Rarities

RARITIES THE HIMALAYAS TO HAWAII THOMAS MURRAY

Thomas Murray with a foreword by Jonathan Fogel

RARITIES THE HIMALAYAS TO HAWAII

Thomas Murray with a foreword by Jonathan Fogel

RARITIES THE HIMALAYAS TO HAWAII

Follow Your Bliss If you do follow your bliss, you put yourself on a kind of track that has been there all the while waiting for you, and the life you ought to be living is the one you are living. When you can see that, you begin to meet people who are in the field of your bliss, and they open the doors to you. I say, follow your bliss and don’t be afraid, and doors will open where you didn’t know they were going to be. If you follow your bliss, doors will open for you that wouldn’t have taiwan

himalayas

opened for anyone else.

JOSEPH CAMPBELL

This book is dedicated to my father, Eugene Thomas Murray, Sr, who encouraged hawaii

me to follow my heart and go the distance. philippines

vietnam

batak

borneo

nias mentawai

korwar

sulawesi

java

lombok bali

sumba

atauro

timor

lake sentani

tanimbar solomon islands

tonga

cook islands

Follow Your Bliss If you do follow your bliss, you put yourself on a kind of track that has been there all the while waiting for you, and the life you ought to be living is the one you are living. When you can see that, you begin to meet people who are in the field of your bliss, and they open the doors to you. I say, follow your bliss and don’t be afraid, and doors will open where you didn’t know they were going to be. If you follow your bliss, doors will open for you that wouldn’t have taiwan

himalayas

opened for anyone else.

JOSEPH CAMPBELL

This book is dedicated to my father, Eugene Thomas Murray, Sr, who encouraged hawaii

me to follow my heart and go the distance. philippines

vietnam

batak

borneo

nias mentawai

korwar

sulawesi

java

lombok bali

sumba

atauro

timor

lake sentani

tanimbar solomon islands

tonga

cook islands

contents map 6 mentawai 52 sulawesi 112

lake sentani 146 foreword 8 batak 54 sumba 118 philippines 148 introduction 14 java 64 timor 120 taiwan 150 himalayas 18 bali 68 atauro 124 oceania 154 vietnam 26 lombok 80 tanimbar 136 bibliography 164 nias 32 borneo 82 korwar 140

acknowledgements 166

contents map 6 mentawai 52 sulawesi 112

lake sentani 146 foreword 8 batak 54 sumba 118 philippines 148 introduction 14 java 64 timor 120 taiwan 150 himalayas 18 bali 68 atauro 124 oceania 154 vietnam 26 lombok 80 tanimbar 136 bibliography 164 nias 32 borneo 82 korwar 140

acknowledgements 166

foreword

Artifact to Art Borneo

The objects in these pages come from a swath of widely

in the same way as they are—or were—perceived in

A. Sachtler, 1868.

varied cultures from Nepal eastward to Hawaii. While the

their cultures of origin. Here, the primary criteria relate

overwhelming majority are from Indonesia and Southeast

to function—does the object “work” within its socio-

Asia, as a group they have little in common save that

religious context? Part of this efficacy involves the care

they fall under the aegis of what has come to be known

and attention to detail with which the object is made, and

as “tribal” art, a deeply inaccurate term that has become

thus overlaps with a Western perception of art. Other key

a vernacular designation for the traditional arts of many

aspects may be either imperceptible or irrelevant to most

of the world’s indigenous cultures, the belief systems

foreign observers. In addition, what we see today is often

of which are not dominated by the major religions of

only one part of the original object, and the elements that

Christianity, Islam, Judaism, Hinduism, and Buddhism.

once “charged” it and rendered it functional may now be

These may or may not incorporate animist beliefs,

absent. This often happened when the object departed

systems of ancestor veneration, and/or shamanistic

from its place of origin, removed either by the original

practices. Some of these cultures may be interrelated

owners to make it safe to handle, or by whoever collected

but each is individual and unique with its own history and

it in order to render it more in line with the art to which

characteristic art forms, most of which are rooted in their

Western consumers are accustomed. In some cases, the

own cosmological structures.

existing sculpture was an element of a larger structure that

Private collection

What the objects in this volume do have in common is that they represent the particular taste of one individual,

negligible. It is notable that, in the present collection,

Thomas Murray, who has spent a lifetime studying this art

the majority of the artworks retain most of their original

in his endeavors as a dealer, collector, and field researcher.

elements, another expression of Murray’s particular taste

As such, his eye for this art is highly informed and based

and connoisseurship.

on an unusually large sampling of objects to which his

The aesthetic sensibilities that guide our perception of

experience and research have exposed him. The artworks

and reaction to these very foreign artworks are the result

documented here represent some of the top examples

of generations of sifting and refinement, a process that

he has acquired and retained over the course of a long

was to become closely tied to the evolution of modernism

career. They are characterized by sculptural balance and a

in the early twentieth century. However, the story long

harmony of line, as well as a rare quality of expressiveness.

precedes this. The first collections of this material were

Each ranks high in terms of aesthetics and desirability

the result of early European exploration and trade

within its own particular style as perceived by the art

activity during the late Renaissance. Interesting objects

market and by other Western aficionados.

encountered during these various expeditions typically

That said, it is important to note that Western connoisseurs do not see and appreciate these objects 8

was either too big to move or was considered artistically

went to their wealthy sponsors and became part of what were known as wunderkammers, or cabinets of curiosities,

foreword

Artifact to Art Borneo

The objects in these pages come from a swath of widely

in the same way as they are—or were—perceived in

A. Sachtler, 1868.

varied cultures from Nepal eastward to Hawaii. While the

their cultures of origin. Here, the primary criteria relate

overwhelming majority are from Indonesia and Southeast

to function—does the object “work” within its socio-

Asia, as a group they have little in common save that

religious context? Part of this efficacy involves the care

they fall under the aegis of what has come to be known

and attention to detail with which the object is made, and

as “tribal” art, a deeply inaccurate term that has become

thus overlaps with a Western perception of art. Other key

a vernacular designation for the traditional arts of many

aspects may be either imperceptible or irrelevant to most

of the world’s indigenous cultures, the belief systems

foreign observers. In addition, what we see today is often

of which are not dominated by the major religions of

only one part of the original object, and the elements that

Christianity, Islam, Judaism, Hinduism, and Buddhism.

once “charged” it and rendered it functional may now be

These may or may not incorporate animist beliefs,

absent. This often happened when the object departed

systems of ancestor veneration, and/or shamanistic

from its place of origin, removed either by the original

practices. Some of these cultures may be interrelated

owners to make it safe to handle, or by whoever collected

but each is individual and unique with its own history and

it in order to render it more in line with the art to which

characteristic art forms, most of which are rooted in their

Western consumers are accustomed. In some cases, the

own cosmological structures.

existing sculpture was an element of a larger structure that

Private collection

What the objects in this volume do have in common is that they represent the particular taste of one individual,

negligible. It is notable that, in the present collection,

Thomas Murray, who has spent a lifetime studying this art

the majority of the artworks retain most of their original

in his endeavors as a dealer, collector, and field researcher.

elements, another expression of Murray’s particular taste

As such, his eye for this art is highly informed and based

and connoisseurship.

on an unusually large sampling of objects to which his

The aesthetic sensibilities that guide our perception of

experience and research have exposed him. The artworks

and reaction to these very foreign artworks are the result

documented here represent some of the top examples

of generations of sifting and refinement, a process that

he has acquired and retained over the course of a long

was to become closely tied to the evolution of modernism

career. They are characterized by sculptural balance and a

in the early twentieth century. However, the story long

harmony of line, as well as a rare quality of expressiveness.

precedes this. The first collections of this material were

Each ranks high in terms of aesthetics and desirability

the result of early European exploration and trade

within its own particular style as perceived by the art

activity during the late Renaissance. Interesting objects

market and by other Western aficionados.

encountered during these various expeditions typically

That said, it is important to note that Western connoisseurs do not see and appreciate these objects 8

was either too big to move or was considered artistically

went to their wealthy sponsors and became part of what were known as wunderkammers, or cabinets of curiosities,

himalayas

03 Deer mask Tibet or Bhutan, India Wood, pigment; 19th/early 20th century Ex collections Pace Gallery, New York; Victor Teicher, New York 24 in / 61 cm This wrathful manifestation of the deer spirit was used in morality dramas of Cham dances found throughout the Himalayas. The deer is a potent animal totem, the magic of which predates Buddhism in the Himalayas. It morphs from simple and innocent to powerful and dangerous, depending on the purity of a hunter’s soul.

22

himalayas

03 Deer mask Tibet or Bhutan, India Wood, pigment; 19th/early 20th century Ex collections Pace Gallery, New York; Victor Teicher, New York 24 in / 61 cm This wrathful manifestation of the deer spirit was used in morality dramas of Cham dances found throughout the Himalayas. The deer is a potent animal totem, the magic of which predates Buddhism in the Himalayas. It morphs from simple and innocent to powerful and dangerous, depending on the purity of a hunter’s soul.

22

himalayas

04 Guardian figure, bahan Khas people, Bajura district, Nepal Wood, glass eyes; 19th century or earlier Ex private French collection Published: Cortes, Jean-Luc, La Statuaire Primitive de L’Ouest du Népal, 2011, plate 1 26 in / 66 cm These figures served as village and household guardians in the far west of Nepal. Commonly mislabeled “spring figures,” they arise from a different cultural impulse than that of the “primitive” black-patinated masking tradition found more to the east, often developing a thick smoked interior patina or a heavily eroded surface from exterior exposure. They can be squatting or standing, but always have the arms up, hands together, as in prayer. This is a superb example, an archetypal expression of this unique art form.

24

himalayas

04 Guardian figure, bahan Khas people, Bajura district, Nepal Wood, glass eyes; 19th century or earlier Ex private French collection Published: Cortes, Jean-Luc, La Statuaire Primitive de L’Ouest du Népal, 2011, plate 1 26 in / 66 cm These figures served as village and household guardians in the far west of Nepal. Commonly mislabeled “spring figures,” they arise from a different cultural impulse than that of the “primitive” black-patinated masking tradition found more to the east, often developing a thick smoked interior patina or a heavily eroded surface from exterior exposure. They can be squatting or standing, but always have the arms up, hands together, as in prayer. This is a superb example, an archetypal expression of this unique art form.

24

vietnam

05 Ritual dagger with ancestor figure Dongson culture, Vietnam Bronze; 500 bce – 200 ce Ex collection Tuyet Nguyet, Hong Kong, publisher of Arts of Asia magazine 10.5 in / 26.5 cm Dongson was the title given to a BronzeIron Age culture named after the north Vietnamese village of Dong Son that was the first archeological find site in 1924. It is thought that the people were proto-Cham, with likely both Li-Tai and Austronesian language affinities.

Daggers of this type, sometimes described as short swords, probably served ceremonial purposes, including the sacrificing of animals.

They offer great insights into costumes and jewelry of the era, including large earrings and hip-wrap sarongs that greatly resemble tribal Southeast Asian clothing up to recent times.

It has been theorized that the classic Indonesian and Malay ceremonial dagger, keris, descended from Dongson blades of this type.

26

vietnam

05 Ritual dagger with ancestor figure Dongson culture, Vietnam Bronze; 500 bce – 200 ce Ex collection Tuyet Nguyet, Hong Kong, publisher of Arts of Asia magazine 10.5 in / 26.5 cm Dongson was the title given to a BronzeIron Age culture named after the north Vietnamese village of Dong Son that was the first archeological find site in 1924. It is thought that the people were proto-Cham, with likely both Li-Tai and Austronesian language affinities.

Daggers of this type, sometimes described as short swords, probably served ceremonial purposes, including the sacrificing of animals.

They offer great insights into costumes and jewelry of the era, including large earrings and hip-wrap sarongs that greatly resemble tribal Southeast Asian clothing up to recent times.

It has been theorized that the classic Indonesian and Malay ceremonial dagger, keris, descended from Dongson blades of this type.

26

nias 09 Ancestor queen, adu zatua or siraha salawa Nias Wood; 19th/early 20th century Ex collection Pierre and Claude VĂŠrite, France 11.5 in / 29.21 cm A fine and rare ancestor figure with great provenance, recognizably a female aristocrat because of the dual earrings and the tall crown that would have been gold in life. The style of this headdress and the fact she is holding a cup in both hands are considered to be northern Nias conventions, and therefore siraha salawa would be an applicable title. Offerings needed to be made on a regular basis to ensure the goodwill of the deceased.Â

38

nias 09 Ancestor queen, adu zatua or siraha salawa Nias Wood; 19th/early 20th century Ex collection Pierre and Claude VĂŠrite, France 11.5 in / 29.21 cm A fine and rare ancestor figure with great provenance, recognizably a female aristocrat because of the dual earrings and the tall crown that would have been gold in life. The style of this headdress and the fact she is holding a cup in both hands are considered to be northern Nias conventions, and therefore siraha salawa would be an applicable title. Offerings needed to be made on a regular basis to ensure the goodwill of the deceased.Â

38

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