




Seymour Wulida, Kun-madj - Large Dillybag Vine, 100x41cm Bark Painting
Original Artwork from a Community-Run, Not-for-Profit Art Centre, Complete with a Certificate of Authenticity Issued by Them.
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- Aboriginal Artist - Seymour Wulida
- Community - Maningrida
- Homeland - Kurrurldur
- Aboriginal Art Centre - Maningrdia Arts
- Catalogue number - 441-23
- Materials - Earth pigments on stringybark
- Size(cm) - H100 W41 D2 (irregular)
- Orientation - As Displayed
- Postage variant - Delivered ready to hang with a metal mount on the reverse
Kun-madj, or dilly bag, is a large woven collecting basket. These large bags are often made from the vine Malasia scandens, a strong and pliable plant that grows along the floor and into the canopy of monsoon vine thickets. The bags are used to collect large amounts of heavy foods, such as fish caught in conical fish traps or large collections of yams.
They can also be made from Pandanus spiralis, a plant that grows in many areas of Arnhem Land. These dilly bags are tightly woven collecting baskets, very finely made, and are often used to collect sugarbag, the native honey.
Aside from their practical use, dilly bags also hold religious significance for the people of Arnhem Land. Dilly bags are considered totemic objects and are associated with particular sites in the landscape.
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An art movement that is striking, political and enduring: this is what contemporary artists in Maningrida and the surrounding homelands have built, powered by their ancestral connections to country and djang.
Ways of learning and schools of art in Arnhem Land are based around a system of passing knowledge and information on to others. The art here has its genesis in body design, rock art and cultural practices, in concert with more than 50 years of collaborations, travel and political action to retain ownership of country. Values and law are expressed through language, imagery, manikay (song), bunggul (dance), doloppo bim (bark painting), sculptures, and kun-madj (weaving) – the arts.
The artists’ transformation of djang into contemporary artistic expression has intrigued people around the world: art curators and collectors, and stars including Yoko Ono, Jane Campion, David Attenborough and Elton John. Pablo Picasso said of Yirawala’s paintings, ‘This is what I’ve been trying to achieve all my life.’
Yirawala (c.1897–1976) was a legendary Kuninjku leader, artist, land-rights activist and teacher, and his artwork was the first of any Indigenous artist to be collected by the National Gallery of Australia as part of a policy to represent in depth the most significant figures in Australian art.
Maningrida Arts & Culture is based on Kunibídji country in Arnhem Land in Australia’s Northern Territory. The area where artists live encompasses 7,000 square kilometres of land and sea, and over 100 clan estates, where people speak more than 12 distinct languages. Aboriginal people in this region are still on country, surviving and resilient because their country is the centre of their epistemology, their belief system, culture – djang.
Artists’ works from the larger Maningrida region can be seen in collections and institutions around the world. We work with museums, contemporary galleries and high-end retailers both nationally and internationally on projects throughout the year.
Text courtesy: Maningrida Arts and Culture
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This bark painting has a metal support to retain its shape and provides a hanging hook for hanging from. No further framing is required or recommended.

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