Chapter 12: Decorative Art (3)

1. Beccari, Dr. O., NELLE FORESTE DI BORNEO (1902). 2. Bock, Carl, THE HEAD-HUNTERS OF BORNEO (1882). 3. Furness, W. H., THE HOME LIFE OF BORNEO HEAD-HUNTERS (1902). 4. Haddon, E. B., "The Dog-motive in Bornean Art" (JOURN. ANTH. INST., 1905). 5. Hamer, C. den, IETS OVER HET TATOUEEREN OF TOETANG BIJ DE BIADJOE-STAMMEN. 6. Hein, A. R., DIE BILDENDEN KUNSTE BEI DEN DAYAKS AUF BORNEO (1890). 7. Ling Roth, H., THE NATIVES OF SARAWAK AND BRITISH NORTH BORNEO (1896), vol. ii. 8. Nieuwenhuis, Dr. A. W., IN CENTRAL BORNEO (1900). vol. i. 9. Nieuwenhuis, Dr. A. W., QUER DURCH BORNEO (1904), vol. i. 10. Schwaner, Dr. C. A. L. M., BORNEO (1853 -- 54); cf. Ling Roth, vol. ii. pp. cxci to cxcv. 11. Whitehead, J., EXPLORATION OF MOUNT KINA BALU, NORTH BORNEO (1893).

Brief references to tatu will also be found in the writings of Burns, Brooke Low, MacDougall, De Crespigny, Hatton, St. John, Witti, and others, but notices of all these will be found in Mr. Ling Roth's volumes.

Explanation of Plates.

Plate 136.

Fig. 1. -- Kayan dog design (UDOH ASU) for thighs of men. From a tatu-block in the Sarawak Museum. (No. 1054.104.)

Fig. 2. -- Uma Balubo Kayan dog design. From a tatu-block in the Sarawak Museum. (No. 1054.90.)

Fig. 3. -- Sea Dayak scorpion design (KELINGAI KALA) for thigh, arm, or breast of men. From a tatu-block in the Sarawak Museum. (No. 1054.99.)

Fig. 4. -- Kenyah dog design, copied from a Kayan model. From a tatu-block in the Sarawak Museum. (No. 1054.108.)

Fig. 5. -- Kayan dog design. From a tatu-block in the Sarawak Museum. (No. 1054.106.)

Fig. 6. -- Kayan dog design. From a tatu-block in the Sarawak Museum. (No. 1054.88.)

Fig. 7. -- Kayan double dog design for outside of thigh of man. From a tatu-block in the Sarawak Museum. (No. 1054.31.)

Fig. 8. -- Kayan designs of dog with pups (TUANG NGANAK). A=pup. For thigh of man. From a tatu-block in Sarawak Museum. (No. 1054.57.)

Fig. 9. -- Kenyah jaws of centipede design (LIPAN KATIP), for breast or shoulder of man. From a tatu-block in the Sarawak Museum. (No. 1054.20.)

Fig. 10. -- Kenyah crab design (TOYU). A=mouth (BA), B=claw (KATIP), C=back (LIKUT), D=tail (IKONG). From a tatu-block in the Sarawak Museum. (No. 1054.71.)

Plate 137.

Fig. 1. -- Sea Dayak modification of the dog design. From a tatu-block in the Sarawak Museum.(No. 1054.102.)

Fig. 2. -- (No. 1054.101.)

Fig. 3. -- (No. 1054.67.)

Fig. 4. -- (No. 1054.109.)

Fig. 5. -- (No. 1054.70.)

Fig. 6. -- But known as "scorpion" (KALA) pattern.From a tatu-block in the Sarawak Museum. (No. 1054.69.)

Fig. 7. -- Barawan and Kenyah modification of the dog design, known as "hook" (KOWIT) pattern. From a tatu-block in the Sarawak Museum. (No. 1054.63.)

Fig. 8. -- (No. 1054.75.)

Fig. 9. -- Kenyah modification of the dog design, but known as the "prawn" (ORANG) pattern. From a tatu-block in the Sarawak Museum. (No. 1054.89.)

Plate 138.

Fig. 1. -- Kayan three-line pattern (IDA TELO) for back of thigh of woman of slave class. From a tatu-block in the Sarawak Museum. (No. 166A Brooke Low Coll.)

Fig. 2. -- Kayan four-line pattern (IDA PAT) for back of thigh of woman of middle class. From a tatu-block in the Sarawak Museum. (No. 1434.)

Fig. 3. -- Kayan (Rejang R.) three-line pattern (IDA TELO) for back of thigh of women of upper and middle classes. From a tatu-block in the Sarawak Museum. (No. 1054.2.)

Fig. 4. -- Kayan (Uma Pliau) design for front and sides of thigh of high class women. A = TUSHUN TUVA, tuba root; B = JALAUT, fruit of PLUKENETIA CORNICULATA; D = KOWIT, interlocking hooks. From a tatu-block in coll. C. Hose.

Fig. 5. -- Kayan design for front of thigh of woman of high class. A = TUSHUN TUVA; B = DULANG HAROK, bows of a boat; C = ULU TINGGANG, hornbill's head; D = BELILING BULAN, full moons. From a tatu-block in the Sarawak Museum. (No. 1432.)

Fig. 6. -- Barawan design for the shoulder or breast of men. From a drawing.

Fig. 7. -- Design of uncertain origin, on the calf of the leg of an Ukit man.

Plate 139.

Fig. 1. -- Kayan (Rejang R.) design known as IDA TUANG or IDA LIMA for back of thigh of women of high rank. Note the hornbill heads at the top of the design. From a tatu-block in the Sarawak Museum. (No. 166D Brooke Low Coll.)

Fig. 2. -- Kayan (Rejang R.) design; compare with Figs. 5 and 11. From a tatu-block in the Sarawak Museum. (No. 166C Brooke Low Coll.)

Fig. 3. -- Long Glat hornbill design (after Nieuwenhuis). This is tatued in rows down the front and sides of the thigh.

Fig. 4. -- Kayan (?) hornbill design, known, however, as the "dog without a tail" (TUANG BUVONG ASU). From a tatu-block in the Sarawak Museum. (No. 1054.8.)

Fig. 5. -- Kayan (Rejang R.) tatu design known as "dog without a tail" (TUANG BUVONG ASU) pattern, for front and sides of thigh of women of high rank. From a tatu-block in the Sarawak Museum. (No. 166G, Brooke Low Coll.)

Fig. 6. -- Kayan three-line and four-line design (IDA TELO and IDA PAT) for back of thigh of women of low class. From a tatu-block in the Sarawak Museum. (No. 1435.)

Fig. 7. -- Uma Lekan Kayan anthropomorphic design (SILONG), tatued in rows down front and sides of thigh.

Fig. 8. -- Kayan bead (LUKUT) design, tatued on the wrist of men.

Fig. 9. -- ,, ,, ,,

Fig. 10. -- ,, ,, ,, From a tatu-block in the Sarawak Museum. (No. 1054.62.)

Fig. 11. -- Portion of Uma Lekan Kayan design for back of thigh of women of high rank (after Nieuwenhuis).

Plate 140.

Fig. 1. -- Tatu design on the forearm of an Uma Lekan Kayan woman of high rank. From a rubbing of a carved wooden model in the Sarawak Museum. (No. 1398.)

Fig. 2. -- Tatu design on the thigh of an Uma Lekan Kayan woman of high rank. From a rubbing of a carved wooden model in the Sarawak Museum. (No. 1398.)

Fig. 3. -- Tatu design on the forearm of an Uma Phan Kayan woman of high rank. A = BELILING BULAN, full moons; B = DULANG HAROK, bows of a boat; C = KAWIT, hooks; D = DAUN WI, leaves of rattan; E = TUSHUN TUVA, bundles of tuba root. From a carved wooden model in the Sarawak Museum. (No. 1431.)

Fig. 4. -- Kenyah design, representing the open fruit of a species of mango (IPA OLIM), tatued on breasts or shoulders of men. From a tatu-block in the Sarawak Museum. (No. 1054.14.)

Fig. 5. -- Kayan (Baloi R.) KALANG KOWIT or hook design for back of thigh of woman of high rank. From a tatu-block in the Sarawak Museum. (No. 1054.54.)

Plate 141.

Fig. 1. -- Design on the hand of a Skapan chief tatued in the Kayan manner. From a drawing.

Fig. 2. -- Design on the arm of a Peng man. From a drawing by Dr. H. Hiller of Philadelphia.

Fig. 3. -- Design on the arm of a Kabayan man. From a drawing by Dr. H. Hiller of Philadelphia.

Fig. 4. -- Design on the forearm of a Lepu Lutong woman. From a drawing.

Fig. 5. -- Design on the forearm of a Long Utan woman. From a rubbing of a carved model in the Sarawak Museum. (No. 1430.)

Fig. 6. -- Design on the thigh of a Long Utan woman. From a rubbing of a carved model in the Sarawak Museum. (No. 1426.)

Fig. 7. -- Kenyah design, representing the DURIAN fruit (USONG DIAN), tatued on the breasts or shoulders of men. From a tatu-block in the Sarawak Museum. (No. 1054.17.)

Plate 142.

Fig. 1. -- Tatu design on the forearm of a Kalabit woman. From a drawing.

Fig. 2. -- Tatu design on front of leg of a Kalabit woman. C = BETIK LULUD, shin pattern. From a photograph.

Fig. 3. -- Tatu design on back of leg of a Kalabit woman. A = BETIK BUAH, fruit pattern; B = BETIK LAWA, trunk pattern. From a drawing.

Fig. 4. -- Tatu design on front of leg of the same Kalabit woman. D = BETIK KARAWIN; E = UJAT BATU, hill-tops. From a drawing.

Fig. 5. -- Tatu design on the forearm of an Uma Long woman. From a drawing.

Fig. 6. -- Tatu design on arms and torso of a Biajau man of low class. From a drawing by a Maloh.

Fig. 7. -- Tatu design on leg of Biajau man of low class. From a drawing by a Maloh.

Fig. 8. -- Tatu design on shin of Biajau woman of low class. From a drawing by a Maloh.

Fig. 9. -- Kajaman design representing the fruit of PLUKENETIA CORNICULATA (JALAUT), tatued on the breasts or shoulders of men. From a tatu-block in the Sarawak Museum. (No. 1054.21.)

Fig. 10. -- Tatu design on the biceps of an Ukit man, said to represent a bead (LUKUT). From a drawing.

Plate 143.

Fig. 1. -- Design (GEROWIT, hooks) tatued on the breast of a Bakatan man. From a tatu-block in the collection of H.H. the Rajah of Sarawak.

Fig. 2. -- ,,

Fig. 3. -- Design (AKIH, tree gecko) tatued on the shoulder of a Bakatan man. From a drawing.

Fig. 4. -- ,,

Fig. 5. -- Design tatued on the calf of the leg of an Ukit. From a photograph.

Fig. 6. -- Tatu design on the foot of a Kayan woman of low class. From a drawing.

Fig. 7. -- Design representing an antique bead (LUKUT), tatued on the wrist of a Bakatan girl. From a drawing.

Fig. 8. -- Design (GEROWIT) tatued on the metacarpals of a Bakatan girl. From a drawing.

Fig. 9. -- Design (KANAK, circles) on the back of a Bakatan man. From a tatu-block.

Fig. 10. -- Design (GEROWIT) tatued on the throat of a Bakatan man. From a photograph.