The established Nepali covers dependably speak to divinities or evil spirits and never the dead or the predecessors. In addition, covers are all the more regularly utilized as a part of parades and in customs as opposed to in dramatic exhibitions.
There are three classifications of covers: to begin with, covers speaking to appearances of divine beings which are worn by people generally amid custom moves, a moment class, veils which serve as elaborate themes for beautifying a sanctuary, a chariot amid a parade, a vase utilized as a custom question. A third class incorporates veils in metal or stone speaking to likewise the substance of a divine being and which are revered like statues. They are called statue-covers. The metal utilized for making them are silver, metal or bronze. These covers are regularly finished with gems and when they are not adored are kept in a wooden box inside the sanctuary.
The veils which are utilized as a part of custom moves are made of such materials as papier mache, wood put with earth and cloth, and are painted in exuberant hues. Along these lines, such covers are never old as they can't survive long in such atmosphere. Plus, as per custom many covers should be destoryed after utilize and be re-made the next year. The most seasoned known Nepali veils date from the 17the century. The gods spoke to by veils are various: Shiva, Bhairava, Ganesh, Kumari, Varahi, Durga, Laxmi, Sima and Duma, these last two are said to be prominent names for lion and tiger. A few people clarify that these two veils are a couple, the white-confronted Sima being the male; the others think they are two goddesses.
The covers are made customarily by individuals from the rank of painters. The pictures must be made as per the solutions set down in neighborhood manuals of iconography. It is incomprehensible for a painter to break the principles for the artistic creation of a religious picture. In the event that the standards are not regarded, a god can turn into a demoniacal constrain. There are an extensive number of books of iconographic drawings, one of the most punctual is from the main portion of the fifteenth century.
The veils are made of dirt blended with bits of cotton and a gum-like glue produced using wheat-flour. The dirt veil structures are left to dry on the molds for around four days. Later the veils are painted. Every shading has a specific centrality: red is connected with outrage, blue dark with vitality and power, white with immaculateness and passing. Beforehand just vegetable and mineral hues were utilized. Presently the painters utilize mostly substance hues.
Every one of the veils have a "third eye", a blemish on the temple, and head-gears. It can be extensive hoops, a crown, hair nets or a head-band. Veils are viewed as inert until services of sanctification and establishment are performed.
A couple words about tribal masks.They have been almost no considered. A large portion of the covers are made of wood and are of human measurements. Conversely with traditional covers, the tribal veil creator it appears had more freedom of expression and could utilize his creative energy all the more uninhibitedly.
The covers of the Magar and Gurung tribes are of hardwood secured with a polished, high patina from introduction to smoke and margarine fat. Covers of the swamp Tharu individuals are regularly of a milder wood, pigmented with polychrome or white kaolin dirt. The Rai individuals are known to make house-shielding veils from tree organism while some different covers are made from felt and goat skin.
Some of these veils as far as anyone knows been utilized for motivations behind mending, prophet prognostication and life emergency starts while others - in mimes on the event of town regular celebrations or functions committed to precursors.
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