If I asked you which country or culture the figure above originated in, you could be forgiven for nominating the Pacific Northwest; it is so reminiscent of Tlingit or Haida work that it's difficult to believe it was created on the other side of that vast ocean, namely the Massim region centering around Milne Bay in Papua New Guinea. It is the ornate terminal from a long sago stirring implement.
The complex of island cultures to the east of the Papuan mainland are home to some of the most technically and artistically proficient pre-metallurgical expressions you are likely to encounter. The range of objects is gobsmacking, from the little black stone mortar to the left, to the enormous 'walking masks' required by the elaborate malagan mortuary ceremonies, and we have photographed some of the figures related to this practice for the next vol of this series.
These marks are horribly difficult to capture even under the best of conditions, being massively three-dimensional and, like all great works, arrogant in their disregard of the uninformed; in the displays they were also dimly lit, the largest piece defeating us on our first attempt to convey something of its baroque magnificence.
We shall try again.
Please enjoy the other pieces pictured here, and again, please respect the Otago Museum's copyright.
The complex of island cultures to the east of the Papuan mainland are home to some of the most technically and artistically proficient pre-metallurgical expressions you are likely to encounter. The range of objects is gobsmacking, from the little black stone mortar to the left, to the enormous 'walking masks' required by the elaborate malagan mortuary ceremonies, and we have photographed some of the figures related to this practice for the next vol of this series.
These marks are horribly difficult to capture even under the best of conditions, being massively three-dimensional and, like all great works, arrogant in their disregard of the uninformed; in the displays they were also dimly lit, the largest piece defeating us on our first attempt to convey something of its baroque magnificence.
We shall try again.
Please enjoy the other pieces pictured here, and again, please respect the Otago Museum's copyright.
Nusanusa, a prow figure attached to the tomakos or enormous black war canoes of the Solomon Islands.
These craft are used in both fishing and headhunting expeditions around the neighbouring communities.
Nusanusa are usually carved of heavy hardwood and inlaid with hand-cut mother of pearl motifs, ensuring their power as a protective and auspicious ally on fishing runs and as an intimidatory agency on belligerent forays.
They have always reminded me of Baron Samedi, one of the senior loas from the voudoun tradition. They are piercingly, uniquely sinister, almost vampiric in their avidity.
Coconut bowl, Marquesas Islands
Below: the coral head of a coconut grater from the Cook Islands. Despite it's unglamorous domestic utility, it is a thing of unexpected beauty, the combination of stoic black hardwood, pristine flaxen binding and honeycombed coral an almost surrealistic arrangement of unrelated elements. To use the grater, you seat yourself on the stool built into the (unseen) end of the implement and slough the white meat from inside the halved nut with the coral. The lovely grain behind it is the belly of a huge timber feasting bowl.
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