Glory Ngarla is well known for her batik work at Utopia. 1) as miyinga, the scarification once commonly practised, and as body-painting. Despite the increasing abandonment of ceremonial obligations by the present generation, Tiwi artists maintain a remarkably clear vision of their identity in society. Documented evidence of provenance for an object can help to establish that it has not been altered and is not a forgery, a reproduction, stolen or looted art. Those unacquainted with Tiwi culture may feel that the most comfortable way to commence an understanding of these paintings’ meanings is to extract key recognise able images and interpret these as elements of the story. A recognition of the link between ceremonial body-painting as disguise and decoration, and Tiwi art in general, is essential to understanding the aesthetics of Tiwi culture. The Mongol Empire emerged in Central Asia during the 13th and 14th centuries as the largest land empire in history. A result of the unification of Mongol and Turkic tribes, the empire took form under the leadership of the legendary Genghis Khan, also known as the Great Khan, meaning emperor. Following the heavy rains of monsoon a large water holes is created. Instead, Tiwi rites of passage are concentrated in a series of public ceremonies that ensure the lifting and clearance of complex pukamani taboos associated with death and mourning. This is appropriate. The Mongols enjoyed various art forms , and their art work was highly influential on the dynasties that followed; many paintings, illuminated manuscripts , and epics exist from the empire. The Gallery’s panels are called Purukuparli Ngirramini – the story ofPurukuparli – and describe how death came to the world. Yet, despite the vast differences in the approaches of Jean Baptist Apuatimi and Harold Porkilari, to suggest that the work of the latter artist is largely removed from traditional aesthetics would astonish the Tiwi viewer. Yet having known and worked alongside this old lady for four years I had the distinct impression that these stories were more about her perceived expectations of whitefellas’ responses to Aboriginal art than about revelations of absolute meaning. Please contact us if you have any questions. Yet in terms of traditional Tiwi aesthetics this painting reflects a society increasingly acculturated and removed from the art of parents and grandparents. Another wave of translations of Indian/Tibetan texts came with Mongolia’s conversion to Tibetan Buddhism in the late 16th/early 17th centuries. During his reign, Genghis Khan began a series of invasions known as the Mongol invasions, often accompanied by the large scale massacre of civilian populations and resulting in the conquest of most of Eurasia. Although the reasons for this have still to be thoroughly researched, it seems likely that the use of cross-hatching is directly connected with the Roman Catholic mission’s active discouragement, and banning, of ceremonial life. 4). Anna Price Petyarre was born c. 1965 on Utopia Station, north east of Alice Springs, in Anmatyerre country and she is. Among the three pamijini armbands and yirriwala fighting sticks used in the widows’ dance is a forked fighting stick, an allusion to the argument between Purukuparli and Taparra the Moon.