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WALLACE FONG TRIBAL ART
Authentic Museum-quality Art from Indonesia.
Special Exhibition
BEAUTY IN THE USEFUL
Utilitarian Art in Island S.E. Asia
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INTRODUCTION
This exhibition showcases the artworks of the traditional tribal societies of Indonesia, the Philippines and Taiwan. By ‘tribal’, we mean those made by the indigenous people that inhabit the many islands that form the Indonesian archipelago, the Philippines and Taiwan. These cultures are outside of the courtly Hindu, Islamic and Buddhist cultures and their art is mainly influenced Austronesian roots and local traditions that have evolved over thousands of years. We showcase functional objects made for daily use or on special occasions. As you will see, in tribal societies art and the utilitarian often meets, imbuing otherwise mundane objects with aesthetic beauty.
The beauty of these objects is naturally different from what we usually perceive as beautiful in the modern Western context. To understand the tribal art works of this exhibition, some knowledge of the cultural context of these societies is essential. In the case of Indonesia, the Philippines and Taiwan, the common denominator is their Austronesian heritage. About 4,000 years ago, the first Austronesian people inhabiting Taiwan (who are descendants of a more ancient people in southern China) decided to cross over to the Philippines in what we now know was the first step in wave after wave of seaborne migrations to colonize Island Southeast Asia, notably the Indonesian Archipelago. One wave proceeded westwards to as far as Madagascar on route from Sumatra. Another headed towards the large island of Borneo and Sulawesi roughly in the centre of the South China Seas. Yet other groups ventured to the string of islands known as the Lesser Sunda Islands. Notable among these islands are Sumba, Flores and Timor whose art is stunning to say the least. The migration did not stop there. It went on to the smaller islands of the vast Pacific Ocean to as far as Easter Island, exporting along the way, traces of the Austronesian culture. To cut a long story short, this is one of mankind’s greatest maritime journeys, and to think that this happened thousands of years ago when the only means of maritime transport were simple outrigger boats boggles the mind.
Not surprising, the boat motif pervades Austronesian art, both directly as a motif on textiles and sculptural objects but also indirectly in the form of the saddle-shaped roofs of many traditional houses, and more generally, in the ubiquitous crescent shape that appears on jewellery and sculptures.
The functional objects showcased in this exhibition runs the gamut, from spoons and ladles to food baskets, pottery, weaving loom parts, combs and hairpins, containers for storing betel nuts for chewing or ‘magical’ substances for rituals, architectural elements and even war shields and other weaponry. As you look at the items, look out for various incarnations of the boat motif. Look out also for evidence of animism and ancestor veneration which are key signatures of the Austronesian way. Most, but not all the objects in this exhibition are from my collection. The rest are from public museum and private collections. They are identified by their specific attributions. I hope you will enjoy the exhibition. If there is any takeaway from this exhibition, it is that in the tribal realm, there is no clear line between functionality and art.
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SUMATRA: THE ISLE OF GOLD
We begin with the large island of Sumatra in west Indonesia and work our way eastward. Sumatra’s position along the Straits of Malacca has resulted in a cultural legacy that illustrates how various streams of influence took place. The material cultures presented in this exhibition however, concentrates on the tribal traditions of three major groups of indigenous people of Sumatra: the Bataks in the north, the people of Lampung in the south, and the people of Nias, a small island situated 150 km off Sumatra’s west coast. Up to the beginning of the 20th century, these three societies were relatively isolated from the courtly cultures – Indian, Chinese, Hindu, Islam and European - that have prevailed at different times particularly in the coastal trading hubs of the Isle of Gold.
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THE BATAKS
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Gunpowder Holder (Salempang), Toba Batak people, Sumatra, buffalo horn, 19th century, L: 15 cm.
With the arrival of firearms in the 18th century, Batak artisans began making bullet and gunpowder holders as objects of status and power. This exquisite gunpowder holder is made from buffalo horn and has a glossy patina from years of use. The center portion is decorated with the mask-like face of a singa (sanskrit for lion) with three horns, a central one shaped like an arrowhead flanked by two other horns curving outwards. The narrow end is surmounted by another singa in profile. Gunpowder was loaded into the larger end and taken out through the smaller opening when needed.
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Lime Squeezer, Toba Batak, wood,19th century, 13.5 cm
This object is used by a datu (priest) for pressing lime for purification ceremonies. It features a seated male ancestor figure in a meditative pose.
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Large squatting stone figure (height: 90 cm) of the same style as the above lime squeezer. Metropolitan Museum, New York
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Medicine container, Toba Batak, wood,19th century, L:18 cm.
The Bataks carve elaborate vessels using the horns of the water buffalo to keep powerful potions. The stopper for this container is missing but the pointed end depicts an ancestor figure in classic squatting posture. His knees are drawn close to the body and his hands rest on the chin, a position commonly found in Batak figures.
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Close-up of the medicine container.
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Food Hook with Bird Motif, Toba Batak, Wood with blackened patina, 19th century, L: 20 cm.
This object is a food hock carved in the form of a manuk manuk (rooster). Representations of chickens, an important sacrifice animal, are common in Batak art.
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Stopper for a container for magical substances, Buffalo horn, 19th century. H: 7 cm
This is a fine example of a buffalo horn stopper to a guri-guri container. Classic in conception but dynamic in execution; the carver has skilfully utilized the curvature of the horn to depict the rider as if he swerving the singa (a mythical animal) toward the right.
Now in a private collection.
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Box with lizard and scroll motif, wood, 19th to early 20th century, 11 cm (L) x 7 cm (W) x 6.8 cm (H).
This exquisitely carved box probably belonged to a high-ranking member of Batak society and could have been used to store betel nuts for chewing. The box is entirely covered with ancient scroll motifs that may represent sea waves. A lizard – symbol of fecundity. Most interestingly, one side of the box shows a heart-shape face that recalls the faces found on ancient Dongson bronze axe heads and drums.
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Side view of the box showing the heart-shaped face that recalls the Dongson art tradition that flourished . in northern Vietnam 2000 years ago. Similar heart-shaped faces can also been seen in the art of the Dayaks of Borneo ,all the way to the Maluku islands of Leti and Tanimbar in the easternmost parts of Indonesia.
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LAMPUNG
Lampung is a vast region lying in the southernmost tip of Sumatra. It is inhabited by three interrelated groups of people: the Abung to the west, the Pubian in a small central corridor, and the coastal dwelling Paminggir people. Due to its location at the crossroad of regional trading hubs, Lampung’s culture is a meld of many outside influences, and its art, a syncretic fusion of Hinduism, Buddhism and courtly Islamic culture on top of its indigenous tribal beliefs.
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Ceremonial split rattan mat (lampit), Lampung, Sumatra. 19th century. Dallas Museum of Art
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Traditionally throughout Indonesia, beautifully decorated mats are unfurled to seat visitors, as well as laid out for use during communal functions. Aristocrats from Lampung, Sumatra, also had the exclusive right to use a special squarish or rectangular rattan mat called a lampit. Lampit were made by men, using finely split sections of rattan cane that were then pierced, threaded, and lashed together. A heated stylus was used to draw or outline designs, and a hot ember to darken the surface.
These mats played an important role in marriage ceremonies, where the pairing of a lampit with a tampan (squarish, figurative cotton cloth) was once widespread and used to symbolize the union of male with female. Lampits were also used in death ceremonies where they were placed under the body of the deceased during burial preparations.
The Dallas Museum of Art has one of the finest known examples of lampit (shown here). The sunburst center of the mat is surrounded by 8 birds and 4 ships. Each boat carry passengers and has a symbolic tree of life arising from the center of its hull. A galaxy of stars and rosettes that include upper and lower-world creatures swirl around the center recalling the Mandala
Far more than just a mat or seat, the lampit reflected order and supernatural protection, the presence of the ancestors, and an aristocrat’s alignment within the universe.
Adapted from
Steven G. Alpert, "Ceremonial mat (lampit)," in Eyes of the Ancestors: The Arts of Island Southeast Asia at the Dallas Museum of Art, ed. Reimar Schefold in collaboration with Steven Alpert (Dallas: Dallas Museum of Art; New Haven and London: Yale University Press, 2013), 106-107.
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Plaited Basket, Lampung, Plaited rattan, 19th century
This basket is used to store betel nuts. Made of woven rattan, it is finely decorated with animal motifs on all sides. The center of the cover shows four prancing horses, framed by geometric designs.
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Plaited Basket, Lampung, Plaited rattan, 19th century
This basket is similar in design to the previous one. Here, the center of the cover features two horses placed diametrically opposite each other and surrounded by geometrical designs.
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Ceremonial Comb, Lampung, Buffalo horn, gilt, traces of gold leaves, W: 14 cm, 19th century
This striking red-painted hair comb is embellished with strips of gilt silver and gold leaves. It’s shape evokes the horns of the buffalo. It also resembles the saddle-shaped roofs of traditional houses in Sumatra which in turn are inspired by shape of boats, an ancient Austronesian motif.
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Model of a Batak traditional house in north Sumatra showing the characteristic saddle-shaped roof inspired by the shape of boats.
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NIAS
The small island of Nias, which lies 150 km off the west coast of Sumatra, is home to some of the most spectacular figural sculptures in Indonesia. Finely carved ancestor figures, utilitarian objects and imposing chief’s houses with elaborately carved wall panels extoll the status of aristocrats in a highly stratified society.
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Figurative pulley, Central Nias, Wood, 19th century. H: 35 cm
The top of this pulley is carved with a half-body figure wearing a large headdress. Below him is a representation of a house pillar decorated with rhombus and triangular see-saw motifs. Rectangular voids are cut into the wood at the bottom and perforated with one small hole on each side serving as pulley pins.
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Decorated wall panel of a chief's house, Central Nias
The interior of a Nias nobleman’s house is usually decorated with elaborate wall panels such as this where items of status are carved in high relief. In this panel, such items include a crescent-shape comb, necklace, earrings, a pedestal surmounted by high seats and a pair of palm fronds which commonly adorn the headdress of chieftains and other men of rank.
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House Wall Panel, Central Nias, Wood; 33 x 33 cm x 10 cm (depth). 19th century
Throughout Nias, ancestor figures were carved to honour the dead and protect the noble house and its descendants. This impressive wall panel 10 cm thick was probably used to a structural beam in the communal room of a chief’s house. It shows the face of a male warrior (probably an ancestor) with a stylized mustache and beard and wearing an elaborate headdress that is festooned with palm fronds. The style of the carving identifies him as a nobleman from Central Nias.
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LOMBOK
Lombok is an island east of Bali in West Nusa Tenggara province, Indonesia. It forms part of the chain of the Lesser Sunda Islands, with the Lombok Strait separating it from the larger Lesser Sunda islands to the east such as Sumbawa, Sumba, Flores and Timor. 85% of the people of Lombok are indigenous to the island, majority of them Muslims though many still practice old-age animist beliefs.
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Rice sickle, Sasak people, Lombok. Wood with iron blade at the tip. Early 20th century. Entire length: 133 cm (length of figure and horse: 27 cm)
The Sasaks are most known for their inventive betel nut crushers valued by collectors. Much rarer to find are other utilitarian objects carved with sensitivity as is the case of this rice sickle where the finial has an expressive ancestor figure riding a horse which stands on top of a large hornbill head, the bird's body forming the handle of the tool that ends with an iron blade for slicing rice stalks.
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THE DAYAKS OF BORNEO
Borneo is the world’s third largest island, long known for its forbidding terrain, its rich flora and fauna. It is also home to the Dayaks, a term encompassing a diverse groups of tribal people spread across different parts of the island. The bulk of the Borneo (Kalimantan) belongs to Indonesia, while the rest, namely the northern states of Sabah, Sarawak and Labuan belongs to Malaysia. Although lines of tribal demarcation are often difficult to establish, the most prominent of the Dayak subgroups are the Ibans and Bidayuhs of Sarawak, the Kayans in the north and east of Kalimantan, and “the rest” – a diverse group that inhabit the western, central and southern parts of Borneo and which includes the Ngaju, Ot Danum, Tunjung, Benua, Kanayan (Ahe). The Kayans in turn are related to an array of related people commonly referred to as Bahau, Modang and Busang.
The Dayaks are an ancient people, having arrived on Borneo in waves over the millennia, each tribe introducing their own motifs and style to a collective body of “Dayak art” that is remarkable for its vitality and ingenuity. They used whatever they could use from nature to carve sculptures and utilitarian objects in wood, weave mats and baskets from rattan, dye sacred textiles with the natural extracts of plants that grow in the rainforests, and fashion colourful beaded headwear using old trade beads.
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Architectural Element with Dragon Motif, Kenyah Dayak, wood, L: 157 cm (Aso: 51 cm); W: 21 cm, early 20th century.
The longhouse is a large communal dwelling comprising up to 50 rooms. As the most important dwelling structure, long houses are typically decorated with images of spirits carved in relief or sometimes in the round, like this Aso (‘dragon’) finial. The work of a master carver, this superb Aso flows beautifully with the shape of the architectural element. The animal has an imposing head, which is turned to its back, sinuous body and graceful dragon-like tail. The overall form of this Aso recalls the dragons images of early Chinese bronzes
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Right: dragon handle on a bronze ritual wine vessel. Early Zhou period, 5th century BC.
References:
Jessica Rawson, Chinese Bronzes (Trustees of the British Museum, 1987). Liu Yang, Cast in Eternity: Ancient Chinese Bronzes from the Shanghai Museum (Yale University Press, 2014).
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Blowgun dart quiver with aso (dragon) handle, Kenyah Dayak group, East Kalimantan, bamboo and wood, 19th or early 20th century. Quiver: 38 x 6 cm (aso: 30 cm).
The handle of this bamboo dart quiver depicts an expressively carved aso (dragon) with its head turned on its back and its body curled to culminate in a hooked claw. In profile and posture, this dragon bears a striking resemblance to the archaic dragons found in early Chinese jade and bronze art.
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Details of the dragon (aso) on the bamboo quiver.
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A Dayak man aiming with a blowgun. The blowgun operates by having the projectile placed inside the pipe and using the force created by forced exhalation ("blow") to pneumatically propel the projectile.
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Tattoo Stencil, Iban Dayak, wood, 8 cm (L) x 4 cm (W), 19th century.
Tattooing is an integral part of the Dayak’s culture. They are applied on both the body and garments to display status or enhance aesthetics. Among Borneo’s Kayan people, women are the artists, a privilege passed from mother to daughter. Among the Iban, the largest indigenous group in Borneo, men apply the tattoos. This tattoo stencil shows a stylized dog-dragon (aso), interlaced with a composite of floral motifs . It is carved from hardwood and shows a stained black patina.
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Ceremonial jacket with aso design, Central northeast Borneo, painted bark cloth. L: 64 cm, W: 47 cm. Barbier-Mueller Museum, Geneva.
On this ceremonial jacket, the main design takes the form of sinuous aso motifs outlined in black using a wood stencil such as the previous one, the dragons forming a light contrast to the russet background. The style if typical of the Kayanic Dayaks of central Borneo.
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Fan, Iban Dayak, bask fibre, rattan, orchid stalks, Late 18th – early 19th century, 20 x 43 cm. Museum of World Cultures, Frankfurt
This double-side fan is comprised primarily of dark red woven bask, enhanced with richly ornamental decorations made from orchid stalks. A rattan rod is bent so that its centre creates a loop-like handle, while a wound cord binds together the two parallel end pieces. This is one of the earliest Dayak woven objects in the collection of the Museum of World Cultures in Frankfurt.
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Bamboo Container, Iban Dayaks, Sarawak, Borneo. 26 cm. 19th – early 20th century. Private collection
This container is from the Ibans, a sub-gorup of the Dayaks of Borneo. It could have been used for one of many purposes, including the storage of powdered lime used in the betel quid, as a food container, and possibly as a document case. The surface of the container is engraved all over with elaborate scrollwork coloured red-brown with vegetable dye that strongly resembles the swirling scroll patterns of ancient Chinese (particularly Zhou dynasty) bronze artefacts (see next photo of a bronze weapon shaft from the late Eastern Zhou or Warring States Period, 300 BC to 100 AD.
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Tatto ink holder, wood, 5 cm, 19th-early 20th century.
This object is in the form of a man seated with arms wrapping round a small goblet that serves as a tattoo ink holder. Most Dayak tribes have tattoos on their bodies to mark their passages through life. Traditionally, thorns from plants or sprigs of wood are dipped in ink made from charcoal mixed with water, soot and other substances believed to add potency. Tattoo motives are derived from animals (real and mythical) and plants, all of which all have symbolic meaning for the Dayaks.
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Carving tool handle, Modang or Bahau Dayak, wood, L: 24 cm, 19th-early 20th century.
This object is the handle of a carving tool in the form of a monkey astride an aso, the mythical dog-dragon.
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Detail of the carving tool handle.
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Tun Tun (Pig Stick), Iban Dayak, Hard wood, 51 cm. 19th century.
This wooden stick is called a tun tun or pig trap. In order to catch a pig, the Ibans would devise a spring trap using a tun tun to measure the height of the impaling spike. The top of this tun tun depicts a hunkered figure meant as a charm to call the pig to the trap. Such traps were outlawed as being too dangerous by Raja Charles Brooke, the ruler of Sarawak in the 1880’s, and with the further adoption of firearms, became obsolete.
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This example is the work of a master carver. The human figure is larger than usual and is carved with great care, endowing the figure with an animated expression uncommon among tun tuns. The posture of the hands up calling the pig is also rare.
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The hunkered figure commonly found in Iban tun tuns. Barbier-Mueller Museum, Geneva.
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Ironwood ceremonial jar lid depicting an aso (dragon-dog), Kayanic Dayak people, Ease Kalimantan, Borneo. 19th century or earlier. Diameter: 33 cm.
Lid of a ritual container for an important person, possibly the chief of a longhouse. The style of the carving is of the Kayan Dayaks, who have a penchant for sinuous shapes, seen here taking the form of the mythical dragon known as “aso”. The aso is positioned centrally and carved in high relief, giving the impression of a creature crawling on the lid or emerging sideways from the container. Accentuating the strength of the carving is the large head, the gaping mouth showing teeth and eye studded with old blue bead which has the effect of making the animal seem very much “alive”. Although about half the lid is gone, what remains is still a veritable masterpiece of Dayak art.
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Details of exquisitevly carved aso on the ceremonial jar lid.
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Weapons buckle in the shape of an aso (dragon-dog) Iban Dayak, wood, L: 10 cm, 19th century.
The Dayaks carve hard wood buckles such as this as hooks to secure a man’s weapons or some other personal items supported from the waist belt. Although utilitarian in purpose, they are often artistically carved in the form of animals, real or mystical. This piece features the mystical dragon-dog known as the aso in Dayak language.
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Ceremonial baby carrier, Bahau Dayak, wood, shell, brass, coins, tusks, W: 26 cm; H: 22 cm, 19th-early 20th century.
In Borneo, babies are transported in baby carriers that are carved of wood and often decorated with colorful beadwork. Carriers with human faces or figures are reserved for children of aristocrats. The present object is a miniature symbolic version of such a carrier. Although it is just one-third the actual size, this piece displays the same iconography of an actual acristocrat’s baby carrier in its full glory. The centerpiece depicts three heart-shaped faces with shell-inlaid eyes, three of which are missing. Small brass bells, old coins and animal tusks dangle from the top of the carrier, making jingling sounds that are meant to scare off marauding spirits.
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Heart-shaped faces are also quite common in Dong Son art as can be seen in this bronze axe head. The Dong Son culture thrived in the Red River Delta in northern Vietnam between 500 BC to 0 BC. Migration of Dong Son people to various parts of island S.E. Asia led to a transmission of artistic influences that are evident in the archaic art of Indonesia.
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House Post with Monkey and Naga, Kantu Dayak, West Borneo, Ironwood; 19th century. H: 56 cm, W: 11 cm
The Dayak peoples of Borneo carve wooden effigies of humans and animals to act as territorial guardians to protect the tribe from adversaries and unfriendly spirits. This particular monkey hampatong is part of a tall post that once graced a Dayak longhouse. A symbol of the “Middle World” of man, the monkey is a lithe and resourceful animal and as such, is viewed by the Dayaks as an auspicious totem to protect the clan. The protection theme is on display here as the monkey, seemingly “alive” with energy climbs the post and surmounts the snake or naga, a Lower World creature.
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Detail of the house post
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Weaving implement and hair pin, Kenyah Dayak, West Kalimantan, deer horn, L: 14 cm, 19th or early 20th century.
This tool for weaving rattan also doubles as an occasional hairpin. The current example features a full-body human figure (male and female) on each side which is rare. The central portion of the tool is incised with a swirl of floral motifs.
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Weaving sword, Iban Dayak, wood, L: 96 cm, 19th century.
The weaving sword is part of a back-strap loom that is traditionally used to weave textiles all over Indonesia. It is a smooth, narrow wooden slat which the weaver uses to beat down each new weft into place. As she does so, the far end of the loom hits supporting poles, causing a rhythmic clacking sound which proclaims the weaver’s diligence throughout the village. The finial of this weaving sword features two pairs of ancestor figures in embrace. Directly below them is a plaque decorated with Dong son motifs of S-shaped hooks on the sides and spirals forming two heart-shaped faces in the center.
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Weaving sword and other parts of the backstrap loom.
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Wooden Shuttle, Iban Dayak, wood, 59 cm, 19th century
Wooden shuttles used for weaving textiles are among the finest of Iban carving. This example, which has golden brown hue, is particularly fine. Apart from the usual foliage designs, the top end of the shuttle is incised with the image of a woman giving birth, while the lower half is decorated with what appears to be stylized centipedes, a power protective symbol that sometimes appear in the sacred cloths known as pua kumbu. Just like the weaver of a pua kumbu, the carver of this shutter may have etched her own dreams, combining them with the canon of stories and symbols that are passed down over generations.
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Detail of the top of the wooden shutter showing the incised image of a woman giving birth..
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The lower section of the wooden shutter is decorated with what appears to be stylized centipedes, a powerful protective symbol that sometimes appear in the sacred cloths known as pua kumbu.
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Stopper with anthropomorphic motif, Ngaju Dayak, wood, L: 14 cm, 19th century.
Carved in hard wood, this large stopper for a container is surmounted by a cat-like animal with a human face.
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Side view of the stopper with anthropomorphic figure.
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Carved bamboo container with mythical animal, Dayak, Ngaju people, Bamboo and Wood, H: 43 cm without stopper. figure on stopper: 9 cm, 19th century.
Dayak priests carve bamboo containers to store magical ingredients for rituals. The bamboo is often embellished with elaborate motifs. In rare cases, a stopper is also finely carved, such as this piece which depicts a mythical feline. The figure is carved with its rear raised as if ready to pounce. Its large eyes, gaping mouth and sharp teeth add to menacing appearance, intended to intimidate the spirits.
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Bamboo medicine container with a dog-like animal, Ngaju Dayaks, Central Borneo, wood, length of figure: 16 cm, 19th century.
This finely carved stopper is carved in the form of a dog-like animal holding the head of an ancestor between its legs . The creature displays great tension in the body as if ready to spring into action and its bare fangs add to the aggressive pose. Contrary to appearances, the holding of a head may symbolize protection of the human figure. Years of use and storage in the smoking interior of the longhouse has given the stopper an entrusted patina.
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Detail of the stopper for the bamboo medicine container.
The dog-like animal holding the head of an ancestor between its legs displays great tension in the body as if ready to spring into action, its bare fangs adding to the aggressive pose.
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Knife Handle, Modang or Bahau Dayak, Wood, 19th-mid 20th century, 18 cm.
A knife handle carved with two ancestor figures, the top male figure holding a staff, and the bottom female figure carrying a child. For a similar example, see Heppell and Maxwell, Borneo and Beyond (1990), page 59.
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Another view of the Modang/Bahau knife Handle showing the female ancestor figure holding a child, symbolizing fertility.
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Waist hook in the shape of a bird, Dayak, Kalimantan, wood, L: 18 cm, 19th – early 20th century.
Carved in the shape of a bird in profile, this hook or toggle is used to secure a man's weapon or other personal items onto his waist belt. This piece shows the Dayak's skills in turning utilitarian objects into items of great beauty.
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Rice Guardian Figure, Ot-Danum people, Central Borneo, Wood. H: 23.5 cm, 19th century
This figure of a guardian monkey is carved for protection and is very similar in form to the ‘stick gods’ of Hawaii (see Eric Kjellgren, How to Read Oceanic Art, The Metropolitan Museum of Art, New York, 2014, p. 148). The overall style is one of stark minimalism, with the artists distilling only the most essential features. The figure has a deep brow but no eyes. The large head is accentuated by a long muzzle and prominent ears. The body has an almost human form, further stressing the unusual profile of the subject. The monkey is seated with hands touching its face, evoking a sombre, almost melancholic expression. The projection below the figure indicates that this figure may have been stored in rice containers to ward off malevolent spirits.
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Details of the rice guardian figure.
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Rice Guardian Figure (agom), Kantu Dayaks, Kapuas River area, West Borneo, hard wood, 19th century. H: 65 cm.
The Dayaks carve figures on pointed stakes such as this known as agoms to protect the growing rice in the fields. Only senior men carve them because of their fierce and dangerous potential. Most agoms are carved in iron wood so they will last. Because these figures are left in the field, they are usually carved with little attention to details. This example is unusual in that the head is larger is typical and the face is expressively carved with deep sunken eyes, a well-defined nose, and mouth baring teeth in voracious grin to frighten malevolent spirits.
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Close-up view of the rice guardian figure.
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Smoking pipe with human figure, wood, L: 11 cm, early 20th century.
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Dowry basket, Iban Dayak, Saribas region, rattan and bark, H: 18.5 cm. D: 20 cm. 19th century.
Woven baskets are as old as culture itself. Older than pottery and even cloth weaving, plant-fiber baskets and mats have been used for millennia for the gathering, preparation and storage of food and in marriage, funeral and spiritual ceremonies. This Ibanic dowry basket is passed from mother to daughter over generations. The basket is decorated with the tendril or hook motif , a recurring pattern in Indonesian basketry, textiles and ancient bronze vessels dating back to the Dongson culture of northern Vietnam in the first millennium B.C. The bark rim is incised with aso or dragon motifs. The basket has the overall look of graceful sophistication.
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Soul boat, Ngaju Dayak, wood, L: 64 cm, 19th century.
The Dayak people of Borneo believe that a boat like this carries the soul of the dead to the afterlife. It is suitably decorated with a hornbill, a potent symbol of the upper world of spirits. The bird’s head has a distinctive long beak and an elegant crest that curls into a spiral while its tail juts out from the back of the boat.
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Sun Hat, Kenyah Dayak. Woven from palm leaves on cotton patchwork, D: 60 cm. 19th or early 20th century. Credit: Michael Palmieri, Bali.
A traditional Kenyah Dayak Beaded sunhat of a palm leaf base, adorned with an elaborate and fine central bead panel that displays figurative facial figures representing Kenyah gods.
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War shield with traditional painted front showing tree faces, the back painted with fine details in multiple colors, Central Borneo, probably Apo Kayan, wood. Early 20th century. 124 x 32 cm. Private collection.
In headhunting days, male warriors carry elaborately decorated shields like these which feature the coiled dragons known as asos and spiral motifs that sometimes are combined to form ‘monster faces’ with bulging eyes as in this particular shield, ostensibly to frighten enemies and ward off malevolent spirits. In some shields, tuffs of human hair were attached on the sides and surface of the shield to increase the warriors’ prowess as headhunters. These shields were also used by warriors during dance ceremonies.
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SULAWESI
Sulawesi is a large island east of Borneo, shaped like a spider with long draping legs. It is home to a great diversity of distinctive peoples, languages and cultural traditions. The Toraja people of the central highlands is our main focus. Isolated in the highlands, the Torajas evaded Dutch control of Sulawesi until 1905. As a result, they were able to maintain and foster an archaic artistic tradition that included the preservation of megaliths. Theirs is an aristocratic society where wealth and prestige are measured by number of buffalos and in the great aristocratic houses known as tongkonan with their wide curving roofs. Buffalo imagery is everywhere in Toraja culture – in the carved wall panels that decorate tongkonans, in tomb doors of wood inserted cavities high up on cliff faces, in utilitarian and ritual objects such as spoons, and in sacred painted cloths known as saritas and mawas.
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Spoon with Buffalo Motif, Toraja people, wood, 19th century. L: 18 cm
Throughout Indonesia, images of abounds that are linked to the fertility of the land. The buffalo is directly connected with fecundity as it is used in wet rice cultivation. What better way to convey this symbolic association than to incorporate buffalo images into objects of daily use as seen in this spoon?
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Front view of the previous spoon
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Spoon with Stylized Buffalo Motif, Toraja people, wood, 19th-early 20th century. L: 15 cm
Two stylized horns at the tip of the handle lend this spoon an understated elegance.
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Janus Hook with Buffalo and Human Motifs, Toraja people. Bada (Napu) Valley, Central Sulawesi, Wood, 19th century or earlier. H: 58 cm
A very rare artifact known only from early ethnographic accounts of Toraja material culture. The horns of a sacred buffalo become the arms of an ancestor rendered in an archaic style. How this hook is put to use is uncertain, but it is sufficiently sturdy to suspend several kilograms. A comparison piece to the current one in the Tropenmuseum in Amsterdam.
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Close-up view of the Janus hook figure.
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LESSER SUNDA ISLANDS
The Lesser Sunda Islands (Indonesian: Nusa Tenggara) are an archipelago comprising of a string of islands east of Bali. The islands are part of a volcanic arc known as the Sunda Arc. The main Lesser Sunda Islands are, from west to east: Bali, Lombok, Sumbawa, Flores, Sumba, Timor, the Alor archipelago, the Barat Daya Islands (which includes Wetar, the largest in the group and the small island of Kisar among others) and the Tanimbar Islands.
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Map of the Lesser Sunda Islands
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SUMBA
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Roller Board with Head Motif
Situ, Kodi, West Sumba.
19th - early 20th century.
Wood. 35 cm
A utilitarian object surmounted with a sensitively carved human head that was used by women for rolling kapas, native cotton in order to extract its seeds. Carvings from Sumba Island that are as well executed as this one are uncommon.
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Loom Part with Ancestor figure, West Sumba. Wood. 39 cm. 19th century
This object is the axle for the spokes of a spinning wheel. It is beautifully carved in the shape of the male figure with a large head, expressive eyes and slender arms. Weaving is a quintessentially female activity in all parts of tribal Indonesia. The juxtaposition of a male image with a female activity conveys the complementarity of men and women in Sumba society.
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Carving Tool Handle with Figural Motif. West Sumba. Wood. H: 15 cm, 19th-early 20th century
This charming tool handle depicts a man with a large head, expressive eyes and a bulbous nose. He is portrayed in a reverential posture, both hands on his chest almost clasping a mamuli, a sacred heirloom object made of silver or gold. The human head is rarely depicted in Suma sculpture.
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Side view of the carving tool handle.
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Horse Bridle Fitting (Katanga njara), West Sumba. Buffalo horn, 19th-early 20th century
This fitting for a horse bridle is carved in the form of a pregnant figure, symbolizing fertility. The horse is a cultural identity in Sumba for a very long time. It is not just a means of transportation. Horse is turangga, the vehicle of life that cannot be separated from all aspects of Sumbanese life.
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Tobacco Cutter, Kodi, West Sumba, Wood, 59 cm. 19th-early 20th century
A tobacco cutter with a moon-shaped face, probably representing an ancestor. The sensitive expression gives this otherwise utilitarian object a pleasing sculptural quality.
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Details of the tobacco cutter.
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Egg-shaped Container, West Sumba, Wood. H: 9.2 cm, 19th-early 20th century
This egg-shaped container is used to hold small jewellery items. The lid is carved in the form of a rotund human figure.
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Food Bowl with Bird Lid, Wood, H: 27 cm. 19th-early 20th century
A food bowl belonging to a Sumba chieftain. The lid is surmounted by a bird, symbolic of the protective power of ancestors.
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Cover for a Betal Nut Container (Ndabi Wai) Rindi, East Sumba, Lontar palm leaf and rattan, 20th century
This basket container cover is used to store betel nuts as food offerings for the gods during traditional ceremonies. Such offerings are often paired with offerings of gold ornaments such as mamulis. The work of a master weaver from Rindi, East Sumba, it is woven from a single lontar palm leaf and features a three-dimensional representation of a rooster and his brood of chicks. The rooster is an important animal in Sumbanese tradition; they bear witness to many ritual proceedings as representatives of the ancestors.
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Lute (Jungga), Wood, 19th-early 20th century
The Sumbanese have a vibrant culture marked by ancestor worship, music, dance and story-telling. The jungga is played to accompany secular songs. This particular instrument is surmounted by two birds.
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Young Woman’s Comb (Hai Kara Jangya), East Sumba, Turtle shell, W: 14.5 cm, H: 16 cm, 19th-early 20th century
The tribes of Sumba are noted for elaborate combs made from turtle shells. Young women wear these combs announcing they have reached puberty. Most combs feature a skull tree (andung) flanked by animals such as deers, lions and roosters. This rare example also incorporate a human figure at the center.
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Sumba girl wearing a hai kara Jangya. Photo: Susan Rodgers.
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Royal Turtle Shell Comb, East Sumba, Turtle shell, W: 15 cm, H: 16 cm, 19th-early 20th century
This rare turtle shell comb belongs to a member of the Raja’s or chief’s family. Unique to the comb is the central silver band bearing royal symbols such as a gold lambda (head frontal) and horses on each side. The decorated top of the comb has a profusion of motifs including a stylized skull tree, roosters, deers, and stylized lions inspired by Dutch coat of arms.
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Detail of a section of the silver plate on the royal comb showing an image of a warrior's horse.
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TIMOR
Timor is the largest of the Lesser Sunda Islands (Nusa Tenggara) and its most easterly among the major islands in that chain. The biggest indigenous people of Timor are the Atonis in the west, famed for their weaving and their flamboyant personal ornaments. Another important group of people are the Tetum of Central and Eastern Timor. The Tetums are known for their ancestral wood carvings and also their ritual spoons carved of buffalo horns, most of which are decorated profusely with bird motifs signifying the heavenly spirits. These spoons are used during mortuary feast where it was thought that the deceased souls assumed the guise of a bird. If the owner was a man of status, a rare human figure would be portrayed on the top of the handle. Of course, no mention of Timor culture is complete without a discussion of the island’s intricate textiles, often painstakingly made and decorated with complex geometric designs interleaved with highly symbolic creatures such as lizards and crocodiles.
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Head Frontal with Riser, Atoni people, West Timor, Brass and silver alloy, 19th-early 20th century
This crescent or boat shape frontal is worn by Timor’s Atoni warriors as head frontals (see previous photo). They may also be used as marriage gifts. The protruding bosses represent breasts, a symbol of fertility and abundance.
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Lime Container, Atoni people, West Timor, Bamboo, 12 cm. 19th-early 20th century
The lizard, a symbol of fertility, appears frequently in Timor tribal art. Here, we see it beautifully incised on a bamboo lime container. The container has acquired a dark glossy patina from years of use. Similar bamboo containers were also made to store betel nuts for chewing, a common pastime among the Timorese.
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Lizard motifs in a prehistoric cave painting in Irian Jaya, western Indonesia. After Van Heekeren, The Stone Age of Indonesia (1972).
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Lime Container, Atoni people, West Timor, Animal bone. L: 10.5 cm, 19th century
The lizard appears again in this well-carved lime container in a more abstract form. There is also a profusion of bird motifs, symbols of fertility. Lime containers are used in many parts of tribal Indonesia in conjunction with betel nut chewing. The lime stored in such containers is made from specially prepared coral and is used to activate the betel nut to impart a feeling of numbness and well-being when chewed.
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Another view of the bone lime container showing bird head motifs similar to those found on traditional Timor spoons.
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Ceremonial Spoon, Atoni people, West Timor, Buffalo horn; 26 cm, 19th century.
The Atoni and Tetum tribes of Timor fashion beautiful spoons for ceremonial and daily use. Most are carved from buffalo horn with older spoons showing a rich patina through years of use. This spoon exemplifies the classical form of spoons made by the Tetum people of Central-East Timor. It is carved in open work with bird motifs running the length of the spoon crowned by a stylized human figure at the top.
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Details of the above spoon showing bird motifs in open work. Birds are a common motif in Timor spoons. The Timorese believe that when you die, your soul becomes a bird, and for this reason, one must pay close attention to birds in flight for giving omens and telling us the wishes of the ancestors. Since in normal daily life, it was customary to eat with your hands, spoons were for ceremonial occasions, when one offers food to the ancestors.
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Ceremonial Spoon, Tetum people, Central Timor, Buffalo horn; 13 cm, 19th-early 20th century
Shorter spoons such as this are associated with the Tetum or Belu people of Central Timor. This little spoon is carved with a deep bow and depicts a bird motif on the handle.
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Ceremonial Spoon, Atoni people, West Timor, Buffalo horn; H: 19 cm. W: 4.75 cm, 19th century
This elegant ceremonial spoon is created by a 19th century master carver. It depicts a stylized bird possibly holding a smaller bird in its beak. Note the graceful twist at the midsection, most likely done by steaming and then drying the piece as a demonstration of the artist’s skill.
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Detail of the above ceremonial spoon showing the mother bird feeding its baby.
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Ceremonial spoon, Atoni people, West Timor. Buffalo horn, L: 23 cm. Early 20th century.
This spoon is truly a masterpiece. The entire handle is literally full of birds, a symbol of the upper world in traditional Indonesian culture. The tip of the handle is crowned by a frigate bird with its head turned to its back feeding its baby. Supporting it is a larger bird, represented by a large head and prominent eyes. In the middle of the handle are a pair of small birds, one on each side. And at bottom of the handle, two bigger birds face each other, held by the raised hands of a stylized ancestral figure.
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Ceremonial Ladle, Atoni people, West Timor, Buffalo horn, L: 28 cm. 19th century
This handle of a ceremonial ladle is elaborately carved with the central space depicting a interlocking birds and lizards. Flowing out of the central space is the head of a large bird which is joined to the tip of the handle that once held a dipper made from coconut shell.
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Spoon with male ancestor figure, Atoni or Tetum people, West Timor, wood, 13.8 cm. Early 20th century
Timor ceremonial spoons are usually adorned with birds in openwork. Spoons with bird and human figures are less common. In some rare cases, only human figures appear. This spoon is an example. The human figure, rendered in three-dimension, probably had a meaning comparable to that of the birds, signifying that the deceased had bid farewell to the community and was now part of the realm of the ancestors. For a spoon with a similar style, see Jerome Feldman, Arc of the Ancestors, p. 86.
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Details of the spoon with male ancestor figure.
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Mirror Box with Ancestor Figure, Belu or Tetum people, Central Timor, Wood; H: 18 cm, 19th-early 20th century
No one would have guessed that this sculpture is actually a box that opens up a mirror, suggesting that it also be used to store small jewellery items. The cover of the box features an ancestor figure reminiscent of those seen on large wood or stone totems (aitos) found in the villages of central Timor (see next photo).
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Large wooden Aitos (91 cm high) surmounted by a big, heart-shaped hat. The body of the figure is decorated with geometric designs, Pieces of shell make up the eye balls. Credit: Dallas Museum of Art.
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Bird Comb, Atoni people, West Timor, Buffalo horn; L:15 cm, 19th century
Taking the shape of an ostrich, this comb testifies to the talent of the Atoni people in turning natural materials into objects of great elegance.
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Warrior’s Comb, Atoni people, West Timor, Buffalo horn, beads and coins, L: 14 cm. 19th century
This comb is traditionally worn by the warriors of West Timor. The comb takes the shape of a bird and is outfitted with brightly colored beads and old silver coins.
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Comb with Traditional House Motifs, Tetum People, Central-East Timor, wood, L: 11 cm. 19th century
At first glance, this is just another Timor comb, until you examine the top carefully and notice that what is sculptured is a row of traditional houses known as uma lulik with their characteristic supporting stilts.
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In central and east Timor, the totem house on stilts known as “uma lulik” is not only a place to store sacred objects, but also a place for meetings and activities of traditional rituals.
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Man’s Shoulder Bag, Tetum-Belu People, Central Timor, Besikama district, Cotton, natural dyes, shells. Supplementary weft wrapping with twinning and applique, 35 x 18 cm excluding the fringe and strap. Mid-20th Century
This shoulder bag is used by men to carry betel nut ingredients. The bag itself is of dyed indigo cotton ikat. Two rows of stylized lizards, a symbol of protection, are worked into the cloth. Tightly wrapped blue yarn forms the long tassels at the end of the bag. The strap is strung with clam shell disks. The addition of shells indicates that this bag belonged to a man of status. A comparable example is in the National Gallery Australia in Canberra.
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Comb with Horse Riders, Atoni people, West Timor, Silver and Wood. H: 10 cm; W: 17 cm, 19th century.
An arc-shape comb with teeth made from buffalo horn, topped with an elaborate silver band that depicts a warrior flanked by two other warriors on horseback. Such combs are worn by aristocrats as part of their regalia during important ceremonies.
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FLORES
Situated north of Sumba and Flores and east of Komodo, Flores is Indonesia’s tenth largest island, known for its extraordinary beauty and cultural diversity. The Nage and Ngada peoples of Central Flores in particular excel in wood sculptures that are among the most aesthetically beautiful of Indonesian tribal art. Some of the rarest and most stunning ikat textiles also come from Flores.
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Megaliths and shrines, Ngada village, Bajawa, Central Flores
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Threshold, Ndaga people, Bajawa Regency, Central Flores, Wood, L: 155 cm. Barbier Mueller Museum, Geneva. See Douglas Newton (ed), Art of the South Seas, Prestel Verlag, 1999.
This elaborately carved board with a small step is a threshold that leads to the inner sanctum of an ancestress shrine of the Ndaga people of Central Flores. Longer thresholds are also placed on the veranda of origin houses (so’o nagaza) that belonged to the founding ancestress or the wife of the founding ancestor. The threshold is incised with open-work scroll and two stylized horses with dragon-like heads, one on each ‘wing’. The S-shaped scroll motifs represent the fruits of the tamarind tree and symbolize the numerous descendants of the named origin house. In Ndaga culture, no other houses are permitted to possess such thresholds or any other carved boards and posts that identify a structure as an origin house.
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Ancestral House Panel, Ngada people, Bajawa, Central Flores, Wood; 134 by 39 cm, 19th century or earlier.
As noted above, the origin house of the founding ancestress or the wife of the founding ancestor are sacred to the Ndaga people of Central Flores as it is the very symbol of the clan. Only such houses and the smallest ancestress shrine can be fitted with carved boards such as this which identify the house’s status by its profusion of images of animals, ancestors, sacred jewellery and interlocking spiral designs. This panel would have been placed beneath the front of the raised veranda of the origin house, and is thus highly visible to all members of the clan. This panel depicts a rider – possibly the founding ancestor astride a horse, flanked by a profusion of spiral motifs symbolizing descendants of the clan.
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Modern occupants of an ancestral house in Bena village, Bajawa decorated with scroll panels, Central Flores, 2016.
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Bena village, Bajawa decorated with scroll panels, Central Flores, 2016.
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MALUKU (SPICE ISLANDS)
The Moluccas (Maluku in Indonesian) have been known as the Spice Islands due to regionally specific plants such as nutmeg, mace, and cloves that originally intrigued the European nations of the 16th century. Traditional art from this sparsely populated region is rare. Featured here are utilitarian objects distinguished by Moluccan motifs and sensibility. They come from Southern Maluku which comprises a string of small islands such as Kisar, Leti, Tanimbar and Kai that arch from east of Timor to the south of Irian Jaya (West Papua)
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Map of Maluku
The Maluku objects featured in this exhibition are from the southern islands of Kisar, Lei, Tanimbar and Kai.
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Cord Winder with Ancestor Figure, Kisar Island, South Maluku, Wood, 19th century. H: 34.5 cm
Maluku tradition recounts the story of the first female ancestor who is regarded as an integral part of the land. The building of a “great house” for the community therefore involves rituals that imbue the land with the blessings of this female ancestor. This is accomplished by the unwinding of a cord from a wooden statuette like this, which is always named after the female ancestor.
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The larger-than-life ancestor figure presides as the finial of the cord winder.
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Spoon with Double Scroll Motifs, Tanimbar Island, South Maluku, wood, 1th century. L: 25 cm
The handle of this rare spoon is incised with double spiral or scroll motifs similar to those that decorate the famous canoe prows of Tanimbar used to represent waves of the seas. Spirals and scrolls are recurrent motifs in the arts of island and mainland S.E. Asia, their origins dating to the Dongson culture in North Vietnam as exemplified in the scroll patterns of a Dongson bronze bell. Ex. Old Dutch collection.
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Left: Canoe prow from Tanimbar. Musee Barbier-Mueller, Geneva. Right: Drawing of a bronze bell from the Dongson period. National History Museum, Malaysia.
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Figurative spoon, Kei (Kai) island, south-eastern Maluku. Coconut shell. Early 20th century. L: 12 cm
This gorgeous and rare spoon from Maluku is rich with ancestral symbolism. The tip of the spoon shows a stylized female ancestor figure. Both her arms are raised, forming the silhouette of a boat. Boats are a recurring theme in the art and architecture of island Indonesia and a powerful Austronesian symbol of the sea journey made by the first ancestors. In Maluku, moreover, where descent is matrilineal, females rather than males are venerated as the founder-mother figure head of the community. She is the source of fertility and protection, which is symbolized here by the foliage and cock motifs respectively on her hands and body. These collective motifs appear in many other art forms, from combs (pictured) to shrine figures kept in sacred houses to the garbled roofs of traditional houses.he
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Details of the figurative spoon.
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A 19th century comb from the island of Barbar, South Maluku, showing the raised hands posture which is a leitmotif of art in this part of Indonesia. Credit: Nico de Jonge and Toos van Dijk, Forgotten Islands of Indonesia, Periplus, Singapore, 1995.
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This is one of the rarest textiles in my collection. Dating to the 19th century, it is a mens' loin cloth from Tanimbar showing once again the raised hands motif.
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Painted Pot, Aru or Kei Island, South Maluku, Painted Clay, 19th-20th century. D: 29 cm
Large clay pots such as this are made exclusively by women for daily use and also special occasions such for cooking the hunting spoils of men. Beyond their utilitarian purpose, pots are also considered to be a female fertility symbol and indeed on Aru island, they are regarded as giving women their “breath of life”. This large pot, painted black on buff, bears some resemblance to the neolithic pots of the Yangshao culture of China. The neck and body of the pot is amply decorated with graceful geometric designs and images of roosters
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Details of the painted pot showing a circle of rooster, a symbol of renewal.
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Shield, Halmahera, North Maluku, wood, shell, pearl inlay. 19th century. L: 70 cm
The slim, panted shields of Halmahera in North Maluku were used with long swords in the ceremonial war dance performed by men in loin cloths as a prelude to the actual hunt or battle, part of an extensive male ritual in preparation for a headhunting expedition. The hour-glass shape and the pearly white of inlaid shells on a painted black background gives the shields an elegance that is also reminiscent of the art of the Solomon islands.
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WEST PAPUA
Formerly known as Irian Jaya, West Papua is Indonesia’s most easterly province. This region is home to the famed Asmat people of southwestern New Guinea, who live along the vast system of rivers that flow into the Arafura Sea. Long known for their spectacular sculptures made of Sago wood, Asmat carvings are among the most distinctive of all Indonesian tribal art. As well, the northern coat of West Papua, notably the areas around Cenderawasih Bay (formerly Geelvink Bay), Lake Sentani and the Humboldt Bay is a ‘frontier’ region of Indonesian art, the nexus where Indonesian and Melanesian art traditions intermingle to produce artworks that may best be described as having a unique Indo-Oceanic aesthetic.
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Headrest with Animal Motif, Yapen region, Cenderawasih Bay, Wood, 19th century. L: 33 cm.
This delightful archaic object is a headrest featuring a zoomorphic quadruped with exposed teeth standing on a rectangular base. The elongated body forms the neck-bar of the headrest which has an elegant arch shape. The surface varies from dry and eroded to smooth stain on the upper half consistent with oil from the hair.
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Korwar Spatula, Irian Jaya (Cenderawasih Bay), Wood, with blackened patina, 19th-early 20th century, L: 79 cm.
A very long spatula featuring an ancestor figure in classic Korwar style wearing a tall headdress and in seated position with elbows resting on his drawn-up knees. Other stylistic features include the disproportionately large head and arrow-shaped nose. The Korwar representation on this spatula is an early sub-type where a crocodile is depicted rising up to swallow the ancestor.
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Detail of the Korwar spatula.
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Korwar Pounder, Biak island, Cenderawashih Bay, Wood with heavy soot patina, 19th century. L: 65 cm.
This is a very old sago pounder from the northern coast of Irian Jaya. The handle is encrusted with thick sooty patina as evident of its age. The entire handle is embellished with beautiful scroll motifs, with a well composed Korwar figure on the shaft. Korwar figures are carved to commemorate a deceased member of the family.
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Detail of the Korwar pounder.
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Canoe Prow, Asmat people, Irian Jaya, Sago wood, early-mid 20th century. L: 137 cm.
Apart from their great length, Asmat war canoes are distinguished by their elaborate prows. This exceptional example consists of two ancestor figures in praying mantis position, an S-shaped motif representing another ancestor in the abstract, images of bird beaks, and a pig in the rear. These motifs imbue men paddling the canoe with a sense of power that comes from ancestral spirits on whom they depend for protection.
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Ceremonial Platter, Asmat people, Irian Jaya, Medium hard wood. First half of 20th century. L: 63 cm.
The Asmats make large platters such as this piece for practical and ceremonial purposes. Such dishes are often shaped like canoes, with one end of the bowl decorated with the head of an ancestor to empower the owner. The arms of this ancestor hang prominently off the rim, turning what is otherwise an unremarkable utilitarian object into a figurative sculpture worthy of ceremony. The back of the bowl is decorated with a lattice work of patterns, similar to those found in war shields, with each curve or zigzag possessing deep spiritual meanings. This entire dish has acquired a smooth patina from years of use.
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The back of the ceremonial platter.
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Hand Drum with ‘Stick’ Figures, Asmat people, South Irian Jaya, Wood, 19th century. L: 109 cm.
Hand drums rank as one the Asmat’s most aesthetically pleasing artifacts. They often have elaborate openwork handles depicting stylized birds, lizards or praying mantis. The beauty of this drum lies in its simple refinement. It is long, lean and minimal in appearance. The body of the drum is adorned with archaic human figures by a competent hand. The drum has an aged black patina through years of use.
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The back of the handrum showing incised human-like figures.
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Asmat War Shield, Casuarina coast, Irian Jaya (probably Otsjanep village, sago wood with natural dyes. Early-mid 20th century. L: 158 cm.
Among the Asmats, war shields are the most powerful symbolic element of a warrior's equipment, and have many layers of meaning. Traditionally, they were functional items used to protect warriors in battle by deflecting an enemy's spears and arrows. The carved and painted images on the surface of the shields were also intended to frighten the enemy and symbolize the power of the ancestors.
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THE NORTH: PHILIPPINES AND TAIWAN
Formerly known as Irian Jaya, West Papua is Indonesia’s most easterly province. This region is home to the famed Asmat people of southwestern New Guinea, who live along the vast system of rivers that flow into the Arafura Sea. Long known for their spectacular sculptures made of Sago wood, Asmat carvings are among the most distinctive of all Indonesian tribal art. As well, the northern coat of West Papua, notably the areas around Cenderawasih Bay (formerly Geelvink Bay), Lake Sentani and the Humboldt Bay is a ‘frontier’ region of Indonesian art, the nexus where Indonesian and Melanesian art traditions intermingle to produce artworks that may best be described as having a unique Indo-Oceanic aesthetic.
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A rare dancing bulul (rice guardian), Ifugao tribe, northern Luzon, Philippines. Wood, late 19th century – early 20th century.
This enchanting figure is carved as if it is in the middle of a tribal dance. The artist achieved this effect by tipping the body slightly to the side, and making the left arm much shorter than the right arm as if it is retracting back into the torso. The figure is carved from hardwood and sports a fine hone brown patina
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House Post, Ifugao or Bontoc people, Northern Luzon, Wood, H: 81 cm, 19th century.
This architectural element, which forms part of a house post, is masterly carved. Despite the narrow frame of the wood block, the artist is able to carve two lizards (symbol of fertility) and below, two male ancestor figures one above the other.
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Spoon with Embracing Couple, Ifugao people, Northern Luzon, Wood, H: 24 cm, 19th century.
This endearing ceremonial spoon depicts an embracing couple and is carved in great detail. The faces are expressive and the bodies movingly intertwined. The beauty of the spoon extends to the bowl which is carved with great depth and symmetry.
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Figural Spoon, Ifugao people, Northern Luzon, Black wood with glossy patina, 19 cm, 19th century.
A traditional eating spoon featuring a standing male ancestor figure wearing a headdress, with hands resting on his knees. Note that the figure’s naturalistic expression.
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Detail of the figural spoon.
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Arrow Quiver, Palawan Batak, Northern Philippines, Wood, L: 46 cm, 19th-early 20th century.
The Bataks of Palawan island are believed to be the oldest inhabitants of the Philippines. They are hunter gatherers, living mainly on forest products and meat. Today, there is very little large game left on Palawan Island, with the result that the Bataks are now by far, the fewest of the three principal tribes on the island. This arrow quiver is embellished with wild pig, an animal that is becoming rare due to rapid diminishing of forest cover in the Philippines.
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Detail of the arrow quiver.
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Paiwan Powder Container, Paiwan people, south Taiwan, Wood and metal
H: 14 cm, 19th century.
Taiwan is considered the cradle of the Austronesian migration that took place about 5,000 years ago, scattering early seafarers to many parts of Oceania. The Paiwan people live in the mountainous interior of the south of Taiwan. They are culturally very similar to the other Austronesians, having a society that is stratified into a hereditary noble class and commoners. Paiwan art is predominantly two-dimensional, with very few sculptures or utilitarian objects carved in the round. This beautiful powder container is a rare exception. The top of the container features the head of a nobleman, his status emphasized by the brass-studded outline of a snake, an image reserved for noble families. The lower portion of the container shows two rows of human (ancestor) figures embellished with brass studs.
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Detail of the top and bottom of the Paiwan container.
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