124-I2-1
Displaying 1 - 21 of 21
| Catalog # | Name | Description | ||
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| 1 | 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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| 2 | 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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| 3 | 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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| 4 | 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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| 5 | 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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| 6 | 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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| 7 | 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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| 8 | 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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| 9 | 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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| 10 | 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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| 11 | 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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| 12 | 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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| 13 | 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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| 14 | 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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| 15 | 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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| 16 | 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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| 17 | 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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| 18 | 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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| 19 | 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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| 20 | 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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| 21 | 2000.2.93 | Carving, ancestor | This is a wooden Asmat carving depicting two ancestral figures, likely produced in Papua New Guinea in the late twentieth century. The piece is entirely unpainted and maintains a dark brown coloration throughout. There are two figures, both of whom hold heads in their hands. At the bottom of the piece is an upside-down head on which rests the legs of the first figure. The second figure is sitting atop the first figure’s head and is also holding an upside-down head in the hands. The figures are simplistic in design, but feature characteristics which would suggest that they are female. This carving may have been produced for a funerary event in which an individual in a community was honored with rites upon death. Death in Asmat society is always unnatural, the result of either hostile spirits of magical attacks from an enemy tribe. In order to resolve the imbalance caused by deaths in communities, family of the deceased undertake headhunting raids against their enemies. Once the enemies’ heads have been brought back, balance is believed to have been restored. This carving may have been produced during such an event, as indicative of the decapitated heads on display in the figures’ arms. Carvings such as this also depict the spirits of the deceased’s ancestors in order to shield the deceased from attacks by hostile spirits. Once the headhunting has been completed, such carvings are often discarded in the rainforests to rejuvenate the sago trees with their spirits. The practice of headhunting was dominant in many Asmat societies, but was banned by foreign missionaries in the late twentieth century. Colors: Black, Brown |
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