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Lot Essay
« Situé à 30 miles à l’est de la Nouvelle-Irlande, le groupe d’îlots des Tabar nous livre un art monolithique sévère, privé des enluminures, des arabesques et des découpages savants auxquels les uli et les malangan nous avaient habitués. De plus, leur référence à un archétype précis nous fait pressentir un art à son stade fondamental. […] Contrastant avec la fantaisie et l’individualisme des pièces de Nouvelle-Irlande, la simplicité et l’intériorité de l’art des îles Tabar semblent répondre à la question de leurs origines. Sommes-nous devant leurs ancêtres comme devant un autre art roman ? C’est probable. Mais d’ores et déjà notre vision des pièces de Nouvelle-Irlande se trouve transcendée d’une manière émouvante par cette parenté artistique qui semble lui venir des îles Tabar comme un véritable patrimoine génétique ».
Kerchache, J., Îles Tabar, Paris, 1971
“Situated 30 miles away from the east of New Ireland, the small group of Tabar Islands disclose a monolithic and severe art, deprived of the coloring, arabesques and skillfully carved indentations which the uli and malagan familiarized us with. Moreover, their reference to a definite archetype gives us an inkling of an Art at its fundamental stage. […] In contrast with the fancy and individualism of the pieces from New Ireland, the plainness and inwardness of the Tabar Island pieces seem to answer the question regarding their origins. Are we in front of their ancestors as in front of another roman artwork? It is probable. But, already our vision of pieces from New-Ireland is movingly transcended thanks to this artistic kinship they seem to have inherited from the Tabar Islands, like a true genetic patrimony”.
Kerchache, J., Îles Tabar, Paris, 1971
Kerchache, J., Îles Tabar, Paris, 1971
“Situated 30 miles away from the east of New Ireland, the small group of Tabar Islands disclose a monolithic and severe art, deprived of the coloring, arabesques and skillfully carved indentations which the uli and malagan familiarized us with. Moreover, their reference to a definite archetype gives us an inkling of an Art at its fundamental stage. […] In contrast with the fancy and individualism of the pieces from New Ireland, the plainness and inwardness of the Tabar Island pieces seem to answer the question regarding their origins. Are we in front of their ancestors as in front of another roman artwork? It is probable. But, already our vision of pieces from New-Ireland is movingly transcended thanks to this artistic kinship they seem to have inherited from the Tabar Islands, like a true genetic patrimony”.
Kerchache, J., Îles Tabar, Paris, 1971