Jivya Soma Mashe (1934-2018)
Two works:

Village scene, circa 1990
Rice paste and cowdung on paper
Signed lower right in Marathi: Jivya Soma Mashe
Image/Sheet: 23" H x 35.75" W

Harvesting and threshing scene, circa 1990
Rice paste and cowdung on paper
Signed lower right in Marathi: Jivya Soma Mashe
Image/Sheet: 23" H x 35.75" W

2 pieces

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

Literature: Lakshmi Lal, "The Warlis: Tribal Paintings and Legends" (Bombay, India: Chemould Publications and Arts, 1984), cf. 9, 15, 59.

Other Notes: The two paintings in this lot are from the same collection as three other, framed, Warli paintings that were exhibited at the Center for South and Southeast Asian Studies, Ann Arbor, MI, in the autumn of 1998 (see previous lot).

Warli paintings are an ancient tribal art and a twelve-hundred-year-old painting tradition, originating from the Warli tribe in Maharashtra, India. The Warli culture is deeply centered on the concept of Mother Nature (“Mother Earth”), as well as farming, wildlife, and other natural resources that provide the tribe with life. Typically done on mud walls or on cow dung-treated fabric or paper using rice paste mixed with water and gum for the designs, these paintings are characterized by their use of geometric patterns, dots, and lines. Traditionally, the themes in Warli paintings revolve around the tribe's profound respect for nature, specifically the relationship between humans and nature, rituals, harvests, and mythology. To convey these themes with visually, basic geometric shapes are used to symbolize different elements of nature. The circle represents the sun and the moon, whereas the triangle portrays mountains and conical trees.Warli paintings are known for their simple depictions of daily life, nature, and rituals, specifically. Originally, they were only produced during rare occasions, like weddings and harvests, with “...the absence of any regular artistic activity explains the extremely rough and ready style of Warli ritual paintings.” However, during the 1970s, Jivya Soma Mashe (1934-2018) became the key figure for his significant and innovative contributions to Warli art, and for bringing national and international recognition to this art form.Jivya Soma Mashe, who painted both of the works in this lot, and one of the paintings in the previous lot, was born into the Warli tribe in Maharashtra, India and, from an early age, showed incredible talent while learning the traditional technique of Warli painting from his family and those in his community. After learning the foundational techniques of the art form, he started to experiment with various mediums, creating larger works, and depicting everyday scenes of Warli life through a contemporary lens. His style was characterized by his use of “intricate patterns, rich symbolism, and a profound connection to nature and tribal culture.”With Mashe's unique approach and the separation of traditional techniques came significant public attention. Furthermore, “it was due to Jivya Mashe that Warli art evolved from ritual drawings on mud-walls into an illustrative repository of folk takes and humor.” As a result of his talented and unique approach, his works were displayed in large exhibitions in India and abroad, and he was given many awards and accolades, including one of India’s highest civilian honors, the Padma Shri in 2011. Jivya Soma Mashe, the best-known of all the Warli artists, also expressed the importance of preserving as well as inspiring Warli artists and others to “elevate Warli art from a local craft to a celebrated form of contemporary Indian art” and to “ensure the enduring significance of this ancient tribal art form.” Mashe’s legacy will continue to inspire future artists and maintain the history of the Warli tribe and their art.

Each overall very good condition. The works are loose, not matted

Each unframed 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.