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Shamanism in art --- Shamanisme dans l'art --- Sjamanisme in de kunst --- Peinture rupestre --- Cave paintings --- Petroglyphs --- Art, Prehistoric --- Art, Shamanistic --- Peintures rupestres --- Pétroglyphes --- Art préhistorique --- Art chamanique --- Pétroglyphes --- Art préhistorique --- Rock paintings --- Europe --- Art [Prehistoric ] --- Art [Shamanistic ]

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This is the first monograph on the subject to be published in English. It comprises 130 full-colour plates of shaman gods. Supported by two introductory chapters 'Reflections on Shaman God Paintings and Shamanism' by Kim Tae-gon, and 'The Shaman God Paintings as an Icon and Its Artistic Qualities'.

Art, Shamanistic --- Shamanism --- Painting, Korean --- K9069 --- Korean painting --- Shamanistic art --- Korea: Religion -- shamanism -- art and literature --- Painting, Korean. --- art. --- gods. --- korea. --- shamanism.

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Cave paintings --- Petroglyphs --- Art, Prehistoric --- Art, Shamanistic --- Peintures rupestres --- Pétroglyphes --- Art préhistorique --- Art chamanique --- Chamanisme --- --Préhistoire --- --Art --- --Paléolithique --- --Analysis. --- prehistorie --- sjamanen --- sjamanisme --- 7.031.1 --- Pétroglyphes --- Art préhistorique --- Art, Prehistoric - Analysis. --- Préhistoire --- Art --- Paléolithique

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"Huichol Indian yarn paintings are one of the world's great indigenous arts, sold around the world and advertised as authentic records of dreams and visions of the shamans. Using glowing colored yarns, the Huichol Indians of Mexico paint the mystical symbols of their culture--the hallucinogenic peyote cactus, the blue deer-spirit who appears to the shamans as they croon their songs around the fire in all-night ceremonies deep in the Sierra Madre mountains, and the pilgrimages to sacred sites, high in the central Mexican desert of Wirikuta. Hope MacLean provides the first comprehensive study of Huichol yarn paintings, from their origins as sacred offerings to their transformation into commercial art. Drawing on twenty years of ethnographic fieldwork, she interviews Huichol artists who have innovated important themes and styles. She compares the artists' views with those of art dealers and government officials to show how yarn painters respond to market influences while still keeping their religious beliefs. Most innovative is her exploration of what it means to say a tourist art is based on dreams and visions of the shamans. She explains what visionary experience means in Huichol culture and discusses the influence of the hallucinogenic peyote cactus on the Huichol's remarkable use of color. She uncovers a deep structure of visionary experience, rooted in Huichol concepts of soul-energy, and shows how this remarkable conception may be linked to visionary experiences as described by other Uto-Aztecan and Meso-American cultures."--Publisher.

Ethnology. Cultural anthropology --- Applied arts. Arts and crafts --- Mexico: West --- Huichol art --- Art, Shamanistic. --- Hallucinogenic drugs and religious experience. --- Symbolism in art. --- Art huichol --- Art chamanique --- Hallucinogènes et expériences religieuses --- Symbolisme dans l'art --- Hallucinogènes et expériences religieuses --- Huichol mythology. --- Huichol textile fabrics. --- Huichol art. --- Allegory (Art) --- Signs and symbols in art --- Art --- Huichol Indians --- Textile fabrics, Huichol --- Textile fabrics --- Mythology, Huichol --- Art, Huichol --- Art, Mexican --- Experience (Religion) and hallucinogenic drugs --- Experience (Religion) --- Shamanistic art --- Shamanism --- Textile industry and fabrics