Yirritja moiety male hunter. The course of the water that connects the Madarrpa land estates, originates through the powers and travels of Bäru imbuing the waters and land with the special qualities that lay claim of ownership to those that stem from it.\u003c\/p\u003e\n\u003ch5\u003eBark Process\u003c\/h5\u003e\n\u003cp\u003eIn many ways, the harvesting and material production to create bark paintings is an art in itself. The bark is stripped from Eucalyptus stringybark. It is generally harvested from the tree during the wet season. Two horizontal slices and a single vertical slice are made into the tree, and the bark is carefully peeled off. The smooth inner bark is kept and placed in a fire. After firing, the bark is flattened and weighted to dry flat. Once dry, the bark becomes a rigid surface and is ready to paint upon.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/Djawakan_Marika_Yilpirr_Wanambi_Wukun_Wanambi_and_Nambatj_Munu_igurr_Harvesting_stringy_bark_for_artists_Photo_credit_David_Wickens_crop_600x600.jpg?v=1587969429\" alt=\"Collecting Barks in Yirkala\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch6\u003e\u003cspan\u003eDjawakan Marika, Yilpirr Wanambi, Wukun Wanambi and Nambatj Munu+ïgurr Harvesting stringybark for artists Photo credit: David Wickens\u003c\/span\u003e\u003c\/h6\u003e\n\u003cp\u003e\u003cspan\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/Wanapa_Munu_igurr_Yilpirr_Wanambi_and_Wukun_Wanambi_harvesting_stringybark_Photo_credit_David_Wickens_crop_600x600.jpg?v=1587969453\" alt=\"Harvesting barks for artists to paint in Yirkala\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch6\u003e\u003cspan\u003eWanapa Munu+ïgurr, Yilpirr Wanambi and Wukun Wanambi harvesting stringybark. Photo credit: David Wickens\u003c\/span\u003e\u003c\/h6\u003e\n\u003cp\u003e\u003cspan\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/Wanapa_and_Nambatj_Munu_igurr_firing_a_bark_to_start_the_flatening_process_Photo_credit_David_Wickens_crop_600x600.jpg?v=1587969414\" alt=\"Firing a bark ready for artists to paint in Yirkala\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch6\u003e\u003cspan\u003eWanapa and Nambatj Munu+ïgurr firing a bark to start the flattening process. Photo credit: David Wickens\u003c\/span\u003e\u003c\/h6\u003e\n\u003cp\u003eArnhem Land paintings are characterised by the use of fine crosshatched patterns of clan designs that carry ancestral power: the crosshatched patterns, known as rarrk in the west and miny’tji in the east, produce an optical brilliance reflecting the presence of ancestral forces.\u003cbr\u003e\u003cbr\u003eThese patterns are composed of layers of fine lines, laid onto the surface of the bark using a short-handled brush of human hair, just as they are painted onto the body for ceremony.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/Rerrkiwanga_Mununggurr_painting_her_husbands_design_Gumatj_fire_or_Gurtha._600x600.jpg?v=1587990487\" alt=\"Aboriginal Artists, Rerrkiwaŋa Munuŋgurr painting her husbands design Gumatj fire or Gurtha.\"\u003e\u003c\/p\u003e\n\u003ch6\u003e\u003cspan\u003eRerrkiwaŋa Munuŋgurr painting her husbands design Gumatj fire or Gurtha. Photo credit: Buku-Larrŋgay Mulka Centre\u003c\/span\u003e\u003c\/h6\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe artist’s palette consists of red and yellow ochres of varying intensity and hues, from flat to lustrous, as well as charcoal and white clay(pictured above). Pigments that were once mixed with natural binders such as egg yolk have, since the 1960s, been combined with water-soluble wood glues.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/Ochre_600x600.jpg?v=1588123300\" alt=\"Naminapu Maymuru White collecting gapan white clay used for painting.\"\u003e\u003c\/p\u003e\n\u003ch6\u003e\u003cspan\u003eNaminapu Maymuru White collecting gapan white clay used for painting. Photo credit: Edwina Circuitt\u003c\/span\u003e\u003c\/h6\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp\u003eDetails are currently unavailable\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp\u003eBuku-Larrŋgay Mulka Centre is the Indigenous community-controlled art centre of Northeast Arnhem Land. Located in Yirrkala, a small Aboriginal community on the north-eastern tip of the Top End of the Northern Territory, approximately 700km east of Darwin. Our primarily Yolŋu (Aboriginal) staff of around twenty services Yirrkala and the approximately twenty-five homeland centres in the radius of 200km.\u003c\/p\u003e\n\u003cp\u003eIn the 1960’s, Narritjin Maymuru set up his own beachfront gallery from which he sold art that now graces many major museums and private collections. He is counted among the art centre’s main inspirations and founders, and his picture hangs in the museum. His vision of Yolŋu-owned business to sell Yolŋu art that started with a shelter on a beach has now grown into a thriving business that exhibits and sells globally.\u003c\/p\u003e\n\u003cp\u003eBuku-Larrŋgay –  “the feeling on your face as it is struck by the first rays of the sun (i.e. facing East) \u003c\/p\u003e\n\u003cp\u003eMulka – “a sacred but public ceremony.”\u003c\/p\u003e\n\u003cp\u003eIn 1976, the Yolŋu artists established ‘Buku-Larrŋgay Arts’ in the old Mission health centre as an act of self-determination coinciding with the withdrawal of the Methodist Overseas Mission and the Land Rights and Homeland movements.\u003c\/p\u003e\n\u003cp\u003eIn 1988, a new museum was built with a Bicentenary grant and this houses a collection of works put together in the 1970s illustrating clan law and also the Message Sticks from 1935 and the Yirrkala Church Panels from 1963.\u003c\/p\u003e\n\u003cp\u003eIn 1996, a screen print workshop and extra gallery spaces was added to the space to provide a range of different mediums to explore. In 2007, The Mulka Project was added which houses and displays a collection of tens of thousands of historical images and films as well as creating new digital product. \u003c\/p\u003e\n\u003cp\u003eStill on the same site but in a greatly expanded premises Buku-Larrŋgay Mulka Centre now consists of two divisions; the Yirrkala Art Centre which represents Yolŋu artists exhibiting and selling contemporary art and The Mulka Project which acts as a digital production studio and archiving centre incorporating the museum.\u003c\/p\u003e\n\u003cp\u003eText courtesy: Buku-Larrŋgay Mulka Centre\u003c\/p\u003e","brand":"BUKU","offers":[{"title":"Default Title","offer_id":52852542013664,"sku":"6092-22","price":256.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/BatjaMarawiliNarulwuy6092-2267x20cm.jpg?v=1780035130","url":"https:\/\/artark.com.au\/en-uk\/products\/batja-marawili-narulwuy-baykultji-67x20cm","provider":"ART ARK® ","version":"1.0","type":"link"}