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DECORATIVE ART 281
Plate 137.
Fig. I. — Sea Dayak modification of the dog design. From a tatu-block in the
Sarawak Museum. (No. 1054. 102.)
Fig. 2.— ,, „ (No. 1054.101.)
Fig. 3.— „ „ (No. 1054.67.)
Fig. 4.— „ „ (No. 1054.109.)
Fig. 5.— „ „ (No. 1054.70.)
Fig. 6.
,, ,, But known as " scorpion " (/^a/a) pattern. From
a tatu-block in the Sarawak Museum. (No. 1054.69.)
Fig. 7.—Barawan and Kenyah modification of the dog design, known as
"hook" [kowit) pattern. From a tatu-block in the Sarawak
Museum. (No. 1054.63.)
Fig. 8.— „ „ (No. 1054.75;)
_
Fig. 9.—Kenyah modification of the dog design, but known as the "prawn"
{orang) pattern. From a tatu-block in the Sarawak Museum.
(No. 1054-89.)
Plate 138.
Fig. I.— Kayan three-line pattern {ida tdo) for back of thigh of woman of
slave class. From a tatu-block in the Sarawak Museum.
(No. 1 66a Brooke Low Coll.)
Fig. 2.—Kayan four-hne pattern {ida pat) for back of thigh of woman of
middle class. From a tatu-block in the Sarawak Museum.
(No. 1434.)
Fig. 3.—Kayan (Rejang R.) three-hne pattern {ida teld) for back of thigh of
women of upper and middle classes. From a tatu-block in the
Sarawak Museum. (No. 1054.2.)
Fig. 4.—Kayan (Uma Pliau) design for front and sides of thigh of high' class
women. A = tushun ttiva, tuba root ; B =jalaut, fruit of Plukenetia
cornictdata ; V> = kowit ^ interlocking hooks. From a tatu-block in
coll. C. Hose.
Fig. 5.—Kayan design for front of thigh of woman of high class. X = tushun
tuva ; B = dulang harok, bows of a boat ; C = ulu tinggang, hornbill's
head; 'D = beHling bulan, full moons. From a tatu-block in the
Sarawak Museum. (No. 1432.)
Fig. 6.—Barawan design for the shoulder or breast of men. From a drawing.
Fig. 7.—Design of uncertain origin, on the calf of the leg of an Ukit man.
Plate 139.
Fig. I.—Kayan (Rejang R.) design known as ida tuang or ida lima for back
of thigh of women of high rank. Note the hornbill heads at the
top of the design. From a tatu-block in the Sarawak Museum.
(No. 166^ Brooke Low Coll.)
Fig. 2—Kayan (Rejang R.) design ; compare with Figs. 5 and 11. From a
tatu-block in the Sarawak Museum. (No. 166^: Brooke Low Coll.)
Fig. 3.—Long Glat hornbill design (after Nieuwenhuis). This is tatued in
rows down the front and sides of the thigh.
Fig. 4.—Kayan (?) hornbill design, known, however, as the "dog without a
tail" {tuang buvong asu). From a tatu-block in the Sarawak
Museum. (No. 1054,8.)
Fig. 5.—Kayan (Rejang R.) tatu design known as "dog without a tail"
{tuang buvong asti) pattern, for front and sides of thigh of women of
high rank. From a tatu-block in the Sarawak Museum. (No. 166^
Brooke Low Coll.)