by David Ferguson
This article describes a remarkable and previously undocumented female ancestral sculpture carved in the round in a fully conceived naturalistic style (Fig.1) which appears most closely related to the art style of Kiwai people living on the larger islands of the lower Fly River Delta and considered an important addition to the known sculptures of the Kiwai area. Now held in a private collection, this sculpture was acquired from a local estate dispersal with its early history lost.
Introduction to the Kiwai sculptures
The ‘Kiwai area’ was described by Newton (1961) as a huge area, extending from the Torres Strait to the east bank of the Fly River Delta (see map Fig.2), that contains a large number of art styles originating from both indigenous and newcomers’ cultures, the latter being a strong influence. The cultures of the Kiwai area were generally of a totemic nature, in transition towards ancestor worship culture with localised hero cults (Haddon 1932). These localities performed seasonal ceremonies considered vital at maintaining village well-being and ensuring gardens were productive and hunting seasons successful (Haddon 1932; Landtman 1927). These ceremonies were largely an acknowledgement to these important ancestral heroes represented in carved sculptures also considered sacred and stored secretly away in the men’s houses when not in use (Haddon 1932; Landtman 1927).
Detailed Description of this Sculpture
This remarkable female ancestor sculpture (Fig.1) appears to have been carved in the second half of the 19th century with metal tools. Where clay pigment had been applied to incised grooves that now appear grey, the surface where damaged displays a dark blue colour that’s consistent with the laundry additive Reckitt’s Blue that was often used on Papua New Guinea artworks as a pigment towards the end of the 19th century and into the early 20th century. The use of Reckitt’s Blue is not unexpected as Europeans were resident and moving about the Torres Strait and Fly River Delta from around the 1870’s onwards. The red pigments appear to be its first application, followed by the black pigment. This sculpture likely represents an ancestral heroine used in important seasonal ceremonies.
The figure was carved in the round of a pale lightweight timber and painted with red and black pigments; it now has an aged undisturbed dry surface patina: height: 107.5 cm (42.3 inches). The head is slightly turned away with a distant stare, wearing a black pigmented widow’s peak or head dress that’s slightly wider, the sides taper narrowly along the sides with the front and back margins strongly curved upward. The upper forehead has two bands: the upper band includes a series of shapes appearing similar to the letters A,B,A,S,A,C,A; beneath is a zigzag line contained by upper and lower grooves, encircling the head. The lower forehead is banded red above a black pigmented horizontal brow-ridge that’s slightly protruding beyond the flat nose ridge. The ears are carved in relief, of a natural shape, not pierced with pigmented black; the black pigment extends around the back of the head and under the jaw. The face is pigmented red; eyes formed from shell disks of mother-of-pearl attached with nut-putty and the nose is arrowhead shaped with a pierced triangular septum and the mouth is a simple curved groove. An engraved headband across the back of head has a central diamond shape; radiating from it either side is a series of engraved parallel chevrons that reduce in size towards the apices, these are alternatively pigmented with clay and red pigment.
The neck is pigmented red, a series of four engraved bands encircling the neck, the second and fourth groove with grey clay pigment, the first and third grooves’ lower margins are with a continuous series of small triangles, these not pigmented with clay; the four engraved bands frontally descending towards the sternum. The torso is predominantly red pigmented. The upper sternum between the breasts is marked with six parallel arranged arched grooves, upper three arched upward; the middle one pigmented with clay; the lower three shorter and inverted curved. The breasts are pigmented red, pendulous and elevated above the torso. The shoulders and upper arm are pigmented black, the front of the shoulder with a pair of arched grooves. Upper-arms are carved separately from the torso ‘handle-like’ and the forearms are under-cut along the torso with thumbs at an angle directed upward and fingers parallel arranged and directed towards the sternum. The upper back and shoulder blades are carved in relief with paired chevron shaped grooves, some pigmented. The spine indicated by a longitudinal groove with four elongated, horizontal grooves evenly spaced either side, some pigmented. Across the middle of the back is an elevated box-like process between elbows. The waist is an engraved narrow band around the torso with the genitalia fully displayed. The hips and legs are pigmented red. The legs are truncated at the knees.
Checklist of Ancestor sculptures from Kiwai area
A review of literature including online resources identified 69 ancestor sculptures from the Kiwai area, these have been included in a detailed checklist. These were either carved ‘in the round’ (Fig. 3a) or ‘board-like’, with the board-like sculptures carved either as ‘front view’ (Fig. 3b) or ‘side view’ (Fig. 3c) sculptures. The front view sculptures are only associated with the Kiwai people, whereas the ‘side view’ board-like sculptures are associated only with the Torres Strait people. The review did not include carved long-house posts; turtle shell composite figures; stone carved figures; figure-form drums, man-arrows or other utilitarian objects.
This checklist is arranged by location and sculpture type with earliest date of publication first, followed by caption identifier in italics; image or text description; author and year published; volume, page and image identifiers follow. Later citations follow in brackets where sculptures have been published more than once.
Three human sculptures were identified from the upper Binaturi River; two are known by their names Udo and Nugu and were used as garden gods (Beaver 1920 p. 92). One previously attributed to the Admiralty and Kiwai Islands has been added to this location based on the carving conventions used and its similarity to the carved figures used on ‘man-arrows’ carved by the Bushmen that lived inland in the upper Binaturi River area (Beaver 1920 p. 109).
A total of 36 human sculptures were identified from the lower Fly River Delta. Of these 21 are in the round and 15 are board-like front view sculptures.
Twenty-seven sculptures were identified from the Torres Strait with 16 in the round and 11 board-like side view sculptures. Four in the round sculptures were small and portable and associated with love magic or sorcery, the remaining 12 in the round sculptures are associated with the growing of gardens. Nine of the 11 board-like side view sculptures were used in the propagation of garden crops and were generally referred to as ‘tobacco charms’ though other names used include daurer, sokop and sokob madub. The two-remaining board-like sculptures in comparison were miniature in size, these instead were used in sorcery and were referred to as Wauri.
Waiet or Waier listed as a wood carved model of a larger cult figure originally constructed from turtle shell, shells, bones and fibres was reportedly destroyed. However, the fragments were retained and later presented to the Queensland Museum. An early drawing is in Simpson (1955, p. 22) and a photograph of the reconstructed sculpture is in Kaeppler et al (1997 pl. 658).
Checklist Summary
Location | Style | Number of items |
Binaturi River | In the round | 3 |
Lower Fly River | In the round | 21 (note #16 is a pair of items) |
Lower Fly River | Board-like front view | 15 |
Mawata | In the round | 3 |
Torres Strait | In the round | 16 |
Torres Strait | Board-like side view | 11 |
Checklist
Binaturi River: in the round
1. Nugu, known only from a description in Beaver 1920, p.92, from Masingara Village described as a large male ‘garden god’.
2. Wooden mimia figure, photograph in Landtman 1927, p.380, Fig. 104c: (drawing in Haddon 1935 Vol. 1, p.247, Fig.28); (Fig. 4c).
3. Figure, male figure (E.63151), photograph in Moore & Turner 1968 p 26: (photograph in Kaeppler et al 1997 pls 654-55).
Lower Fly River: in the round
1. Umuruburu, drawing in Haddon 1901, Vol. V; p.218, Fig 30E: (drawing in Haddon 1932 p.67, Fig.6); (photograph in Newton 1961, p.43, Fig.74): (photograph Meyer 1995 p.103, Fig.87); (photograph in Friede 2005 p.517, Fig.493), (Fig. 3a).
2. Mimia figure, photograph in Landtman 1927 p.380, Fig. 104a, (Fig. 4a).
3. Mimia figure, photograph in Landtman 1927 p.380, Fig.104b, (Fig. 4b); (photograph Fraser 1959 pl.134).
4. Orara, only known from a short description in Haddon 1932 p.66.
5. Male figure, photograph Newton 1961, p.42, Fig.66: (photograph in Fraser 1959 pl.43); (photograph Gathercole et al 1979 pl.25.16, p.351); (photograph in Kaeppler et al 1997 pl.652); (photograph in Brunt & Thomas 2018 pl. 62).
6. Male figure, photograph in Newton 1961 p.42, Fig.67.
7. Male figure, photograph in Newton 1961 p.42, Fig.68.
8. Male figure, photograph in Newton 1961 p.42, Fig.69: (photograph in Linton & Wingert 1946 p.94).
9. Female figure, photograph in Newton 1961 p.43, Fig.70.
10. Female figure, photograph in Newton 1961 p.43, Fig.71: (photograph in Poignant 1967 p.99); (photograph in Gathercole et al 1979, pl.25.17, p.351); (photograph in Kaeppler et al 1997 pl.649).
11. Male figure, photograph in Newton 1961 p.43, Fig.72.
12. Female figure, photograph in Newton 1961 p.43, Fig.73.
13. Male figure, photograph in Wardwell 1994 p.98, Fig.34.
14. Male figure, photograph in Meyer 1995 p.102, Fig.86.
15. Large Male figure, photograph in Meyer 1995 p.103, Fig.88.
16.a/16b Pair of Kiwai Figures, photograph, Lot 132, Bonhams – London; Tribal Art; 9 December 1992: http://www.artkhade.com/en
17. Uvio moguru, figure drawing in Edge-Partington 1996 series 2, p.195, Fig.1.
18. Uvio moguru, figure drawing in Edge-Partington 1996 series 2, p.195, Fig.2.
19. Uvio moguru, figure drawing in Edge-Partington 1996 series 2, p.195, Fig.3. A description of how this figure is used is described by Chalmers and included in Haddon (1932, pp.68-69)
20. A Kiwai figure photograph, Lot 135, Sotheby’s – New York; Important African and Oceanic Art; 25 May 1999: http://www.artkhade.com/en
Lower Fly River: board-like front view
1. Umuruburo agricultural charm, drawing in Haddon 1901 Vol. V, p.218, Fig. 30D; (drawing in Haddon 1932, p.67, Fig.6).
2. Pendant figure mimia, photograph in Newton 1961 p.41, Fig.61.
3. Pendent figure mimia, photograph in Newton 1961 p.41, Fig.62.
4. Kiwai figure, photograph, Lot 103, Parke Bernet Galleries – New York; Primitive Art; 22 April 1965: http://www.artkhade.com/en
5. Mimia, photograph in Poignant 1967 p. 98.
6. Kiwai figure, photograph, Lot 33, Sotheby’s – London; Primitive works of Art, 2 December 1980: http://www.artkhade.com/en
7. Muguru-umoru-buru, drawing in Edge-Partington 1996 series 1, p. 309, Fig. 1.
8. Urumuru buru, drawing in Edge-Partington 1996 series 2, p. 198, Fig. 1.
9. Kiwai figure, photograph in Lot 105, Christies – New York; Important Tribal Art; 22 November 1996: http://www.artkhade.com/en
10. Pendant figure, mimia, photograph in Friede 2005 p.514, Fig.489; (Fig. 3b).
11. Pendant figure, mimia, photograph in Friede 2005 p.515, Fig.490.
12. Figure, photograph, Lot 194, Bonhams – New York; African, Oceanic and Pre-Columbian Art; 12 November 2014: http://www.artkhade.com/en
13. Kiwai figure, photograph, Lot 109, Bonhams – Los Angeles; African, Oceanic and Pre-Columbian Art; 23 May 2017: http://www.artkhade.com/en
14. Kiwai pendant, photograph, Lot 25, Christies – Paris; Arts D’Afrique, D’Océanie et D’Amérique, 30 October 2018: http://www.artkhade.com/en
15. Kiwai bioma figure, photograph, Lot 125, Dorotheum – Vienna; Tribal Art; 4 December 2018: http://www.artkhade.com/en
Mawata: in the round
1. Muiere, only known from brief description in Haddon 1935, pp.230-31 and Landtman 1927 p.400, ancestor figure associated with nigori ceremonies.
2. Agumarkai, only known from description in Haddon 1935, pp.230-31; and Landtman 1927 p.400, arranged in rows behind Muiere. A series of five drawings in Edge-Partington (1996 series 2, p. 203, Figs 1-5) had been misidentified by Chalmers, instead are Kubai sticks and not included in this review.
3. Figure, known from drawing provided by a local of Mawata that includes a large elongated figure, associated with the turtle hunt ceremony in Haddon 1935 p.232; (Fig.6)
Torres Strait: in the round
1. Figure, photo Fraser 1959, pl.128: (drawing in Edge-Partington 1996 series 1, p.329, Fig.3).
2. Madub rain charm (model); photograph Haddon 1901 Vol. V, pl. XX, Fig.4, (Fig.5): (photograph in Moore 1984 pl 10, Fig.93); (photograph in Philp 2001 p.34).
3. Neur madub male, small crippled figure drawing in Haddon 1908 Vol. VI, p 222, Fig 36: (drawing in Haddon 1912 Vol. IV, p.392, Fig.390); (photograph in Moore 1984 pl.64, Fig.521).
4. Neur madub female squatting, photograph in Haddon 1908 Vol. VI, pl. XXI, Fig. 10: (photograph in Haddon 1912 Vol. IV, pl. III, Fig.4B); (drawing in Haddon 1932 p.68, Fig.7); (photograph in Fraser 1959 pl 101); (photograph in Moore 1984, pl. 64, Fig. 523); (photograph in Moore 1989, p.32, Fig.24); (photograph in Bounoure 1992 p.105); (drawing in Edge-Partington 1996 series 1, p.343, Fig.2); (drawing in Beran 2015 p.139, Fig.4).
5. Neur madub standing female, photograph in Haddon 1908 Vol. VI, pl. XXI, Fig.9: (photograph in Haddon 1912 Vol. IV, pl. III, Fig.4A); (photograph in Fraser 1959, pl.90); (photograph in Moore 1984, Fig.522); (photograph in Kaeppler et al 1997, pl.653); (drawing in Edge-Partington 1996, series 1, p.344, Fig.2); (drawing in Beran 2015, p.140, Fig.5).
6. Madub, small portable one leg figure, drawn Haddon 1908 Vol. VI, p.232, Fig.46: (drawing in Haddon 1912 Vol. IV, p.392, Fig.389); (photograph in Moore 1984, Fig.520).
7. Isau mani, photograph in Haddon 1908 Vol. VI, pl. XXII, Fig.1: (photograph in Moore 1984 pl.63, Fig.518).
8. Isau mani, photograph in Haddon 1908 Vol. VI, pl. XXII, Fig.2: (photograph in Moore 1984 pl.63, Fig.519).
9. Isau mani, ‘Ganomi’, photograph in Haddon 1908 Vol. VI, pl. XXII, Fig.3.
10. Isau mani, ‘Ginamai’, photograph in Haddon 1908 Vol. VI, pl. XXII, Fig.4.
11. Isau mani, ‘Bom’, photograph in Haddon 1908 Vol. VI, pl. XXII, Fig.5.
12. Waiet, photograph in Haddon 1908 Vol. VI, pl. XXII, Fig.6: (photograph in Philp 2001 p 44).
13. Figure, photograph in Fraser 1959 pl.76.
14. Figure, photograph in Fraser 1959 pl.129.
15. Wooden figure, photograph Fraser 1959 pl.145: (photograph in Gathercole et al. 1979 p. 351, Fig. 26.1); (photograph in Bounoure 1992 pp.106, 107); (photograph in Kaeppler et al 1997 pl.656); (photograph in Beran 2015 Fig.1).
16. Wooden figures, photograph in Fraser 1959 pl.77: (drawing in Edge-Partington 1996 series1, p.329, Fig.5); (photograph in Kaeppler et al 1997 pl.657); (photograph in Arthur et al 2015 p.71).
Torres Strait: board-like side view
1. Tobacco charm, (model) drawing in Haddon 1901 Vol. V; p. 345, Fig.67: (drawing in Haddon 1912 Vol. IV, p.391, Fig.388); (drawing in Moore 1989 pl.9, Fig.91.
2. Wauri, (model), drawing in Haddon 1901 Vol. V, p.324, Fig.48.
3. Sokop; photograph Haddon 1908 Vol. VI, pl. XIII, Fig.5: (photograph in Fraser 1959 pl. 89); (drawing in Edge-Partington 1996 series1, p.342, Fig.2); (photograph in Moore 1984 pl.63, Fig.515); (photograph in Arthur et al. 2015 p.185).
4. Sokop madub, photograph in Haddon 1908 Vol. VI, pl. XIII, Fig.6.
5. Sokop madub, photograph in Haddon 1908 Vol. VI, pl. XIII, Fig.7.
6. Sokop madub, photograph in Haddon 1908 Vol. VI, pl. XIII, Fig.8: (photograph in Moore 1989 pl.63, Fig.517); (drawing in Edge-Partington 1996 series1, p.342, Fig.3).
7. Tobacco charm figure, drawing in Haddon 1908 Vol. VI, p.208, Fig.28: (drawing in Haddon 1912 Vol. IV, p.391, Fig.385); (photograph in Moore 1989 pl.63, Fig.513).
8. Tobacco charm figure, drawing in Haddon 1908 Vol. VI, p 208, Fig. 29: (drawing in Haddon 1912 Vol. IV, p.391, Fig.386): (photograph in Moore 1989, pl.63, Fig.514).
9. Tobacco charm figure, drawing in Haddon 1908 Vol. VI, p.208, Fig.30: (drawing in Haddon 1912, Vol. IV, p.391, Fig.387).
10. Tobacco charm figure, drawing in Haddon 1908 Vol. VI, p.208, Fig.31: (drawing in Haddon 1912 Vol. IV, p.391, Fig.388).
11. Sokop madub figure, photograph, Lot 21, Sotheby’s – London; Aboriginal Art; 14 March 2018; (Fig.3c); http://www.artkhade.com/en
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About the Author
After a career at the ANU and with the CSIRO, more recently David Ferguson has been dealing in antiques and object art works and undertaking private research.
Caption: Fig. 1. An important female ancestor sculpture carved in the round that appears most closely related to the art style of the Kiwai people, lower Fly River Delta, showing four sides. Scale bar = 30cm. Image by David Ferguson.
Caption: Fig. 2. The ‘Kiwai area’ is within the dotted line, Torres Strait to the east bank of the Fly River, and upper Binaturi River. Drawing by David Ferguson.
Caption: Fig. 3. Sculpture of the Kiwai area; (a) Figure in the round; after photograph in Friede 2005, Fig. 493. (b) Board like-front view; after photograph in Friede 2005, Fig. 489, Female pendant figure. (c) Board like-side view; after photograph, Lot 21 Sotheby’s – London; Aboriginal Art; 14 March 2018, tobacco charm sculpture from Torres Strait. Scale bars = 30 cm. Drawings by David Ferguson.
Caption: Fig. 4. “Wooden mimia figures”; Image from Landtman 1927 Fig. 104, page 380. Image created and provided by Document Supply Services, National Library of Australia.
Caption: Fig. 5. “Wooden model of a madub, Mabuiag”; Image from Haddon Vol.5, pl. XX. Fig. 4. Image created and provided by Document Supply Services, National Library of Australia.
Caption: Fig. 6. Drawing after the drawing provided by a local of Mawata that includes a large elongated figure, associated with the turtle hunt ceremony, from Haddon 1935 page 232. Drawing by David Ferguson.