Some people enjoy leftovers from a good meal even more
than the original repast. They say the seasonings and flavors come into full
bloom when the food has set for a while.
In anticipation of exhibiting Part I of Eve's Imprint in 2018 or 2019, I have been focused on keeping the two and three-dimensional pieces of the installation together. Yet when I made the collage pieces for the Southwest Asia section of Maiden Migrations I had lots of leftovers:
maps, copies of cave art, and variously sized photocopies of artifacts from the
region. Recently it occurred to me that maybe some of
these leftovers could be used for small ‘souvenir pieces‘ that some viewers might like to buy. So I pulled out the folder of left over pieces and
started to play around. Below are the first six mementos to be finished.
Another seven are in various stages of completion.
Indian Subcontinent
This collage uses pieces from four or five different maps that
included India. As one of the first continents to be reached by migrants from
East Africa, India began appearing on maps created much later by and for
trade purposes. For this reason the subcontinent’s shape is generally recognized
even by those who have little geographic education. I personally find it a very
pleasing shape.
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| LiDoña Wagner, I Love India, Three Piece Collage 8" x 6" x 1" with 7" x 5" and 4" x 4" panels |
Elephant Steed
It is common knowledge that elephants are some of the
planet’s most sensitive and family-oriented animals. Ancient Indian people were
also impressed by this animal’s strength and power. They learned how to ride
and maneuver these large animals, making them ideal as a steed for hunting and
defense.
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| LiDoña Wagner, Elephant Steed, Five-sided Collage 6" x 4" x 1" |
Elephant Hunt
I love this cave art depicting humans in some sort of
battle. I have paired it with some fascinating cave art depictions of bulls. Having
slaughtered many of these impressive animals, you can see that ancient Indians were
interested in depicting the bony structure they found.
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| LiDoña Wagner, Elephant Hunt, Collage 10" x 10" x 2" |
Indian Maidens Unafraid of Bulls
Speaking of bulls, here is another cave art depiction, this
time with women who are by no means threatened by such huge animals. This image might be seen as a representation of equal masculine and feminine power.
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| LiDoña Wagner, Unafraid Indian Maidens, Five-sided Collage 4" x 6" x 1" |
Bodhisattva
Bodhisattva statues are found throughout India, China, as well as Northeast and Southeast Asia. While the bodhisattva concept is central to Buddhism, especially for Mahayana and Vajrayana schools, it has come into contemporary times as representative of an individual on the path to becoming a Buddha, one who is enlightened.
As a trading crossroads for thousands of years, India is
both an eclectic mixture of religious and spiritual traditions and a
synthesizer of many that passed through the area. Greek mythology and
Zoroastrianism arrived from the west. Taoism and Confucianism came through from
the east. Hinduism, Jainism, and Buddhism arose in the subcontinent itself. At the height of its power Islam made inroads.
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| LiDoña Wagner, Bodhisattva, Collage 12" x 9" x 1" mounted with two 4" x 4" panels |
Dance Celebration
Although much of the background of this cave art image has
faded, the central vision of two dancers beneath a rainbow arch has survived.
These central characters appear to me to be surrounded by other dancers so I brought out
such figures. Someone from the subcontinent would probably be able to indicate what
sort of celebration is being conducted.
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| LiDoña Wagner, Dance Celebration, Five-sided Collage 4" x 4" x 2" |
Mea Culpa
Cave art, artifacts and statues depicted in these pieces are thousands of years old
so I assume the images I have used belong in the public realm. I found most of
them on Google Images and in art history and cartography books. Of course a
more contemporary person took photos of this ancient art. To those who may accuse me of cultural appropriation or plagiarism, please know that my intent is to show
respect for a significant artistic tradition and a part of the world that has
had major global impact.
I am grateful to the individuals who made the photographs I have used. I hope that these photographers are not offended by my using their photos in the same way that I would use paint. I have altered them in a variety of ways such as enlargement, embellishment, multiplication, and combining of images. If anyone recognizes one of their photos and would like to receive credit, please contact me and I will do so.
