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'Two Women Mythology at Putja Rock Hole', painted by Turkey Tolson Tjupurrula, 1977


'Two Women Mythology at Putja Rock Hole', painted by Turkey Tolson Tjupurrula, 1977

Object information

Physical description

A painting on canvas board featruing a large dotted circle in centre. Smaller circles surrounding central circle. Typewritten text attached to back of canvas board with explanation of painting.

Educational significance

This acrylic painting depicts the legendary Kungka Kutjarra (Two Women) ancestors who made camp, hunted goannas, fetched water and gathered bush foods around Putja rock hole. They also used a form of manimani (illustrating in the sand) to lure a group of travelling Tingarri Men by arranging leaves on the ground in a yilpinytji (love magic) design. The painting is by Turkey Tolson Tjupurrula and measures 760 mm x 610 mm. This resource includes a map showing sites of significance.

Turkey Tolson Tjupurrula (c1943-2001) was one of the youngest of the original Papunya Tula shareholders. His name first appears in the company's books as a painter in 1973. He came from the Pintupi language group and was born east of Haasts Bluff, where his family was camping after coming in from their traditional country around the Kintore Range in the Northern Territory. He worked as a stockman at Haasts Bluff cattle station and later as a labourer at Papunya, building houses for the new settlement.

The Papunya artists explain that their paintings come from the Dreaming. Like the natural features that mark out the journeys of ancestral beings and the ceremonies that re-enact these journeys, the paintings are both part of the Dreaming and part of the physical world. Papunya artist Benny (Pinny) Tjapaltjarri says, 'The Dreaming is our explanation of how the landforms appeared. A Dreaming character would come along and stay at a place and then turn into a hill or stone. Sometimes his tracks would become a soak or perhaps a rock hole ... People were also created by the Dreaming. You see, we are all born from our mothers ... but we still come from the Dreaming ... the Dreaming came first'.

By painting the designs and stories that represent their particular Dreaming places, the artists assert their rights and obligations as Central and Western Desert landowners, entrusted with the ritual re-enactment of the events that occurred at these sites. As part of these ceremonies, elaborate ground paintings are constructed using a symbolic language of U shapes, concentric circles, journey lines and bird and animal tracks. This unique visual language is also used in designs painted on the skin, and is the same language made familiar by the Papunya painters.

The Western Desert art movement, which began at Papunya, is considered to be the genesis of contemporary Aboriginal art. Geoffrey Bardon, a young art teacher who worked at Papunya School from 1971 to 1972, is often credited as the founder of Papunya Tula Artists Pty Ltd, which was incorporated in 1972. He encouraged the senior men of the various language groups living at Papunya to develop ways of adapting their traditional art to Western materials.

The Australian Government played a crucial role in supporting the painting movement in the years following Bardon's departure from Papunya. In 1973 the Whitlam government formed the Aboriginal Arts Board, with members who were all Indigenous Australians. It fostered Aboriginal arts, literature, theatre, dance, music, painting and craft, and also provided grants for Aboriginal communities to employ managers and to help preserve and sustain Aboriginal culture, arts and crafts. Many large Papunya works were commissioned by the Aboriginal Arts Board during the 1970s as part of its exhibition program in Australia and overseas. This collection was transferred to the National Museum of Australia in 1990.

Object information

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