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5901 |
2000.2.1 |
Platter |
This is a wooden decorative sago platter of Asmat origin, likely produced in Papua New Guinea in the late twentieth century. It features elaborately carved decorations, particularly around the center and periphery. The entire piece is unpainted and maintains a very dark brown color. At the center of the piece is an oval platter rimmed with elaborate geometric patterns. Either end terminates in a pointed head, the bottom one of which has suffered damage. Protruding from each end of the platter is a large male human figure, as denoted by the characteristic phallic imagery. Both figures stand with their feet resting on the platter and their arms resting on their hips. Each figure features different carvings along their body, possibly denoting different individuals or community affiliations. The figures’ faces are simply carved with a great deal of emotion present in their features.
Platters such as this hold a largely ceremonial role in Asmat society. Compared with other sago platters which served a practical purpose in everyday life, this piece is very clearly an object reserved for special occasions. It is plausible that during the age of headhunting, this platter would have been used to serve the brains of fallen enemies at a ceremonial dinner in the community house, the jeu. The practice of headhunting was banned by foreign missionaries in the late twentieth century, at which point the consumption of Capricorn beetles largely supplanted the consumption of human brains as the ceremonial meal. It is unclear whether this particular piece would have undergone a transformation in usage such as this, or if it remained unused after headhunting was phased out. The dark coloration of the exterior is indicative of long exposure to smoke inside a home, suggesting that it may have been out of practical use for a prolonged period of time.
Colors: Brown, Black
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5902 |
2000.2.101 |
Dagger |
Cassowary bird thigh bone carved to a narrow point. Underside hollow. Woven string covers end. Fourteen feather sections, four with 1-4 seeds, gray and red. Twenty-six loose seeds, gray and brown. Color: BR,Bl,GY,RD |
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5903 |
2000.2.102 |
Dagger |
This is an Asmat dagger carved from bone, produced in Papua New Guinea in the second half of the twentieth century. It features a single slender body carved from a cassowary thigh bone, with serrated edges carved in the fashion of teeth. The handle is made up of the same material as the blade, and is covered with a twine wrapping. Attached to the end of the handle are two cords which have large feathery tassels attached to the ends of them. The cords themselves are made up of beads and plant stalks.
Daggers are highly prized weapons and tools for many Asmat communities. They are traditionally made from the bones of either humans or birds, and serve both decorative and practical purposes. Daggers such as this are incredibly strong and resilient due to their composition. The use of bone in weaponry has decreased among many Asmat communities due to the introduction of refined metals by colonial powers in the late twentieth century. Bird bone daggers still retain a high standing in the culture, however, and are used for ceremonial and practical applications.
Colors: Brown, Black, White
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5904 |
2000.2.103 |
Platter |
oval shaped platter, human head carved in handle. Design carved into platter, pigmented red,white, blue. Unpigmented eesign carved into edges. Head has scarifications on cheeks. Color: BR,RD,WH,BK |
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5905 |
2000.2.104 |
Platter |
This is an oblong wooden Asmat platter carved in the likeness of a dugout canoe in the latter half of the twentieth century. The entire piece is unpainted and is made of dark wood. The interior of the platter is undecorated, but the sides and exterior surfaces are carved in a highly intricate geometric pattern. At the end is a prow fashioned in the image of a female figure’s head, rendered in a minimalist design. The carvings along the sides and bottom of the piece appear to depict a geometric stylized plant, tree, or fern.
Pieces such as this are produced by the Asmat peoples for practical and ceremonial eating purposes. Traditionally, platters are used to serve roasted balls of sago during meals, which is a staple of Asmat cuisine. On ceremonial occasions, some platters and bowls would also be used to consume the brains of headhunted enemies as a rite of passage. Headhunting in Asmat culture is most prominently associated with notions of fertility and vitality and was commonplace for much of the civilization’s history.
The canoe shape of pieces such as this represents the connection that Asmat peoples have with the rivers and with their canoes. Canoes are the primary mode of transportation throughout the rainforest, and are an essential part of life in many communities. Platters and bowls are often carved so that they blend the forms of men and canoes, symbolizing the connections they have with life and fertility.
Colors: Brown, Black |
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5906 |
2000.2.105 |
Carving, ancestor |
This is a large rectangular wooden Asmat carving decorated with three figures and flying fox insignias. The entire piece is unpainted and is made of red/brown wood with very prominent grain which runs up the length of the piece. Stretching from each end of the piece and connecting both ends is a support frame made from brass and plastic. This frame is unoriginal and was likely attached at some point after acquisition for hanging the piece on a wall or other display rack. The back of the piece also features a circular pinhole between the brass brace, likely unoriginal. It also features a oval-shaped groove in the upper right quadrant which is either an imperfection in the wood itself or is the result of animal damage. The entire front of the piece is adorned with swirling geometric patterns carved in relief, which fill the surface and frame three figures near the center of the piece. The first figure is at the center of the piece, and is bent on hands and knees in a kneeling position. The other two figures are emerging from either side of the frame from below the central figure, each with their knees bent and elbows resting on their knees. All three of the figures are stylized with simple muscle lines and facial definition. It is unclear what sex they are. The swirling patterns on the rest of the piece are stylized interpretations of flying foxes, which are common in Papua New Guinea.
It is unclear whether this piece served as a shield or other form of ceremonial carving. The lack of handle and relatively lightweight construction points to it either being a ceremonial shield or a decorative piece for ancestor veneration. However, the design shares many key elements commonly found on Asmat shields in many communities. The lack of a wedge at the bottom supports the idea of it being a shield. It is also questionable whether the figures depicted in relief are human ancestors or praying mantises. If this is a shield, it may be likely that they are praying mantises associated with vicious attack.
Colors: Brown, Black
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5907 |
2000.2.106 |
Carving, ancestor |
This is a wooden Asmat ancestor carving which depicts a male and female standing in opposite directions from one another. The entire piece is unpainted and is comprised of dark red wood with prominent grain. Both individuals featured in the piece are pointed in opposite directions, with their legs on each other’s hips. They are joined at the middle of the piece by a jagged rod, which both of them are holding in their hands. Both individuals are facing the same direction. The figure on the top of the piece is male and the bottom is female. Both feature finely carved faces, with prominent brows and noses. There is little definition in the faces. The male figure is carved with a flat-topped hairstyle, whereas the female figure is carved with a curved hairstyle.
Ancestral worship plays an important role in Asmat culture and society. The spirits of ancestors are believed to have active participation in the mortal world, and are often called upon through art to grant their powers to mortals. In war, for example, shields are carved with the likeness of ancestors to gain mystical enchantments. Carvings such as this particular piece are often produced for ceremonial or commemorative occasions such as festivals and funerals. Once the primary function of carvings has been fulfilled, they are often discarded in the rainforests so that the spirits which inhabit them may rejuvenate the sago trees.
Colors:Brown, Red
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5908 |
2000.2.107 |
Carving, ancestor |
This is a wooden Asmat carving depicting two female human individuals embracing each other in a seated position. It measures 21x9x4 and is completely unpainted. It is comprised of very dark heavy wood with little exposed grain. The right figure is in a seated position with face facing forwards. The figure on the left is in a standing position with face facing to the right. The hands of the left figure are grasping onto the hips of the left figure, and the hands of the right figure are grasping the elbows of the right figure. The legs of the right figure are attached to the upper legs of the left figure. At the base of the carving is a stylized cassowary head, as indicated by the curved beak. Both figures are female based on the carvings located on the upper portion of the chest. The faces of both figures are very featureless and have little definition. Carved lines decorate the bodies of both figures as stylized musculature.
Carvings such as this often depict ancestor individuals for the artists who produced them. These are produced for events such as funeral rituals, ceremonial festivals, and building dedications. The spirits of the ancestors are believed to take an active role in the mortal world and are often associated with artistic images and symbols. Once the primary function of an ancestor carving is completed, they are often discarded in the rainforest so that the spirits which inhabit them rejuvenate the sago trees.
Colors: Brown, Black
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5909 |
2000.2.108 |
Shield |
Rectangular with rounded bottom edge. Seated human figure carved into top edge. Design carved into shield and pigmented red, white, black. Handle carved into back. Designs painted in red, white, black at back. Color: BR,RD,WH,BK |
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5910 |
2000.2.109 |
Carving, ancestor |
This is a wooden Asmat carving possibly intended for placement on a bis pole. The entire piece is covered in a chalky white pigment, with accents painted in black and red. The carving features three human forms contorted into abstract shapes which form a curved rectangular frame. Each human form shares similar characteristics and are all depicted as being on their elbows and knees. Much of the red and black paint is intact, but much of the white paint has since faded with time or exposure.
Carvings such as this are traditionally intended to be placed atop bis poles, which serve important ceremonial functions in Asmat culture. Whenever an individual dies, a bis pole depicting all the ancestors of the deceased is erected outside of their home. The poles remain in place until a headhunting raid has been undertaken to restore the balance which was disrupted by the individual’s death. Death in Asmat society was never accidental and was believed to be the result of either enemy headhunting or enemy sorcery. After the deceased had been avenged, the carvings and bis poles would be discarded in the rainforest so that the spirits which inhabited them could rejuvenate the sago trees.
Colors: White, Red, Brown, Black
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5911 |
2000.2.11 |
Platter |
This is an oblong wooden Asmat sago platter used for serving roasted balls of sago during meals and ceremonial occasions. It was likely carved in Papua New Guinea in the latter half of the twentieth century and features an intricate geometric design on its curved surface. The design is painted in red and white, although only fragments of the white pigments remain intact. The rest of the piece is unpainted except for potions around the handle. The handle is carved in the likeness of a face, with a large nose, protruding brow, sunken eyes, wide mouth, and a horizontal curved cut along each cheek.
Sago dishes such as this were an important part of everyday life in Asmat culture, as they were used to eat the sago food during meals. Sago was taken from the sago tree, which itself is a core part of Asmat spiritual belief and practical economy. Platters such as this are designed to respect the role that the sago plays and the handle is carved in the likeness of a human to emphasize the interconnectedness of humans with ideas such as fertility and life. Platters such as this were also used to serve human brains collected in headhunting practices. This was replaced by the consumption of ceremonial Capricorn beetles when missionaries began banning the headhunting practice in the late twentieth century.
White pigments are called mbi, and are made by crushing and mixing the ashes of mussel shells taken from the riverbanks. Red pigments are called wasah and are made through a mixture of red clay and muds taken from rivers and riverhead villages. Color has a magical quality in much of Asmat thought. The myth of the featureless man Ofomin relates this, as it is held that it was his blood that created the red clay after he was murdered by his wife and her jealous lover.
Colors: Brown, Red, White
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5912 |
2000.2.12 |
Platter |
This is an oblong wooden Asmat platter which features a very intricate geometric design on its surface. It was likely carved in Papua New Guinea in the latter half of the twentieth century. The main body is carved in a symmetrical geometric pattern which features prominent red and white pigments. The handle of the piece is carved in the likeness of a male head. The nose of the figure is missing, but the other features remain. The head has a large mouth, sunken eyes, protruding brow, and a horizontal trench along each cheek. Much of the piece is painted red, but there are areas around the handle and underside which have faded.
Pieces such as this are produced by the Asmat peoples for practical and ceremonial eating purposes. Traditionally, platters are used to serve roasted balls of sago during meals, which is a staple of Asmat cuisine. On ceremonial occasions, some platters and bowls would also be used to consume the brains of headhunted enemies as a rite of passage. Headhunting in Asmat culture is most prominently associated with notions of fertility and vitality and was commonplace for much of the civilization’s history. After the practice of headhunting was banned by missionaries in the late twentieth century, the consumption of the Capricorn beetle -whose larval form greatly resembles human brains- supplanted the consumption of brains themselves.
The canoe shape of pieces such as this represents the connection that Asmat peoples have with the rivers and with their canoes. Canoes are the primary mode of transportation throughout the rainforest, and are an essential part of life in many communities. Platters and bowls are often carved so that they blend the forms of men and canoes, symbolizing the connections they have with life and fertility. Red pigments in Asmat society are called wasah, and are created by mixing the clays found near river beds at upstream communities. Pigments such as this are believed to have magical properties and indicate senses of power and mysticism.
Colors: Red, Black, Brown |
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5913 |
2000.2.13 |
Platter |
This is an oblong wooden sago platter carved by the Asmat peoples of Papua New Guinea. It features a symmetrical geometric design on the front curved surface, which is painted in white, red, and black. The top and bottom of the platter are decorated with a series of vertical slash marks pointed inwards from the edges. The handle of the platter is carved in the shape of a large male head. It features an enormous nose, sunken eyes, and small mouth. The top of the head is painted black and rimmed by a red band. The mouth and eyes are painted red, and the brow is painted black. On each cheek are three horizontal slash marks, each painted red or black. The underside of the piece shows remnants of white pigment which has now since faded.
White pigments are known as mbi. They are created by crushing and burning the shells of mussels found in the rivers of the region. Red pigments are wasah, and are made from mixing different colored clays in river beds at upstream village communities. Colors are believed to hold mystic power in Asmat culture, and are often associated with images of strength and power.
Platters such as this are carved with the purpose of serving roasted sago balls during normal and ceremonial meals. They are carved in the likeness of humans to emphasize the Asmat peoples’ spiritual and cultural connection to the land, particularly the sago tree, which brings life and fertility. Platters were also used for the consumption of human brains until the banning of headhunting raids by missionaries in the late twentieth century. After this, the ceremonial food of choice became the Capricorn beetle, the larvae of which strongly resemble human brain matter.
Colors: White, Red, Brown, Black |
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5914 |
2000.2.14 |
Platter |
This is an oblong wooden sago dish of the Asmat peoples of Papua New Guinea. The curved surface of the piece features a complex geometric design of white swirls set against a red background. This distinguishes it from other similar pieces, as swirls are often painted in red. At either end of the piece are bands of triangular indentations resembling teeth. The handle of the piece is carved in the image of a man’s face, with a large nose, receding brow, sunken eyes, and small mouth. On each cheek is a horizontal scar which is painted red. At the top of the face is a carved portion painted black, which can be interpreted as hair or a headpiece. Much of the paint around the face has since faded, leaving only remnants of the red pigment. There are long cracks along the left side of the piece, running 5”.
Sago dishes such as this were an important part of everyday life in Asmat culture, as they were used to eat the sago food during meals. Sago was taken from the sago tree, which itself is a core part of Asmat spiritual belief and practical economy. Platters such as this are designed to respect the role that the sago plays and the handle is carved in the likeness of a human to emphasize the interconnectedness of humans with ideas such as fertility and life. Platters such as this were also used in the consumption of human brains which were the results of headhunting rituals. This was replaced in the late twentieth century by consumption of the Capricorn beetle, whose larvae strongly resemble human brains. It is believed this was a change initiated when missionaries began banning the practice of headhunting in the region.
White pigments are called mbi, and are made by crushing and mixing the ashes of mussel shells taken from the riverbanks. Red pigments are called wasah and are made through a mixture of red clay and muds taken from rivers and riverhead villages. Color has a magical quality in much of Asmat thought. The myth of the featureless man Ofomin relates this, as it is held that it was his blood that created the red clay after he was murdered by his wife and her jealous lover.
Colors: White, Red, Black, Brown |
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5915 |
2000.2.15 |
Platter |
This is a wooden sago platter carved by the Asmat cultural group of Papua New Guinea during the late twentieth century. It features an oblong decorated platter capped with a handle decorated in the image of a human head. The main body is carved with symmetrical geometric designs commonly found in Asmat art of this type, with inset portions painted in variations of red, white, and black pigments. The upper and lower portions of the piece have suffered an erosion of their original white paint, leaving a layer of patina buildup present. The handle itself is decorated with a protruding chin, shallow eyes, and wide mouth. The eyes and mouth are painted in red, while the face structure is painted in a worn white. The chin and top of the head are painted black, and the nose remains unpainted. The head features a close-cropped hairstyle and detailed ears.
Colors in Asmat culture are widely considered to have magical properties associated with them. White is called mbi and is created from the crushing and burning of river mussel shells. Red pigments are called wasah and are created from the mixing of clays from riverbeds, forming a deep rust color. Different combinations of color denote different ideas within Asmat society such as strength, fertility, and mysticism.
Sago platters form a staple of Asmat ethnographic art and are important in understanding Asmat cultural history. Prior to the intervention of outside missionaries in the late twentieth century, platters would commonly have been used in the ritual of headhunting. In headhunting rituals, slain enemy brains would be served at ceremonial occasions within the community house, the jeu. After this practice had been phased out, Capricorn beetles and roasted sago palm supplanted the function of platters such as this. Many are often also repurposed later in their lives as paint mixture basins, evident by the large amounts of white mbi residue on the hollowed surfaces.
Colors: White, Red, Black, Brown
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5916 |
2000.2.16 |
Carving, ancestor |
This is a wooden Asmat ancestral carving made from light brown sago wood. It depicts a human figure standing with a platter in both hands and a cassowary beak between his legs. The entire piece is painted in white mbi and red wasah pigments, with the white used for the body surface and the red used for the accent lines. The base of the figure features the head of a cassowary pointed upwards and situated between the figure’s feet. The beak itself features characteristic circular eyes, notched nose, and elongated beak. The tip of the beak is attached to a platter which is held between the figure’s hands at the hip. The figure himself is simply detailed. The face features a wide mouth painted black with a jutting chin, pointed nose, and prominent brow line. The eyes are painted red and the top of the head is painted in black.
Color is believed to have magical properties in popular Asmat belief. White is called mbi and is made from crushing and cremating mussel shells found in riverbeds. Red wasah is created from the mixing of different clays at upstream villages. Both are magical and symbolize ideas such as power, strength, fertility, and mysticism.
Ancestor worship is central to Asmat cultural and religious belief. The ancestors are considered to be a part of the living world and play an integral role in the interconnectedness of humans to the natural realm. Honoring the ancestors comes in the form of carvings, made to represent individual ancestor figures for ceremonial purposes. Many carvings are produced for festivals and community building dedications. When a member of society dies, they are produced so that the spirits which embody them may protect the spirit of the deceased. When the function of carvings has been fulfilled, they are often discarded in the rainforests so that their spirits can rejuvenate the sago trees.
Colors: Brown, White, Red
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5917 |
2000.2.17 |
Bowl, Eating |
This is an Asmat wooden bowl carved in the form of a canoe, likely created in Papua New Guinea in the latter half of the twentieth century. It is painted in varying colors of red, white, and black. The interior surface is painted entirely in white and is carved into the surface of the piece 1.3”. The curved sides and back of the piece feature a geometric design which covers the entire rear portion of the piece. This section is painted in varying patterns of red, white, and black. Each end of the bowl is capped by depictions of an individual’s head. The lower head is small, round, and features a blunt chin. It has a smiling mouth, sunken eyes, and elongated nose. The upper head is larger and features a very prominently pointed chin. Its brow is much more pronounced and its nose is much bigger than the lower head. Both of the heads are painted in shades of red, white, and black.
Pieces such as this are produced by the Asmat peoples for practical and ceremonial eating purposes. Traditionally, platters are used to serve roasted balls of sago during meals, which is a staple of Asmat cuisine. On ceremonial occasions, some platters and bowls would also be used to consume the brains of headhunted enemies as a rite of passage. Headhunting in Asmat culture is most prominently associated with notions of fertility and vitality and was commonplace for much of the civilization’s history. The practice of headhunting was discouraged and phased out by missionaries in the late twentieth century, at which time the consumption of ceremonial Capricorn beetles replaced that of human brains.
The canoe shape of pieces such as this represents the connection that Asmat peoples have with the rivers and with their canoes. Canoes are the primary mode of transportation throughout the rainforest, and are an essential part of life in many communities. Platters and bowls are often carved so that they blend the forms of men and canoes, symbolizing the connections they have with life and fertility.
Colors: White, Red, Black |
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5918 |
2000.2.18 |
Platter |
This is a large rectangular sago platter crafted by peoples in the Asmat culture of Papua New Guinea, likely carved in the latter half of the twentieth century. The front curved surface is carved with a symmetrical design depicting a sago tree, which is carved half an inch into the surface and painted red. The outlines of the tree design are painted in black and the backdrop is painted in white. The sides of the platter are carved with triangular shapes set into rectangular patterns. The triangles are painted red as well. The bottom interior surface of the piece is painted white, but only remnants of the original pigment remain. The handle of the platter is carved in the shape of a male figure’s head. It features an elongated nose, prominent forehead, sunken eyes, large ears, an open smiling mouth, and a trench across both cheeks. The chin is prominent as well and the eyes, ears, and mouth are all painted red.
In many examples of Asmat art, the twin colors of white and red are prominently featured. White paint is known as mbi, which is made from mussel shells through a process burning the shells into ash. The red is called wasah and is made from muds which are gathered at riverheads and villages which reside upstream.
Platters such as this one are traditionally used by Asmat peoples for eating sago, one of the most prominent food staples of Papua New Guinea. The sago and the sago tree play a prominent role in many Asmat communities and folktales. The red coloration is considered to have magical properties and is a core aspect of an Asmat myth involving Ofomin, a man whose blood ran into the ground and mixed with the water to form red clay and mud. Platters such as these were often used to hold roasted balls of flour made from the sago palm and human brains collected in headhunting raids. The Capricorn beetle was also traditionally served in platters such as these, as they hold a ceremonial place in Asmat cuisine. It is commonly thought that the larval resemblance of the beetles to human brains contributed to their rise in popularity since the banning of headhunting practices by missionaries in the late twentieth century.
Colors: Black, Red, White, Brown
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5919 |
2000.2.19 |
Platter |
This is an oblong wooden sago platter carved by the Asmat peoples of Papua New Guinea. It was likely carved in Papua New Guinea in the latter half of the twentieth century and features decorative geometric carvings on its surfaces. The main curved portion of the piece features a geometric design painted white and red, the outlines of which are painted in black. The rims of the piece were once likely painted black as well, but they have since faded over time. The handle of the platter is carved in the likeness of a male figure with bulging eyes, large nose, wide mouth, and inset ears. The top of the cranium is carved and painted black, either as a stylized depiction of hair or a headpiece. The entire head is painted red. There is one streak of white pigment across the head’s right cheek, likely not intentional.
White pigments are known as mbi, and are created by crushing and heating the shells of river mussels. Red pigments are known as wasah, and are created by mixing clays found in the river beds at upstream village communities. Paint and color are said to have magical properties and are often associated with images of power and mysticism.
Platters such as this are traditionally used to serve roasted balls of sago at everyday and ceremonial meals. They are carved in the likeness of humans to symbolize the connection that humans have with the sago tree, which gives life and brings fertility. They were also used, up until the banning of headhunting practices in the late twentieth century, for the consumption of human brains collected in raiding events. The consumption of ceremonial Capricorn beetles replaced this tradition, as their larval forms are thought to strongly resemble human brain matter.
Colors: Red, White, Brown, Black |
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5920 |
2000.2.20 |
Platter |
This is an oval-shaped wooden sago platter of modern Asmat origin. It was likely carved in the latter half of the twentieth century in the country of Papua New Guinea by Asmat artists. The curved surface of the platter is decorated with a symmetrical swirling sago tree pattern running lengthwise. The curved fronds of the tree are carved half an inch into the surface of the piece and are colored with a red paint, which has now faded to a rusty orange. The backdrop to the red fronds is painted white, creating a deep color contrast. At the top of the platter is a carved male face with an elongated nose, prominent forehead, and sunken eyes. The head features an open mouth with a prominent tongue. The eyes, mouth, and ears are painted red. The rim of the platter is also painted in the same red. The inside surface of the platter is undecorated and has no paint.
In many examples of Asmat art, the twin colors of white and red are prominently featured. White paint is known as mbi, which is made from mussel shells through a process burning the shells into ash. The red is called wasah and is made from muds which are gathered at riverheads and villages which reside upstream.
Platters such as this one are traditionally used by Asmat peoples for eating sago flour balls and Capricorn beetles, two of the most prominent food staples of Papua New Guinea. The sago palm and the sago tree play a prominent role in many Asmat communities and folktales. The red coloration is considered to have magical properties and is a core aspect of an Asmat myth involving Ofomin, a man whose blood ran into the ground and mixed with the water to form red clay and mud. In other circumstances, platters such as this were used to hold human brains. In older age, they are often used to hold and mix paints and pigments. Capricorn beetles are the most ceremonial food staple of Asmat society, and it is commonly believed that their larval resemblance to human brains contributed to its rise in popularity since the banning of headhunting practices by missionaries in the late twentieth century. The beetles are cultivated by drilling holes in felled trees, which allow the creatures to lay eggs which are then harvested.
Colors: Red, White, Brown, Black |
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5921 |
2000.2.2 |
Platter |
This is a wooden Asmat platter carved with vibrant geometric patterns and a decorated handle. The front of the piece features a symmetrical swirling design painted in a combination of red, white, and black pigments. The edges of the platter feature carved triangles painted in red. Both ends of the platter are painted in black, giving the piece a very burnt orange look. The handle is carved in the image of a seated male human figure, with knees bent and elbows resting upon the knees. At an unknown point in time, the handle broke off from the main platter, leaving the feet behind. The figure’s right arm also broke off. The figure itself is painted mostly in white, with red accents and black hair. The mouth and eyes are quite detailed, and feature multiple colors.
Platters such as this are often produced for the consumption of roasted sago balls at both everyday and ceremonial meals. They are carved primarily from the wood of the sago tree and often feature decorated handles in the image of ancestral figures. This represents the interconnectedness that the Asmat feel between humans and the natural world, as well as a means to revere the ancestors.
Colors: White, Red, Brown, Black
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5922 |
2000.2.21 |
Platter |
This is an oval-shaped wooden Asmat bowl carved in the manner of a miniature canoe. It was likely carved in Papua New Guinea in the latter half of the twentieth century and features a pointed tip on one end and the carved head of a handle on the other. The entire piece is painted red, with exceptions for the sago leaf design on the curved surface. The handle/head is carved with a jutting forehead, prominent nose, sunken eyes, and wide smiling mouth. There is a horizontal groove on each cheek and two small ears. The cranium appears to have once been painted black, which has since faded with time. The underside of the piece shows remnants of white paint and is very roughly carved. The face features a long vertical crack running from the upper lip to the peak of the cranium.
Pieces such as this are produced by the Asmat peoples for practical and ceremonial eating purposes. Traditionally, platters are used to serve roasted balls of sago during meals, which is a staple of Asmat cuisine. On ceremonial occasions, some platters and bowls would also be used to consume the brains of headhunted enemies as a rite of passage. Headhunting in Asmat culture is most prominently associated with notions of fertility and vitality and was commonplace for much of the civilization’s history.
The canoe shape of pieces such as this represents the connection that Asmat peoples have with the rivers and with their canoes. Canoes are the primary mode of transportation throughout the rainforest, and are an essential part of life in many communities. Platters and bowls are often carved so that they blend the forms of men and canoes, symbolizing the connections they have with life and fertility.
Colors: Black, Red
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5923 |
2000.2.22 |
Platter |
This is a wooden sago platter carved by Asmat ethnographic artists in Papua New Guinea during the late twentieth century. It features an oblong platter body capped with a handle decorated in the style of a human head. The curved surface features elaborate carvings of sago tree fronds painted in variations of red, white, and black pigments. The reverse hollowed surface features a large deposit of worn white pigment with a cross section painted in bright red. The head itself is very simplistic, with little feature definition. The mouth, eyes, and ears are painted in red, while the rest of the face bears only some remnants of white pigment which has since faded with time. There is considerably little patina, with only paint fragments found throughout the piece’s surface.
Color plays an important role in Asmat society and carried across tribal distinctions. White is known as mbi and is created by the crushing and burning of river mussel shells. Red is called wasah and is created by mixing various different clays found in upstream riverbeds. Black is a base color, formed from ash and charcoal byproducts. Color in Asmat society is widely believed to have magical properties, with different patterns denoting ideas such as strength, fertility, and mysticism.
Prior to the intervention of foreign missionaries in the late twentieth century, platters such as this were often associated with the practice of headhunting. After headhunting raids had been performed, a fallen enemy’s brain matter would be served in ceremonial means in the community house, the jeu, on platters. This ritual was widely associated with rejuvenation and fertility ideals. After this practice was phased out, the consumption of Capricorn beetles and roasted sago palm took over the functionality of platters. As their lives went on, platters were sometimes transitioned to serving as basins for the mixing of pigments for further decoration. Asmat carved objects are intended for long use, meaning that everything has a practical application over time.
Colors: White, Red, Black, Brown
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5924 |
2000.2.23 |
Platter |
This is a wooden Asmat platter carved in the likeness of a dugout canoe. The entire piece is unpainted and is made of very dark wood with very visible vertical grain. Both ends of the platter are pointed to resemble the prows of canoes, with one elongated and one blunted somewhat. The underside of the platter is carved in a very symmetrical geometric pattern representing the scales on a crocodile, common animals along the waterways of Papua New Guinea. The blunted end can be interpreted as the crocodile’s tail and the other as the snout, although both are undecorated. There is some weathering on the curved surface of the piece, showing lighter coloring underneath the dark brown finish.
Platters such as this are often carved for ceremonial purposes in Asmat society. When the practice of headhunting was commonplace, they were often used to serve the brains of enemies killed in headhunting raids, as it was believed that the brains held fertility essence. Many platters of this kind are carved in the likeness of canoes to demonstrate the interconnectedness of Asmat individuals with their canoes and the essential role that the crafts play in society. Crocodiles are also common artistic staples in Asmat culture, as they are common in the rainforests.
Colors: Brown, Black
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5925 |
2000.2.24 |
Platter |
This is a large wooden Asmat platter carved in the likeness of a dugout canoe. It is made of dark brown wood and is very heavy. On one end of the piece is a single carved head in place of the prow. On the opposite end is a prow carved in the likeness of two heads, both back-to-back. The sides of the piece are carved in zagging geometric patterns. The bottom of the piece is undecorated. The entire platter is unpainted and retains its dark wood color. The wood is very smooth to the touch, with minimal wear and tear. All three of the heads are identical, with shared features.
Platters such as this were carved for a variety of uses in both everyday and ceremonial occasions. Platters would often be used to eat roasted balls of sago, which formed the staple of Asmat diets. Canoe shaped platters such as this one, however, were often used for consuming the brains of enemies killed in headhunting raids. Death in Asmat society, no matter the source, was always attributed to the actions of other Asmat peoples. Headhunting raids were conducted in order to bring balance back to communities after the death of its members. Cannibalism was a common practice alongside headhunting until both were suppressed by missionaries in the late 20th century. The serving and consumption of enemy brains was considered to be an important fertility rite. Canoes also played an important role in practical Asmat life, and represented the spiritual connection that humans possess with the natural world.
Colors: Brown, White, Black
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5926 |
2000.2.25 |
Platter |
This is an oblong wooden Asmat platter carved in the likeness of a dugout canoe, likely carved in Papua New Guinea in the latter half of the twentieth century. The entire piece is unpainted and is made of dark wood. The interior of the platter is undecorated, but the sides and exterior surfaces are carved in a highly intricate geometric pattern. At the end is a prow fashioned in the image of a male figure’s head, rendered in a minimalist design. The carvings along the sides and bottom of the piece appear to depict a geometric stylized plant, tree, or fern.
Pieces such as this are produced by the Asmat peoples for practical and ceremonial eating purposes. Traditionally, platters are used to serve roasted balls of sago during meals, which is a staple of Asmat cuisine. On ceremonial occasions, some platters and bowls would also be used to consume the brains of headhunted enemies as a rite of passage. Headhunting in Asmat culture is most prominently associated with notions of fertility and vitality and was commonplace for much of the civilization’s history. The practice was banned by missionaries in the late twentieth century, at which point the consumption of ceremonial Capricorn beetles rose in popularity as an alternative. The beetles are common in sago forests and their larvae strongly resemble human brain matter, likely contributing to their popularity.
The canoe shape of pieces such as this represents the connection that Asmat peoples have with the rivers and with their canoes. Canoes are the primary mode of transportation throughout the rainforest, and are an essential part of life in many communities. Platters and bowls are often carved so that they blend the forms of men and canoes, symbolizing the connections they have with life and fertility.
Colors: Brown, Black
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5927 |
2000.2.26 |
Platter |
This is a wooden Asmat platter carved in the shape of a dugout canoe, likely produced in Papua New Guinea in the late twentieth century. It is entirely unpainted and features a very dark brown coloration throughout. The sides are decorated with elaborate geometric zig-zag patterns, terminating at either end with a head carved into the prow. At the center of the canoe are two heads facing upwards. The features on all four of the heads on display are simplistic, with recessed brows and protruding noses. The sides of the piece have suffered some wear over the years but overall remains in excellent condition.
Due to the appearance of head imagery, it is likely that this piece was produced during the time of headhunting in Asmat society. Before foreign missionaries suppressed the practice in the late twentieth century, headhunting was a common means of avenging death in communities. Death was never unnatural, either the result of hostile spirits or magic attacks from an enemy tribe. Headhunting raids were performed to collect the heads of enemies in order to restore balance to communities. The brains of headhunted foes were often served as food at ceremonial gatherings after a death in order for the consumer to be granted the dead foe’s power. Platters such as this were used to serve the brain matter before the banning of the practice. After headhunting’s suppression, platters were transitioned into serving roasted sago palm and Capricorn beetles as a replacement for human brain matter.
Colors: Black, Brown
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5928 |
2000.2.27 |
Shield |
This is a large wooden Asmat war shield produced in Papua New Guinea in the late twentieth century. It features elaborate geometric carvings across its surface and stands over five feet tall. The sides are decorated with zig-zag patterns and straw tassels at equidistant points. The interior features symmetrical patterns painted in combinations of white, red, and black pigments. The top of the shield is painted in a bar of red and a bar of black pigment. The bottom of the shield is painted only in black. There are twelve tassels total, each strung through the sides of the piece and knotted.
War was incredibly common in Asmat society throughout history. Hostile tribes would battle one another in headhunting raids as a means of enacting vengeance for death in communities which were perceived as unnatural occurrences. The production of shields was both practical and ceremonial. Practical war shields would be made to protect individual warriors during raids and to intimidate their opponents. The paint and patterns on shields were often associated with magical properties and would be used in order to frighten other warriors. Ceremonial shields were produced for thumping in the ground at festivities and community rituals, such as funerals and initiations. Each shield is carved by the individual who uses it, given them a personal attachment quality. They are often highly stylized and decorated. They are prime examples of the high quality of craftsmanship found in all aspects of Asmat artistic culture. The shape and style of shields also varies drastically by region, and no two shields are the same.
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5929 |
2000.2.28 |
Shield |
Rectangular-shaped with rounded top edge. Human head carved into top edge. Design carved into face of shield and pigmented red, white, black. Designs pigmented at back in red, black, white. Handle carved onto back. Front & back accented with ten sago tassels on each side. Color: RD,WH,BK,BR |
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5930 |
2000.2.29 |
Shield |
Roughly rectangular in shape with rounded corners. Carving red, black at top edge. Design carved pigmented red white, black. Handle carved into back. Back remnant white with red and black pigment desings. Color: WH,RD,BR,BK |
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5931 |
2000.2.30 |
Shield |
Rectangular shaped with roughly rounded edges. Pointed figure carved into top edge. Design carved into face pigmented red, white, black. Pigmented black, red, white designs at back. Handle carved at back, the edge of which runs length of shield and is accented at each end with a forked carving. Front and back accented with six tassels each. Designs carved into front edges, pigmented red. Color: RD,WH,BK |
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5932 |
2000.2.3 |
Platter |
Oblong, oval shaped platter pigmented red, white, black. Turtle head figure carved into handle pigmented red, black. Carved design pigmented red, white, black. Bowl interior white. Designs carved bordering interior. Color: BR,RD,WH,BK |
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5933 |
2000.2.31 |
Shield |
Rectangular in shape. Human figure carved into top edge. Design carved into shield and pigmented brown, white. Handle carved into back. White pigment desings on back. Color: BR,WH |
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5934 |
2000.2.32 |
Shield |
This is a large wooden war shield carved by the Asmat people in Papua New Guinea in the second half of the twentieth century. It is composed of lightweight brown sago wood, which has been treated and painted with various pigments of red, white, and black. The base color for the surface is white, while accents and designs have been painted in red and black. The top of the piece is pointed, with an ornamental triangular cap. The bottom of the piece shows degradation of colors and wear from being planted into muddy soil during use. The surface features beautiful geometric shapes and patterns which denote ancestry figures and magic wards. The rear surface of the piece features remnants of red and white pigments around a small handle. The piece is a perfect example of the exquisite level of craftsmanship found in Asmat cultural art.
War in Asmat society was very common and ritualistic in nature. Hostile tribes would meet one another to perform headhunting raids and other forms of combat in order to resolve disputes and to balance spiritual scales disturbed by unnatural deaths in their communities. Warfare was a means of enacting vengeance for the deceased and as a means of appeasing angry ancestral spirits. Shields produced for war were highly important as both practical and ceremonial tools. In combat, they were used to protect the wielder and to frighten enemies. The designs carved on the surface represented the wielders’ ancestors and magic wards in ways that gave them protection and power. Ceremonial shields were produced for events such as building dedication ceremonies and funeral rites. Asmat wielders would thump the shields into the ground as part of these rituals, resulting in the degradation of paint layers on many shields in museum collections. Each shield was carved by its wielder, giving them an incredible personal significance. They are pieces intended to tell stories of their ancestors and to demonstrate their dedication to honoring ancestral spirits. The design and shape of shields vary widely by region, and no two are exactly the same.
Colors: Red, White, Black, Brown
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5935 |
2000.2.33 |
Shield |
Roughly rectangular in shape. Figure carved into top edge. Design carved into shield and pigmented red, black, white. Handle carved into back. Designs painted in red, black at back. Color: BR,RD,BK,WH |
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5936 |
2000.2.34 |
Shield |
This is a wooden Asmat war shield decorated with geometric designs and capped with a depiction of a human figure. The base of the piece is painted in white, while the designs and accents are painted in a combination of black and red. The back of the shield is painted in white with cross section orange stripes. The front of the shield has three X-shaped geometric designs carved in relief on the surface. At the top of the shield is a bar which is painted black. At the middle of the top is a stylized human female carving, likely the image of an ancestor of the carver/wielder. The figure is roughly carved and features basic design elements common to Asmat art. On the rear surface of the shield is a handle which slopes up from the surface, forming a crescent shape. The handle is undecorated.
Shields such as this are an important facet of Asmat warrior culture, particularly in the headhunting raids performed between communities. Each shield is carved by its wielder, who also carves the image of an ancestor figure in the piece to grant spiritual protection in battle. They are carved from a single piece of wood, often taken from the sago tree. Headhunting raids were a common occurrence, as they were believed to be the only means of restoring balance to a community in which members had died. Shields are highly tailored to the individual and serve important functions for both physical and spiritual protection.
Colors: Red, White, Brown, Black
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5937 |
2000.2.35 |
Carving |
Standing human figure, attached by feet and hands to a large lizard/ crocodile figure. Bird figure attached to lizard/ crocodile tail. Figures pigmented black. Carved designs on all figures are red. Color: BK,RD,BR |
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5938 |
2000.2.36 |
Carving, ancestor |
This is a large wooden Asmat ancestor figure carved in Papua New Guinea in the second half of the twentieth century. It features two human figures standing next to each other, with one significantly smaller than the other. The smaller figure stands with legs joined at the feet and hands clasped together at the midsection. It features no distinctive genitalia carvings and a very wide neck which forms the shoulders. Its face is oblong with a toothed smile, sunken eyes, and hooked nose. The larger figure is standing behind the smaller figure, hunched over its head. This figure features female genitalia carvings at the waist, and is clasping either side of its face with its hands. Its face is very animated with expression. The right eye is elevated higher than the left. It has a prominent hairline, hooked nose, and wide toothed smile. Both figures are joined together at the feet, making them a single art piece. There is little trace of paint left, with bits of white scattered throughout. Otherwise, the piece features a very dark brown complexion.
Figures such as this are often produced in Asmat culture for depicting ancestral figures for commemorative or ceremonial purposes. Often, they are made when an individual of a community dies, as a means of representing the ancestors of the deceased. In other instances, they are carved to honor the ancestors during building dedications and festival events. After their intended function has been carried out, carvings are often discarded in the rainforests so that the spirits which inhabit them may rejuvenate the sago trees.
Colors: Brown, Black, White
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5939 |
2000.2.37 |
Carving, ancestor |
This is a wooden Asmat ancestor carving which would have originally formed the base of a bis pole. It is carved from a very light colored and porous sago wood and was originally painted in a combination of white and red pigments. Much of the white has worn off with time and exposure, leaving portions around the figure’s midsection, eyes, and arms. The red coloration is still present in the inset portions of the piece along the legs, arms, face, and in the wedge at the feet. There are small holes dotted throughout the piece, indicating that it was once victim of a powderpost beetle infestation. There are 11 other signs of large insect damage scattered around the piece as well, indicating unsafe previous conditions for the item. Much of the surfaces are very roughly hewn and there is considerable damage around the hands, eyes, feet, and top of the head. The placement of these suggests that the accompanying original pieces of the bis pole were separated from this piece at an unknown point in the past by someone other than the original artist.
The wedge at the bottom of this piece indicates that it served as the bottom portion of a bis pole, which would have secured the entire pole in the soft mud of an Asmat village. The individual featured in the piece is therefore likely an either close or distant ancestor of the deceased for whom the pole was carved. Bis poles were erected for funerary ceremonies or for occasions of ancestor reverence, as both are very common in Asmat culture. They were carved in the image of ancestors and were built so that the spirits of the ancestors could perform a mock battle outside the home of the deceased while other members of the community performed a headhunting raid in order to resolve the imbalance caused by the death. Once the balance was restored, bis poles and other carvings which accompanied it were often discarded in the rainforest in order for the spirits which inhabited them to rejuvenate the sago trees.
Colors: Brown, White, Red
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5940 |
2000.2.38 |
Carving, ancestor |
Seated human figure holding a notched pole downwards. Attached to figure is hornbill figure (?). Paddle extends below seated figure. Carved notches in pole, paddle pole. Carved designs on human figure - scarification on cheeks. Color: BR |
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5941 |
2000.2.39 |
Carving, ancestor |
Five interlocked human figures, one of which is upside down. Joined by feet and hands. Bottom figure elbow rests on down-turned hornbill figure. Some carved desings on bodies. Color: BR |
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5942 |
2000.2.4 |
Platter |
This is a wooden Asmat sago platter carved from the wood of a sago tree. It was carved in the latter half of the twentieth century by an Asmat artist in Papua New Guinea. The main body features a symmetrical pattern of a sago tree, which is carved half an inch into the surface of the piece. The fronds of the tree are painted red and the backdrop is painted white. The edges of the platter are unpainted. The bottom surface of the piece was originally painted white, which has now since faded. A cross band of red pigment dissects the bottom surface into four quadrants. The handle at the top of the platter is carved in the likeness of a male figure with his knees bent and elbows resting upon his knees. His hands are connected to his forehead by a curved protrusion. The man’s face features an elongated mouth, sunken eyes, large nose, and protruding brow, all of which were painted red. The figure’s body and limbs feature trenches carved into their length which were painted red.
Platter such as these are used by Asmat peoples for the consumption of sago for meals. The designs of the sago tree represent the dependency and reverence of the sago tree among the Asmat. The sago is a core aspect of Asmat culture, as it provides food and building materials in great abundance. In much of Asmat belief, humans and sago trees are interchangeable, dating back to the myth of humanity’s creation at the hands of the Great Woodcarver Fumeripits.
The white pigment is called mbi and originates from mussel shells which are burned to ash and mixed with clay. Red wasah pigments are derived from clay and mud deposits located at riverheads and upstream villages. The heavy use of wasah is representative of an Asmat story in which the headless, limbless, featureless man Ofomin was murdered by a man who desired his wife. Ofomin’s blood ran into the ground and mixed with the waters to create red mud and clay. Platters such as this were also used to serve human brains until the banning of headhunting practices by missionaries in the late twentieth century. It is believed that the Capricorn beetle’s larval form resemblance to human brains is what contributed to its rise in popularity as a ceremonial dish as a replacement for human brains themselves.
Color: Brown, Red, White
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5943 |
2000.2.40 |
Carving, ancestor |
This is a wooden Asmat carving which depicts two human figures, one female and one male. It is unpainted and retains its dark brown wood coloration. There is significant previous damage to the head of the female figure, with cracks indicating that it may have broken apart at one point. The piece seems to have been previously repaired by using a mixture of wood glue and concrete, located at the center brow and right temple, respectively. The larger figure is female, as indicated by the characteristic genitalia carving on the lower waist. She is holding the sides of her face with both hands. The much smaller male figure is carved between the female figure’s legs, facing outwards. The image of the smaller figure emerging from the larger figure may represent a kind of birthing occasion or ritual. Both figures feature carved lines across their bodies, possibly as a stylized representation of musculature.
Carvings such as this are often produced in Asmat communities as representations of ancestors or to commemorate important cultural beliefs. Ancestral worship plays and important role in Asmat culture, as the spirits of ancestors are believed to have active involvement in the mortal world. Ancestral figures are commemorated through carving and are often called upon to grant artists their spiritual power through carvings. After the primary function of carvings has been fulfilled, they are often discarded in the rainforests so that the spirits which inhabit them may rejuvenate the sago trees.
Colors: Brown
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5944 |
2000.2.41 |
Carving, ancestor |
This is a wooden Asmat ancestor carving depicting three individuals positioned on top of one another. The entire piece is unpainted and is made of dark dense wood with a dark brown finish. The figures are of ambiguous sex, as they all lack the characteristic features of Asmat art which differentiate genders. The bottom figure is standing with knees bent and arms holding a large wedge which connects with the ground and their chest. The two upper figures are embracing and are positioned above the lower figure’s head. The right upper figure is larger than the left upper figure. The upper left figure has their head turned to their right facing away from the upper right figure.
Pieces such as these are usually carved in the image of ancestors of the artist who created them. They are used for a variety of purposes, some practical and some ceremonial. Ancestor reverence plays an important role in Asmat society, as the spirits of the deceased are believed to have a tangible impact on the natural world. Once carvings such as this have fulfilled their intended purpose, they are often discarded in the rainforest so that their spirits may rejuvenate the sago trees.
Colors: Brown, Black
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5945 |
2000.2.42 |
Carving, ancestor |
This is a wooden Asmat ancestor carving which was produced in Papua New Guinea in the latter half of the twentieth century. It is carved from a heavier grade of wood and is carved in the depiction of a female standing with one hand at the hip and one bent across the chest. The figure’s feet are conjoined at the bottom with a wedge meant for plunging the piece into soft mud. The legs and sides of the chest feature carved designs, perhaps a stylistic form of muscle definition. The head is long and finely detailed. It features a jagged hairstyle, short nose, small mouth, shallow brow, and ears. The eyes are pits with two spherical carvings inset into them. The face gives off a sense of sadness or contemplation. The entire piece is unpainted and shows no signs of previous pigments being applied.
In much of Asmat culture, carvings for the dead and recently-deceased are produced for funerary events and festivals. After recent deaths, carvings are produced and placed in front of the deceased’s house in the form of a mock battle while community members carry out headhunting raids to seize an enemy head in exchange for the person that died. Death in Asmat culture is believed to never be accidental; it is the result of either headhunting or sorcery, and creates an imbalance in society which must be remedied by the collection of compensating enemy heads. Once this imbalance is remedied, carvings such as this are discarded in the sago forests so that the spirits which inhabit them may rejuvenate the sago trees.
Colors: Brown
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5946 |
2000.2.43 |
Carving, ancestor |
This is a wooden Asmat ancestral carving which originally formed a part of a bis pole. The majority of the piece is unpainted, with remnants of white and red paint around the accented physical features. The depiction is of a single human figure of ambiguous sexual identification. It features the characteristic breast carvings of female designs, but also features a distinctly phallic carving at the waist. The figure is in a standing position with legs spread apart and feet facing forwards. The arms are relaxed with hands in front of the hips. The right hand is attached to the waist by the thumb and index finger, but the left hand is not. The face of the individual is very stoic. It features a jutting nose with a pierced nostril, closed mouth, sunken eyes, and subtle brow. The hair is jutting above the head and the ears are very detailed. The curved lines found on the body and limbs suggest stylized muscle definition as found in many Asmat carvings. The pinky toe on the figure’s right foot is missing.
This was likely once part of a larger bis pole used for funerary services for deceased members of Asmat communities. It would stand either on the shoulders of another carved figure or implanted in the ground, with other decorative features supported with it. Poles of this kind were erected for various purposes. The most prominent would be to serve as calmers of deceased spirits while revenge was undertaken on their behalf. Death in Asmat society was never natural; it was always believed to be the work of enemy headhunting or sorcery. In order to restore the spiritual imbalance created by death, headhunting raids would be undertaken as vengeance. Until the raid was complete and balance restored, bis poles would stand outside the home of the deceased to calm the spirits. Once its function was fulfilled, the carvings would be discarded in the rainforest so that their spirits would rejuvenate the sago trees. Bis poles were always carved in the image of ancestors of the carver or of the deceased individual, as part of larger ancestor reverence in Asmat culture.
Colors: Brown, Black
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5947 |
2000.2.44 |
Carving, ancestor |
This is a wooden Asmat carving of an individual male with the head of another human individual. The entire piece is composed of dark red wood which is largely unpainted. The only painted portions on the piece are accents which denote musculature. There is considerable patina buildup on the interior surfaces of the piece, but there is relatively little external damage. The main figure is standing in a crouched position with arms bent upwards so that the hands connect with the underside of their chin. All along the body are carved lines which outline muscle definition. The head of the figure is flat and features an open mouth with a tongue, round eyes, and stunted nose which is pierced all the way through. The top of the head is carved in the style of hair, which is painted black. At the waist is characteristic male genitalia. Attached to the bottom of the figure’s feet is the head of another individual of unspecified sex. This head is rounder, but shares the same features as the main figure. At the midsection of the main figure is a protruding navel.
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5948 |
2000.2.45 |
Carving, ancestor |
This is a wooden Asmat ancestral carving which was likely created in Papua New Guinea in the latter half of the twentieth century. It is of moderate weight and is made of hard, dense wood. The figure is of a man, which can be determined by the characteristic phallus carving at the midsection. He is depicted as standing upright with both arms resting on the hips. Both legs feature triangular grooves cut into them (14 on the right leg and 15 on the left), at the middle of which is a swirling pattern. The arms are adorned with similar carvings (11 on the right arm and 8 on the left), which are also painted in red. The chest features a carving in the shape of a wide “M” and the stomach features a circular carving. Along the back runs a zig-zag pattern of carvings which were originally painted in white. Between the shoulder blades is another “M” carving. These carvings most likely denote a stylized form of muscle definition. The head of the figure is long and thin. It features a simple mouth, ears, eyes, and elongated nose. Alone its cheeks are vertical triangular carvings, 4 on the right and 3 on the left. Around the forehead is a carved red band. The face is covered in the remnants of white paint.
In much of Asmat culture, carvings for the dead and recently-deceased are produced for funerary events and festivals. After recent deaths, carvings are produced and placed in front of the deceased’s house in the form of a mock battle while community members carry out headhunting raids to seize an enemy head in exchange for the person that died. Death in Asmat culture is believed to never be accidental; it is the result of either headhunting or sorcery, and creates an imbalance in society which must be remedied by the collection of compensating enemy heads. Once this imbalance is remedied, carvings such as this are discarded in the sago forests so that the spirits which inhabit them may rejuvenate the sago trees.
Colors: Brown, Red, White, Black |
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5949 |
2000.2.46 |
Carving, ancestor |
This is a wooden Asmat ancestor carving depicting two individuals in sitting positions, one on top of the other. The entire piece is unpainted and is carved from very dark wood with visible vertical grain. There is a wedge at the bottom of the piece where it would have been plunged into mud to stand upright, which shows some signs of discoloration. Both figures are female, based on characteristic features around the chest and waist. They both sit in a position with legs bent outwards to either side, with elbows resting on their knees and hands splayed open. The thumbs of both figures’ hands are connected to the sides of their heads. The fingers of the bottom figure are connected to the feet of the top figure, and the top figure is seated atop the head of the bottom figure. There is some damage to the piece. The bottom figure is missing their left index finger, and the top figure is missing the bridge of their nose. There are carved lines across the bodies and limbs of both figures, indicating stylized musculature.
The figures in this carving are likely the ancestors or previous relatives of the individual who produced it. It was likely produced for an Asmat ancestral reverence practice, which are common in Asmat society. Most often, they are made for festivals which honor the dead or in the event of an individual dying. Because death in Asmat society is never natural, carvings of the deceased and their ancestors are produced to protect the deceased with spiritual energy until the death has been avenged. After events of this nature, carvings are often discarded in the rainforest so that the spirits which inhabit them may rejuvenate the sago trees.
Colors: Brown, Black
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5950 |
2000.2.47 |
Carving, ancestor |
This is a wooden Asmat ancestor carving produced as a tourist piece in the second half of the twentieth century. It depicts a human male figure with bent knees and arms sitting atop a human face which is incorporated into the beaks of hornbill birds. The body of the figure features carved striations along its limbs and abdomen in a stylistic set of patterns. The figure also features a prominent phallic carving at the waist. The face is carved with very simplistic features typically found in Asmat art. The hands are raised to the sides of the shoulders spayed outwards with four fingers showing.
This piece is likely a piece produced for trade with outsiders, as indicated by several uncharacteristic features not commonly found in Asmat ethnographic art. The simplicity of the carved striations, the pose of the figure, and the carved divot in the chest are all signs of tourist production. The lack of paint across the entire body of the piece is not wholly unusual, but may be indicative of its intended use. The piece may have been produced to capitalize in interest in Asmat art during the late 1970s and 1980s, when collector institutions such as museums and private galleries began focusing much attention on acquiring art from indigenous cultures in Indonesia.
Colors: Black, Brown
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5951 |
2000.2.48 |
Carving, ancestor |
This is a wooden Asmat ancestor carving made from solid, heavy dark wood. The piece contains remnants of original white and red paint, particularly along the legs and arms. The figure is male, based on the characteristic genitalia carving at the waist. The male figure’s arms are bent at the waist, with hands attached to the bottom of the chin. The neck is long and trunk-like and the head features very stylized features. The mouth is a collection of curved 6 slashes, the eyes are sunken, and the hair is carved in such a way that it stands out from the rest of the forehead. The eyes are painted in red. The arms and legs of the piece feature long carved lines, possibly as stylistic muscle definition.
This may once have been part of a bis pole, although this is uncertain. Bis poles play an important role in Asmat spiritual worship, as they are often created for building commemorations and for funeral rites. When a member of a community dies, a spiritual imbalance is brought about. In order to correct the imbalance, members of the community create bis poles depicting the deceased’s ancestors to guard his spirit. Headhunting raids then repay the spiritual debt caused by the death, and the bis poles are removed from outside of the deceased’s home. This particular piece may once have been part of a lower portion of a bis pole, which are often formed from large carvings of single ancestral figures.
Colors: Brown, White, Red
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5952 |
2000.2.49 |
Carving, ancestor |
This is a wooden Asmat ancestor carving made out of dark brown wood featuring two individuals. The figures are both in seated positions, one sitting below the other. The lower figure is sitting with bent knees and elbows resting upon the knees. Upon the head of the lower figure is seated the upper figure, facing the opposite direction. Both figures are depicted in relief, and feature no external dimensions. They both also feature carved lines across their limbs and torso, possibly as stylized muscle definitions. The entire piece is completely unpainted.
Ancestral worship plays an important role in Asmat culture. The spirits of ancestors are believed to interact with the mortal world and grant mystical powers to those who honor them. Asmat artists often produce ancestral carvings in order to balance spiritual energies or call upon their powers of enchantment. Shields, for example, are prominently adorned with the images and symbols of ancestor figures to protect the wielders and cast hostile magic spells on foes. Ancestor carvings are also produced for events such as building dedications, ceremonial festivals, and funeral rites. After their primary function has been fulfilled, they are often discarded in the rainforests so that their spirits may rejuvenate the sago trees. Each carving is produced by the artist whose ancestors are depicted, giving them a highly personal significance.
Colors: Brown, Red
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5953 |
2000.2.5 |
Platter |
This is a wooden Asmat sago platter carved from the wood of a sago tree in Papua New Guinea. It features a symmetrical pattern of a sago tree on its front curved surface. The design is carved half an inch into the piece. The fronds are painted red and the backdrop is painted white. The sides of the piece are carved in an elaborate swirling pattern, the grooves of which are painted white. These swirls run around the entire band of the piece’s exterior surface. The handle of the platter is carved in the shape of a male face. It features an elongated nose, wide mouth, sunken eyes, and prominent brow. Across the cheeks are each two trenches resembling scars or facepaint. The head was likely originally painted all white, but the pigments have since faded. The bottom surface of the platter is very roughly carved. It features no smooth surface area and is completely unpainted.
The pattern of the sago tree represents the value which Asmat peoples place on the sago tree, both for food and for building materials. The sago features prominently in many Asmat myths, including how the Great Woodcarver Fumeripits created humanity out of the wood of sago trees. Pieces such as this were used for serving and eating sago at meals, in addition to human brains and Capricorn beetles. When missionaries began banning the practice of headhunting in the late twentieth century, many Asmat societies saw an increase in popularity of the Capricorn beetle as a ceremonial food. It is commonly thought that this is due in part to the resemblance of the beetle’s larval form to human brains.
The white pigments used in painting this piece and others like it is called mbi, and is created through a process in which mussel shells are burnt into ash and mixed with clay. The red pigment is known as wasah, which is made out of red clay and mud found upstream and at riverheads. The red coloration is associated with the myth of Ofomin, a featureless man who resembled the trunk of a sago tree. Ofomin was murdered by his wife and the man who desired her; his blood ran into the ground and mixed with the water to form red clay.
Colors: Red, White, Brown
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5954 |
2000.2.50 |
Carving, ancestor |
This is a wooden Asmat ancestor carving depicting a single human figure in a standing position. The entire piece is unpainted and is carved from dark red wood with no visible grain. The finish on the carving is dark brown, but has faded around the front surfaces to a light brown. The human figure depicted is female and features a single arm and leg in front of the body. The single arm extends from the middle of the thigh to the bottom of the chin, with a four-fingered hand. The back of the leg features a carved line indicating a stylistic depiction of two legs pressed closely together. The entire body is decorated with curved lines set into the wood, depicting stylized muscle definition. The right side of the torso features 9 such lines, while the left features only 8. The face of the figure is very simple and has little definition. Each cheek features four downward facing “V” carvings, perhaps depicting ears. The nose is pierced all the way through the nostril. The mouth is small and the eyes are very simply carved. The feet at the bottom of the piece are pointed in a wedge to serve as an anchor for planting it in soft mud.
Carvings such as this are typically produced in reverence of ancestors or other deceased relatives, and are often carved by the descendant of the deceased themselves. In many societies, they are made in tandem with bis poles to place outside the home of a deceased Asmat individual until their death is avenged by headhunting. After ceremonial occasions and occasions such as this, carvings are often discarded in the rainforest so that the spirits which inhabit them may rejuvenate the sago trees.
Colors: Brown, Black
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5955 |
2000.2.51 |
Carving, ancestor |
This is a wooden Asmat ancestor carving depicting a female human individual with bent knees and arms. The entire piece is unpainted and is composed of dark red wood with very visible grain. The individual is female based on the characteristic female genitalia carved at the interior of the waist. The features of the body are very geometric. The legs and arms are joined together as two separate units. The arm is bent upwards with hands touching the neck. The knees are bent with feet flatly extended. The face is very basic, without much definition or detail.
It is unlikely that this piece was part of a bis pole, as it does not possess the structural characteristics of such pieces. It was likely produced for another purpose related to the worship of ancestral spirits, which plays a key role in Asmat religious belief systems. The spirits of ancestors are believed to have an active role in the mortal world and are often associated with mystical images, symbols, and colors. Ancestor carvings are produced for funeral rites, ceremonial festivals, and building dedications. Once the primary function of the carvings has been accomplished, they are often discarded in the rainforest so that their spirits rejuvenate the sago trees.
Colors: Brown, Black
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5956 |
2000.2.52 |
Carving, ancestor |
This is a wooden Asmat ancestor carving made of dark, unpainted wood. It features a single figure in abstract design, with thin limbs and oversized head. The figure is built into the frame of the carving, with a pole attached to the base of the chin. The legs extend all the way to the bottom of the piece, where they bend downwards to the base. The hands are resting upon either side of the face. The figure is clearly male, based on the characteristic phallic carving at the waist.
Ancestor carvings such as this are produced by the Asmat communities as reflections of people who have died. Often, they are carved in celebration of the festival for the Great Woodcarver Fumeripits, who is said to have carved the first humans out of the wood of the sago tree. In other instances, carvings such as this are placed outside the home of recently deceased individuals until their death has been avenged by a headhunting raid. After the occasions are over, carvings are discarded in the rainforests so that the spirits which inhabit them can rejuvenate the sago trees.
Colors: Black, Brown
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5957 |
2000.2.53 |
Carving, ancestor |
This is a wooden Asmat ancestor carving featuring two female individuals. The entire piece is unpainted and is comprised of dark, solid wood. There are two figures depicted in this piece, one standing on top of the shoulders of the other. Both are female, as judging by the characteristic genitalia carving at the waist and protrusion carvings on the chest. The bottom figure is standing with arms stretched downwards and clasping a hornbill’s beaks in the hands. The upper figure is smaller and standing with arms stretched downwards to connect with the top of the bottom figure’s head. Both figures feature prominent chins, noses, and brows.
Ancestor carvings such as this are produced by the Asmat communities as reflections of people who have died. Often, they are carved in celebration of the festival for the Great Woodcarver Fumeripits, who is said to have carved the first humans out of the wood of the sago tree. In other instances, carvings such as this are placed outside the home of recently deceased individuals until their death has been avenged by a headhunting raid. After the occasions are over, carvings are discarded in the rainforests so that the spirits which inhabit them can rejuvenate the sago trees.
Colors: Black, Brown
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5958 |
2000.2.54 |
Carving, ancestor |
Two human (female?) figures, one standing atop the shoulders of the other. Top figure rests finger tops on second figure's head. Second figure's fingertips rest on hornbill(?) figure. Color: BR,RD,WH |
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5959 |
2000.2.55 |
Carving, ancestor |
This is a wooden Asmat ancestor carving depicting three individuals, likely created in Papua New Guinea in the latter half of the twentieth century. The entire piece is coated in a powdery white pigment material which flakes easily. Portions of the piece which are carved inset are painted in red. There are three figures depicted in the piece: the large supportive figure, the smaller upright figure, and a third figure conjoined with the smaller figure. All are depicted as being female. The larger figure is holding on the smaller figure, who is seen holding onto the larger figure’s waist. The legs of the smaller figure are bent and attached to the larger figure’s knees at the feet. The third figure consists only of a head protruding from between the legs of the smaller figure. Due to the nature of the depiction and the imagery of female reproductive organs on the smaller figure, it can be inferred that this may represent a birthing ritual.
Many pieces such as this feature vibrant pigment coloration. The white pigment is called mbi, created by crushing and burning mussel shells found in river beds. The red pigment is called wasah and is created by mixing different clays from the banks of rivers along upstream communities. Color is said to have magical properties in Asmat culture, and can indicate such symbolism as strength, power, and mysticism.
The carving of ancestors is one part of the extremely important cultural practice of ancestor worship in Asmat society. Carvings of ancestors are always done by the artist whose family members they depict, giving them a very personal sense of value. They are often produced for major ceremonial events such as festivals, feasts, headhunting raids, or the dedication of new community halls. Carvings such as this are also believed to have magical properties. Once their function is served, many are often discarded in the rainforests so that the ancestral spirits which inhabit them may help rejuvenate the sago trees and give the community new life.
Colors: Brown, Black, Red, White |
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5960 |
2000.2.56 |
Carving, ancestor |
This is a wooden Asmat ancestor carving depicting a single male figure atop an abstract geometric structure. The entire piece is covered in a chalky red pigment which easily rubs off to the touch. The pigmentation is most abundant in the upper and lower portions of the piece, as the middle retains little flaking pigment. The figure is depicted standing with bent knees and hands cupped together at the midsection. The figure’s head is large in proportion to its body and is very angular. It features a prominent chin and brow, as well as a wide smiling mouth, sunken eyes, and pointed nose. Across the face and body are shallow carved lines which may indicate stylized musculature. The bottom of the piece consists of an abstract geometric construct which has three points with which to stick the piece in soft mud.
Ancestor worship plays an important role in Asmat culture and society, as the spirits of ancestors are believed to take active participation in the mortal world. Carvings are produced in the image of ancestors as a form of reverence and as a means to call upon spiritual powers. The spirits of the deceased are believed to inhabit these carvings, giving them mystical qualities. Carvings such as this are often produced for funerals, ceremonial festivals, and building dedications. Once the primary function of a carving has been fulfilled, it is discarded in the rainforest so that its spirit may rejuvenate the sago trees.
Colors: Red, White, Brown.
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5961 |
2000.2.57 |
Carving, ancestor |
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 |
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5962 |
2000.2.58 |
Carving, ancestor |
This is a wooden Asmat ancestor carving which depicts two individuals in an embracing pose. It is covered in a chalky white pigment, with accents painted in red pigments. It features two individuals, one larger than the other. Both figures appear to be male, as indicated by the characteristic genitalia carvings found at the waist. The larger figure is holding the smaller figure at the hips, and the arms of the smaller figure are draped around the neck of the larger figure. The larger figure is resting his chin on the top of the smaller figure’s head, which is turned away to the left. Both figures are carved with simplistic features. They both possess wide mouths, pointing noses, and sunken eyes with no detailing. Each of the accents of the face and muscles are painted in red pigments.
Asmat ancestor carvings are typically produced for remembering the deceased in the event of reprisal headhunting raids or for festivals of community remembrance. Each carving depicts individuals from the bloodline of an either living or deceased member of Asmat society. Based on the size and detailing, it is plausible that this piece represents a man and a child, both of whom are presumed to be ancestors of an individual.
Colors: White, Red, Brown
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5963 |
2000.2.59 |
Carving, ancestor |
This is a lightweight wooden Asmat carving which depicts two ancestor figures standing atop one another. It is painted in varying shades of white, red, and black chalky pigments over its surface. Both figures depicted feature white bodies and red-painted accents, including facial features and muscle lines. The top figure is female, based on characteristic carvings on the chest. The bottom figure is of ambiguous sex. The bottom figure has suffered damage around the face, with much discoloration and chipping of its paint layers. The top figure is standing on top of the head of the bottom one, with a wide base formed out of their feet. The bottom figure is standing upright with arms extended downwards, grasping a featureless rod which reaches down to the carving base. The top figure is standing in a similar position, holding the head of a hornbill in their hands. The bottom figure is thinner than the top figure, particularly around the chest and midsection.
Ancestral worship plays a highly important role in Asmat culture, as the spirits of ancestors are believed to inhabit the mortal world. They are often called upon by artists to grant them mystical powers through their carvings, such as in war. Carvings depicted ancestors are produced in order to commemorate them and to serve important functions at events such as building dedications and funeral rites. Once the primary function has been fulfilled, they are often discarded in the rainforests so that the spirits may rejuvenate the sago trees.
Colors: White, Red, Black, Brown
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5964 |
2000.2.6 |
Platter |
This is a wooden Asmat sago platter carved in Papua New Guinea in the latter half of the twentieth century. The main body is in the shape of an oval and is capped by a handle which is carved in the image of a male figure’s head. The body is carved with the pattern of a sago tree’s branches, which are painted red. The outlines of the leaves are painted in black and the backdrop is painted in white. At either ends of the piece is a section which has been decorated with 15 vertical grooves which are painted red. These grooves extend 1” from the bottom of the piece. The underside of the platter was once painted in white, but has since faded with time. The handle/head features a large nose, protruding forehead, sunken eyes, and large cranium. The top of the cranium is painted black with a band of red circling it. The eyebrows are painted black and the pits of the eyes are red. The chin is black and the mouth is red. Each cheek has two curved cuts, each painted red. The bridge of the nose is hollow.
The sago pattern of the platter is representative of the sago tree, which serves many key functions in Asmat culture and society. Sago trees provide building materials and food and are the primary source of sustenance. Platters like these are carved out of sago wood and used to serve roasted sago flour balls, human brains, and Capricorn beetles at meals. Capricorn beetles replaced the consumption of human brains after missionaries banned headhunting practices in the late twentieth century, commonly thought due to the resemblance of the larval beetles to brains themselves. Today, they form a ceremonial portion of Asmat diet.
White pigments used in this piece are called mbi, and are made from a process involving the crushing and burning of mussel shells with wood. The reds are called wasah, and are created from a mixture of red clay and muds from riverbeds. Colors have a magical quality about them in Asmat beliefs. Red, in particular, is connected to a popular myth of a featureless man named Ofomin who was murdered by his wife and her lover. As Ofomin lay dying, his blood ran into the ground and mixed with the water, making red clay.
Colors: Red, Brown, White |
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5965 |
2000.2.60 |
Carving |
This is a wooden Asmat carving in the form of a tall male human, carved in Papua New Guinea in the latter half of the twentieth century. Much of the paint has since faded from the piece, but fragments of white and red pigments remain around the arms and legs. The figure is standing straight with hands resting upon the hips, and feet joined by a wedge at their heels. The figure has an elongated neck leading to a large head. The head features two circular eyes and a circular mouth, set in beneath a small brow and long, thin nose. The top of the head is carved and was likely originally painted black. This can be interpreted either as stylized hair or a headpiece of some fashion. The figure can be discerned as a male due to a minimalistic phallic feature carved between the legs, characteristic of Asmat carving. The entire body of the piece is decorated with various geometric patterns carved into its surface. These patterns could be stylized depictions of musculature or body painting, but it remains unclear.
Carvings such as these are produced by the Asmat for festivals or decorative purposes, usually to honor ancestral figures. Many are created for the festival of the Great Woodcarver Fumeripits, who is held in mythology to have carved the first humans from the trunks of sago trees. After this festival, carvings are discarded in the rainforest so that the spirits which inhabit them may rejuvenate the sago trees. Carvings such as this piece are representative of the importance placed on ancestor worship and nature spiritualism practiced by the Asmat peoples.
Colors: Brown, White, Black, Red
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5966 |
2000.2.61 |
Carving |
This is a wooden Asmat ancestor carving that would typically adorn a place at the top of a ceremonial bis pole. The piece is largely unpainted, with remnants of red and white paint around the sides and front surfaces. The carving depicts two individuals, one standing upon the shoulders of the other. The bottom figure is (presumably) female and the top figure is male, based upon the phallic carving at the waist of the upper figure and the lack of such carving on the bottom figure. Both figures are holding the heads of hornbill birds in their hands, the beaks of which reach up and connect with their chest and upper lip. There is a crack in the piece which stretches from 6” from the bottom of the lower figure’s leg. Non-original alterations have been made to keep the piece together, as shown by two metal nails inserted into the wood around the crack. This is known to be non-original to the piece since Asmat carvings were always created in one piece without nails or other attachment devices.
Ancestral carvings such as this would adorn the tops of bis poles, ceremonial pieces which would be placed outside of the houses of recently deceased individuals. Bis poles and their adornments would display ancestors in chronological succession, representing all the members of a particular family which had since passed away. Poles such as these were placed outside of the deceased individual’s home until the individual had been avenged by headhunting. Death in Asmat traditional culture is never accidental; it is either the result of enemy headhunting raids or sorcery. Retaliatory headhunting is the remedy for imbalance in communities resulting from death. Once balance has been restored, bis poles are uprooted from their place and discarded in the rainforest so that the spirits which inhabit them may rejuvenate the sago trees.
Colors: Red, White, Brown |
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5967 |
2000.2.62 |
Carving |
This is a wooden Asmat carving depicting a female human figure holding a New Guinea crocodile. It is covered in a white pigmentation, with accents on both the human figure and the crocodile painted in red. The piece has suffered damage along the interior and shows signs of exposure in its faded paint layers. The human figure features a very roughly carved face, with lopsided eyes and ears. The face has a wide open mouth, pointed nose, and lines carved into the cheeks. The top of the head is painted black. Along the body and limbs of the human figure are carved lines indicating musculature. The figure has arms bent upwards holding the head of the crocodile between their hands. Their legs are bent and connect with the crocodile at the knees and feet. The crocodile is larger than the human and features symmetrical carved lines across its body. The tail is extremely detailed, with a grid pattern of scales carved in relief. The eyes are carved on the top of its flat head, and it features a long snout with no teeth. Its front legs connect with the human figure’s forearms, and its rear legs connect with the human figure’s knees.
Crocodiles form an important part of Asmat society, as they are abundant in the rivers and waterways on which Asmat communities are built. Alongside other animals, such as the hornbill and the cassowary, crocodiles are often featured prominently in Asmat art as a representation of the natural world and human connection with nature and fertility.
Colors: White, Red, Brown
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5968 |
2000.2.63 |
Drum |
Cylindrical drum, narrower in center band (hourglass). Hollow. Undecorated handle attached to one side. Body of drum has line, carved designs. Head is lizard skin attached with rattan Color: BR |
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5969 |
2000.2.64 |
Drum |
This is a large ceremonial wooden drum of Asmat origin carved from sago wood. It stands quite tall and bears intricate carving decorations on its exterior. It features no paint and is dark brown with traces of smoke-induced patina. The drum forms an hourglass shape which culminates in a covered aperture at the top covered with lizard skin. The side of the piece features an elaborately carved handle with swirling geometric patterns and stylized cassowary beaks. The exterior of the main body features several raised carvings, symmetrical on the top and bottom. Inset into the wood are square-shaped carvings which frame the raised decorations.
Drums in Asmat society are highly associated with the popular origin myth of the Asmat people. Legend tells that originally there was a single human named Fumeripits. Fumeripits became lonesome and so he carved the likeness of humans from the wood of the sago trees around his home. But the forms were lifeless logs, with no emotions and no movement. So Fumeripits carved a drum and beat it to give his carvings life. This story, with variations based on community, forms the basic understanding of how people were brought into creation in Asmat culture.
In the modern day, drums are carved by hand from a single sago tree trunk by a single artist. They are used during the dedication ceremonies for a jeu (community house) and are central to daily life in Asmat society. When not in use, drums are placed above fire pits in homes, where they are preserved by the smoke. Over time, this smoke accumulates a thick layer of patina which gives drums a very dark coloration. Because of the sophisticated construction of drums, pieces such as this are intended to be used for a very long period of time before being retired.
Colors: Brown, Black
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5970 |
2000.2.65 |
Drum |
Cylindrical drum, narrower in center band (hourglass). Decorated handle attached to one side. Body of drum has carved designs. Head is lizard skin attached with rattan. Hollow. Color: BR |
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5971 |
2000.2.66 |
Carving, ancestor |
This is a wooden Asmat carving depicting three individuals all gathered around in a rough semicircle. It is entirely unpainted, leaving its original dark brown wood coloration. The figure on the left is standing with his right arm extended down to the base, while the other arm is completely missing. There are three metal nails where the left arm used to be, indicating non original repair work had been done. The left arm of the left figure most likely extended to connect to the body of the rear figure standing behind it. The rear figure is standing with his left arm extended down to the base and his right arm resting on the elbow of the right figure. There are signs of wear on the right shoulder where the left figure’s missing arm may once have been connected. The figure on the right is standing with his left arm resting on his hip and his right arm resting on the left knee of the rear figure. All three figures are possibly female, based on characteristic carved features. All are also pointing their heads upwards and forwards and feature large torsos. The closeness of the figures and their similar features may suggest that they all may have been relatives or members of the same line of descendants.
Colors: Brown |
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5972 |
2000.2.67 |
Carving |
This is a large Asmat bis pole topper made from sago wood. It features the images of five human figures intertwined with stylized imagery of hornbill beaks, symbolising the importance of the animal in Asmat ancestral worship practices. The piece is painted entirely in a white and red mixture of paints, with white mbi used on the bodies of the figures and red wasah used in the inset accent portions. The bottom of the piece is curved where it would originally have attached to a much larger pole. The top of the piece is formed by a single human figure whose body is the beak of a hornbill. The base is comprised of two human figures looking across from one another, while the middle is comprised of two figures oriented in the same direction. There are a total of 17 hornbill beaks found in the piece.
The white paint found on the piece is called mbi, and is created by crushing and cremating mussel shells found on riverbeds. The red pigment is called wasah and is made from mixing different colors of clay found in upstream villages. Color in Asmat society is said to have magical properties, and different combinations of color are associated with such ideas as strength, fertility, and mysticism.
Bis poles are used throughout much of Asmat culture and play a vital role in ancestral worship and funerary practices. When a member of the community dies, the other members erect statues depicting the deceased and their ancestors outside the home. These carvings are traditionally done by family members and are believed to embody the spirits of the deceased’s ancestors, who protect the spirit of the deceased until their death has been avenged. Because death in Asmat society is considered to always be unnatural, headhunting raids were widely carried out prior to the late twentieth century in order to restore balance to grieving communities. Once balance had been restored, the carvings, including bis poles, would be discarded in swamps and rainforests so that the spirits could rejuvenate the sago trees which give Asmat communities life. Pieces such as this would have been placed at the top of the bis pole pointed outwards, but are not always carved as a part of the larger pole.
Colors: Brown, White, Red
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5973 |
2000.2.68 |
Carving, ancestor |
This is a wooden Asmat carving which depicts three individuals gathered together in a rough triangle shape. The piece is covered in white and red chalky pigments, with the accents painted in red. The figure at the bottom is in a squatting position, with the figure on the left standing over them. Attached to the sides and top of the bottom figure are three heads of hornbill birds, atop which is the top human figure. It is unclear what sex each of the individuals depicted are due to a lack of distinguishing physical features.
Carvings such as this are often produced as a means of ancestor worship, which plays an important role in Asmat culture. The spirits of ancestors are believed to inhabit the mortal world and interact with the physical realm after death. Artists carve depictions of ancestors as a means of balancing unfriendly spirits and calling upon mystical protections from their ancestors. Carvings such as this are often produced for funerary rituals, ceremonial festivals, and building dedications. After their primary function has been carried out, the carvings are often discarded in the rainforests so that their spirits may rejuvenate the sago trees.
Colors: White, Red, Brown
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5974 |
2000.2.69 |
Carving |
Four human figures in rectantular shape, joined back to back and by feet and ears. Each human figure has its arms and feet connected by two hornbill figures. Carved designs on sides and cheeks (scarification). Carbved designs pigmented red. Chins and tops of heads pigmented black. Whole piece remnant white. Color: WH,RD,BK |
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5975 |
2000.2.70 |
Figure, Religious |
This is a rectangular wooden Asmat carving depicting two individuals, seated in opposite directions but connecting at the back. It is painted entirely in white, black, and red chalky pigments which dust off easily. Around both of the figures is a round rectangular frame which holds them in place. The larger of the two figures is crouched on the right side, with feet and hands connected to the outside frame. The smaller of the two figures is upside down and is attached to the back of the larger figure at the glutes. This figure is in a crouched position, with feet attached to the back of the larger figure’s head and hands stretched downwards and attached to the outside frame. Both figures feature carved lines on their limbs, torso, and head, possibly as a stylized depiction of musculature. Both feature red paint along these lines and around the facial features. Both also have black painted hair. The biological sex of the figures is ambiguous due to the lack of characteristic genitalia carvings. On the upper left quadrant of the piece are two animal heads, a hornbill in the lower portion and a crocodile in the upper portion. Both animals are populous in Papua New Guinea, particularly along the rivers and waterways on which many Asmat communities are built.
Carvings such as this are produced in Asmat society for ceremonial events and for ancestral/spiritual worship. Typically, they depict the ancestral figures of the artist who produces them in ways that honor them and grant mystical power. Carvings such as this are produced for events such as building dedications, ceremonial festivals, and funeral events. After their primary function has been fulfilled, carvings are often discarded in the rainforests so that the spirits which inhabit them may rejuvenate the sago trees.
Colors: White, Black, Red, Brown |
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5976 |
2000.2.7 |
Platter |
This is an oval-shaped wooden sago platter of Asmat origin. It was likely carved in the country of Papua New Guinea in the latter half of the twentieth century by an Asmat artist. It is of moderate weight and features a symmetrical sago tree design carved into its curved surface. The body and fronds of the sago tree are cut half an inch into the surface of the piece and are colored white. The backdrop of the trees is painted red, which has since faded to a rusty orange. At the bottom of the platter is a band of triangular carved decoration. At the top of the platter is a large carved male head which serves as the handle. The head features sunken, bulging eyes with an elongated nose, prominent forehead, ears, and smiling mouth with a large tongue. The nose has triangular nostrils carved into it at its base and there is a carved trench along each cheek resembling scars. The bottom of the platter features no decorations but features a band of red paint across the midsection.
In many examples of Asmat art, the twin colors of white and red are prominently featured. White paint is known as mbi, which is made from mussel shells through a process burning the shells into ash. The red is called wasah and is made from muds which are gathered at riverheads and villages which reside upstream.
Platters such as this one are traditionally used by Asmat peoples for eating sago, one of the most prominent food staples of Papua New Guinea. The sago and the sago tree play a prominent role in many Asmat communities and folktales. The red coloration is considered to have magical properties and is a core aspect of an Asmat myth involving Ofomin, a man whose blood ran into the ground and mixed with the water to form red clay and mud. Capricorn beetles are the most ceremonial food staple in Asmat society, and it is commonly thought that their larval resemblance to human brains contributed to their rise in popularity after missionaries began banning headhunting practices in the late twentieth century.
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5977 |
2000.2.71 |
Carving, ancestor |
This is a wooden Asmat carving which likely formed part of a much larger bis pole used in funerary ceremonies. It is painted in various shades of white and red pigments, which cover the entire surface of the piece. The carving was made from a very light-colored sago wood with little density. The entire piece comprises swirling geometric designs punctuated by human faces on the exterior frame. There are eight layers, each with two swirls and two human heads at the border between the layers. Much of the white pigment has worn away, but remnants remain in the chalky covering. There is damage to the top frame of the piece, indicated by a marked spot of weathering.
Elaborate carvings such as this are prominently seen displayed as upper portions of bis poles, which are used in funerary ceremonies throughout Asmat culture. Bis poles are erected in the event of a person’s death, with images of the deceased’s ancestors displayed prominently. These poles are erected in a manner so that the spirits of the ancestors will watch over the home in a mock battle. Once the death of the deceased individual has been avenged through headhunting, the bis poles are removed from outside the home and often discarded in the rainforest so that the spirits which inhabit them may help rejuvenate the sago trees which provide life for Asmat communities.
Colors: White, Red, Brown, Black
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5978 |
2000.2.72 |
Carving |
This is a wooden bis pole carving produced by the Asmat peoples of Papua New Guinea. It depicts a man in the upper portion sitting on his elbows and knees, seemingly either dead or in contemplation. The figure is interconnected into the rest of the piece, which consists of other geometric designs. Half of the piece consists of swirling patterns with crescents carved into them. The bottom portion of the piece, which would have been attached to another wooden carving, has minor discoloration and rough textures. The entire piece is painted in red, with remnants of white pigments in several areas.
Carvings such as this were produced by many Asmat communities as ways of remembering the dead during funerary services. They would typically be placed at the top of a much taller pole carved in the shape of human figures, representing the line of family members. Items such as this would have been placed outside the home of the deceased’s house as a reminder of his or her loss in the community. In much of Asmat culture, no death was considered accidental. Deaths were believed to be either the result of enemy headhunting raids or sorcery, which created an imbalance in society that had to be remedied by capturing an enemy head. After this had been done and balance restored, bis poles and other carvings would be discarded in sago groves so that their spiritual energies would rejuvenate the sago.
Colors: Brown, Red, Black, White |
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5979 |
2000.2.73 |
Carving |
This is a wooden Asmat carving which portrays an abstracted form of a male character with his knees bent and his arms stretched upwards towards his head. The piece measures 32” in length and 7” in width. At the bottom is a thin wedge which would have been used to anchor this piece in the soft mud of an Asmat village. Above this wedge are two ouroboros symbols, one on top of the other. Atop these symbols is the image of a man in a seated position. His legs are bent outwards and his elbows rest upon his knees. He features a long neck and a head which is attached to the hands via the thumbs. Along the body are a number of carvings which are painted red in geometric patterns.
Carvings such as this typically depicted an ancestor figure or someone important to the community who had since passed away. These carvings would be produced for the festival of the Great Woodcarver Fumeripits as a celebration of the Asmat creation myth in which Fumeripits carved humanity out of sago trunks. After the festival, carvings would be deposited in the rainforests as a means of rejuvenating the sago trees with the spirits of ancestors. The role of ancestral carvings in Asmat society cannot be overstated. Pieces such as this illustrate the spiritual connection between the people, the spirits, and the land.
Colors: Brown, Red, White
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5980 |
2000.2.74 |
Carving, ancestor |
This is a rectangular wooden Asmat carving which would have once possibly adorned the top of a bis pole. The entire piece is painted in chalky white and red pigments which easily dust off. The bottom 14” of the piece consists of two swirling patterns set on opposite sides of a wooden bar. The upper ride side of the piece feature two animal heads, both hornbills. The two human figures inhabit the upper half of the piece. One is standing on the back of the other. Both have their arms bent with their hands connected to the bottom of their chin. Both figures also feature carved lines across the torsos and limbs, perhaps as stylized muscle definition.
Although unclear, this piece may once have been part of a bis pole, which would have been placed outside the home of a recently deceased member of a community. Because death in Asmat culture is widely believed to be the result of enemy headhunting or sorcery, the imbalance of society cannot be remedied until vengeance is enacted. Once balance is restored, bis poles are discarded in the rainforest so that the ancestral spirits which inhabit them can rejuvenate the sago trees.
Colors: White, Red, Brown |
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5981 |
2000.2.75 |
Carving, ancestor |
Seated male human figure, hoined elbows and knees, legs/ arms spread. Seated on sieries of three cuscus figures atop second human figure, on hands and knees (upside down). Outline made up of hornbill figure carved details pigmented red. Areas on bird and human faces and male figure genitals pigmented black. Color: BR,RD,BK |
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5982 |
2000.2.76 |
Carving, ancestor |
Rectangular shaped, Four interconnected human figures, joined by elbows and knees or feet, and by hornbill/pelican figures. Carved designs on bodies and cheeks (scarification?) and on birds pigmented red. Entire piece remnant white. Hair and chins of figures remnant black. Color: BR,WH,RD,BK |
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5983 |
2000.2.77 |
Carving, ancestor |
Three interconnected human figures. All are seated with joined elbvows and knees,hands raised to face level. Two bottom figures sit face to face, thrid attached above them, joined to pelican/hornbill figure. Remnant white, especially in crevices. Black, red pigment in carved details (scarification on bodies/ cheeks). Shape of carving is roughly rectangular with a rounded top edge. Color: BR,RD,BK,WH |
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5984 |
2000.2.78 |
Carving, ancestor |
Five human figures joined at feet and rears, one with hands.. Piece = remnant white. Carved designs on bodies cheeks (scarification?) and remnant red. Hair and eyebrows black. Figures encircled by rectangular-shaped outline, part of rectangles is made up of hornbill(?) figure. Color: BR,RD,WH,BK |
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5985 |
2000.2.79 |
Carving |
Two human figures. One is crouching, the other is crouching and leaning back. The head and arm of leaning figure is attached to the other's back. Both figures have carved designs on sides of torso, outsides of legs, and cheeks (scarification?). Pierced septums are exaggerated on both figures. Color: BR |
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5986 |
2000.2.8 |
Platter |
This is a wooden Asmat platter used for serving and eating roasted balls of sago. The curved surface is carved in decorative geometric swirls which are painted red, white, and black. The bottom point of the platter is painted black. The interior of the underside is covered in remnants of white paint and features many rough surfaces. The handle of the platter is carved in the image of a human head pointed to the right. It features a very detailed chin, wide smiling mouth, prominent nose, and sunken eyes. The features of the face are painted in a variety of red, white, and black pigments. The eyes are disproportionate to one another, as the right eye is placed considerably higher than the left.
Platters such as this piece are common is the Asmat culture, as they are used for a variety of everyday and ceremonial purposes. The head carved into the handle often represents the spiritual connection between humans and the sago tree, which provides many crucial aspects of Asmat living.In the days of headhunting practices, platters such as this were also often used to serve the brains of deceased foes in ceremonial feasts. This practice was believed to have granted the consumer great power and vitality, and was phased out by the intervention of foreign missionaries in the late twentieth century. Some platters, once they had achieved advanced age, were transitioned into being used as paint mixing bowls, resulting in a buildup of white patina on the interior surfaces of many pieces.
Colors: Brown, White, Red
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5987 |
2000.2.80 |
Carving |
Two standing human figures. Figures are facing each other. Hands of each figure are attached to the knees of the other. "Arms of the figure cross with the arms of the other figure. Both figures have carved markings on arms, legs, and one of the figures has carvings on one side of torso. Pierced septums are exagerated. Color: BR |
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5988 |
2000.2.81 |
Carving, ancestor |
This is a wooden Asmat ancestor carving which depicts two individuals. It is entirely unpainted and was carved from sago wood with a dark brown finish. The piece depicts two female figures in an embrace, with one significantly taller than the other. The taller figure features prominent breast protrusions at the chest and a very elongated facial structure. The eyes are defined largely by the line of the jutting brow and lengthy nose. The mouth is thin and wide, open in a smiling expression. The arms of the taller figure are attached to the arms of the smaller figure at the latter’s elbows. The smaller figure standing underneath the chin of the larger figure, and is holding onto the upper legs of the larger figure. The smaller figure shares many features with the larger figure with the exception of prominent breast carvings. Both figures are joined at the feet, which form a wedge used for planting the entire piece into soft mud.
It is likely that this piece is an ancestral carving of the Asmat artist, possibly depicting a mother and daughter or other female relationship. This may have been produced for either a funerary service or other occurrence of ancestral reverence. Carvings of this kind are typically produced to represent the ancestors of their artists and are placed in the soft mud outside of their homes. Because carvings have a magical element to them in Asmat society, they are often discarded in the rainforest after their purpose has been fulfilled so that they may rejuvenate the energies of the sago trees.
Colors: Brown, Black
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5989 |
2000.2.82 |
Carving |
This is a wooden Asmat ancestral carving made of sago wood in the latter half of the twentieth century. It is a dark brown/black color and of moderate weight. It depicts two human figures, one standing atop the other’s shoulders. The lower figures is in a crouched position with his hands in front of his face. The feet of the upper figure are resting on the lower figure’ hands. The lower figure is male, and features a large semicircular wedge between his legs, used for supporting the piece in the mud. The upper figure is female, indicated by the stylistic protrusion feature on the chest. She has her hands extended downwards, clasping the head of a hornbill bird between them. The beak of the hornbill extends upwards and connects with the woman’s chin. The female figure features hair, while the male figure does not. Both figures have symmetrical body markings on the sides, chest, and back.
Carvings of ancestry figures play an extremely important role in Asmat society. They are often carved only for the festival which celebrates the creation of mankind at the hands of the Great Woodcarver Fumeripits, a foundational mythical figure at the heart of much of Asmat culture. Ancestor carvings are made from a single piece of wood taken from the trunk of a sago tree, and are carved in such a way that their base can be jammed into the soft mud to keep them standing upright. Figures such as this are representative of the core belief in Asmat culture that man is interchangeable with tree. After the festival for Fumeripits concludes, carvings are discarded in the rainforest so that the spirits of the dead can aid the sago trees in further growth.
Colors: Black, Brown
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5990 |
2000.2.83 |
Carving, ancestor |
This is a rectangular wooden Asmat carving depicting three individuals, most likely ancestor figures. It is comprised entirely of unpainted dark wood which is very grainy. The bottom and top of the piece are similar bars of straight wood. The sides of the piece are framed in decorative hornbill beaks which connect with the bodies of the three depicted individuals. The bottom individual is in a seated position, with bent knees and elbows resting upon the knees. The two upper individuals are crouched above the bottom individual, with the right one standing upon the shoulders. The arms of the left upper individual are grasping the counterpart’s waist, while its hands are grasping at the elbows of the other. All three figures are of ambiguous biological sex, as they lack either the characteristic carved genitalia features.
Ancestor worship plays an incredibly prominent role in Asmat society. The spirits of ancestors are commonly believed to inhabit the rainforests and the art pieces which depict them. Asmat artists carve the likeness of their ancestors into their works in order to call upon a variety of mystical enchantments or powers, such as protection in war, fertility, or good fortune. Ancestral carvings are often produced for events such as building dedications, ceremonial festivals, and funeral rites. After their primary function has been fulfilled, many carvings are discarded in the rainforests so that the spirits which inhabit them may rejuvenate the sago trees. Ancestral carvings are produced by the artist whose ancestors are depicted, making them of high personal value.
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5991 |
2000.2.84 |
Carving, ancestor |
This is a wooden Asmat carving which depicts four individuals in an interconnected embrace. The entire piece is unpainted, and is made of very dark wood with subtle grain running throughout. It is unclear whether the figures are male or female, as they lack the characteristic genitalia carvings commonly found in other Asmat carvings. All four share similar characteristics and features, but vary in proportions. Each feature a wide smiling mouth with a prominent brow and long nose. The eyes of all four figures are simply carved circular shapes with little definition. Across the bodies of all the figures are carved lines indicated stylized musculature. These lines run throughout the piece and are equally placed in proportion to one another. The entire piece is in good condition, with only minimal damage to the feet of two figures.
While this carving may depict ancestor figures, it is unclear for what occasion it was produced. It does not share similarities with bis poles or other funerary carvings, but does share similarities with other Asmat carvings of abstract human forms. The craftsmanship displayed in the piece is very high quality, as indicated by the mostly intact finish. Ancestor reverence plays a dominant role in Asmat society, as the spirits of the deceased are believed to interact with the natural world in a cyclical manner.
Colors: Brown, Black
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5992 |
2000.2.85 |
Carving, ancestor |
This is a wooden Asmat ancestral carving which measures 28” in length and 5.5” in height. It depicts two female figures, one standing on the shoulders of the other, who is crouched. The lower figure’s hands are on their bent knees, and their feet are together to form the carving’s base. The upper figure is standing upright holding the head of a hornbill bird in its hands. The beak of the hornbill is open, with the lower beak attached to the upper figure’s chin and the upper beak resting on the upper figure’s forehead. The entire piece is brown but was likely originally painted all in red pigments. The identity of the hornbill is confirmed by the indentations carved into the base of its beak, a characteristic feature of Asmat art.
Hornbills are typically associated with images of power and strength as a symbol of headhunting practices amongst the Asmat culture. They accompany praying mantises in this regard. The red pigment is wasah, which is created by mixing red clays found along the riverbanks in upstream communities. Color is often associated with having magic properties, and is very common in many Asmat ethnographic pieces.
Carvings of ancestry figures play an extremely important role in Asmat society. They are often carved only for the festival which celebrates the creation of mankind at the hands of the Great Woodcarver Fumeripits, a foundational mythical figure at the heart of much of Asmat culture. Ancestor carvings are made from a single piece of wood taken from the trunk of a sago tree, and are carved in such a way that their base can be jammed into the soft mud to keep them standing upright. Figures such as this are representative of the core belief in Asmat culture that man is interchangeable with tree. After the festival for Fumeripits concludes, carvings are discarded in the rainforest so that the spirits of the dead can aid the sago trees in further growth.
Colors: Brown, Red
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5993 |
2000.2.86 |
Platter |
This is a wooden Asmat carving featuring a male and female human figures with a vessel in the middle of them. The entire piece is unpainted and is carved from dark brown wood. The lower figure is female based on the characteristic carving between the legs, and the upper figure is male based on the same category. They both feature similar designs, with curved lines across the abdomen and limbs representing muscle definition. Between their legs is a round vessel with pointed ends. The vessel forms a bowl structure with a coiled snake in the middle. It is unlikely that this piece served as any kind of practical eating utensil and was likely ceremonial or decorative in nature. The combination of human and snake forms may represent ideas of fertility and interconnectedness that the Asmat felt with the natural world.
Colors: Brown, Black |
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5994 |
2000.2.87 |
Carving, ancestor |
Two full human figures and one human head figure; head attached to what appears to be a hornbill figure. Top figure standing on hips of second figure, hands downturned, tips touching secon figure's forehead. Has what appears to be breats and a penis. Second figure seated on hornbill figure, fingertips to knees. Head figure attached to hornbill and is upside-down with respect to other figures. Chin attached to second figure's toes. Scarification. Color: BK |
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5995 |
2000.2.88 |
Carving, ancestor |
This is a rectangular Asmat carving which depicts five individuals contorted in various positions to form a rectangular frame. The entire piece is unpainted and carved from a single piece of dark wood, some of which has lightened due to exposure. Each of the five figures are female and share similar descriptive features, with the only variation being height. At the bottom right of the piece, a small figure stands upright with hands extended outwards and connecting to the knees of a taller figure. The figure in the bottom left is significantly taller than the figure in the bottom right and has their arms extended outwards with hands grasping onto the lower legs of another figure. The figure in the middle right of the piece is the same height as the figure in the bottom left and is standing on top of the smallest figure’s head. They have their arms bent outwards and grasping the double head of a hornbill bird. Standing on the shoulders of this figure is the figure in the upper right. They have their arms bent downwards, with their hands cradling the upside-down head of the final figure. The top of their head forms the top frame of the piece. The upper left figure is inverted from the others and is shown in a seated position. They have their arms bent outwards with their hands connecting to the shoulders of the figure across from them. Their legs connect with the head of the upper right figure to form the top frame.
Although unclear, this piece may represent ancestral figures in abstract form. Ancestral worship is highly important in Asmat culture, as the spirits of ancestors are believed to actively participate in the mortal world. Carvings such as this are often produced to commemorate ancestors or to call upon their mystic powers in situations such as funeral rites. After the primary function of carvings has been fulfilled, they are often discarded in the rainforests so the ancestor spirits may rejuvenate the sago trees.
Colors: Brown
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5996 |
2000.2.89 |
Carving, ancestor |
This is a wooden Asmat carving depicting two female human individuals embracing in opposite directions. The entire piece is unpainted and is comprised of very dark wood with little showing grain. Both of the individuals are very featureless and rugged in their design. The female sex of the figures can be determined by the characteristic female genitalia carved between the legs. The figures are connected to each other at their head and feet, with their feet resting atop the head of the other. They are smiling and feature sunken eyes. The hands of both figures are clasped around the waist of the other. It is unclear what is being depicted in this carving due to the lack of detail.
Carvings such as this are often produced for ceremonial or commemorative purposes within Asmat communities. This particular piece may represent deceased individuals or a moment worthy of recognition in an individual’s life. The meaning of this carving is not entirely clear, but it is very characteristic of similar carvings produced in the Asmat artistic culture.
Colors: Brown, Black
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5997 |
2000.2.9 |
Platter |
This is a wooden sago dish used by the Asmat people of Papua New Guinea. The curved surface of the platter features a symmetrical geometric design using the colors of red, white, and black. Much of the surface has experienced damage over the years, resulting in cracked and faded paint. The sides of the platter feature 12 total triangular designs (6 on each side). The bottom of the platter has been carved with an oval-shaped pit set 1.5” into the wood. The rim of the pit is decorated with symmetrical geometric designs, each painted in white. The handle of the piece is carved in the shape of two birds, a hornbill and a cassowary. The two birds’ beaks meet in the center.
Sago platters performed an important function in ceremonial events and everyday life. They are used to serve roasted balls of sago and are highly decorated. They are made from the wood of the sago tree, one of the primary sources of sustenance and building materials for Asmat communities. The depiction of two birds on the handle of this piece is representative of the emphasis that was placed on the importance of the natural world in providing for the Asmat. Hornbills and cassowaries are commonplace in Papua New Guinea and assume important roles in fertility myths for many Asmat peoples.
Platters such as this were also used for the serving of human brains at meals. This practice was phased out by missionaries who discouraged headhunting raids in the late twentieth century, but legacies of the ritual remain. The ceremonial consumption of the Capricorn beetle, whose larvae strongly resemble human brain matter, is believed to have replaced the consumption of brains as a cultural staple food.
Colors: Brown, Red, Black, White |
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5998 |
2000.2.90 |
Carving, ancestor |
This is a wooden Asmat ancestral carving produced in Papua New Guinea in the late twentieth century. It depicts a human figure standing over the decapitated head of a foe, most likely the result of a successful headhunting ritual. The entire piece is unpainted and consists of very dark brown wood. The figure stands with joined feet atop which rests the head of the fallen victim. The upper figure is hunched over the head with the hands holding a tool or weapon between them. The eyes of the standing figure are sunken, with similar sunken facial features. The decapitated head has a look of no emotion and features plain characteristics.
Headhunting was an integral part of life in Asmat culture until the late twentieth century. Before foreign missionaries suppressed the practice, many Asmat communities used headhunting as a means of avenging deaths of their members. Death in Asmat society is always unnatural in nature. It is believed to be the result of hostile magic, evil spirits, or unseen attacks by an enemy. In order to resolve the imbalance in society caused by a death, family members of the deceased are encouraged to participate in headhunting rituals. Once an enemy head has been brought back, it is put on display for spiritualistic purposes. The cycle of retaliation and vengeance was perpetual in Papua New Guinea until headhunting was phased out before the turn of the millennium. Carvings such as this likely depict the aftermath of a successful headhunt and are produced both as a commemoration of the event and as an appeasement of the spirits.
Colors: Brown, Black
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5999 |
2000.2.91 |
Carving, ancestor (modern) |
This is a wooden Asmat ancestral carving, likely created in Papua New Guinea in the latter half of the twentieth century. It depicts two individuals in a seated position, with one behind the other. The figure in front is larger than the figure in the back and features a much thinner face and much larger nose. His hands are resting in front of him, connected to the legs by a wedge meant for sticking the carving into soft mud. The legs of the figure are connected to the wedge as well, giving him a sitting position. The rear figure’s arms are holding onto the waist of the front figure, and his legs are connected to the hips of the front figure. It is unclear whether the figures represented are male or female. Each figure has a carved portion at the tops of their heads indicating hairstyles. The piece is unpainted except for some red pigment fragments on the rear figure.
Ancestral carvings are an essential part of Asmat traditional culture. They are traditionally made for festivals honoring the Great Woodcarver Fumeripits, who is said to have carved humans from the trunks of sago trees. These figures are carved with the intention of planting them in the soft mud of villages, hence the wedge on their bottom portions. After festivals or spiritual occasions, they are often discarded in the rainforest in order for their spirits to revitalize the sago trees for future generations.
Colors: Red, Brown |
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6000 |
2000.2.92 |
Carving, ancestor |
This is a wooden Asmat ancestor carving depicting two individuals embracing with the heads of two other individuals at their feet. The entire piece is unpainted and is made of dense wood with dark brown finish and visible vertical grain. The two figures are female and are both embracing one another. The arms of the left figure are resting on the right figure’s legs, and the arms of the right figure are connected to the left figure’s elbows. The necks of both figures are connected with a large wooden beam. The noses of the two figures are almost touching, indicating that they may either be relatives or closely related family members. At the feet of both the figures are the heads of two more individuals, which also feature a large wooden beam connecting their severed necks. The bottom of the piece shows signs of sawing, suggesting that the heads once belonged to a much larger carving with multiple whole human forms. It can be reasonably deduced that this is not an alteration made by the artist.
Carvings such as this often serve as ceremonial pieces representing the ancestors of the artist who carved it. They are made for festivals and reverential occasions, as well as for spiritual protection while a deceased member of society is avenged in headhunting raids. After their purpose has been fulfilled, they are often discarded in the rainforests so that their spirits may rejuvenate the sago trees.
Colors: Brown, Black
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