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Lot Essay
Au sein de la vaste catégorie des masques d’esprit brag de la région du Bas-Sepik, le long nez constitue l’une des caractéristiques les plus frappantes, commune à la majorité de ces masques. Il a été décrit comme ressemblant à un moustique, au bec d’un oiseau ou à la queue d’une crevette. Il a également été suggéré que ce long nez constitue une image phallocentrique du désir sexuel et de l’agression, élément central de l’attrait magique exercé par l’esprit brag. Les protubérances saillantes sur les joues de notre masque représentent des nœuds, pokanag, dans des arbres difficiles à abattre, symbolisant la force de l’esprit contenu dans le masque (Howarth, C., Myth + Magic. Art of the Sepik River, Papua New Guinea, Canberra, 2015, pp. 55 et 56).
On pense souvent que les grands masques de ce type n’étaient pas nécessairement utilisés lors de performances dansées, mais plutôt conservés dans la maison des hommes, attachés à des cadres en bambou et en bois. Ils pouvaient alors être consultés comme des « oracles » et recevoir des offrandes, tout en offrant en retour conseils et assistance surnaturelle lors des conflits.
Within the large category of brag spirit masks from the region of the Lower Sepik the long nose is one of the most striking characteristics, common to most of these masks. It has been described as being like a mosquito, a bird’s beak or the tail of the prawn. It has also been further suggested that the long nose is a phallocentric image of sexual desire and aggression, central to the magical attraction exerted by the brag spirit. The raised studs on the cheeks of our present mask represent knots, pokanag, in trees that are difficult to cut through, symbolizing the strength of the spirt within the mask (Howarth, C., Myth + Magic. Art of the Sepik River, Papua New Guinea, Canberra, 2015, pp. 55 and 56).
It is often thought that large masks of this type were not necessarily used in dance performances but rather kept in the men’s house tied to bamboo and wood frames. They could then be consulted as ‘oracles’ and received offerings while giving in exchange advice and supernatural assistance in warfare.
On pense souvent que les grands masques de ce type n’étaient pas nécessairement utilisés lors de performances dansées, mais plutôt conservés dans la maison des hommes, attachés à des cadres en bambou et en bois. Ils pouvaient alors être consultés comme des « oracles » et recevoir des offrandes, tout en offrant en retour conseils et assistance surnaturelle lors des conflits.
Within the large category of brag spirit masks from the region of the Lower Sepik the long nose is one of the most striking characteristics, common to most of these masks. It has been described as being like a mosquito, a bird’s beak or the tail of the prawn. It has also been further suggested that the long nose is a phallocentric image of sexual desire and aggression, central to the magical attraction exerted by the brag spirit. The raised studs on the cheeks of our present mask represent knots, pokanag, in trees that are difficult to cut through, symbolizing the strength of the spirt within the mask (Howarth, C., Myth + Magic. Art of the Sepik River, Papua New Guinea, Canberra, 2015, pp. 55 and 56).
It is often thought that large masks of this type were not necessarily used in dance performances but rather kept in the men’s house tied to bamboo and wood frames. They could then be consulted as ‘oracles’ and received offerings while giving in exchange advice and supernatural assistance in warfare.