DOI issue:
No. 81 (November, 1903)
DOI article:Praetorius, Charles J.: Art in British New Guinea
DOI Page / Citation link:https://doi.org/10.11588/diglit.26230#0070
^7^ 777 j6*7^7/7^/7 AA'K/ ^77777^77
Guinea of leaves, which are found on drums; they
are, however, but poor specimens when compared
with some of the excellent conventional designs to
be found in thesamedistrict.
Although birds were constantly employed as a basis
for designs, animals were seidom used for the same
purpose; nor are they found drawn in groups. Some-
times they were carved on drums in pairs, in which
case they had a meaning as totems or clan marks.
The most skiiful carvers of the British Protec-
torate were the natives of the Trobriand Isiands;
they were more friendly and less blood-thirsty than
those of other parts of New Guinea.
PAPUAN CARVINGS
Among their best productions are carved bowls
and dishes, ali of which are cut from a solid log of
wood; on the rims were carved many varieties of
band Ornament. From these people we also have
the excellent examples of lime spoons and betel-
nut mortars.
A remarkable double dancing shield was made
by these natives. It consists of two flat circular
discs, both sides being entirely covered with an
elaborate coil design of bird Ornament. Connect-
ing the two discs is a short handle, by which the
shield would be held; it was whirled and brandished
when dancing, and was for ceremonial use only.
The involved designs found on these dancing
shields are, perhaps, the ßnest examples of carved
work to be seen on any wooden object made by a
savage people. In the work of the Trobriand
Isländers there is an absence of the angular feeling
to be seen in other examples from the south-
eastern portion of British New Guinea. Equally
fine with these dancing shields are the carved
canoe Ornaments, some of which are here illus-
trated.
Poor specimens are occasionally met with from
these parts. They are generally of modern manu-
facture, made for harter with the traveller and
trader.
Although the natives of British New Guinea
were familiär with many animal and plant forms,
few were introduced into their designs and
patterns; this may have been due to certain
religious restrictions. The existence of totemism
in the Torres Straits would have a distinct induence
over the artistic productions of the inhabitants.
Instances are known in which women have had
their clan mark, or totem animal, cut in the lower
part of their backs, and sometimes on the shoulders.
Men also have some distinguishing totem mark,
such as a dugong or snake. One may therefore
expect to find these totems constantly occurring in
the decoration of their personal belongings ; on the
other hand, it does not follow that all the animals
they drew were necessarily
of totemistic signiücance.
Turtles, snakes, and croco-
diles being important articles
of food, many carved charms
and emblems of them exist,
in some cases skilfully
worked in the round. Some
of these were used as
mascotsor charms toen-
sure success when hunting
N BY c. PR^TORius and fishing.
57
Guinea of leaves, which are found on drums; they
are, however, but poor specimens when compared
with some of the excellent conventional designs to
be found in thesamedistrict.
Although birds were constantly employed as a basis
for designs, animals were seidom used for the same
purpose; nor are they found drawn in groups. Some-
times they were carved on drums in pairs, in which
case they had a meaning as totems or clan marks.
The most skiiful carvers of the British Protec-
torate were the natives of the Trobriand Isiands;
they were more friendly and less blood-thirsty than
those of other parts of New Guinea.
PAPUAN CARVINGS
Among their best productions are carved bowls
and dishes, ali of which are cut from a solid log of
wood; on the rims were carved many varieties of
band Ornament. From these people we also have
the excellent examples of lime spoons and betel-
nut mortars.
A remarkable double dancing shield was made
by these natives. It consists of two flat circular
discs, both sides being entirely covered with an
elaborate coil design of bird Ornament. Connect-
ing the two discs is a short handle, by which the
shield would be held; it was whirled and brandished
when dancing, and was for ceremonial use only.
The involved designs found on these dancing
shields are, perhaps, the ßnest examples of carved
work to be seen on any wooden object made by a
savage people. In the work of the Trobriand
Isländers there is an absence of the angular feeling
to be seen in other examples from the south-
eastern portion of British New Guinea. Equally
fine with these dancing shields are the carved
canoe Ornaments, some of which are here illus-
trated.
Poor specimens are occasionally met with from
these parts. They are generally of modern manu-
facture, made for harter with the traveller and
trader.
Although the natives of British New Guinea
were familiär with many animal and plant forms,
few were introduced into their designs and
patterns; this may have been due to certain
religious restrictions. The existence of totemism
in the Torres Straits would have a distinct induence
over the artistic productions of the inhabitants.
Instances are known in which women have had
their clan mark, or totem animal, cut in the lower
part of their backs, and sometimes on the shoulders.
Men also have some distinguishing totem mark,
such as a dugong or snake. One may therefore
expect to find these totems constantly occurring in
the decoration of their personal belongings ; on the
other hand, it does not follow that all the animals
they drew were necessarily
of totemistic signiücance.
Turtles, snakes, and croco-
diles being important articles
of food, many carved charms
and emblems of them exist,
in some cases skilfully
worked in the round. Some
of these were used as
mascotsor charms toen-
sure success when hunting
N BY c. PR^TORius and fishing.
57