52 PBOCEEDINGS OF THE NATIONAL MUSEUM vol.79 



Two coutainers at the upper left represent entirely different cultural 

 areas. They were collected by M. W. Stirling from the Papuans of the 

 Central Rouffaer River Valley in Dutch New Guinea. None of them 

 exceed 4 inches in length : the shortest is 2i/^ inches long. They are 

 stoppered at one end with the uncut nodal diaphragm, the other end being 

 open and, in use, being extemporaneously stoppered with leaves. U.S.N.M. 

 No. 338671. 



These decorated bamboo receptacles are used as lime containers in con- 

 nection with the chewing of betel, also as needle cases, and for other 

 purposes. It is interesting to note that the decorative design is etched 

 on the walls by cutting away the outer cortex in sections, thus introducing 

 by contrast a 2-color pattern, as is the practice of the aboriginal peoples 

 of Central and South America. The outer cortex remaining forms double 

 spirals resembling Maori decorative devices, V-shaped figures, also certain 

 tadpolelike designs. Execution of these designs in Papua is inferior to 

 Malay work, being crudely done and giving an amateurish impression, 

 while the finished work of the Malay artist approaches virtuosity. 



A lime container, U.S.N.M. No. 304151, shown at lower right of plate, used 

 in connection with the chewing of betel, is introduced here by way of 

 contrast. It is from central Celebes and was collected at Bada Toeare by 

 H. C. Raven for Dr. W. L. Abbott. It is an elongated cone-shaped gourd, 

 stoppered with a piece of bamboo in which have been inserted several 

 nondescript pieces of colored cloth. The designs are the same as those 

 previously described in connection with the Malay flute from that area. 

 The general effect is pleasing in that each design, each panel, is a perfect 

 example of free-hand etching. Encircling bands of zigzags, triangles, 

 water buffalo horns, and other features, belonging undoubtedly to the 

 water buffalo motif, are harmoniously separated by undecorated panels. 



A decorated gourd shown at lower left of plate, collected by W. E. Curtis 

 in Africa, U.S.N.M. No. 280894, 6 inches long and 2 inches in diameter at 

 the base, introduces etched designs consisting of triangles, spurs, V-shaped 

 frets, and encircling lines. Life forms, consisting of man and animal 

 figures, the man holding a saber, and the animal figure resembling a lion 

 are entirely foreign to the more geometrical art just described from New 

 Guinea, Celebes, and the Philippine Islands. 



Plate 23 



Examples of Fijian decorative and symbolic art. 



"Wood carving and painting on tapa bulk large in the art technic of 

 Oceania. A Fijian club with symmetrically carved knobbed striking end 

 may be seen at the left, while below are carved images in palm wood and 

 plaited mats of palm fiber. In the background are bolts of decorated tapa, 

 and at the right are bolts of wrapped sennit cord. 



Fijian tapa like the matting shown at bottom have geometrical designs 

 reducible to conventionalized life forms. The frigate bird of the Polynesians 

 and the leech of Malayan designs have likewise become geometrical 

 through conventionalization. 



Plate 24 

 Arts of the Fijians. Pottery and wood carving. 



Plate 25 

 Tattooed heads. Maori, New Zealand. 



