ETHNIC JEWELLERY from
INDONESIA
Philippe Heurtault Photographer P. Heurtault was born in France in 1952, and first discovered the mysteries of the darkroom at age 16. His passion for photography led him to work with fashion legends such as Karl Lagerfeld and Yves SaintLaurent in the 1970s. Known for his work in magazines such as Vogue, Playboy and Vanity Fair, Philippe has also worked for advertising agencies such as Publicis and McCann Erikson. He divides his time between France and Southeast Asia.
ETHNIC JEWELLERY INDONESIA
Dr. Antonio J. Guerreiro Dr. Guerreiro is a leading scholar in the comparative approach of Austronesian cultures and arts. He has published extensively on Malay/Indonesian ethnic cultures since the 1980s. Dr. Guerreiro has worked as a consultant for various museographical projects and has done research on ikat textiles and personal adornments of the peoples of the Indonesian Archipelago, especially in Borneo and Sumatra.
Continuity and Evolution
Showcasing nearly 600 pieces of jewellery amassed over 30 years, Ethnic Jewellery from Indonesia: Continuity and Evolution is a testimony to the living traditions of the indigenous peoples of Indonesia. The history of the ancient art of body ornament is told from the perspective of the materials used, including gold, silver, brass, ivory, shell and animal teeth.
Text by Bruce
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Ethnic Jewellery from Indonesia: Continuity and Evolution features the private Indonesian jewellery collection of Manfred Giehmann. Amassed over 30 years, this collection stands as testimony to the Indonesian people’s living traditions, which M. Giehmann experienced first hand through direct interactions. The book is a unique survey of the jewellery traditions found among the diverse peoples and cultures that populate the more than 17,000 islands making up the Indonesian Archipelago. Leading Indonesian art expert Bruce W. Carpenter tells the history of the ancient art of body ornament from the perspective of the materials used. With nearly 600 pieces of jewellery showcased in full colour, this book covers items made from gold, silver, brass, ivory, shell and animal teeth on the various islands of Indonesia except Java, Bali and West Papua. In addition, an authoritative introduction by prominent French scholar Antonio Guerreiro gives readers a glimpse into the lifestyle and social systems of the indigenous peoples whose lives are shrouded in mystery.
from
Bruce W. Carpenter A leading art expert and writer, B. Carpenter has authored and co-authored over twenty books and numerous essays on Indonesian art, including the critically well-acclaimed W.O.J. Nieuwenkamp: First European Artist in Bali. Since 1974, Bruce has been interested in Indonesian jewellery and has travelled throughout the archipelago. He currently resides in Bali and owes his broad knowledge of Indonesian art, culture and history to independent study and direct experience.
W. Carpenter Photographs by Philippe Heurtault Introduction by Dr. Antonio J. Guerreiro
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FRONT COVER:
Pair of silver ear ornaments or pendants from Sumbawa Pair of women’s ivory bracelets from Sumba SPINE: Sunburst ear plugs from West Sumatra (see page 46) BACK COVER:
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The collector, the publisher and the authors would like to gratefully acknowledge the following sponsors for their support of this publication:
Hydronav
Editor: Valerie Ho Managing Editor: Francis Dorai Editorial Director: Douglas Amrine Designer: Annie Teo Production Manager: Sin Kam Cheong Š 2011 Editions Didier Millet Designed and produced by Editions Didier Millet Pte Ltd 121 Telok Ayer Street #03-01 Singapore 068590 www.edmbooks.com
Colour separation by Pica Digital, Singapore. Printed in Singapore by Star Standard Industries (Pte) Ltd. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage and retrieval system, without the prior written permission of the copyright owners.
ISBN 978-981-4260-68-8
PAGE
2: Carved wild boar (babirussa) tusk from West Timor (see page 268) 4: Ceremonial bracelet (galang gadang) from West Sumatra PAGES 6–7: Pair of silver ear ornaments from Sumatra
PAGE
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The Manfred Giehmann Collection
Text by
Bruce W. Carpenter Introduction by
Dr Antonio J. Guerreiro Photographs by
Philippe Heurtault
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This book is dedicated to all the anonymous jewellery craftsmen throughout the Indonesian Archipelago. It has been written as a testimony of their talents. We hope that their artistic creation will always be recognised and appreciated.
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Acknowledgements ithout the warm encouragement and advice of
W
My gratitude also goes to all the anonymous friends
a few friends such as Bernard Sellato, Geneviéve
and acquaintances who have helped me, over the years, to
de Bernis and Jean Claude Le Cardinal as well
organise, and often accompanied me, on numerous field
as the unfailing support of my family, I doubt I would ever
trips throughout many remote parts of Indonesia. Their
consider producing such a book. I want to underline my
loyalty and friendship has to be acknowledged.
gratitude to all of them for pushing me into undertaking this interesting adventure.
There is not enough space on this page to thank the many individuals who have helped me over the years
My sincere thanks to my dear friend Johnny Yussuf
to build up my precious collection. They will receive, in
Abdullah in Jakarta who helped me to look for a sponsor.
due course, a signed copy of this book as a memento of
He, too, decided to become a sponsor. Our friendship goes
their contributions.
back to the mid 70s and has grown stronger ever since.
My thanks and appreciation also goes to my oldest and
The trust and support of Oliviero Bottinelli of Audemars
dearest friends: Willin and Georges Koller, Michel Vieuge,
Piguet and of my long-term partners Wui Ong Chuan and
Gilles Boivin, Peter Bölsterli, Florence and François Chalverat,
Nancy Lim of Hydronav Services must be acknowledged
Marléne and François Armangaud, Guy Demierre, Roland
here. Without their generosity, this book would not have
Thorelle, Olivier Fargeix, Stéphane Schmid, Jean Michel
been possible.
Michel, Socrate Georgiadés and and a few others for their
I am also grateful to the many individuals who have helped
keen interest in and support of my book project.
me during the preparation of this book – My friend Aimery
Thank you to Bruce Carpenter for writing the
Joessel for researching archival photos, my son Florent Y.C.
comprehensive main text and his valuable assistance in the
Giehmann for his assistance in polishing the Preface, and my
book layout; to Dr Antonio Guerreiro for his authoritative
companion Pesta Helen Pasaribu for her help in preparing
Introduction; and to Philippe Heurtault for his beautiful
the jewellery during the photography sessions.
photographs used in this book. I also want to thank the
I want to thank the Indonesian art experts and
various contributors who have granted me permission to use
collectors Bruce Carpenter, Bernard Sellato, Antonio
their photographs and images. Their names are mentioned
Guerreiro and Georges Breguet for their contributions
on the picture credits page 323.
to this book. Thank you also to the friendly and reliable
Finally, a special mention goes to the team at Editions
Primitive Arts traders A. Pornwichunda, Verra Darwiko,
Didier Millet – Didier and Marie-Claude Millet, Charles Orwin,
H. Daeng Iskandar, H.M. Nur Amin, Yohannes Teak,
Francis Dorai, K.C. Sin and of course my editor, Valerie Ho,
Yurmal S., H. Syafri, E. Laurens, M. Mandu, A. Lathief
and designer, Annie Teo, for their dedication and hard work.
and many others for sharing their vast knowledge on Indonesian art and ethnic jewellery with me.
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Manfred Giehmann
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Contents Dedication 4 Acknowledgements 5 Contents 6 Map of the Indonesian Archipelago 8 Preface 10 Introduction by Dr. Antonio J. Guerreiro 14 Continuity and Evolution 22
Sumatra
50
Aceh 54 Gayo Alas 60 Batak Toba 62 Batak Karo 74 Nias 86 Mentawai 100 Minangkabau 102 Riau to Lampung 116
Borneo
130
Iban 132 Tunjung-Pasir 144 Bidayuh-Punan 146 Kenyah-Kayan 148 Benuaq 158 Banjar-Kutai 162
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Sulawesi
164 Bugis/Makassar 166 Kulawi 180 Toraja 186
Lombok to Sumba and Sawu
194
Lombok/Sumbawa 196 Sumba 200 Sawu 222
Flores to Alor
228
Flores 230 Alor 250
West Timor/Timor Leste
252
West Timor/Rote 254 Timor Leste 282
Maluku
288 Southeast Maluku 290 Bibliography 320 Picture Credits 323 Index 324
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SOUTH CHINA SEA Kota Kinabalu • • Banda Aceh
M A L A Y S I A • Medan
St
Peninsular Malaysia ra
it
of
M
al
Sabah
BRUNEI East Malaysia
Tarakan •
Sarawak
ac
ca
NIAS
SINGAPORE
• Kuching
Sumatra Equator
• Pontianak
• Sintang Samarinda •
Kalimantan
• Padang MENTAWAI
• Jambi • Palangkaraya • Palembang • Banjarmasin
• Bengkulu
J AVA S E A ENGGANO
• Bandarlampung
• Jakarta
Legend International boundary
Java
River
• Surabaya Sumbawa Besar
• Yogyakarta
Lake
0
BALI
BRUNEI
Country
Java
Region
MENTAWAI
Island
• Bengkulu
City
180
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Bima
LOMBOK • Mataram
•
•
SUMBAWA
S 360
540km
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Map of the Indonesian Archipelago PHILIPPINES
Manado • P. TERNATE
Equator
• Sorong
• Palu
Sulawesi • Rantepao
P. SERAM P. BURU AMBON
• Kendari
P. BANDA • Ujungpandang (Makassar)
Maluku (Moluccas)
West Papua
P. KAI
P. ARU
P. WETAR Riung
a
Larantuka P. PALUE
•
Ruteng • Bajawah
• •
• • Ende
Flores
• P. LOMBLEN Maumere
Waikabubak • • Waingapu • Lamboya • Rende P. SAWU
Sumba
P. KISAR
P. ALOR
Atambua •
• Dili
Lospalos •
P. BABAR
P. MOA P. SERMATA P. MARSELA P. LETI
TANIMBAR • Saumlaki
TIMOR LESTE
West Timor • Kupang P. ROTE
P. NDAO
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Preface
B
Women’s necklace Busang, Long Pahangai East Kalimantan Old glass beads L: 38cm
ack in 1954 when I was still a boy in France, my school rewarded me with a book titled Les Naufragés de Borneo – The Shipwrecked
of Borneo – for successfully completing another
OPPOSITE: An Iban lady adjusting her silver head ornament in front of a mirror before a ceremony. Late 1940
year of primary education. This adventure story catapulted me into a fantastic world of monstrous jungle apes, savage headhunters, precious stones and many other exotic wonders and treasures. Little did I realise at the time how profoundly this book would influence my destiny. From then on, the dream of travelling to the mysterious Far East never left me. My dream would finally come true in 1973, when as a young engineer working for a survey company based in Singapore, I was assigned to a coastal mapping project for an oil company in the delta of the Mahakam River, Kalimantan, the Indonesian part of Borneo. A year later I took some time off from work and embarked on my first expedition into the interior of the island, sailing several hundred kilometres up the course of the Mahakam on narrow riverboats. After days of travel, I landed in Long Bagun, a village at the edge of the territory of the Dayak, Borneo’s indigenous people. To my great surprise, I was not alone, having been preceded by a young French geologist Bernard Sellato who was prospecting for uranium on behalf of the Indonesian government. Impressed by his deep knowledge of the region
Preface
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TOP: A Toraja shaman wearing a round bead collar and several bead necklaces. A similar round collar is on pages 190–1. Circa 1930 BOTTOM:
Men’s ring Toraja, Sulawesi Silver H: 3cm
and an intimate understanding of Dayak culture, an enduring friendship between Bernard and I was born that day. Spurred by his passion for Borneo and the Dayak, Bernard would later pursue a doctorate in anthropology and become an internationally renowned authority on the cultures and traditions of Borneo. During our first encounter he provided me with invaluable assistance that enabled me to travel upstream beyond the river’s treacherous highland rapids. There, I settled upriver in the village of Long Pahangai at the heart of the Kayan and Busang land and received my first initiation
almost 900 pieces, an expanding research archive
into the intricate, mystical universe of Dayak
and, finally, the generous offers of several sponsors
customs and beliefs. I would also acquire what
– led towards the first steps in the publication of a
would be the first piece in my future collection of
book. From the very beginning, I realised that my
jewellery (page 11) – a vibrantly coloured trade-
collection and consequently any book documenting
bead necklace.
it would be highly personal in nature. While I have
Throughout the following 30 years, I had the
carefully selected and vetted each piece, my criteria
good fortune to travel extensively to many of the
has not only been empirical but also emotive – the
most remote regions of Indonesia. In the process I
residue of my passion for tribal art and culture.
developed a keen interest in the art and culture of
There is also no claim of being comprehensive. It
minority groups such as the Batak and the Nias of
must be remembered, too, that I lived and shared
Sumatra, the Toraja of Sulawesi, as well as those in
rites of passage – birth, coming of age, marriage
the eastern islands. It was only in the year 2000, after
and death ceremonies – with all of these people
settling in Bali, that I came to the realisation that I
and cultures. Most of the items here are memories
had accumulated several hundred pieces of ethnic
from living cultures, not anonymous specimens.
jewellery from throughout the archipelago. The
There is also a tinge of sadness here. Until the
epiphany that I had accidentally become a serious
early 1980s, very little had changed in the modes
collector caused me to pursue this occupation with
of life among the archipelago’s ethnic minorities.
new vigour and focus.
Customary rules (adat in the Indonesian language), which govern most of daily life, were still widely
12
The Birth of a Book
observed. Members of these small-scale societies
In 2008, a combination of factors – the
followed ancestral traditions, obeying timeless
encouragement of many friends, a collection of
customs that had remained unchanged for
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TOP: Detail of man wearing gelang sarung and topak gadjah ring during ceremony Batak Karo Circa 1930 BOTTOM: Gowa ear ornament Sulawesi Silver and green crystal L: 6cm
centuries. Today, however, much has changed as a
readership as possible, particularly those who may
result of modernity. While many of the old ways
share an interest in this subject. My aim is to give
still linger, they are often faint shadows of the
readers an opportunity to catch a glimpse of the fast
once great and ancient traditions. My collection is
disappearing magnificent and ancient traditions of
a humble and personal homage to this past and
each region.
its living legacy.
The Team A Note to the Reader
As I have learned first hand, it is impossible to
This book is limited to the jewellery of minority
imagine the complexities of producing an art book
ethnic groups around the Insulindian archipelago
before making one. I was fortunate to be guided in
with the exclusion of West Papua. The classical
this process by Didier Millet, director of a Southeast
jewellery and ornaments of Java and Bali, which
Asian premier publishing house. Didier would
have been thoroughly documented in other
introduce me to Indonesian art expert Bruce W.
publications, have thus been left out. Likewise,
Carpenter whose work I knew well from many of
jewellery made from ephemeral materials – grass,
his previous publications. After meeting with Bruce,
flowers, rattan, bamboo – are not the subject of
who, like me, has crisscrossed the archipelago
this book because they are impermanent and also
for more than two decades, I understood the
because they are used mostly for singular and
depth of his passion and first-hand knowledge of
transient ritual events or purposes. My emphasis is
Indonesian jewellery. Coincidently Bruce is also a
rather on objects serving in ritual exchanges, or as
good friend of Dr. Antonio Guerreiro, a respected
patrimonial heirlooms representing the houses or
French scholar and colleague of my old friend
clans to which the peoples belong.
Bernard Sellato. I am honoured that they agreed
Although the title of this book refers nominally
to write the Introduction and main text. The final
to “Indonesia”, the collection covers the entire
and equally important inclusion of professional
Insulindian
beyond
photographer Philippe Heurtault, who spent
political boundaries to cover geographical areas
much time in Sumba, allowed the book to begin
such as Borneo (thus including both Indonesian
in earnest. I am grateful to all four of them for
Kalimantan and Malaysian Sarawak) and Timor
their keen interest in my project and dedication to
(home to both the Indonesian province of West
achieve the best results. I must also thank them
Timor and the now independent Timor Leste),
for their patience and understanding when dealing
where similar ethnic groups share strong bonds
with my lack of expertise in the realisation of this
of culture and identity across both sides of their
book. Merci mes Amis!
archipelago
and
extends
respective national borders. My hope is that, through this book, I can share my passion for Insulindian tribal arts with as wide a
Manfred Giehmann
Preface
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Introduction
L
Ear ornaments with arrowhead protrusions from the Sa Huynh culture of Central Vietnam (Circa 700 BCE – 100 CE) White jade H: 4.5cm, 3cm, 2cm, 2.5cm
ooking at the intriguing shapes of traditional Indonesian
jewellery,
one
may
ponder
about their roots in the ancient past of the
Southeast Asian region. The more than 900 items in the Manfred Giehmann Collection shows an exceptional diversity and numerous variations of
The slit ring ornament has four protrusions and is flat. The other three are typical lingling-o with only three protrusions and are in the shape of a tear drop.
the basic forms. The jewellery has been collected and researched through a period of over 30 years, which is quite an extraordinary feat. M. Giehmann should be commended for the time and effort. Let
OPPOSITE: A selection of archaic ornaments dating from the 7–11th centuries found in the Musi River, South Sumatra, and in Sarawak, Borneo Bronze, tin, metal alloy D: 1.5–3cm
me begin by giving a brief outline of the collection’s general background. Within
the
Austronesian
area
of
Island
Southeast Asia, including Taiwan, the Philippines, Central Vietnam, Malaysia and Indonesia, the oldest
adornments
found
in
archaeological
contexts were made of stone, bone and shell. They included bracelets, necklaces, beads and various ear ornaments. Most of these jewellery were burial goods that would accompany the dead. The artefacts span from the Neolithic to the Bronze-Iron Age of Island Southeast Asia (2,500 BCE to about 5th century CE). Probably the most famous items found are two series of green and white nephrite, or jadeite, earrings with three or four projections. It has been recently discovered that the raw material of the earrings originated from a site on the eastern coast of Taiwan. The similarities of these earrings include the technology used, the forms and the mineral composition of the stones (Bellwood, Introduction
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Sumbanese women in ceremonial costumes dancing on the festive occasion of the completion of a new house in their village Circa 1940
16
Hung, Iizuka 2006; Bellwood 1979 and 1997).
Another important source of inspiration from
The earrings, shaped like a “C” and named after a
the insular regions of Southeast Asia, especially
Philippine word lingling–o, were found all around
the Indo-Malaysian archipelago, came from the
the South China Sea. Clearly the distribution of
Austroasiatic Dong Son culture (800 BCE–100 CE).
these jade earrings is related to the existence of
This influence extended several centuries well
an early Austronesian maritime trading network
into the first millennium, as shown by the
in the region. Professor William Solheim II has
worksmanship of bronze, gold and brass artefacts.
named it the Nusantao, “the peoples from the
Decorative patterns such as boat shapes, various
islands” network (1975 and 2006). These peoples,
stylised zoomorphic and anthropomorphic figures,
who shared a common ancestral migration history
besides a geometric style of ornamentation,
and possibly similar languages, have maintained
are seen in the jewellery and other artefacts
their trade relationships long after they migrated
made on the islands, apart from those imported
from Taiwan and the northern Philippines region
from the mainland (Bellwood 1979 and 1997;
to other areas. Related ornaments extended from
Bernet Kempers 1988). One must mention the
the Early Iron Age, from about 500 BCE to about
spirals and double spirals, very prominent in the
1,000 CE. The lingling-o and other derived shapes,
earrings, pendants and other jewellery articles
such as the split-ring ear ornament, are basic to
– e.g. the padung-padung head ornaments of
the ethnographically documented earrings of
the Karo Batak. Often, these are combined with
Indonesia, Borneo and the Philippines.
horned-shaped or crescent moon headresses and
Ethnic Jewellery from Indonesia
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crowns, worn by both men and women. From
originating in the Neolithic period still persisted in
the 5 century CE, Indian, Middle Eastern, Islamic
the warriors’ outfit. Basically, it comprised of animal
and Chinese influences were assimilated into
teeth, claws and tusks (bear, tiger, leopard, canine
regional jewellery, especially in the gold ornaments.
and boar) strung with round or oblong glass or
More generally, this occurrence coincided with the
stone beads to create necklaces and pendants. Also
development of international trade and navigational
included were large discs and/or crescent moon
techniques in the Proto-Historic period. Glass and
pectorals made of shell or metal. The animals’ teeth
other beads still have ritual uses in many Dayak
would symbolise force, virility and social status in
societies (Munan 1991 and 2005).
these tribal communities and the glass beads,
th
Historically,
three
main
social
formations
wealth. Here, gender symbolism is also related to
can be observed in the archipelago. The first is
the uses of the ornaments – wild boar tusks, fangs
scattered tribal groups, the hunter-gatherer bands
and other feline teeth being manly attributes. On
in Sumatra, Kalimantan, Sulawesi, Seram and
the other hand, it could be remarked that other
Halmahera. The second is larger chiefdoms such as
shapes, such as the mamuli pendants (Sumba) and
the Batak, Nias and Toraja with distinct territorial
duri-duri earrings (Batak, Sumatra) which evoke
domains, each ruled by its own headman or raja.
the female genitalia, are deemed to be protective
This was especially relevant on the Lesser Sunda
charms. They ward off evil and at the same time
Islands of Flores, Sumba and Timor. Lastly, there are
represent ideas of fertility and “life” (Jasper & Mas
the kingdoms, sultanates and principalities which
Pirngadie 1927 and 1930, Granucci 2005).
have authority over a coastal or inland region.
Tribal societies in Indonesia existed well before
The population of Indonesia is made up of
the first states emerged in West Java, Sumatra
over 400 distinct ethnic groups, each with their
and Eastern Borneo, between the 3rd and
own language and culture. This number can be
5th centuries CE. Semi-settled agriculturists and
narrowed to about 60 larger clusters of peoples,
nomadic hunter-gatherers would have formed
corresponding to linguistic-cultural areas. Although
symbiotic relationships and trade networks among
the Manfred Giehmann Collection covers only
peoples on the coasts, in the deep interior and
about half of the latter, it is representative of the
in mountainous areas. The notions relating to
styles and craftmanship of the major ethnic groups
cosmology and life cycle form the backbone of
in Indonesia, with the exception of the more
ceremonial practices in tribal societies, especially
Indianised cultures of Java, Bali and Madura, and
transition rites performed at birth, puberty, marriage
the culturally Melanesian societies of West Papua.
and death (Sahlins 1968). Among Indonesian tribal
For the connoisseur of Indonesian art and
societies, beliefs associated with the corporeal
cultures, the tribal features remain strong and
human body and soul were closely tied to the use
older shapes can be found alongside the newly
of body ornamentation and jewellery. Traditional
introduced ones. While metallurgy and jewellery
beliefs emphasize the spiritual protection of the
techniques have been expanding since the first
person against bad influences (dangerous spirits,
centuries of the current era – coinciding with the
ghosts, diseases and black magic). From young, an
beginning of Indian presence in the archipelago
individual would be protected by a set of bangles
– in the remote upland areas (Northern Luzon,
and charms; later in age protective ornaments would
Borneo and Sulawesi), an older set of adornments
include tattooing – in this regard the Mentawai Introduction
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people and the Iban of West Borneo are probably
Timor, Alor, Maluku), “wife-taking” and “wife-
the most spectacular examples – and the wearing
giving” descent groups are distinguished. Basically
of ikat textiles decorated with prophylactic patterns
they correspond to clans and lineages in the village
on the most sensitive parts of the body (loin cloths,
and hamlet communities. The “wife-givers” possess
sarong, belts, head and shoulder cloths). Small
a higher status compared to the “wife-takers”; the
children, particularly prone to supernatural attacks,
former are considered to be ritually superior. Among
were protected by bead charms, bracelets and
the Batak Toba in Sumatra, bride price is made up
necklaces. Customary (adat) jewellery not only
of weapons (piso), which are considered as “male
included the obvious (headbands, necklace sand
gifts”, while the ritual cloths (ulos) are “female
armbands), but in some cases “invasive” forms of
gifts” that accompany the transfer of the bride to
adornment such as heavy earrings, nose quills and
the wife-takers. In Central Timor among the Tetum,
foreskin inserts that elongated and even deformed
“male goods” given out of the lineage by the sons
the natural body. The criteria of beauty, according to
of wife-takers to the wife-givers include gold or
tribal custom, had to accord with traditional beliefs.
silver jewellery, weapons, buffalos and horses, while
In this regard, the personal adornments of
the latter reciprocate with “female goods” such as
the Tanimbar islanders in Southeast Maluku are
bead necklaces, ikat cloth and pigs. In one particular
especially interesting. The ornaments show an
pattern of a circulating type, the marriages would
impressive pageantry and combine delicate gold
link several descent groups on successive generations
jewellery (filigree ear pendants, embossed and
in a cycle, involving at least three clans (A > B > C
repoussé breast pendants, woven gold chains)
> A). The wife-takers would present “male gifts”
with ivory armbands and distinct cowry shell
(gold jewellery, swords, cattle) to the wife-givers’
necklaces (wangpar). Anklets for males were made
clan, who would in turn reciprocate by giving
of rattan or palm fibre and for females, brass.
“female goods” (textiles, food, silver coins) to the
Various earrings and different headgear, including
former. This type of exchange corresponds generally
ikat cloths, feathers and beads, were used in a
to a unilineal descent system where individuals
sophisticated way by both sexes. It is likely that the
are members of their mothers’ or fathers’ clan or
finer gold jewels used on the Tanimbar, such as the
lineage, and is observed in both matrilineal and
gold chains, pendants and earrings, came from the
patrilineal societies. (Wouden, 1968)
Kisar and Luang areas in the west or other places in the Lesser Sunda islands.
18
The bilateral descent system shows more variation in the social organisation. Under this
The social context of the pusaka jewellery in
arrangement, kinship and kindred relations are
Indonesia should be mentioned. Jewellery was
reckoned both on the father’s and mother’s sides
an obligatory item at the ceremonial exchanges
symmetrically. It is common in both small-scale
of goods and presentations taking place during
societies, such as the hunter-gatherers, horticulturists,
engagements and marriages. These exchanges
agriculturists, e.g. the Punan/Penan and Dayak in
were distinguished according to the kinship systems
Borneo, the Toraja in Sulawesi, and in the larger
in use. In an asymmetrical matrimonial exchange,
peasant societies such as the Malays in Sumatra and
mostly associated with the chiefdom’s socio-political
Borneo, and the Bugis and Mandar in Sulawesi.
organisation, as in Sumatra (Batak, Nias) and in the
Another important universal concept seen in
eastern regions of the archipelago (Flores, Sumba,
both systems is that of the “ancestral house” under
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A Tanimbar bride showing her wedding adornment Mid 1920 The two pairs of elongated shell armbands worn by this bride are especially impressive. She also wears a necklace comparable to that seen on page 314.
the authority of those of the highest rank, usually
sacred. According to indigenous ideas, they protect
the descendents of the village or clan founders,
the house and its descendants, thus ensuring the
as opposed to branch or subsidiary houses. It
clan’s continuity. They are passed down from one
characterised both unilineal and bilateral kinship
generation to another. Most of these jewellery,
systems. According to the rank of its founders or its
either of metal or other materials, can be classified
clan among the marriage partners, the “ancestral
with the ritual weapons (kris, swords, daggers,
house” is distinguished from the “branch houses”
lances and shields) and ikat textiles used in the
stemming from it (in Minangkabau, Sumba, Timor,
frame of traditional adat ceremonies (Taylor &
Savu and Roti). The inalienable pusaka jewellery are
Aragon 1991, De Jonge & van Dijk 1995). The oral
“owned” by the house, they cannot be sold but are
knowledge, stories, legends and myths explaining
inherited by the descendants of the founders – those
the origins and functions of the jewellery was
actually staying in the house – of each generation.
part of their power. The sacred pusaka received
The house is ideally considered as an everlasting
offerings yearly during ceremonies to strengthen
kinship unit. Perhaps the Toraja’s noble house,
their ritual efficacy. In Eastern Indonesia, especially
tongkonan, best exemplifies these aspects within an
in Flores and Sumba, the possession of inalienable
ambilineal descent system, i.e. the reckoning of all
gold ornaments considered as pusaka coexisted
the descendants from an ancestral couple.
with the acquisition of gold and silver jewellery
The ancient heirlooms (pusaka) bestowed
through exchanges. Successive feasts would be
by the founding ancestors are considered to be
linked to the uses of jewellery, entitling individuals
Introduction
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LEFT:
Bracelet with gecko East Java Bronze D: 6.5cm Archaic bronze bracelet from the pre-Majapahit period or earlier. RGHT: A Meo warrior and priest from Mata Amarasi Circa 1940
to wear specific ornaments. At this point gender
OPPOSITE: Detail of a Dong Son-style drum found on Pulau Sangeang (Sumbawa) Bronze D: 111cm
Sumba, there are “male” and “female” jewellery,
Similar kettle drums manufactured in Tonkin, North Vietnam between 500 BCE to 100 CE are found throughout Southeast Asia, including insular Indonesia. Referred to as Dong Son after the village they were first discovered, these are often found in Bronze-Age burial grounds. This large example is now in the Museum Nasional Indonesia, Jakarta.
distinctions are also relevant in connection to the valuables exchanged in marriage alliances, e.g. in gold chains and mamuli pendants respectively – the latter are divided again into “male” and “female” according to details in craftmanship, each with its own realm of influence. Some ancient ornaments were equated with the existence and continuity of the ancestral house, domain or clan. They were exhibited only during processions, adat ceremonies, dances and other important celebrations held within the community. Others were used by priests or shamans during curing rites to communicate with spirits or “bargain” for the souls of the owners, because it was believed that a person’s soul was attached to his or her ancestral jewellery. Most of the time, however, these extraordinary objects would be kept in wooden chests or baskets shrouded in cloth, because it was taboo (pemali) to place them in view of children or outsiders. The intrinsic value of the Manfred Giehmann Collection – the high quality and variety of
should be conserved with care as the wayang,
the
batik,
pieces,
including
both
the
older
and
topeng
traditions
which
have
been
contemporary pieces – should be stressed. It
recognised as masterpieces of World Heritage in
will no doubt become a source of inspiration
Indonesia. Jewellery, inextricably linked to other
for artists, designers and scholars alike. Notably,
art forms, is part and parcel of ethnic Indonesian
these items were made according to traditional
culture just as betelnut, sirih leaf and pinang nut-
techniques. Conservation of the tangible
chewing. In this sense, jewellery is also a living art
and intangible cultural heritage
which evolves over time. For now, this book will
of a country should include as
be a key resource for discovering beautiful ethnic
well adornments which are at
jewellery. It is also a comprehensive inventory of
the core of the Austronesian
an outstanding tradition that is representative of
cultures established in the
Indonesian tribal arts.
archipelago more than 4,000 years ago. In many places, in fact, local cultures originating from
the
early
settlers
are
still
Austronesian thriving.
The
intangible crafts of jewellery-making 20
Dr. Antonio J. Guerreiro Expert on Southeast Asian Arts and Cultures Institut de Recherches sur le Sud-Est asiatique (CNRS-Université de Provence, Marseille) & SEEA, Musée du quai Branly, Paris, ICOM-France member (UNESCO, Paris)
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