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  • Pair of Peacock Funerary Figures, Jarai, Central Vietnam, 1900-1940
    This stunning pair of peacock sculptures represents an example of the traditional funerary rites of the Jarai (Gia Rai) people of Central Vietnam. Soaring wooden human or animal sculptures on high poles watch over the funeral houses in the burial place of the departed. Birds, and especially peacocks, are a preferred motif. The Jarai culture varies from the other Southeast Asian cultures in that the figurative sculptures are created during secondary burial rites.
    Price On Request
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  • Bird Funerary Figure, Central Vietnam, 1900-1940

    The Vietnamese funerary pieces featured in our collection, dating from the 1960’s or earlier, were sculpted from local wood (ironwood) for burial sites of the Jarai (also called Gia Rai) people, an ethnic minority group in Vietnam’s central highlands known for their elaborate funerals. Ancestor worship plays a big role in their traditional culture. Most figurative sculpture produced there was used in ancestral and funerary rites.

    Such sculptures typically depict humans, animals and often  birds. Peacocks perched on elephant tusks are a special motif. For the animist Jarai, burial rites are important to ensure the soul’s safe passage to the next world where it will join the ranks of the deified spirits of ancestors. Traditional Jarai tombs are small huts containing offerings surrounded by wooden pillars which are topped by such animal/human/bird carvings - avatars of spiritual guardians during and after the funerary ceremony.

    Representing animal spirits and providing a symbolic link to the heavenly realm of the netherworld, bird sculptures are prominent at these burial sites. After the funeral  ceremony the graves are ritually abandoned to allow both the living and the dead to move on. The site is reclaimed by nature, and the sculpted images are left to disintegrate.

    Price On Request
  • Funerary effigy (Tau Tau), Sulawesi, Indonesia, 1940 or earlier
    Price On Request
  • Fertility Sculpture, Sulawesi, ca. 1930
    Price On Request
  • Air blower, Borneo, ironwood, late 19th century
    Price On Request
  • Xingu Amazon Indian Mask, Matto Grosso Brazil, date unknown
    Price On Request
  • Tau Tau Figure, Toraja, Sulawesi
    Price On Request
  • Opera Puppet 1, Southern China, ca. 1920's
    Price On Request
  • Bride price (Talipun), Middle Sepik/Maprik, Papua New Guinea, 1930's
    Price On Request
  • Naga Dragon Head, Kalimantan, ca. 1940
    Price On Request
  • Marionette Puppet, Southern China, date unknown
    Price On Request
  • Spirit figure, East Sepik Province, Papua New Guinea
    Price On Request
  • Opera Puppet 2, Southern China, ca. 1920's
    Price On Request
  • Opera Puppet 3, Southern China, ca. 1920's
    Price On Request
  • Ilongot Hornbill Skull Headdress, Northern Luzon, early 20th century
    Price On Request
  • Baby Sling, Peruvian Amazon, natural fiber and carved bone fragments
    The beautiful piece on display here was collected in Peru in the early 1990's but is much older than that. These traditional baby slings are woven by women of the Ashaninka tribe. The organic cotton is grown in their small forest gardens within the Amazon rainforest. Natural dyes are used to colour the cotton cloth. Seeds collected from many different rainforest plants provide decoration. Carved bones are also traditionally used to adorn baby slings. These are collected from wild animals (usually forest pigs) that Ashaninka men hunt for the tribe to eat.
    Price On Request
  • Coffin Fragment, Sarawak, Borneo
    Price On Request
  • Hornbill Sculpture (Kenyalang), Iban, Sarawak, Borneo
    This stunning hornbill sculpture from northwestern Borneo is a stylized image representing the rhinoceros hornbill (kenyalang), a large forest bird whose beak is surmounted by a hornlike projection typically depicted, as here, as a spiral form. In Iban religion, hornbills are associated with the upper world, and with life, fertility and a good rice harvest. Hornbill effigies receive offerings during the gawai kenyalang festival. In earlier years, the ceremony was a precursor to headhunting raids. Today, with headhunting officially banned, the ceremony has been incorporated into the rice harvest celebrations. At the climax of the ceremony, the sacred hornbill image, lavishly decorated for the occasion, is elevated atop a tall pole. Between ceremonies, it is preserved in the loft of the communal longhouse
    Price On Request
  • Boat Prow, Eastern Malaysian Peninsula, date unknown
    Price On Request
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Other Unusual / Ethnographic / Tribal Art


Ethnographic art from Borneo (Sarawak), mainland Malaysia, Kalimantan, Sulawesi, Papua New Guinea, Vietnam, Philippines, China and the Amazon. 


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