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| Main page for the virtual tour - American Indian Pottery - American Indian objects, textiles and paintings - Australian Aboriginal paintings - Nigerian paintings - Inuit objects and Oceanic objects - African objects page 1 - African objects page 2 - Opening reception photos - Exhibition Main Page |
| Tupilak figures, Inuit culture - Greenland "According to an article by Ole G. Jensen in Greenlandair's in-flight Magazine "Suluk", the word Tupilaq or Tupilak describes a wide variety of small figures which represent either tupilaqs or other mythical or spiritual creatures. Originally the tupilaq was a creature composed of different materials such as animals parts, human hair, or even parts taken from a child's corpse. Those who knew about witchcraft, gathered these bits and pieces in a secret, isolated place, tied them together, chanted magic spells over them and allowed them to suck the energy from their own sexual organs. Then the tupilaq was ready to be put into the sea and sent off to kill an enemy. This way of getting rid of one' s enemies, however, was not entirely without risk because if the targeted victim had greater powers of wizardry than the initiator, his power could reverse the tupilaq' s strength and potency like a boomerang. In other words, sending a tupilaq to harm an enemy was a dangerous game. Nobody ever found a real tupilaq. They have vanished, as they were made of perishable materials and, besides, they were not meant to be seen by others anyway. When the first Europeans came to East Greenland and heard about tupilaqs, they were curious and wanted to know more about them. That's when people started carving tupilaqs to show them what they looked like. The oldest known tupilaqs were made of wood and skin, and they resemble the authentic ancient figures. Today these carvings are mostly associated with East Greenland, as the old days are more alive there, and its culture has always maintained a rich carving tradition. From the early thirties until the late seventies the majority of tupilaqs were carved from sperm whale ivory. Those were the figures that most of us are familiar with and associate with a tupilaq. As a curiosity of the late sixties, some tupilaqs were carved from buffalo horn, which was imported from Africa by the old Greenland Trade Department KGH. When the Endangered Species Act restricted the use of sperm whale ivory, other material such as narwhal- or walrus tusks, the making of these figures started to be done with antlers, particularly caribou antler. Today' s tupilaqs are harmless. The only danger you can face, is to start buying one as a souvenir and end up becoming a serious collector over time." Source |
Simon Tookoome - Kiviuq Crossing the Ocean - Stencil print - 1982 - Baker Lake
Kiviuq was a mythical Inuit hero who had many fantastic adventures throughout the world. He encountered and outwitted evil spirits. He had a fox wife and a
dog wife and his children became the races of man. In this version, Kiviuq went to the fish maker and had him make a fish. He then crossed the ocean on
the fish's back so that he could reunite with his goose wife and children who lived across the sea. In the background are mountains. (West wall of upper
lobby)
*Myths explain how the world, sun, moon, and powerful spirits were formed. These tales, along with legends of historical events and cultural teaching were
gathered by explorers and anthropologists such as Franz Boaz, Knud Rassmussen, and Diamond Jenness. Although the stories vary from group to group
and often from one telling to another,
(Inuit cont) they are, overall, remarkably consistent, and a fascinating glimpse into the history and culture that had helped the Inuit survive in their harsh
and hostile environment. (From “Survival” – Inuit Art)
Kiviuq was a mythical Inuit hero who had many fantastic adventures throughout the world. He encountered and outwitted evil spirits. He had a fox wife and a
dog wife and his children became the races of man. In this version, Kiviuq went to the fish maker and had him make a fish. He then crossed the ocean on
the fish's back so that he could reunite with his goose wife and children who lived across the sea. In the background are mountains. (West wall of upper
lobby)
*Myths explain how the world, sun, moon, and powerful spirits were formed. These tales, along with legends of historical events and cultural teaching were
gathered by explorers and anthropologists such as Franz Boaz, Knud Rassmussen, and Diamond Jenness. Although the stories vary from group to group
and often from one telling to another,
(Inuit cont) they are, overall, remarkably consistent, and a fascinating glimpse into the history and culture that had helped the Inuit survive in their harsh
and hostile environment. (From “Survival” – Inuit Art)
This is a creation and incest myth. Once while a girl slept in her igloo, her brother crept in and kissed her. She did not know who it was but put soot on his
nose. In the morning the girl discovered the truth. In shame and terror, they both fled into the sky and became Sister Sun and Brother Moon. The story is
told in a series of images starting at the lower left of the picture and ending at the top. (West wall of upper lobby)
nose. In the morning the girl discovered the truth. In shame and terror, they both fled into the sky and became Sister Sun and Brother Moon. The story is
told in a series of images starting at the lower left of the picture and ending at the top. (West wall of upper lobby)
Kiakshuk – Hunting Whales, Cape Dorset
As a hunting society, the Inuit depended on animals available in each season and the bounty of the land. Their hunting techniques, tools, and weapons
were specific to their prey. Their art reflects these seasonal and regional differences.
The coastal Inuit pursued seal on open ice or through the seals' breathing holes. They also hunted whales, walrus, and polar bears. Inland Inuit relied
heavily on caribou. In either case, nothing was wasted. Animals provided skins for clothing, tents, and robes. Antlers and bones were shaped into tools;
tendon sinews were used for thread and string. Skins of fox and wolves became an important part of the barter system, and these were traded at the
Hudson Bay Company posts for cloth, ammunition, tobacco, tea, and other goods that came to supplement the Inuit subsistence existence. Arctic hare and
birds, such as geese, ptarmigan, and gulls, were also caught. Fishing for Arctic char and trout was done with stone weirs (saputi), using three-pronged,
trident-like fish spears (kakivak) in the summer, and jiggers or hooks in the winter. (West wall of upper lobby)
As a hunting society, the Inuit depended on animals available in each season and the bounty of the land. Their hunting techniques, tools, and weapons
were specific to their prey. Their art reflects these seasonal and regional differences.
The coastal Inuit pursued seal on open ice or through the seals' breathing holes. They also hunted whales, walrus, and polar bears. Inland Inuit relied
heavily on caribou. In either case, nothing was wasted. Animals provided skins for clothing, tents, and robes. Antlers and bones were shaped into tools;
tendon sinews were used for thread and string. Skins of fox and wolves became an important part of the barter system, and these were traded at the
Hudson Bay Company posts for cloth, ammunition, tobacco, tea, and other goods that came to supplement the Inuit subsistence existence. Arctic hare and
birds, such as geese, ptarmigan, and gulls, were also caught. Fishing for Arctic char and trout was done with stone weirs (saputi), using three-pronged,
trident-like fish spears (kakivak) in the summer, and jiggers or hooks in the winter. (West wall of upper lobby)
Simon Tookoome – The World of Man and Animal Come Together in the Shaman, Baker Lake
The theme of the two worlds is seen in the shaman’s face/mind. He is transforming as seen in his wings and caribou hoof. The faces inside of him are the
Inuit he protects and for whom he intercedes.
*As with most nomadic peoples, the Inuit believed in animism and shamanism. The Inuit had to depend on the bounty of the land as hunters in the world's
most inhospitable climate. They believed in animism—the idea that in the distant past, humans, animals, and even inanimate objects such as rocks, could
transform into other forms. In recent times, only the shaman, through his or her special powers, had the ability to transform and to communicate with the
spirit and animal worlds. This required the assistance of a helping spirit, often an animal such as a wolf, fox, polar bear, or raven. The shaman could have
more than one helping spirit. The shaman was the intermediary between the Inuit and the spirit world. He or she might be born with shamanic powers, or
might study the mysteries with another shaman. Shamans had many special attributes and powers: They could transform into other creatures; They could
fly; They could visit the spirit world and intercede to pacify angry spirits and sometimes induce them to provide food for the Inuit; They had x-ray vision;
They had magical healing powers; They could die by self-inflicted wounds, such as harpooning themselves, and return to life. The influence of
missionaries diminished the power of shamanism and the shaman, but their images persist in the art of the Inuit. (From “Survival” – Inuit Art)
The theme of the two worlds is seen in the shaman’s face/mind. He is transforming as seen in his wings and caribou hoof. The faces inside of him are the
Inuit he protects and for whom he intercedes.
*As with most nomadic peoples, the Inuit believed in animism and shamanism. The Inuit had to depend on the bounty of the land as hunters in the world's
most inhospitable climate. They believed in animism—the idea that in the distant past, humans, animals, and even inanimate objects such as rocks, could
transform into other forms. In recent times, only the shaman, through his or her special powers, had the ability to transform and to communicate with the
spirit and animal worlds. This required the assistance of a helping spirit, often an animal such as a wolf, fox, polar bear, or raven. The shaman could have
more than one helping spirit. The shaman was the intermediary between the Inuit and the spirit world. He or she might be born with shamanic powers, or
might study the mysteries with another shaman. Shamans had many special attributes and powers: They could transform into other creatures; They could
fly; They could visit the spirit world and intercede to pacify angry spirits and sometimes induce them to provide food for the Inuit; They had x-ray vision;
They had magical healing powers; They could die by self-inflicted wounds, such as harpooning themselves, and return to life. The influence of
missionaries diminished the power of shamanism and the shaman, but their images persist in the art of the Inuit. (From “Survival” – Inuit Art)
Karahut figure, Abelam people, New Guinea
Karahuts are woven from hibiscus bark twine and sennit fiber, decorated with boar's tusks, small Nasa shells with applied ochre and charcoal paints.
Karahuts are used in a number of ceremonies, during dancing they are held between the teeth using a string coming out from the back about the level of
the eyes. When not being used they are hung around the neck and lie in the middle of the man's back or worn around the neck as a pectoral adornment
at sing sing's. The figure looks as if it has horns - this is a misconception. Wild pigs are very aggressive and the wearer of the kara-ut believes that when
the 'horns' are spouting from his mouth he can adopt its power when fighting. The woven figure depicted an enemy who dangles helplessly impaled on the
pigs / fighters tusks. The name of this art form, Kara means 'Pig or Boar' and Ut means 'net bag' has a significant spiritual context. Contained within the
body of the figure is a bundle of magical leaves & herbs that aid the wearer. (South side of upper lobby)
Karahuts are woven from hibiscus bark twine and sennit fiber, decorated with boar's tusks, small Nasa shells with applied ochre and charcoal paints.
Karahuts are used in a number of ceremonies, during dancing they are held between the teeth using a string coming out from the back about the level of
the eyes. When not being used they are hung around the neck and lie in the middle of the man's back or worn around the neck as a pectoral adornment
at sing sing's. The figure looks as if it has horns - this is a misconception. Wild pigs are very aggressive and the wearer of the kara-ut believes that when
the 'horns' are spouting from his mouth he can adopt its power when fighting. The woven figure depicted an enemy who dangles helplessly impaled on the
pigs / fighters tusks. The name of this art form, Kara means 'Pig or Boar' and Ut means 'net bag' has a significant spiritual context. Contained within the
body of the figure is a bundle of magical leaves & herbs that aid the wearer. (South side of upper lobby)
Aibom sago storage pot, Sepik River region, New Guinea
Production of Sepik artworks and artifacts is a male occupation. One notable exception to this rule is the pottery industry of Aibom, a pleasant village in
the Chambri Lake area of the Middle Sepik. Women are the artisans here. Their crude, colorful earthenware has made Aibom famous. The riverbank
village is the Sepik basin's major source of elaborately painted and decorated clay pots, pans, jugs, bowls, and vases. They are traded up and down the
Sepik and its tributaries. (South side of upper lobby)
Production of Sepik artworks and artifacts is a male occupation. One notable exception to this rule is the pottery industry of Aibom, a pleasant village in
the Chambri Lake area of the Middle Sepik. Women are the artisans here. Their crude, colorful earthenware has made Aibom famous. The riverbank
village is the Sepik basin's major source of elaborately painted and decorated clay pots, pans, jugs, bowls, and vases. They are traded up and down the
Sepik and its tributaries. (South side of upper lobby)
Canoe figurehead in the form of a bird, Humbold Bay area New Guinea
Figureheads such as this were used to adorn canoes and they also had a protective function since they were believed to posses supernatural powers.
They were believed to ensure success in fishing by leading the canoe to shoals of fish and bringing the boat and its crew safely back to the village. (South
side of upper lobby)
Figureheads such as this were used to adorn canoes and they also had a protective function since they were believed to posses supernatural powers.
They were believed to ensure success in fishing by leading the canoe to shoals of fish and bringing the boat and its crew safely back to the village. (South
side of upper lobby)
Mollucas and Flores Islands figures, Indonesia
The maternity figure holding 2 children from the Mollucas Islands of Indonesia shows the common theme of mother and child that is found across the world
in all cultures. The 2 small figures, called Anadeo figures, from the Flores Islands of Indonesia are thought to be small personal charm figures for
protection. (East side of upper lobby)
The maternity figure holding 2 children from the Mollucas Islands of Indonesia shows the common theme of mother and child that is found across the world
in all cultures. The 2 small figures, called Anadeo figures, from the Flores Islands of Indonesia are thought to be small personal charm figures for
protection. (East side of upper lobby)
| Oceanic objects (S. Vietnam, New Guinea, Indonesian regions) |
Jorai (Gia-rai) wooden protective statue, Central highlands of Vietnam
Funeral houses, memorial and protective statues are a very important and special element in the traditional culture of the ethnic groups in central
highlands of Vietnam. Wodden statues rise above the fence surrounding the funeral house in different postures and situation: sitting, standing, kneeling,
drumming, playing gongs, naked, making love, holding child, etc. Figures such as the one in this exhibition were placed in the villages as protection
figures and are usually carved with weapons and hats that would normally be seen or interpreted as military or police-like in nature which is a common
theme in this area of the world including Malaysia and Indonesia. (At the bottom of the escalator in the lower lobby)
Funeral houses, memorial and protective statues are a very important and special element in the traditional culture of the ethnic groups in central
highlands of Vietnam. Wodden statues rise above the fence surrounding the funeral house in different postures and situation: sitting, standing, kneeling,
drumming, playing gongs, naked, making love, holding child, etc. Figures such as the one in this exhibition were placed in the villages as protection
figures and are usually carved with weapons and hats that would normally be seen or interpreted as military or police-like in nature which is a common
theme in this area of the world including Malaysia and Indonesia. (At the bottom of the escalator in the lower lobby)
| Antler carving by by Luke Iksiktaaryuk, Inuk He was born 1909 in the Kazan River area, Nunavet. He died at Baker Lake, Nunavet in 1977. |
| Whale vertebrae face - artist unknown |
| Traditional sculptures from the Arctic region are hunting and family scenes, but spirit figures, mythological and shamanic images also abound Owl figure - whale vertebrae - artist unknown |