Dineh and Walbiri Cultures: A Comparison of Art

Originally the arts that were in line with the early culture have various purposes. Today, people create art to achieve aesthetics and make others appreciate at galleries, theaters or museums, creating distances for the audience. Originally, art was created for non-aesthetic purposes where people participate in arts and artists and interact with them. This intertwined relationship between people and art is particularly evident in the culture of Dine and Wilbilli. Two groups made dry paintings. Both groups talk directly to paintings, not from far away.

In some of the Latin American and Japanese Christian rituals, they are used only for decorative purposes. This article focuses on Walbiri and Dineh's dry painting and compares them between the two. It is a ceremony mainly for dry painting as an example of contagion and direct participation, in some cases related to art and practice. The principle of physical contact infection is to associate dry paintings with people themselves.

For the people of Walbiri and Dineh, the world and its participation are born with a spirit. In "myth = paradigm model", Mircea Eldo seeks the potential motivation of non-industry people and believes that sacredness is essential to the understanding of the world in the early stages of history. On page 101 he says, "It is important for all these agricultural farmers to evoke the first events regularly establishing human condition, their entire religious life is a memorial, memorable." Walbiri uses their "dreams" to recreate the elements of their surroundings to remember their ancestors

Practice of dry painting is an example of the creation of a local or tribe that has been used in major religious contexts around the world (Wyman 249). Two cultures practicing dry painting are Dine and Navajo, the largest American native aborigines in the United States, today live in Arizona, Walbili is indigenous in the desert area of ​​the Midwestern Australia. In India, Tibet and Northeast Nepal also paint themselves dry for themselves for religious purposes.

The picture of Navajo sand and its shape and pattern are quite different from Valbiri's sand painting. As shown in Figures 3 and 4, the picture of Navajo sand (Figure 4) emphasizes symmetry and repetition, but the painting of Barbari is almost asymmetric in most cases, I'm using. Both pictures show images of similar people, but the similarity of shapes basically stops. The common aspect seen in both cultures is the use of a circular form as shown.