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Lot Essay
Reliée par un vaste réseau commercial maritime, par lequel circulaient objets rituels, motifs et pratiques cérémonielles, la côte nord de la Nouvelle-Guinée et ses îles périphériques ont développé un ensemble de traditions artistiques étroitement interconnectées, s’étendant de la baie d’Astrolabe jusqu’au sud de la Nouvelle-Bretagne. Au cœur de cet échange, les îles Tami se sont imposées comme le centre de production le plus influent, leurs objets et leur langage visuel se diffusant à une telle échelle que l’esthétique partagée de la région est communément désignée sous le nom de “style Tami”.
Les îles Tami jouissaient d’une excellente réputation pour la fabrication de ce type d’appui-tête. Bien que Bodrogi ait distingué quatre types différents (Bodrogi, T., Art in North-East New Guinea, Budapest, 1961, pp. 91-97), notre exemplaire se distingue par la présence d’une figure humaine unique, agenouillée et les bras relevés, caractéristique des Tami. Ici, le personnage féminin est finement sculpté, d’une symétrie parfaite, avec de longs bras ondulants et une tête large et dominante.
Connected by an extensive maritime trade network through which ritual objects, designs, and ceremonial practices circulated, the north coast of New Guinea and its offshore islands developed a closely interrelated group of artistic traditions extending from Astrolabe Bay to southern New Britain. At the center of this exchange, the Tami Islands emerged as the most influential production hub, their objects and visual language spreading so widely that the region’s shared aesthetic is commonly described as the “Tami style”.
The Tami islands developed an excellent reputation as a center for making headrests of this kind. While four different types were distinguished by Bodrogi (Bodrogi, T., Art in North-East New Guinea, Budapest, 1961, pp. 91-97), our present example is distinguished by the presence of the Tami-characteristic representation of a single human figure, kneeling and with arms bent upward. Here, the female character is finely carved, in perfect symmetry, with undulating long arms, and a large, dominating head.
Les îles Tami jouissaient d’une excellente réputation pour la fabrication de ce type d’appui-tête. Bien que Bodrogi ait distingué quatre types différents (Bodrogi, T., Art in North-East New Guinea, Budapest, 1961, pp. 91-97), notre exemplaire se distingue par la présence d’une figure humaine unique, agenouillée et les bras relevés, caractéristique des Tami. Ici, le personnage féminin est finement sculpté, d’une symétrie parfaite, avec de longs bras ondulants et une tête large et dominante.
Connected by an extensive maritime trade network through which ritual objects, designs, and ceremonial practices circulated, the north coast of New Guinea and its offshore islands developed a closely interrelated group of artistic traditions extending from Astrolabe Bay to southern New Britain. At the center of this exchange, the Tami Islands emerged as the most influential production hub, their objects and visual language spreading so widely that the region’s shared aesthetic is commonly described as the “Tami style”.
The Tami islands developed an excellent reputation as a center for making headrests of this kind. While four different types were distinguished by Bodrogi (Bodrogi, T., Art in North-East New Guinea, Budapest, 1961, pp. 91-97), our present example is distinguished by the presence of the Tami-characteristic representation of a single human figure, kneeling and with arms bent upward. Here, the female character is finely carved, in perfect symmetry, with undulating long arms, and a large, dominating head.