Asmat Box 5
Displaying 1 - 8 of 8
| Catalog # | Name | Description | ||
|---|---|---|---|---|
| 1 | 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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| 2 | 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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| 3 | 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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| 4 | 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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| 5 | 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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| 6 | 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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| 7 | 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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| 8 | 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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