George TJUNGURRAYI, Untitled Enlarge 1 /1

George TJUNGURRAYI

Pintupi people

Kiwirrkura, Western Australia, Australia born 1943 /1947

Untitled 2002 Place made: Papunya, Western Desert, Northern Territory, Australia
Materials & Technique: paintings, synthetic polymer paint on canvas

Dimensions: 183.0 h x 244.0 w cm
Acknowledgement: Purchased 2003
Accession No: NGA 2003.348
Image rights: © the artist licensed by Aboriginal Artists Agency Ltd

George Tjungurrayi was born at Murmu near Wilkinkarra (Lake Mackay) in the Gibson Desert. Throughout his youth he developed his knowledge of the significant sites associated with the Tingari cycle and absorbed the intense spirituality of place. Tjungurrayi’s exacting optical paintings represent the sacred geography of Pintupi country and evoke sensations of power and movement that are emblematic of the journeying of the Tingari Men in the Tjukurrpa (ancestral period). Tjungurrayi’s formal vocabulary consists of parallel lines that suggest shifting sand ridges, the rising haze of heat, the meandering tracks of snakes, the rippling surface of water and the streamlined form of spears. These mesmeric designs find their source in engraved tjurunga (stone objects) and bullroarers which are used to radiate the potency of ancestral presence to young initiates. While the artist’s visual matrix oscillates between gently contoured lines to complex geometric patterning, all conjure up the topographical majesty and latent spiritual power of the Gibson Desert.

Untitled 2002 depicts three diamond-shaped clay pans at Mamultjulkunga on the western side of Wilkinkarra. Here, a Tingari Man of the Tjapaltjarri subsection, camped, made spears and practised throwing them. This narrative provides a non-initiated audience with an abbreviated understanding of the landscape and the beings who created it, but the painting deliberately withholds its innermost secrets. Tjungurrayi, however, speaks uncensored to a Pintupi viewer who comprehends the dense network of meanings, responsibilities and sacred designs associated with the actions of the Tingari Men and Women. Encoded within these nuances, his painting is an act of cultural preservation and a powerful assertion of inscrutable Pintupi knowledge.

Stephen Gilchrist


Text © National Gallery of Australia, Canberra 2010
From: Franchesca Cubillo and Wally Caruana (eds) Aboriginal and Torres Strait Islander Art: collection highlights National Gallery of Australia, Canberra, 2010

乔治·姜古拉依 (George TJUNGURRAYI)
澳大利亚北领地西部沙漠
《无题》(Untitled)
2002年
帆布材料,合成聚合物涂料
183.0(高) x 244.0(宽) 厘米
2003年购买
收录号:NGA 2003.348

乔治·姜古拉依出生于吉布森沙漠威尔金卡拉(Wilkinkarra)(麦基湖[Lake Mackay])附近的摩尔姆(Murmu)。整个青年时期,他不断了解与廷加瑞圈相关的重要地方,并吸取强大的地方灵性。姜古拉依严苛的光学绘画代表宾土比地的神圣地形,唤起的力量与运动感象征着宾土比人在朱库尔帕(祖先时期)的游历生活。姜古拉依的形式词汇包括平行线,暗指移动的沙脊、升腾的热雾、迂回的蛇踪、微微荡漾的水面和长矛的流线型。这些令人着迷的图案源于雕饰丘林加[tjurunga](石器)和用于向完成成人礼的年轻人传播先人力量的吼板。尽管艺术家的视觉基质游离于柔和等高线和复杂的几何图案之间,但总是使人联想其吉布森沙漠的巍峨地形和潜在精神力量。

创作于2002年的《无题》描绘的是位于威尔金卡拉西面玛姆尔朱坤加(Mamultjulkunga)的三个菱形粘土盆地。加帕尔嘉瑞(Tjapaltjarri)支系的一名廷加瑞男子在此安营扎寨,他制作并练习投掷长矛。这幅叙事性绘画让未完成成人礼的观众对这片土地及其缔造者有了一个初步了解,却刻意隐藏其最深层次的秘密。然而,姜古拉依却对一位宾土比观画人敞开了心扉,他领悟了与廷加瑞人活动相关的意义、责任和神圣图案的密切联系。他的画作将这些细微差异进行编码,是一种文化保护行为,也是对神秘莫测的宾土比知识的强烈主张。

Stephen Gilchrist
斯蒂芬·吉尔克莱斯特


Text © National Gallery of Australia, Canberra