History of Non Western Art Chp.12
Yams were grown for food and ceremonial purposes. When growing for ceremonial purposes: growers abstained from sex while growing and finishing yam masks.
Abelam yam mask
***gives visual presence to ancestral spirits***
Auuenau
Has a figure on top called a Dilukai (see fig 12-12)
Bai men's ceremonial house (from Belau / Palua)
Served as a pledge to avenge a relative's death. Poles represent ancestral spirits. The Asmat see the human body as a tree.
Bisj poles (Asmat people)
***a splashboard (which) offered protection***
Canoe prow and splashboard
Goes in front of canoe. A lowered prow was a declaration of peace.
Canoe prow ornament
Figure served as a fertility symbol which protected the men's Belau bai house.
Dilukai
Masks were made only by men. After they were used, masks were "ritually killed".
Elema hevehe masks
Created for high ranking men. ((Cloaks ('ahu 'ula) are made from 'i 'iwi, 'apapane, 'o 'o, and mamo birds.))
Feathered cloak (from Hawaii)
Adorned the hair of Marquesan warriors. Warriors wore them until they avenged the death of a kinsman.
Hair Ornaments
Served as a pledge to avenge a relative's death. Poles represent ancestral spirits. The Asmat see the human body as a tree.
Iatmul ceremonial men's house
Hawaiian god of war. Kept in a heiau (temple)
Kukailimoku
Mark burial or sacred sites used for religios ceremonies. Some have pukao (red cylinder hats). At one point had shell eyes, where painted and sanded smooth.
Maoi (aka Easter Island heads)
Figures represent ancestors and tell the history of the tribe.
Matatua meeting house
A ngatu made for the coronation of Topou IV made by Mele Sitani
Mele Sitani
see 12-1
Row of maoi
The body of the Polynesian god Tangaroa. Many were destroyed by Christian missionaries.
Staff god
***represents spirits of deseased person***
Tatanua mask
***(tattoes) served as spiritual armor***
Tatooed warrior
God of the wind. Depicts the Maoti creation myth.
Tawhiri-Matea
Famous aboriginal painter. Puts her "dreamings" on canvas. Has been compared to Seurat, Pollock, and other American Abstract Expressionist.
Untitled (Emily Kngwarreye, 1992)
