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A painting on canvas featuring three large concentric circles of red ground with white dots overlapping a variety of smaller circles interspersed on dotted ground. See Bardon and Bardon p.452.
This acrylic painting depicts Kungka Kutjarra (the Two Women ancestors) who wandered through the country around Warlungurru (Kintore) in the Dreaming. They tracked a perentie lizard, creating a soakage at Lampintjanya near the Kintore Range as they speared the giant lizard with a digging stick. The women then travelled through Kultukatjarra (Docker River) to Iliningarrara and eventually Tjukurla. The painting by Shorty Lungkarta Tjungurrayi measures 1,652 mm x 496 mm. This resource includes a line diagram illustrating the symbols used in the painting and a map showing sites of significance.
Shorty Lungkarta Tjungurrayi (1920-87) was one of the last senior Pintupi men to join the Papunya painting group in the early 1970s. He came from the Pintupi language group and was born at Walukuritji. A Ngangkari (traditional healer), he was renowned for his hunting skills, ceremonial knowledge and his spirited dancing. A kindly father to his children, he also raised stepdaughter Linda (Tjungkaya) Syddick Napaltjarri and orphaned Benny (Pinny) Tjapaltjarri, both of whom he taught to paint and who became artists in their own right.
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.
W 496mm x H 1652mm
View PDF line diagram illustrating symbols used in the painting
View PDF map showing sites of significance
Date of work
Ref Aboriginal Arts Board collection catalogue card.
Date of purchase
Ref AAB catalogue card.
Place of execution
Ref AAB catalogue card.