Klöster und Feste

Lamayuru (Yuru Kabgyat) - Hemis Tsechu - Shashukul Gustor - Phyang Tsedup - Karsha Gustor - Korzok Gustor - Trak Tok Tsechu - Sani Nasryal - Diskit Gustor - Thikse Gustor - Chemre Angchok - Padum Gustor - Spituk Gustor - Likir ( Dosmoche) - Stok Guru Tsechu (Orakel) - Matho Nagrang (Oracles)

Mittwoch, 29. Juli 2015

"Die Welt des Schattentheaters" im Lindenmuseum Stuttgart, 3.Oktober 2015 bis 10. April 2016

Das Linden-Museum Stuttgart präsentiert vom 3. Oktober 2015 bis zum 10. April 2016 die Ausstellung "Die Welt des Schattentheaters". Im Mittelpunkt stehen die Traditionen des Schattentheaters und die Faszination, die diese Kunst von China über Südasien und den Orient bis hin nach Europa ausübt.

Kriegerin, China, Provinz Sichuan, um 1900, Slg. Eger, 
Copyright: Linden-Museum Stuttgart, Foto: A. Dreyer, Inv.-Nr. 108170

Das geheimnisvolle Zusammenspiel von Licht und Schatten hat Menschen seit jeher in seinen Bann gezogen. Als kulturelle Ausdrucksformen dieser Faszination haben sich vor allem in asiatischen Ländern wie China, Indonesien und Indien reiche Traditionen des Schattentheaters entwickelt. Die Ausstellung zeigt anhand hochkarätiger Sammlungen die engen Verbindungen der Schattentheater-Traditionen Asiens und des Orients bis hin nach Europa.

Neben den Gemeinsamkeiten in Aufführungsprinzipien, Aspekten des Erzählens oder der Typologie der Figuren, rücken regionale Besonderheiten des Schattentheaters in den Fokus: In Indien, auf Java und in Thailand ist das Schattentheater im Rahmen von Tempelfesten auch zeremonielle Handlung, erzählt große Epen wie das Ramayana und ist bis heute Teil der kulturellen Identität. In China nimmt es Elemente der chinesischen Oper wie Musik, Kostüme und Masken auf und wird zu einem Gesamterlebnis in künstlerischer Vollendung, während es im Orient vor allem als Spiegel der Gesellschaft war und das Publikum mit viel Witz und Humor im gemeinsamen Lachen vereinte.

Schattenspielfigur (Prabu Kresna), Indonesien, Java, Ende 19. Jh., Slg. Buchner, 
Copyright Linden-Museum Stuttgart, Foto: A. Dreyer, Inv.-Nr. 24907-6

Die Ausstellung zeigt bislang nicht präsentierte Stücke und wieder entdeckte Schätze der Sammlung des Linden-Museums. Zu nennen sind die Altbestände an südostasiatischen Figuren, die chinesischen Figuren der Sammlung Eger und die einzigartigen ägyptischen Figuren der Sammlung Kahle - die ältesten bekannten Schattenspielfiguren der islamischen Welt. Jüngere Sammlungen wie die indischen Figuren der Sammlung Seltmann und die türkischen Figuren des bekannten Meisters Ragip Tugtekin (1891 – 1982) ergänzen diese alten Bestände ebenbürtig.

Sichtbar wird die künstlerische Meisterschaft und ästhetische Qualität der beeindruckenden Schattenspielfiguren, die Künstler wie Franz Marc inspirierte, und auch noch heute fasziniert. Die Begeisterung für das Schattentheater in Europa, die im ersten Drittel des 20. Jahrhunderts einen letzten Höhepunkt erreichte und die Weiterentwicklung zum zeitgenössischen Schattentheater, dargestellt mit Leihgaben des Internationalen Schattentheater Zentrums Schwäbisch Gmünd, sind ebenfalls Themen der Ausstellung.

Schattenspielfigur (Raden Arjuna), Indonesien, Java, Ende 19. Jh., Slg. Buchner, 
Copyright: Linden-Museum Stuttgart, Foto: A. Dreyer, Inv.-Nr. 24908-3

Stimmungsvolle Inszenierungen erwecken Erzähltraditionen zum Leben und verbinden sie mit Musik, Gesang, Bild und Film. Mitmach-Elemente zur „Faszination Schatten“ bieten Jung und Alt ein Ausstellungserlebnis für alle Sinne. Die Ausstellung wird von einem facettenreichen Begleit-programm umrahmt.

Die Ausstellung steht unter Schirmherrschaft der Deutschen UNESCO-Kommission. Kooperations-partner der Ausstellung sind das Internationale Schattentheater Zentrum und das 10. Internationale Schattentheater Festival Schwäbisch Gmünd, das vom 9. bis 15. Oktober 2015 stattfindet.

Pausenzeichen (Gunungan), Java, Madura, Ende 19. Jh., Anfang 20. Jh., Slg. Thomann, 
Copyright: Linden-Museum Stuttgart, Foto: A. Dreyer, Inv.-Nr. 100604-3

Adresse
Linden-Museum Stuttgart Hegelplatz 1, 70174 Stuttgart, Tel. 0711.2022-3 ǀ Fax 0711.2022-590 ǀ mail@lindenmuseum.de

Öffnungszeiten 
Di – Sa 10 – 17 Uhr ǀ Mi 10 – 20 Uhr ǀ So und Feiertage 10 – 18 Uhr 
Schließtage: 24.12./25.12./31.12./25.3.

Eintritt 
€ 10,–/8,– inkl. Dauerausstellungen
Familienticket: € 20,– (bis 2 Erwachsene + Kinder bis einschl.18)
Kinder bis einschl. 12 Jahre frei
Audioguide: € 3,– Preis für BahnCard-Inhaber: € 8,-
 
Führungsanmeldung für Gruppen 
Dienstag bis Donnerstag 9.30 – 12 Uhr und 14 – 16 Uhr (Ferien: nur Donnerstag) Tel. 0711.2022-579 ǀ Fax 0711.2022-590 ǀ fuehrung@lindenmuseum.de Anmeldefrist bis 3 Wochen vor Führung 

Katalog
192 Seiten, zahlr. Abb., € 22,90 (erhältlich ab Oktober) 
Mit freundlicher Unterstützung der Deutschen Bahn
 

Bruhannale, Südindien, 20. Jh., Slg. Seltmann, Copyright: Linden-Museum Stuttgart: Foto A. Dreyer

Save the date:
Pressekonferenz mit Ausstellungsrundgang: Donnerstag, 1. Oktober, 11 Uhr
(Einladung folgt im September)
Julley

Thomas Wilden
Mask Dances of Ladakh & Zanskar



Freitag, 24. Juli 2015

The Power of Masks Exhibition March 13, 2015 – February 8, 2016

Becoming Another illuminates the common threads and distinct differences in mask traditions from Northern India, Nepal, Bhutan, Tibet, Mongolia, Siberia, Japan, and the North-West Coast tribes of North America. Featuring masks used in shamanistic practices, communal rituals, and theatrical performances, this exhibition speaks to the human impulse to transform one’s identity.


 New York, NY, October 28, 2014 — Across culture and time, masks have served to imbue power, transform identity, and connect people with each other and with their sense of the divine and the spiritual. In spring 2015, the Rubin Museum of Art will delve into the significance of masks to peoples across the globe, showcasing their diverse uses and meanings, in the exhibition Becoming Another: The Power of Masks. On view March 13, 2015 – February 8, 2016, the exhibition will highlight stunning masks and costumes from across the globe, including Siberia, the Himalayas, Mongolia, Japan, and the Northwest Coast of America, examining the striking similarities and distinct differences in practices across these distinct cultures.

Featuring nearly 100 masks ranging from the 15th – 20th centuries, the exhibition is organized around three predominant cultural practices: shamanism, communal ritual, and theatrical performance. The shaman medium uses a mask to communicate with or take on the identity of a supernatural entity. In communal ritual, masks are used as part of a broader social function to achieve a benefit for the group. Masks are also an important aspect of storytelling, whether an oral tradition or a theatrical performance. For many cultures, these uses are fluid and intermingled and the exhibition will explore the juxtapositions created by these diverse functions as well as the implications on both individual and communal identity.

“The Rubin Museum of Art holds a rich collection of visually-arresting masks and costumes from the Himalayas, India and neighboring regions, many of which are rarely exhibited. We are very much looking forward to sharing this lesser-known aspect of our collection with our diverse audiences,” said Patrick Sears, the Rubin Museum’s Executive Director. “The broad scope of the exhibition, drawn both from our collection and other important collections around the world, highlights the
universality and timelessness of masks and we look forward to seeing them engage
our visitors’ imaginations.”

Curated by Jan Van Alphen, the Rubin Museum’s Director of Exhibitions, Collections,
and Research, the exhibition guides visitors through a geographic and functionfocused
narrative. Several small groupings of masks explore cross-cultural
similarities and differences in both form and type. The exhibition also features three
exquisite full costumes paired with masks, including a shaman’s costume, an oracle
costume, and a Cham dance costume.

Highlights from the exhibition include:

 A bear/land otter mask of Tlingit origin from the 19th century. The mask is
exemplary of those used by shamans of the Northwest Coast of America in
connecting with animal spirits. During a performance, a shaman would seek
the help of or take the identity of the spirit—sometimes changing identities
several times throughout by changing masks.

 Shaman’s costume and attire from Mongolia from the early 20th century.
This costume set features helping spirits rendered in metal and fabric and
includes feathered headgear, drum, and boots. It is representative of basic
shaman attire across Mongolia and Siberia.

 Transformation mask by the artist Tsungani from the Northwest Coast,
1979. Transformation masks are the most typical and impressive masks of
the Native peoples of the Northwest Coast. These masks consist of several
layers of collapsible masks that can be unfolded throughout a performance to
represent different personalities.

 Mask of wrathful Gonpo protector from Tibet, date unknown. During
communal rituals, including those performed in Tibetan Buddhist
monasteries, wrathful deities such as the Gonpo are staged in whirling dance
performances as protectors of the community.

 Padmasambhava as Nyima Ozer from Bhutan, 18th–19th century.
Famous historical figures in Himalayan Buddhism appear in different forms in
storytelling and theatric performances. Nyima Ozer is one of eight
manifestations of Padmasambhava, the Indian teacher who brought
Vajrayana Buddhism to Tibet in the 8th century.

 Mask possibly of Usofuki, a character in Japanese Kyogen plays, 18th–
19th century. In Japan several theatrical forms of drama developed from
medieval rituals and storytelling. Among them is Kyogen—traditional comic
theater. Mask sculpting for these performances requires high craftsmanship
in wood with minute details distinguishing the differences in facial expression
and meanings.

Exhibition Organization and Credits

Becoming Another: The Power of Masks is curated by Jan Van Alphen, the Rubin Museum of Art’s Director of Exhibitions, Collections, and Research.

The exhibition is made possible by loans from the following institutions and lenders:
The Brooklyn Museum, The Newark Museum, American Museum of Natural History, The Peabody Museum of Archaeology and Ethnology – Harvard University, Museum aan de Stroom-Antwerp MAS, the Bruce Miller Collection, and several private American and European collections.

About the Rubin Museum of Art

The Rubin Museum of Art is an arts oasis and cultural hub in New York City’s vibrant Chelsea neighborhood that inspires visitors to make powerful connections between contemporary life and the art and ideas of the Himalayas, India, and neighboring regions. With a diverse array of thought-provoking exhibitions and programs—including films, concerts, and on-stage conversations—the Rubin provides immersive experiences that encourage personal discoveries and spark new ways of seeing the world. Emphasizing cross-cultural connections, the Rubin is a space to contemplate the big questions that extend across history and span human cultures.

For further information and images, please contact:

Robin Carol
Public Relations and Marketing Manager
Rubin Museum of Art
212-620-5000 x213
rcarol@rubinmuseum.org

Image credit: Mask of Begtse; Mongolia; early 20th century; papier-mâché, coral, metal, fabric; Rubin Museum of Art; C2006.41.1; (HAR 65692).

Source: http://rubinmuseum.org/events/exhibitions/becoming-another

Mittwoch, 8. Juli 2015

Schedule for Kalachakra initiation 2016

The Kalachakra initiation 2016 is scheduled to be held in Bodh Gaya in India from the 14th to 25th of January 2016. The programme would be presided by his Holiness the Dalai Lama himself and will witness enthusiastic participants from all around the world.

The initiation is held in order to empower the pupils of Buddhism to practice the famous Buddhist treatise known as the Kalachakra Tantra and in that process attain the status of Buddhahood. Held over a period of 12 days, the initiation ceremony is expect to draw crowds in the thousands.

Days 1, 2 and 3 (Jan 14 – Jan 16) involve initial preparations for the Kalachakra ritual. During each of these days, monks would perform prayers which are expected to run for even 3 to 5 hours. Apart from prayers teaching sessions for the disciples and an Earth ritual dance would also be held.

Days 4, 5 and 6 (Jan 17 – Jan 19), preliminary teaching sessions would be held in the mornings followed by prayer sessions in the afternoons.
 
Day 7 (Jan 20), monks clad in beautiful traditional Buddhist attire will perform the Kalachakra ritual offering dance. During the dance, they chant mantras and a few Tibetan songs as well.

Day 8 (Jan 21), a four-hour long self-generation session is held in the morning after which the pupils undergo the preliminary preparation steps necessary for the initiation.

Days 9, 10 and 11 (Jan 22 – Jan 24), are the most important days of the entire ceremony – the actual Kalachakra initiation. Intense self-generation prayers that run for more than four hours are held on every morning and the initiation process is held every afternoon. Monastic prayer, dance and sacred rituals combine together to form a mellifluous interlude in the build-up to one of the biggest ceremonies of Buddhist religion.

Day 12 (Jan 25), a prayer ceremony would be held wishing long life for his Holiness the Dalai Lama and the participants. His Holiness will then be presented with prayers, offerings and dances by the devotees.

Julley

Thomas Wilden
Mask Dances of Ladakh & Zanskar


Long-life empowerment ceremony in Kalachakra initiation 2016

Kalachakra initiation is a very important ceremony in Buddhist tradition. It is an intense process of prayers, rituals and rites through which pupils are empowered to attain Buddhahood. The initiation is given by his Holiness the Dalai Lama and the entire ceremony lasts for 12 days.

Usually the final day of the Kalachakra initiation is dedicated to a long-life empowerment ceremony. Prayers are given so that his Holiness and all the participants may all have a very long, happy and fulfilling life.

According to Buddhist traditions, it is believed that if a spiritual leader dies it is because inhabitants of another realm want him to come and share his wisdom and knowledge with them. In order to postpone this moment and lengthen his stay on this world, special prayers and offerings are made on the final day.

The image of Goddess Tara
Goddess Tara

The three deities associated with long life are Amitayus, White Tara and Ushnishavijaya. Among these deities,  Tara is associated with purity and the special quality of removing obstacles in people’s lives and thereby enhancing the quality and longevity of their life. It is on this deity that the Kalachakra empowerment rituals are usually performed.

Once the empowerment ceremony is completed, long-life offerings are made to the Dalai Lama. The offering involves chanting of a lineage prayer and a show of respect by the Monks and the Oracles. It is quite common to see a few devotees get possessed during this event and such devotees to get an opportunity to pay their respects to his Holiness. Members of various communities too take this opportunity to give offerings to his Holiness.

The ceremony witnesses participants from all around the world. The last Kalachakra initiation was held in Ladakh in northern India and was attended by over 150000 people. The next Kalachakra initiation is scheduled to be held from 14 to 25 January, 2016 in Bodh Gaya , India. You too can participate in the Kalachakra initiation and the long-life empowerment ceremony.

Julley

Thomas Wilden
Mask Dances of Ladakh & Zanskar