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The pagan tribes of Borneo - Get a Free Blog Here

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26o PAGAN TRIBES OF BORNEO chap.<br />

line pattern, here termed ketong pat, and a somewhat crude<br />

anthropomorphic design, known as kohong kelunan, human<br />

head, covers the front and sides <strong>of</strong> the thigh (text Fig. 69) ;<br />

the centre <strong>of</strong> the knee-cap is occupied by a very similar<br />

anthropomorph, known however as nang klinge, the<br />

important design, and extending in a semicircle round the<br />

upper part <strong>of</strong> it is a design made up <strong>of</strong> intersecting zigzags<br />

and known as kalang ngipa, the snake design ; below the<br />

knee-cap is a transverse band <strong>of</strong> hour-glass shaped figures<br />

termed pedjako. Nieuwenhuis also figures [9, PI. 84] the<br />

thigh pattern <strong>of</strong> a chiefs daughter from the same river<br />

this only differs from the preceding example in the greater<br />

elaboration <strong>of</strong> the kohong kelunan ; the back <strong>of</strong> the thigh is<br />

covered by a form <strong>of</strong> the ida pat pattern not by the ida<br />

lima pattern. Some <strong>of</strong> the tatu-blocks employed by the<br />

Mendalam Kayan women are figured in the same works<br />

[9, PI. 82, and 8, PI. XXVIII.].<br />

A comparison <strong>of</strong> the figures here given lends strong<br />

support to the supposition that the tuba-root pattern is<br />

merely a degraded anthropomorph. Fig. 69 is a recognisable<br />

anthropomorph such as is tatued in rows on the thigh, and<br />

some such name as tegulun, silong, or kohong is applied to<br />

it. Fig. 70 is a knee-cap design, evidently anthropomorphic<br />

in nature, but termed nang klinge, the important design,<br />

since it is the last part <strong>of</strong> all to be tatued. Fig. 71 is termed<br />

tushun tuva, but a distinct face is visible in the centre <strong>of</strong><br />

the pattern ; the general similarity between this last design<br />

and the examples <strong>of</strong> tushun tuva shown in the designs<br />

on PL 138, Figs. 4 and 5, is<br />

the two tushun tuva designs<br />

quite obvious;<br />

in Fig. 5, PL<br />

the lower <strong>of</strong><br />

138, is composed<br />

<strong>of</strong> angular lines, thus reverting to the angularity<br />

<strong>of</strong> the lines in text. Fig. 69 ; at E, Fig. 3, PL 140, the lines<br />

are partly angular, partly curved, and the bilateral symmetry<br />

is entirely lost ; finally, in Fig. 72, the relationship <strong>of</strong> the<br />

tushun tuva design to an anthropomorph is entirely lost.<br />

A typical form <strong>of</strong> tatu on the foot <strong>of</strong> a low-class woman<br />

is shown on PL 138, Fig. 6; a chiefs daughter would<br />

have some modification <strong>of</strong> the principal element <strong>of</strong> the<br />

thigh design tatued on this part.<br />

ii. Kenyah Tatu.<br />

<strong>The</strong> culture <strong>of</strong> the Sarawak Kenyahs is closely allied to<br />

that <strong>of</strong> the Kayans, and their tatu may be considered<br />

;

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