Ethnic and tribal artifacts, antiques, objects and costumes handmade in Tibet, Mongolia, Ethiopia and Mauritania and over fifty countries from Coyote's Paw Gallery Santa Fe, New Mexico

Popular name for the common sword of Borneo.

http://hdl.handle.net/1887.1/item:748847

Volkenkunde werd in de negentiende eeuw vooral in de studeerkamer beoefend, veilig thuis in Europa. Op verzoek van antropologen werden objecten gefotografe...

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This monumental, large brass or bronze kettle probably was cast in the 19th century on Borneo island in either Brunei or Sarawak state (now a part of Malaysia). It stands on a wide foot cast with geometric and lotus petal motifs. The sides of the body are cast with two dramatic Borneo-type dragons, fish, lotus  … Read more

Polychrome, Wood & Rattan Hudoq Mask Bahau Dayak People, Borneo circa 1920 height: 43cm (without hanging beads), width: 38cm This mask is from the Bahau people, a Dayak sub-group, that lives in the Mahakam River region of Borneo. It is of light wood and represents a composite dragon-hornbill spirit. It would have been worn by  … Read more

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Baju adat Dayak, kalimantan. Pakaian tradisional Indonesia. Indonesia traditional costume. Cr/instagram: glossrissa #culture #budaya #busana #clothes #attire #outfit #borneo #dress #asia

These two fine man’s brass ear ornaments are from the Dayak people of Borneo. They are heavy. As such they served both as ear pendants and weights, designed to help stretch the earlobes to exaggerated lengths. The form of these ear pendants is based on the aso, a mythical underworld hybrid dragon-dog female fertility figure.  … Read more

Download this Premium Vector about Borneo Kalimantan Dayak Ornament Set, and discover more than 15 Million Professional Graphic Resources on Freepik

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- by Tri Kurniawan

Borneo is the world's third largest island. It has been long renowned for its forbidding terrain and its fabulous array of native flora and fauna. The territory of contemporary Borneo is divided between three nations; the East Malaysian states of Sarawak and Sabah, the Sultanate of Brunei, and the Indonesian Republic which holds the lion's share of the island within the boundaries of Kalimantan. This island is riven by myriad rivers and vast tracts of threatened tropical forests. The term ' Dayak ' is a collective appellation used to describe a wide range of Borneo's indigenous or ‘upstream’ peoples. Distinct from this group were the Islamic inhabitants of former coastal sultanates such as Sambas, Kutai, and Banjarmasin. Among the Dayaks are the last surviving handful of the Penan people, one of only three truly nomadic hunter-gatherer groups left on the planet. The Penan are now reduced to a small group of survivors, as distinct from the Iban , whose current population is over a million. There are at least seventy-four known language groups on the island of Borneo, which are spoken in numerable dialects. Many Dayak groups share cultural similarities, but each has their own distinct language, social customs, and material culture. The legacy of oral traditions handed down through elaborate creation myths, heroic legends, and mythic songs define each group's local identity and inspire their artistic expressions. The masterworks presented below provide a broad and diverse representation of traditional Dayak artwork, ranging from the creations of the Iban and Ibanic peoples to the Punan Baa', Kenyah, Kayan, Modang, Bahau, Bahau Saa,' and the Ngaju and Ot Danum peoples of central and Southern Kalimantan. The Ngaju and Ot Danum are well regarded for their carved funerary posts that depict the deceased and their exceptional tableaus found on their incised bamboo containers. The Iban excel at carving kenyalang , hornbill figures invoking Sengalang Burong , the god of war. These effigies were once displayed in procession at the gawai kenyalang ; a ceremony formerly performed to celebrate martial victories that are now associated with the annual harvest festival. Kayanic art is notable for the heart-shaped faces and fearsome musculature seen on protective figures. Intertwining mythical creatures and distinctive curvilinear designs are the hallmarks of their remarkable carving skills on utilitarian objects, baby carriers, work boards, architectural elements, and the doors of chiefs’ houses. These decorations were thought to beautify their surroundings, as well as protect their aristocratic owners. Elegantly realized mausoleums and coffins were decorated with psychopomps, powerful beings who carry the deceased on their journey to 'the land of departed souls.' Once noted as fierce headhunters, the accouterments of Dayak warriors are highly accomplished yet pragmatic works of art, most notably their combat shields. Dayak battle swords ( mandau , parang ilang ) vie for supremacy in their workmanship and blade quality with some of the finest weapons ever created in the archipelago. Forged from local iron at high temperatures and repeatedly dipped in cold running water to temper their hardness, the Ngaju poetically refer to their swords as ' Suluh Ambun Panyulak Andau ,' which translates as “a torch of the dew announcing the new day." In the feminine realms of artistic production, Dayak groups like the Ngaju and Ot Danum are held in high esteem for their intricate designs on split fiber mats. Women of the Maloh , Kenyah , and various Kayanic peoples excelled in beadwork.  Iban women weavers fashioned exquisite ikats ( pua kombu ) and supplementary weft textiles ( pua sungkit ). To become a master weaver among the Iban , a woman had to attain a prerequisite level of expertise and receive permission from the spirit world through dream quests in order to transmit the most potent designs to cloth. Ceremonial textiles were displayed in a variety of ways to invoke blessings from the ancestors and the gods, to protect warriors, and to exhort menfolk to great feats in combat.  To this day, “Women’s warfare” ( kayu induh ) remains the denomination for the ceremony where threads are dyed and female prowess and determination are celebrated. The weaving arts are a powerful complement to the martial skills of the most vaunted Dayak warriors.  Masterworks of Borneo's artistic heritage are well represented in global collections including The Sarawak Museum, The Tun Jugah Foundation, Museum Nasional Indonesia, Asian Civilisations Museum, Museum of Fine Arts, Boston, Yale University Art Gallery, The Dallas Museum of Art, Honolulu Art Museum, The Fowler Museum at UCLA, de Young Museum, The Textile Museum of Canada, Nationaal Museum van Wereldculturen, Staatliche Museen zu Berlin, Musée du Quai-Branly, Staatliche Kunstsammlungen Dresden, Weltmuseum Wien, and The British Museum.  Valuable scholarly insights regarding the art history and cultural legacy of Borneo can be found in the work of such commentators as Antonio Guerriero, Bernard Sellato, Michael Heppell, Vernon Kedit, Datin Amar Margaret Linggi, Raymond Corbey, Traude Gavin, Lucas Chin, and Steven G. Alpert.