The Abelam live in the Maprik Hills to the north of the Sepik River, in the northern coast hinterland of the Island of New Guinea. Such big, monumental sculptures of the Abelam depict important ancestors and clan founders. They are meant to strengthen the powers of the male initiated to the Abelam clan, to foster fertility of the fields as well as to guard from illnesses and misfortune. These were figures carved from a single piece and painted bright in natural colours. They are called ‘Nggwalndu’ (Nggwal=ancestor spirit) and are kept in up to 25 metre high male ritual houses (‘tambaran’). They play an important role in initiation rituals and must not be seen by women or children! The present ‘Nggwalndu sculpture’ is a perfect example of the art of the Abelam: the standing ancestor is carved from a single piece of hard wood in deep relief, almost sculpturally. The back is smooth and devoid of colour. Only the big hornbill sitting on the head of the ancestor has been carved three-dimensionally. Such birds appear often in the Abelam sculptures. They are used as a symbol of the clan. This ancestor figure demonstrates how important colour is in the art of the Abelam. For they ascribed to colour ‘magical powers’: the ancestor’s round-oval face is red and yellow (coloured with earth pigments), the hair and beard are black (with soot), the diadem above the forehead, the ear ornaments and the painted necklace with a shell pendant are white, as is also the hornbill (with chalk). The rest of the body is entirely coloured with red ochre (earth pigment), save for only a few black and white highlights. Also interesting are the 3 grooved ‘western’ letters ‘BIL’, which are detectable on the left of the ancestor’s neck. It is unknown if this is a ‘signature’ of sorts or just a decorative element. Overall a very impressive, large and typical object, without significant damage! Height: 274 cm; Width: 28 cm. First half to mid-20th century. (ME)

Provenance:
Pursuant to information supplied by the consigner, purchased by Viennese doctor and traveller Dr. Klaus Spiess in 1982 in the territory of the Maprik hills, New Guinea. Then: Austrian Private Collection.

Lit.:
‘Ozeanische Kunst’ by Anthony J. P. Meyer, ill. 307, 317; ‘Art Papou’, Musées de Marseille catalogue, ill. 294; ‘Melanesien. Schwarze Inseln der Südsee’, Rautenstrauch-Joest-Museum für Völkerkunde Köln catalogue, ill. 211, 226; et al.