File:Hohao Board, Papua New Guinea, Brücke Museum Berlin, 65049, view a.jpg
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Captions
Captions
Hohao Board, Papua New Guinea, 19th-20th century, front view
Summary
Object
| Artist |
English: once known creator
Deutsch: einst bekannte*r Urheber*in |
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| Description |
Deutsch: Hohao-Ahnenbrett
English: Hohao Board
Tok Pisin: Hohao Banis |
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| Date | from 19th century until 20th century | |||||||||||||||||||||||
| Medium | wood | |||||||||||||||||||||||
| Dimensions | height: 125.5 cm (49.4 in); width: 35 cm (13.7 in); depth: 4.5 cm (1.7 in) | |||||||||||||||||||||||
| Collection |
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| Accession number |
H 91 |
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| Place of creation | Papua New Guinea (Q691) | |||||||||||||||||||||||
| Object history |
transferred to Karl und Emy Schmidt-Rottluff Stiftung (Q108731834) from Karl Schmidt-Rottluff (Q161143) |
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| Notes |
English: Much mystique surrounds the Hohao. Traditionally made by the people of the Gulf Province using only a stone axe, a mussel shell for smoothing the board, shark’s teeth for making deep incisions and coconut fibre to paint on the colours. The Hohao represents the powerful spirit of a mythical hero.
The navel (the circular shape two thirds down the carving) represents the place of origin of the clan. The “care-taker” or “string-men” transfers himself to the place of origin by throwing a magic string, which symbolises the umbilical cord of the entire clan. Here he releases his magical powers. By so calling upon the Hohao before hunting and war, the animal or the enemy made weak, or sickness and death are visited upon the unfortunate victim. (Grace Vele)
Deutsch: Um die Hohao ranken sich viele Geheimnisse. Sie werden von den Bewohnern der Golfprovinz traditionell nur mit einer Steinaxt, einer Muschelschale zum Glätten des Brettes, Haifischzähnen für tiefe Einschnitte und Kokosnussfasern zum Aufmalen der Farben hergestellt. Der Hohao stellt den mächtigen Geist eines mythischen Helden dar.
Der Nabel (die runde Form in zwei Dritteln der Schnitzerei) steht für den Herkunftsort des Clans. Der "Hüter" oder "Schnurmann" begibt sich an den Ursprungsort, indem er eine magische Schnur wirft, die die Nabelschnur des gesamten Clans symbolisiert. Hier setzt er seine magischen Kräfte frei. Indem er die Hohao vor der Jagd und dem Krieg anruft, werden das Tier oder der Feind geschwächt oder Krankheit und Tod über das unglückliche Opfer gebracht. (Grace Vele)
Tok Pisin: Planti kainkain tewel blo masalai lo haus man save bung insait lo despla Hohao. Taim bilon tumbuna, ol Kerema (Gulf Province) lain save usim ol ston-acis na sel blo solwara lo wokim despla Hohao, ol save usim tet blo sak lo drowim or makim lain na kainkain desin blo haus lain lo despla bod. Namel blo despla bod (we ol makim cecol igo daun inap lo namel) – em makim asples blo man i wokim despla Hohao. Na man husat i lukautim o galasman bilon haus man save salim tevel blon em igo insait lo despla bod, lo hao em save wokim em olsem - emsave toromoi wanpla kain rop we em makim olsem rop bilon bilum blo pikinini taim em stap insait lo bel blo mama – taim despla galasman wokim despla pasin; em wok lo relisim paoa bilon em igo insait lo despla Hohao pastaim lo haus man kan go lo bus na painim abus o pait wantaim enemi blo ol. |
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Photograph
| Description |
English: Hohao Board, Papua New Guinea, 19th-20th century, front view  |
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| Date | ||||
| Source | BrückeMuseumBerlin | |||
| Author | Nick Ash, Berlin | |||
| Permission (Reusing this file) |
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| Other versions | Hohao Board, Papua New Guinea, Brücke Museum Berlin, 65049, view b.jpg |
The estate of Karl Schmidt-Rottluff, owned by the Karl and Emy Schmidt-Rottluff Foundation at the Brücke Museum, contains his collection of around 100 sculptures and objects with colonial backgrounds. The Brücke artist himself never travelled outside Europe and, to the best of current knowledge, bought these objects in the art trade and from private owners from the 1910s onwards. The collection includes ritual and everyday objects, alongside souvenirs for the Western market. The way they were perceived underwent changes: they came to be seen as objects of art and decoration. Little is known of their origins, the circumstances of their acquisition, or the historical and current importance of the objects. Most of them originate from Germany’s former colonies, thus referring directly to German Expressionists’ entanglements in the often unlawful appropriation of material culture in colonially occupied lands. More
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| current | 14:28, 2 November 2021 | | 6,200 × 8,272 (23.59 MB) | BrückeMuseumBerlin (talk | contribs) | Uploaded own work with UploadWizard |
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