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Seated female figure, C-14 dating: 1660–1890 (95.4% probability)
Wood, pigment, sago fiber tassels
73 x 13 x 17 cm (28 3/4 x 5 1/8 x 6 11/16 in.)
The Marcia and John Friede Collection, a Promised Gift to the Fine Arts Museums of San Francisco L05.1.55

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Artist Biography: (none) PROVENANCE: "Collected in 1907 or 1913 by A.J. Gooszen during the first military exploration of southwest New Guinea. Rijksmuseum voor Volkenkunde, Leiden (1971-987); Serge Brignoni Collection, Bern, Switzerland." (Catalog #517, New Guinea Art: Masterpieces from the Jolika Collection of Marcia and John Friede, 2005, Volume 2, p. 175.) PUBLICATIONS: 2005 - "This powerful carving belongs to the rather limited group of old Asmat human figures that have survived. The unique head evokes associations with the ambirak, a nonhuman malevolent female being, represented alternatively with a human, avian, or serpent head. The figure also takes the form of a praying mantis, an important headhunting symbol which derives its function, in part, from the fact that the female of the species often decapitates the male after they have mated. The grooves in the arms and legs, called kiki, represent scarification marks, as do the semicircular grooves on the trunk and cheeks, which are called jür fapin. The circle motifs on the upper arms and legs represent joints, and there are also circle around the nipples and navel. Originally, there was a piece of bamboo arrow shaft in the nasal septum referring to the Asmat custom of piercing the septum as visible evidence of contact with the supernatural. Holes have been made in the ears for ear ornaments made of sago fiber. The red ochre with which the grooves are filled is related to blood, and the white color made from lime is associated with the dead and the realm of the dead. the association of this figure to ancestors is reinforced by the knee-to-elbow pose, which was believed by the Asmat to have been the posture of the very first people who were wooden figures before they were brought to life by the creator-hero Fumeripits. By playing a drum, Fumeripits separated the elbows and knees and brought the images to life, after which they stood up and began to dance. Even today, when a new men's house is consecrated, this myth is acted out and the men start their dance with their elbow against their knees. Thus, in this figure, the pose refers to the supernatural existence from which man has come and to which he will return after death (Smidt, 1987: 258). Two other figures were collected along with this-one at the Rijksmuseum voor Volkenkunde, Leiden, and one in the collection of Raymond and Laura Wielgus, Tucson. See Newton in Mead, 1979, no. 21.8; and Smidt, 1993: 92, pl. 7.30." (Catalog #517, New Guinea Art: Masterpieces from the Jolika Collection of Marcia and John Friede, 2005, Volume 2, p. 175.) 1978 - Layton, 1978: 27. 1951 - Rousseau, Appollinaire, and Tzara, 1951, fig. 113.

Related Keywords
figure female Seated Francisco San Museums Arts Fine Gift Promised 175 p 2 Volume 2005 Friede John Marcia Jolika Masterpieces Art 517 Catalog Switzerland Bern Brignoni Serge 987 1971 Volkenkunde voor Rijksmuseum Guinea New southwest exploration military first during Gooszen J by 1913 1907 Collected people Asmat Oceania Papua West Indonesia Sculpture tassels fiber sago pigment Wood Leiden Ex 0709200406050315 A360970 L05.1.55 AOA