This is a wooden Asmat ancestor carving which has its origins in Papua New Guinea in the latter half of the twentieth century. It depicts a character (presumably female) with hands connected in front of the hips and legs conjoined at the feet. The entire piece is carved from a lightweight wood and is painted entirely in a white, chalky pigment. The legs, sides, arms, and chest al feature swirling, non-geometric carvings which might be representative of stylistic musculature. The face of the figure is carved with very prominent features. The mouth is wide and deep, with boomerang-shaped carvings on either side of it. The nose is very large and prominent, framed by a deep brow and two sunken eyes. The eyes themselves are deep inset and host spherical carvings. The top of the head features a stylized hairstyle. The figure can be reasonably judged as a female due to the stylistic circular carvings at the chest and the characteristic hair carving.
Ancestor worship is extremely important in Asmat culture and art. The carving of ancestral figures is seen as a means of honoring the past and honoring the recently deceased. Many are produced for great festivals, feasts, and the dedication of new central buildings. The carvings are commonly believed to hold magical properties. After their function has been completed, many are often discarded in the rainforests so that the spirits of the ancestors whom they depict can rejuvenate the sago trees which give communities life. Such carvings are always carved by the artist whose ancestors they depict.
Many ancestor carvings feature colored pigments of white, red, and black. White pigment is called mbi and is sourced by crushing and burning mussel shells found in the river beds. Red pigment is called wasah and is sourced from mixing different clays from upstream village communities along the rivers. Paint is also believed to hold magical properties, with different combinations of colors denoting strength, power, and mysticism.
Colors: White, Red, Black
