Baca PDF (OCR): Indonesian Arts and Crafts-Pictorial Atlas

Indonesian Artsandtrans

Indonesian Arts and Crafts

PICTORIAL ATLAS

WITH AN INTRODUCTION

BV

Prof. T. J. BEZEMER

PUBLISHED WITH THE SUPPORT OF THE ROYAL SOCIETY "COLONIAL INSTITUTE", AMSTERDAM

THE HAGUË,

N.V. TOT EXPLOITATIE VANHET MAANDBLAD „NEDERL.-INDIË, OUD EN NIEUW' TEN HAGEN DRUKKERIJ EN UITGEVERSMAATSCHAPPIJ, N.V.

INTRODUCTION

jfc=<@||||fcJlj\HE term "Indonesians" includes in the general use of this word now- &M a-days all natives and tribes of Netherlands India. The use of this term jplf is not quite correct, because great part of the Papuas living in the cast of Netherlands India do not appertain to Indonesians, and the natives of the Philippine Islands could well be included among Indonesians, although they do not appertain to Netherlands India. However, for the sake of brevity, in the following Atlas of Plates on the native arts and erafts of Netherlands India the term "Indonesian" has been accepted. Consequently, one may find in it items of Papuan arts but none from the Philippine Islands. The great variegation from the point of view of ethnography and civilisation presented by the millions of inhabitants in Netherlands India, is reflected also in

the products of her arts and crafts. Vet, notwithstanding all this multiformity, the natives of Netherlands India possess much that is common in language, beliefs, customs and habits.Similarly, there is much in their handicraf ts too, that can be called commonly Indonesian when compared with artistic products of other nations. The first characteristic feature of native arts in Netherlands India is thepeculiarity that they are in many respects real, general folk-arts". Especially in districts which have not had much contact with Western civilisation and World Traffic, there are no special craftsmen, but everyone practises handicrafts. At the same time, these products are meant for daily use; for that is second peculiarity of the natives of Netherlands India,—found also with some other primitive peoples, —that they feel the necessity to adorn even the simplest objects of utility and to make them in this way an art product. ')

To what great heightsthis native art has reached, what bom artist the Indonesian is,.— an impression of these can be better gathered by study of our plates than by any description. This Introduction has merely the purpose to give brief description of some special processes of omamental art used in Netherlands India. Here we wish to add yet another general observation, i. e. that Indonesian art is most intimately connected with animism (in the general sense of this term). In different Indonesian tribes the artist considers himself during his work to be possessed by higher powers, spirits, on whose good or bad mood fully depends his success or failure. There are consequently whole series of prescriptions for the artist. He must bring offerings, burn incense, &c. The smith, e.g., who wants to make soldering, whenever the iron does not join properly, takes refuge in charm.

This connection with animism may give also an explanation of several Indonesian omamental motifs. There is e. g. very probably some connection between the frequently occurring human and animal figures and the magie powers present in men and animals and also in their representations. The geometrical ornaments, often used, are in many instances to be derived with much probability from human and animal figures very much deformed. These geometrical ornaments together with the human and animal representations form the original Indonesian motifs. Flower and leaf ornaments are mainly to be ascribed to Hindu influence. The influence of animism is further to be recognised in the fact that some art

objects are produced exclusively for the sake of ancestor-worship, magie art, &c, e.g. images of forefathers, magie wands, &c. Nearly all objects of plastic art are exclusively for these purposes. Otherwise Indonesian art is with few exceptions only superficial ovnamentation. As far as it is necessary for proper understanding of the objects reproduced, few words will be said in dealing with these sculptures about Indonesian animism.

A. WICKERWORK (Figs. to 13).

One of the oldest forms of domestic handicraft in the Archipelago is wickerwork. It is to be found even to-day on all the islands, and produces objects of daily use which in most cases cannot be replaced by Western importation.

The following materials are used generally: Bamboo, Rotan, leaves of Pandanus and ofpalms, kinds of reed, stalks of orchid, and fevns. More rarely are

employed horse-hair, and goldand silvet-thread. The strips for coloured wickerwork are previously dyed. On Bali and Lombok bamboo and rotan are besmeared with glue-colour covered by layer of plant juice; in other places dragon's-blood (Daemonorops draco BI.) is often used for red paint. Further is the material often cooked in mixtures of water and various vegetable dyes; now-a-days also in aniline dyes.

Although wickerwork in general is work of the fingers only, yet there are some simple tools in use, i. e. hooks to pull the strips, and in some tracts benehes and planks for matting. For the making of hats special plank is employed with circular hole in which to fit the hat. description of the Indonesian technique ofwickerwork may be considered superfluous as the technique of all primitive wickerwork is very simple and everywhere

similar. However, the travangan, or open-worked wickerwork, found mainly on Sumatra, deserves special mention. It is usual one-stroke work: up, down, but leaving out open parts which form certain patterns. Especially in Tapanoeli (Western Sumatra), and on the East Coast of Sumatra, beautiful wickerwork is produced by this method. The products of wickerwork are nearly exclusively for the makers own use,

anyhow for the inland market. One exception is the hat-making of Tangërang

(Province of Batavia), which supplies world product. This industry is practised by natives but under the directorship of the French firm, Petit-Jean and of Captain of the Chinese. The Tangërang hats have earned goodrenown on the world market. There are also other places in the Province of Bantam and the Preanger Regencies where hat-making is regular handicraft.

B. WEAVING (Figs. 14 to 72).

The art of weaving has reached high level in the Indian Archipelago, notwithstanding the primitive tools used in this branch of handicraft. It is not improbable that in the beginning vegetable fibres were employed as

in wickerwork. But now-a-days this occurs only sporadically in most parts of the Archipelago. The use of "koffo" still possesses some importance in the weaving of the islands Sangir and Talaut (to the N. of the N.O. cap of Celebes). Koffo is the fibre of the bast of kind of banana-tree (Musa textilis or Musa mindanensis), called also Manilla-hemp or abaca. The weavings of this consist, mostly in white,red-brown, or black, of clothes forthe upper and lower parts of the body. Formerly all the clothes for men as well as for women on Sangi were made of koffo. Now koffo is used only for the matting of nets and stair-carpets. The most important material used now for weaving is cotton, and, secondly, silk. All over India simple spinning-wheel is in use. Homespun thread is employed still sometimes, but mainly imported yarn is used.

As already mentioned above, weaving instruments are in most tracts of the Archipelago very primitive. In general one can differentiate three types. In the East of the Archipelago one fi'nds mostly an instrument consisting of two round pieces of wood, one of which is fastened to pile, or to post of the house, or to tree. The second one is attached to the back of the weaver by means of cords to which leather piece is fastened. The warp is spanned between these two pieces of wood, and the weaver can make it looser or tighterby bending forward or backward. With such loom only pieces of one certain length can be woven, according to the distance between the two rollers. The instrument found in the Western part of the Archipelago is fit also for the

weaving of longer pieces. One of the rollers is replaced by plank resting in two blocks inserted from above, the feet of which are fastened to horizontal planks. The unwoven warp is wrapped round this plank or warp-beam. When the woman has woven the breadth of plank, she can roll up the woven part and store it in the other warp-beam which is hollow in this type of loom and is made to contain the material. After that she must stand up to turn the warp-beam with one turn. By this means new part of the unwoven material is freed. With both types the following tools are necessary: quill, roller, weaver's shear,

often slay and puiling stick to pull up the half of the warp threads when the spool has been turned. Consequently all these are made with movements of the hand and take up much time. The third type of loom is therefore much more efficiënt. Here the weaver draws up and down the odd and even threads by means of pedals. She sits on low bench and it is not necessary for her to hold with tightly stretched back the warp threads. This instrument is used on the west coast of Sumatra, on South Celebes for narrow textures, in Soerabaya, in the cast corner of Java and in the "Principalities" (Central Java).

Nowadays the Textile Section of the Departement of Agriculture, Industry and Commerce, Bandoeng, produces loom with fixed warp-installation and with semi-automatically worked spools, and sells these instruments to the inhabitants throughout the Archipelago.

peculiar process of weaving in Netherlands India is the so-called ikatting. The term is derived from the Malay word mengikat (from the root ikat), which means "to bind". Professor Nieuwenhuis invented foritthe Dutch term 'figuurknoopen"', in English: "figure knotting", which renders fairly well the aim and the kind of this work. It is process of dyeing by means of omitting some of the threads destined for weaving. For this purpose bundies of threads are entwined with fibres on certain places in way that the dye cannot get through to the entwined spots when the bundies of threads are dipped in the dyeing bath. In this marmer one can produce e.g. speekled threads, but one can "ikat" also perfect pattern directly in the warp. One can stretch the threads on frame and entwine some of them in way that e.g. the figure of bird is produced by the entwined threads. Now, when this frame is put in red dye, and the entwined threads are undone after drying, then the result is warp of red threads with white bird left out. If thread of one colour, say red, is woven through it, then the figure of the bird will appear sharply on the produced tissue. This example is very simple one in order to make the process clear. Anyone who sees the lovely and highly complicated patterns supplied by Indonesians, can now have some impression, what an enduring andlengthy work such ikat tissues may bc. special charm of ikatted textures is, moreover, the running into cachother of colours. This is caused by the circumstance that the entwinings cannot quite prevent on the borders the influence of the dye.

Nearly everywhere only warp-threads are ikatted. An example of ikatting also the woof-threads is found in the textures of the desaTënganan on Bali, an isolated village in the mountains at distance of several hours from Karangasëm.

Besides cotton threads ikats are also made on silk. In which tracts of India beautiful tissues are produced, is best learned from the titles of the figures in the Atlas. We mention here only: the Timor Archipelago, for its brilliant ikat textures, Bali for lovely silk tissues, Sumatra for silk tissues ikatted as well as with in-woven gold and silver threads.

C. BATIK (Figs. 73 to 87).

Batik too, like ikat, is process of leaving out; not, however on the thread, but on the ready woven texture. It is pre-eminently Javanese marmer of decorating clothes, although it is found also on some other islands of the Archipelago.

Regarding the question as to whether it is an originally Javanese or Indonesian processor not, opinions are different. Dr. Brandes advocates the Javanese origin in paper in the Journal of the Batavia Society, 1889. In the Standard work by Dr. Rouffaer en Dr. Juynboll, "The Art of the Batik in Netherlands India and its History" [in Dutch], there are numerous arguments in favour of the opinion that this art have been introduced to Java by Hindus. The contribution by Mr. J. W. van Nouhuys about the wax batik of the Toraja in Central Celebes (in "Netherlands India Past Present", vol. 10, 1925-26) opens new possibilities that the Indonesian origin of the batik may be demonstrated after further researches. In vol. 15 of the same periodical there are interesting Communications on batik work in Djambi, the important place of Sumatra. The raw material on which batik is practised is in the first place European cotton.

Silk is also used, but in lesser degree. The fabric to be treated with batik work, is first of all washed to remove all starch. It is then cooked in rice water, some-times mixed with some lime or bamboo leaves. This is in order to prevent the wax entering too thoroughly into the threads of the texture. It is then laid on plank and knocked with wooden hammer in order to remove all creases. The mannev of separating colours is melted bees' wax, sometimes mixed whit small quantity of resin. The batik woman (this work is always done by women) has next to her chafing-dishwith glowing charcoal, and on it an iron pan with the wax, in order to keep it melted. The fabric which she is to provide with batik hangs before her on rack of bamboo or wood, which is racked by bamboo clip or by hook with counterbalance.

The woman draws with pencil on the fabric the partition in which the pattern must come, or she draws with charcoal the whole pattern. Sometimes the pattern is drawn on Chinese paper and pinned at the back of the fabric so that the lines become transparent through the texture.

Now her first work is to cover with melted wax the outlines of the figures. This is done by means of the chanting (tjanting), small reservoir made of sheetbrass, with the capacity of about fluid ounce or so, with handle of glagah reed; it possesses one to four fine spouts through which the wax can be poured on the cotton. (Sec fig. 81).

When the first side is ready, the back is taken in hand. (The wax lines show through the thin tissue). Namely, batik work is always identical on both sides, there is no "seamy" side as on other fabrics.

Then the figures are filled in. If whole panels are to be left out, they are entirely covered with wax. If lines are to be left white, then waxen lines are drawn. In order to leave out dots or dotted lines, the wax is brought on the fabric in drops. The fabric is now covered in this marmer on both sides, and now the wax must become dry. After that the fabric goes into the first dye, the blue tub. When this dyeing in indigo is finished, the fabric is washed and the wax must be removed. It may be melted in hot water in case all the wax must be removed or part of it is scratched off, ifother parts are still needed to cover the texture in the following dye. For the second dyeing, which is thereddish-brown so-called soga colour, the spots which must remain blue or white, are covered once more with layer of wax. Blue parts left uncovered become black in the second immersion.

In Solo this whole process takes 15 days. Fabrics are immersed three times daily, or stay sometimes during several nights in the dye. When the whole dyeing is achieved, the fabric is washed, dried, and immersed in clear lime-water, after which the colours are fixed. Then the texture is dried, and thereupon the wax is entirely removed. We have now fabric in three colours blue, soga and white. Some other colours are, of course, also used. There are some tracts where the batik is glossed after this process. peculiarity and also special charm of batik fabrics is that the colours are

never sharply divided from cachother, because the covering wax layer can never protect closelyenough. Moreover, through the folding up and rolling up of the fabric, the wax layer gets here and there cracks, so that the dye enters and coloured veinlets are produced on a, say, white panel. Before immersing in the second dye, batik makers often expressly make cracks in the wax to produce marbling. The blue colour, howevcr, may not show such marbling.

There are two mam eentres of batik art, i.e. Soerakarta and Pëkalongan. The loveliest batik is mostly made in the Province Jogjakarta and in the residency of Bagëlèn. Beautiful batik works with peculiar character of their own and ir

special colours are those of Djambi, S.Sumatra. (Sec fig. 82, 83, 84). Batik became on Java mass industry; in most great places of Java there are 'batikkeries' directed by Natives, Chinese orEuropeans (especially Indian-European ladies). The st Part of the Report on Batik Works published by the Inspector of Works of the Office of Works in about October 1930, deals with West Java and mentions in Batavia and its neighbourhood 264 "batikkeries" owned by

Chinese, and 93 owned by Natives. In these works chanting is not generally used, but kind of wax-seal, called the chap (tjap) which accelerates the work considerably, but produces pieces of less artistic value.

D. BAMBOO CARVINGS (Figs. 88 to 108).

If there is anything in which the extraordinary artistic instinct of Indonesians can be recognised, it is undoubtedly in the brilliant decoration of bamboo carving. The richness and variety as well as the strong consistency of this ornamentation is well illustrated in the figures of our Atlas. Here we need only to say briefly something about the workmanship.

simple ornament on rice-knives, flutes, and cases of spindle-spools is often put up by means of buvning in the epiderm with bit of glowing cocoa-nut shell. More complex is the engvaving of ornament with the point of tapering piece of metal or sharp stone splinter.

The most beautiful decorations are, however, produced through incision of the ornament whereby sometimes small pieces of the bamboo-bark are slit off and removed. This is very difficult work because of the hardness and glossiness of the material, and one is astonished that the pattern can be kept so distinctly on this stubborn material.

The place of origin being always given under the figures of the Atlas, it is not necessary to enumerate the tracts in which especially nice bamboo-carving is produced. Here we want only to draw the attention to the fact that bamboo carving is never or scarcely ever found with people of higher civilisation in the Archipelago, like the Javanese, Malays and the Balinese, and that their ornament is by no means equal to that which is produced by e.g. the Timorese, the Dayak or the Toraja.

E. WOOD-CARVING (Figs. 109 to 145).

There is noneed to write about the way in which Indonesian wood-carving is produced, as this does not differ from what is found elsewhere. Wood-carving, however, does not serve the purpose of superficialornamentation

only, but includes also plastic art; therefore we may add here few words about the significanceand aim of some productions of Indonesian wood-carving.

Balinese wooden images, whether they are polychrome or unstained, —represent to large extent divinities of the Hindu pantheon. One can find, however, also images of e.g. padandas or priests, or even of worldly persons. These wooden images do not serve only as decoration but also as stands for creeses (sec fig. 230, 232, 233), as it is Balinese custom to lay down the creese when coming to visit someone.

Another purpose is served by images found elsewhere in the Archipelago, i.e. on the Island Nias (to theW. ofSumatra), in the N.W. portion of Dutch New Guinea, round the Geelvink Bay, and on some of the Southwestern Islands (Moluccas). These are the so-called ancestor or spirit images. They are intimately connected with the worship of the spirits of the ancestors met with in those tracts. These spirits are believed to be the tutelary genii of their family members left behind, who protect these latter ones when they do not omit to offer to the spirits the prescribed sacrifices. These spirits haunt usually the realm of the ghosts. Sometimes, however, they pay visit to their surviving family, and then they can enter into the images prepared for them. Whenever one wants their advice, one turns to the image in which one believes the spirit of an ancestor is living. The term "idols" is, consequently, not quite appropriate for these images.

Wood-carving is very beautiful in Java, especially at Japara, and Bali. On most islands of the so-called "Outer Possessions" much care is bestowed on the decoration of houses with wood-carving; we mention specially Nias, the Batak Lands (Toba-Batak) and Central Celebes. Wood sculpture is used in Java mainly for the production of grips of creeses

representing mannered human figures, and of puppets of the tvayang golèk (sec p. 139).

Masks for the mask-plays (topèng), are also made of wood, chiefly of soft kind, paintedand gilded; some of them are decored withadiadem ofhammeredleather; inside, at the heightof the mouth rotan orwoodenarchis attached bywhich the mask is held between the teeth; sometimes leather strap is used for the same purpose. The topèng representation is succession of talking and dancing by the masked actors of recitation of the dalang, leader of the play, and the gamelan music the difference between this and the wayang lies in the fact that in this latter play only the dalang speaks. The well-known Javanese hero Raden Pandji is the chief character of the mask-plays.

F. BRASS-WORK (Figs. 146 to 181).

Indonesian brass-work is made with the process called eireperdue. The form is first modelled in wax, then small layer of fine charcoal powder is pasted on it, finally, the whole wax form is surrounded by thick layer of clay mixed with sand. When all these are dry, there are two ways to préparé the cast. One can, following one marmer, warm the form in small oven, so that the wax melts and flows out of the form through hole made in the bottom. In this way we obtain hollow form into which the melted metal may be poured. Or, in another way, one can pour directly into the wax the melted metal through an opening made in the top of the form. The wax melts and is replaced by the metal. To make the object free from the form, the latter one must be broken, so that it can only be used once.

Not only massive objectscan be produced in this marmer, but hollow ones as well. If one wishes to cast e.g. brass bowl, one kneads first clay form in the shape of the inside of the projected bowl. This clay form must be covered with layer of wax in the thickness of the wall of the bowl, and the wax pasted with charcoal powder. After that the outer clay form is added. Then one of the two marmers described above may be employed. The metal used for Indonesian brasswork is mixture of copper and zinc.

When the cast is polished, the ornament is put on by means of chiselling, chasing

or engraving. Relief ornaments are put on before casting, thus in the mould. The ornamentation of brass-work is drawn from the human figure,—on Java mainly in the form of the Wayang type,—from animals, plants and geometrie figures. The descriptions of the illustrations in the Atlas show which motifs are used in different tracts.

Although much brass-work is still produced in the Archipelago, it falls in general far below the excellence of ancient brass-work. Modern brass-work—with the exception of few good pieces does not reach in general higher niveau than that ofbazaar mercery: impure materials, coarse forms, crude chiselling. An ancient bokor (Javanese brass bowl) when compared with new Soerabaya brass-bowl, is "like plate by Pijnacker compared with present day Delft ware", writes Mr. J. G. Huyser in „Nederlandsch-Indië, oud-nieuw" ("Netherlands India Past Present"), vol. 1. p. 229.

G. IRON-WORK (Figs. 208 to 235).

Whereas the division of labour is not very far advanced among the native popu- 10 lations, iron work was always the work of special expert, the village smith. He makes all kinds of simple agricultural tools and objects of household use, but these are not products of art. There is, however, art in the producing of iron iveapons.These are known by all nations of the Archipelago as far as they know iron work. One can speak, however, only of few places where there is real armourer's art. First mention is deserved in this connection by the Javanese and the Balinese who produce the cceese.

We have no intention to give an exhausting description of the making of creese; we should like, however, to draw attention to the preparation of creeses with so-called parnor. This word is derivedfromthe Javanese root wot, awor, "mixed", and means "mixing, mixture". As matter offact, "parnor creeses" consist ofalternative layers of simple iron and of meteoric iron with some proportion of nickel. In order to forge blade, the smith takes three sheets of iron, he intercalates two sheets of meteoric iron, makes them red-hot, and forges them in this way together. When the bar is prepared in the necessary length, he cuts it in two, puts the two halves upon cachother and forges them once more to one bar. This process is repeated until bar is produced which consists of some fifty layers. These he forges to the shape of the creese, always following the pattern which he wants to produce upon the lame.

When the forging is ready and the creese has been fashioned, the blade must be rubbed with lemon-juice and arsenic; through this process the meteoric iron turns whitish, whereas the simple steel becomes even darker. The two shades, however, differ only slightly, and this is just the characteristic of the Javanese parnor creeses.

In the Principalities of Java meteoric iron with some nickel is used, originating from meteor stone fallen down in the middle of the 18th century in the neighbourhood of Prambanan and preserved in the 'Kraton' of Soerakarta. This iron is known as the parnorPrambanan. Nowadays Krupp nickel is also employed, and weapon smiths of Bugi often use kind of iron received from Luwu, Celebes. The Balinese creese contains more nickel-iron, and is polished smoothly, as contrasted whit the Javanese one. Parnor creeses are produced also on Sumatra, on Celebes and Borneo. The process is also employed for the preparation of lance-heads.')

H. GOLD- AND SILVER-WORK (Figs. 182 to 185).

For the production of gold and silver objects different alloys are employed in Indonesia. Copper and silver is alloyed with gold, and copper with silver. The proportions ofbase or less valuable metals in Dutch Indian goldand silversmith's works are considerable. In the opinion of some authors the reason for this fact is the tendency of the Indonesian to attain certain colour and not to produce ornaments of highly precious metals Others say that it is to be ascribed to the necessity to produce gold and silver ornaments also for the less wealthy clients. The reddish metal known as "pinchbeck" (in several native languages "suasa"), is often employed; it is mixture of equal quantities of gold and copper. Goldand silver coins are often used in the Archipelago as material; on Sumatra also golddust and native gold.

The process of casting the precious metals is also the eire pevdue process, used especially for massive ornaments. The casting by Toba-Batak goldsmith in North Sumatra is described by Mr. J. E. Jasper and Mas Pirngadie in their work "The Native Arts and Crafts in Netherlands India", vol. IV, pp. 25-26, in the following terms: "The casting process is nearly the same as that of the copper moulder, and its essence is briefly this: first, rough mould, the kernel is shaped out of mixture of clay and burnt ricebran, and is burnt. This kernel is used as kind of last, and covered evenly with rimbaga (a kind of wax, mixture of resin and fat). In this marmer first waxen form is given, on which the relief forms are now modelled, likewise with rimbaga. After that, small spouts are made of rimbaga on this form, the whole is covered with fine powder of dry clay, and finally itis pasted with kneedable mixture of clay with burnt bran. Then the wax is melted and the liquid hot metal poured in. The ornamentation of the surface of gold and silver objects is done by means of engraving, chiselling or chasing".

Often brass objects are decorated not by means of gilding or silvering them, as it is done in the West, but by enwrapping them with thin leaf-gold. This kind of work is especially employed for the making of armlets and foot-rings. With the Acheenese e.g. piece of suasa is made flat so that it is suitable to enwrap brass bar, wereby they take care that the thin metal closes tightly to the brass. When all these are bound together with string, the object is kept in mixture of borax and water and placed afterwards in fire of hot coals. As soon as the smith observes that the metal is about to become liquid, he cools it by pouring over it some water. The uneven parts of the suasa are then hammered downwith an iron

hammer on the anvil. favourite process for silver-work is the filigree, in which the Uplands of Padang specially excel. First the metal wires are drawn as thin as possible: then they are cut in the necessary length, bent in good shape and arranged in the intended figure; finally the whole is soldered with borax, and silver and copper solder. marmer of ornamentation often used is the so-called granulation, "the only technique of decoration of some importance with the Bataks, Dayaks and the Timorese, and employed by more civilised tribes in combination with filigree

work". (Jasper and Pirngadie, vol. IV, p. 65). Tiny pieces of silver cut off from thin silver wire are placed in fine charcoal powder which is put in an iron box. The box is then put in furnace or in fire. The pieces of silver meltand remain in the glowing charcoal as granules; they keep their round form when they are cooled and become hard. {Op cit., pp. 65, 66). centre of this art are some three dessas (villages) in the control department of Haranggënëng, Department Sidajoe, Residency Soerabaya, where especially ear-drops, armlets, and hairpins are decorated with fine granulation. One finds here not less than 300 goldand silversmiths, half of whom tours over great

part of East Java. In Java and Bali especially the goldand silversmith finds considerable amount of work in the production of metal sheaths for creeses; number of figures of our Atlas furnishes good evidence of the great artistry shown in these.

I. MANUFACTURE OF WAYANG-PUPPETS (Figs. 186 to 198).

The dressing of animal skins is not highly developed in the Archipelago. Tannery exists, and dressed skins are used for battle jackets, for cuirasses, shields 6c„ but there is nothing artistic in these objects. Quite different, however, is the dressing of skins toparchmentand the manufacture of Wayang-puppets; Java especially excels in the production of these. The skin,

preferably of young buffalo, sometimes also of cow, is soaked for three or four days, and then stretched on solid wooden frame. When it is dried and cleaned,

—by which the chief object is to remove fat portions, the skin is made quite smooth and flat. Through this process it gets transparent, ivory-like colour. After that, it is cut into pieces of about the size of the future Wayang-puppets. The puppet-maker now puts model of the puppet on this piece of parchment, and incises with pointed iron all the lines of the pattern into the piece underneath. The portions which must be removed are cut outwith the aid of some 15 different chisels and wooden hammer. Then the puppet is whitened by means of mixture ofbone-ashes and size, and peel-ashes of the durian (fruit of durio zibethinus). Then is it painted or gilded; varnished dried between plates of pleated bamboo

planed and hom rod is added having pointed end underneath and divided in two branches higher up. These two upper ends run on both sides up to the head of the puppet in order to make it stiffer.

Wayang-puppets made of leather, or rather: of parchment, are employed in what the Javanese calls wayang kulit {kulit skin, leather), and which includes both the wayang purtva and the wayang gëdog. There are two morekinds of Javanese shadow-plays, i.e. the wayang këruchil or kelitik, with flat wooden puppets withleather arms;(2) the wayang golèk, withpuppets ofwood in theround, dressed on the lower part of the body and with heads capable of being turned. brief description of the Javanese Wayang play may not be out of place here. The Wayang is performance with shadow pictures consequently, the Wayang

with leather puppets is always played at night.

The place of the performance is—when it takes place at the house of well-todo Javanese the gallery which links the fore-part of the house with the backhouse: the pvinggitan (from ringgit, the High Javanese word for wayang).

The screen is great white cotton sheet with red borders, the këliv, stretched on solid wooden frame. Above, behind this screen, from one of the beams of the roof or from piece of wood fastened on the upper part of the këliv, hangs great metal lamp, often beautifully worked, in the shape of bird (Vishnu's vehicle, the garuda). The lamp, called the blènchong (blèntjong) contains in its

lowermost part small basin for oil; out of this sticks wiek. On the floor, next to the këlit, are laid few banana sterns. One can easily stick in these the sharp point of the hom handles fastened under the Wayang-puppets. At some distance behind the këlir there is large wooden box in which to store the puppets: on the fore-side of this box there are hanging few metal or wooden plates which the performer beats with kind of hammer made of hom or wood. On the floor behind the screen is bowl for offering incense and metal basin for the sacrifice of food. The most notable kind of the subject-matters represented in the wayang purwè,

plays, is borrowed mainly from the two Sanskrit epics, the Mahabharata and the Ramayana, although very freely transformed by Javanese poets. The events are often presented as occurring at Javanese places and the average Javanese sees in them the adventures of the ancestors of his present princes and regents. Besides these, some truly Javanese pieces, probably originating from ancient natural myths, are also produced in this Wayang. The characteristic feature of these Wayangpuppets is the pointed nose, at least with princely personages, representing the type ofnobility; the type ofthe malefactor, however, characterising demons and villains, possesses coarser and rougher features. The subject-matter of the other variety of the wayang kulit, the so-called wayang

gëdog, consists of cycle of stories around the famous Javanesehero,Prince Panji Kuda Vanengpati; these stories possess very probably some historical basis. The producer of the v/ayang is called dalang; he moves the puppets, he recites

the conversations and the narrative parts of the epics and he gives signs to the musicians. Much is required from good dalang; he must know the Ancient Javanese language as well as that of the Court, he must know the stories and the musical modes, he must be able to make proper differentiation among the voices of the "players", £>c.

The performance begins at about o'clock at night and is not flnished until next morning at about dawn. The men and older boys sit with the dalang, behind, whereas women and children in front of the screen.

Indispensable with Wayang performance is the Javaneseorchestra, the gamelan. In this orchestra predominance is given to percussive instruments, from the heavy hanging gongs to the light gongs called bonang: these are metal kettles resting with their openings downwards upon cords which are tightened in wooden frame. Further percussive instruments are a. o. the saron and the gambang, with metallic or wooden sounding bars, and the gëndèr in which the keys rest upon cords, underneath which bamboo tubs serve for sound-boards. Besides these, one finds the flute, kind of hautboy, kind of cither, and the rëbab, the Javanese violin with two strings which leads the melody. On account of this the rëbabplayer is at the same time the leader of the orchestra. The Wayang is still held in high honour with the Javanese; it is not merely an

amusement but has still to-day kind of religious importance, as may be seen from numerous facts: the preparation of incense and food offerings before the commencement; the fact that the performance of Wayang may be the object of vow; the value attached to it as means of preventing misfortune, 6c.

From Javanese poem of the first half of the lth century A. D. (the Arjunavivsha, "The Wedding of Arjuna"), one may conclude that the Wayang has been known in Java since numerous centuries.

There are widely different opinions as to the origins of the Wayang. Dr. G. A. J. Hazeu ascribed it to ancestor-worship, but Professor Dr. N. J. Krom thought that it, or "at least that which the Javanese of to-day knows tobe the Wayang" mustbe Hindu-Javanese invention. Mr. B. M. Goslings supposes Chinese origins, while Dr. W. H. Rassers thinks that the Javanese theatre goes back to Totemistic period on Java when the Javanese still lived in division of tribe-halves(phratries), Wayang representations in which puppets are replaced by men, are calledwayang wong (Malay: wayang orang). The original, classical wayang wong, introduced by the Sultan of Jogyakarta, in the middle of the 18th century, is only found in the 'Kraton' of this native state. It is performed only at very solemn opportunities, because of the high expense of the valuable costumes and the numerous actors who are kept by the Prince during the long time of rehearsals. (Sec fig. 201—207). The wayang wong is series of Javanese dramatic dances whose subject-matter is borrowed from the wayang purwa. Similar dances are also those of the sërimpi and the bëdaja performed by dancing girls specially trained in this art, in which they excel.

1. Javaansche mattenvlechters. Javanese Mat Weavers. Artisans javanaisfaisant une natte. Java nische Mattenflechtcr.

2. Tangërangschehoedenvlechters Hat Makers ofTangërang. ChapellerieaTangërang. Hutmacher in Tangërang.

3. Mat derTabaroe's. Halmahera. Mat of theTabaru. Halmahera Natte des Tabaru. Halmahera. Matte der Tabaru. Halmahera.

4. Mat der Tabaroe's. Halmahera. Mat of the Tabaru. Halmahera. Natte desTabaru. Halmahera. Matte der Tabaru. Halmahera.

5. Mat der Tabaroe s. Halmahera. Mat of theTabaru. Halmahera. Natte des Tabaru. Halmahera. Matte der Tabaru. Halmahera.

6. Mat der Tabaroe s. Halmahera. Mat of theTabaru. Halmahera. Natte des Tabaru. Halmahera. Matte der Tabaru. Halmahera.

7. Mat der Tabaroe's. Halmahera. Mat of the Tabaru. Halmahera. Natte des Tabaru. Halmahera. Matte der Tabaru. Halmahera.

8. Vlechtmotieven derTabaroc's. Halmahera. Patterns ofWeavings ofthe Tabaru. Halmahera. Motifsde sparterie desTabaru Halmahera. Flechtmustern der Tabaru. Halmahera.

9. Vlechtmotieven derTabaroe's.Halmahera. PatternsofWeavingsoftheTabaru.Halmahera Motifsde sparterie desTabaru. Halmahera. Flechtmustern der Tabaru. Halmahera.

10. Mat der Tabaroe's. Halmahera. Mat of theTabaru. Halmahera. Natte desTabaru. Halmahera. Matte der Tabaru. Halmahera.

11. Vlechtmotieven derTabaroe's.Halmahera. PatternsofWeavingsof theTabaru.Halmahera. Moiifs de sparterie des Tabaru. Halmahera. Flechtmustern der Tabaru. Halmahera.

12. Mat der Tabaroe's Halmahera. Mat of the Tabaru. Halmahera. Natte desTabaru. Halmahera. Matte der Tabaru. Ha'.mahera.

13. Hoek van een gevlochten mat. Noord Nieuw-Guinea. Corner of Woven Mat. North of NewGuinea. Coin d'une natte. Nord de la Nouvelle Guinee. Ecke einergeflochtenen Matte. Nord-Neu-Guinea.

14. Wevende vrouw der Sëribas-Dajaks. Sërawak. Weaving Woman of the Sëribas Dayak. Sërawak. Ouvricre Sëribas-Dayak en tissant. Sërawak. Weberin der Sëribas-Dajak. Sërawak.

15 Katoenen weefsel der Batang-Loepar-Dajaks. Cotton Fabric of the Batang-Lupar-Dayak. Tissu de coton des Batang-Lupar-Dayak. Kattungewebe der Batang-Lupar-Dajak.

16. Dajaksch vezelweefsel uit Koetei. Oost Borneo. Fibre Tissue of the Dayak of Koetei. East-Borneo. Tissu de fibre des Dayak deKoetei. Borneo oriental. Fasergewebeder Dajak aus Koetei. Ost-Borneo.

17. Weefsel van vezelstof en geïmporteerd garen. Koetei, Oost-Borneo Tissue ofFibre and imported Thread. Koetei, East-Borneo. Tissu de fibre et de fil importé. Koetei, Bornéo oriental. Gewebe aus Faserund eingeführtem Garn. Koetei, Ost-Borneo.

18. Weefsel van vezelstof en geïmporteerd garen. Koetei, Oost-Borneo. Tissue of Fibre and imported Thread. Koetei, East-Borneo. Tissu de fibre et de fil importé. Koetei. Bornéo oriental. Gewebe aus Faserund eingeführtem Garn. Koetei, Ost-Borneo-

19. Toradja-weefster aan een getouw. Celebes. Weaving Woman of the Toraja with Loom Celebes. Ouvrière Toraja avec Ie métier tisser. Célèbes. Weberin der Toradja beim Webstuhl. Celebes.

20. Doodendoek. Rongkong, Midden-Celebes. Funeral Cloth. Rongkong, Central-Celebes. Toile funeraire. Rongkong, Célèbes Central. Leichentuch. Rongkong, Mittel-Celebes.

21. Doodendoek. Rongkong. Midden-Celebes. Funeral Cloth. Rongkong, Central-Celebes. Toile funeraire. Rongkong, Célèbes Central. Leichentuch. Rongkong. Mittel-Celebes.

22. Weefsters teMamoedjoe. Midden-Celebes. Weaving Women at Mamoedjoe.Central-Celebes. Tisseuses Mamoedjce. Célèbcs Central. Weberinnen in Mamoedjoe. MittelCclebes.

23. Rongkong-weefsel. Midden-Celebes. Fabric of Rongkong. CentralCelebes. Tissu de Rongkong. Célèbes Central. Rongkong-Gewebe. Mittel Celebes.

24. Rongkong-weefsel. Midden-Celebes Fabric of Rongkong. CentralCelebes. Tissu de Rongkong. Cêlèbes Central. Rongkong Gewebe Mittel-Celebes.

25. De beide middenbanen van een Rongkong-weefsel. Midden-Celebes. The twoCentral Panelsof FabricofRongkong Central-Celebes. Les deux panneauxcentraux dun tissu de Rongkong. Cêlèbes Central. Die zwei Miltelstückcn eines Rongkong Gewebes.Mittel-Celebes.

26. Kam sarita.Paloppo. Midden-Celehes. Kam sarita. Paloppo. CentralCelebes. Kam sarita. Paloppo. Célèbes Central. Kam sarita.Paloppo. Mittel-Celebes.

27. Geïkatte doodendoek. Midden-Celebes. Funeral Cloth with Ikat on the Warp. Central-Celebes. Toile funeraire avec ikat sur la chaïne. Célèbes Central. Leichentuch mit Ikatauf derKette. Mittel-Celebes.

28. Geïkatte doodendoek. Midden-Celebes. Funeral Cloth with Ikat. Central-Celebes. Toile Funeraire avec fjfcaf. Célèbes Central. Leichentuch raït Ikat. Mittel-Celebes.

29. Katoenen weefsel. Soemba. Cotton Fabric. Sumba. Tissu de coton Soumba. Kattungewebe. Sumba.

30. Ikat-weefsel. Soemba. Tissue with Ikat. Sumba. Tissu avec Ikat. Soumba. Ikat-Gewebe. Sumba.

31. Ikat-weefsel Soemba. Tissue with Ikat. Sumba. Tissu avcc Ikat. Soumba. Gewebe mit Ikaitierung. Sumba.

32. Ikat-weefsel. Oost-Soemba. Tissue with Ikat. EastSumba. Tissu avec Ikat. Soumba oriental. IkatGewebe. Ost-Sumba.

33. Katoenen weefsel van Noord-West-Soemba. Cotton Fabric from North-West Sumba. Tissu de coton du Nord-ouest de Soumba Kattungewebe aus NordWest-Sumba.

34. Ikat-weefsel uit Oost-Soemba. Cotton Fabric from East-Sumba. Tissu de coton. Soumba oriental. Kattungewebe aus Ost-Sumba.

35. Ikat-weefsel. Soemba. Tissue with Ikat. Sumba. Tissu avec ikat. Soumba. Gewebe mit Ikat. Sumba

36. Ikat-weefsel. Soemba. Ikat Tissue. Soumba. Tissu ikat. Sumba Ikat-Gewebe. Sumba.

37. Ikat-weefsel. Soemba. Tissue with Ikat. Sumba. Tissu avec Ikat. Soumba. /Araf-Gewebe. Sumba.

38. Ikat-weefsel. Soemba. Tissue with Ikat. Sumba. Tissu avec Ikat. Soumba. /Araf-Gewebe. Sumba.

39. Begrafenis te Fatoe Kopa. Midden-Timor. Burial at Fatu Kopa. Central-Timor. Enterrement Fatou Kopa Timor Central. Begrabnis zu Fatu Kopa. Mittel-Timor.

40. Slimoet van Amanoebang. Timor. Slimut from Amanubang. Timor. Uns/imufd'Amanoubang. Timor. Ein „Slimut" aus Amanubang. Timor.

41. Slimoet vanAmarasi. Timor. Slimut from Amarasi. Timor. Un slimut d'Amarasi.Timor. Ein „Slimut" aus Amarasi. Timor.

42. Ikat-weefsel van Amanoebang. Midden-Timor. Ikat tissue from Amanubang. Central-Timor. Tissu Ikat d'Amanoubang. Timor Central. /Araf-Gewebe aus Amanubang. Mittel-Timor.

43. Ikat-weefsel van Amanoebang. Midden-Timor. Ikat tissue from Amanubang. Central-Timor. Tissue Ikat d'Amanoebang. Timor Central. /fcaf-Gewebe aus Amanubang. Mittel-Timor.

44. Ikat-weefsel van Amanoebang. Midden-Timor. Ikat from Amanubang. Central-Timor. Un Ikat d'Amanoubang. Timor Central. Ein Ikat aus Amanubang. Mittel-Timor.

45. Ikat-weefsel van Mollo. Midden-Timor. Ikat from Mollo. Central-Timor. Un Ikat de Mollo. Timor Central. Ikat aus Mollo. Mittel-Timor.

46. Europeesch weefgetouw onder de bevolking verspreid door het N.-I. Gouvernement. European Loom distributed amongst the Natives by the Netherlands IndianGovernment. Métier tisser européen répandu parmi les Indonésienspar Ie Gouvernementdes Indes Néerlandaises. Europaischer Webstuhl verbreitet zwischen der Bevölkerung durch die Niederlandisch-Indische Regierung.

47. Ikat-weefsel. Sawoe, Timor-Archipel. Ikat tissue. Sawu, Timor-Archipelago. Tissu avcc ikat. Sawou, Archipel de Timor. Gewebe mit Ikattierung. Sawu, Timor-Archipel.

48. Vrouwen van het eiland Roti {Timor-Archipel) aan het weefgetouw. Rechts een vrouw aan het ikat-raam. Women of the Island of Roti (TimorArchipelago)at the Loom. To the right Woman with the IkatFrame. Femmes de I'ile de Roti (Archipel de Tiraor) avec Ie métier tisser. droite: une ouvrière avec Ie cadre pour l'ikat. Frauen vom InselRoti (Timor-Archipel) mit dem Webstuhl. Rechts: eine Arbeiterin mit dem Ikat-Rahmen.

■49. Ikat-weefsel. Roti- Ikat tissue. Roti. Tissu avec ikat. Roti. Gewebe niit Ikat. Roti.

50. Ikat weefsel. Endch. Midden-Flores. Ikat tissue. Endeh. Central Flores. Tiisu avec Ikat. Endeh, Flores Central. /fcaf-Gewebe. Endeh, Mittel-Flores.

51. Ikat-weefsel.Flores. Tissue withIkat. Flores. —Tissu avec ikat. Flores. 7A;af-Gewebe. Flores.

52. Ikat-weefsel. Endeh, Midden-Flores. Tissue with Ikat. Endeh. CentralFlores. Tissu avec Ikat. Endeh, Flores Central. /Araf-Gewebe. Endeh, Mittel-Flores.

53. Weefster van Niki-Niki. Midden-Timor. Weaving Woman of Niki- Niki. Central Timor. Tisseuse Niki-Niki. TimorCentral. Webenn von Niki-Niki. Mittcl Timor.

54. Banden-weefgetouw.Leti, Banda-zee. Loom forweaving Bands. Leti BandsSea. Métier tisser des rubans. Leti. Merde Banda.— Webstuhl für Bander. Leti, Banda-See.

55. Zijden ikat-weefsel. Riau-Archipel. Silk Tissue, with Ikat on the Warp. Riau Archipelago. Tissu de Soie, avec ikat sur la chaïne. Archipelde Riau. Seidengewebe, auf der Kette ikattiert. Riau-Archipel.

56. Koffo-weefsel. Sangi-cilandcn. Koffo Fabric fromSangi. Tissue de koffo. Sangi. JCo/fo-Gewebe. Sangi.

57. Balineesche danseres met Kam prada. Balinese Dancing Girl with „Kam prada"- Danseuse de Bali avec vn „kam prada". Balische Tanzerin mit einem „Kam prada".

58. Balische doodendoek. Geïkat op schering en inslag. Tënganan. Funeral Cloth from Bali. With Ikat both on the Warp and theWoof. Tënganan. Toile funeraire de Bali. Avec iA:af sur la chaïne et la trame. Tënganan. Leichentuch aus Bali.Mit IkataufKette und Einschlag. Tënganan.

59. Zijden weefsel met ikat op den inslag. Bali. Silk Fabric with Ikat on the Woof. Bali. Tissu de soie avec ikat sur la trame. Bali. Seidengewebe mit Ikattierung auf dem Einschlag. Bali.

60. Zijden ikat. Bali. Silk 7/caf. Bali. Ikat de soie. Bali Seiden-Ikat. Bali.

61. Weefsel vanNoesa-Laoet.Gouvernement derMolukken. Fabric of Nusa-Laut. Government of the Moluccas. Tissu de Nousa-Laout. Département des Moluques. GewebevonNusa-Laut. Regierungsbezirk derMolukken.

62. Weefgetouw. Atjeh, Sumatra. Weaving-loom. Acheh. Sumatra. Métier tisser. Atcheh, Sumatra. Webstuhl. Atjeh, Sumatra.

63. Antiek katoenen weefsel. Bengkoelen, Sumatra Antique Cotton Tissue. Bengkulen, Sumatra Tissu de coton antique. Bengkoulen, Sumatra. Altes Kattungewebe. Bengkulen. Sumatra.

64. Ragidoep, katoenen ikat. Toba-Bataklanden, Sumatra. Ragidup Toba-BatakLands, Sumatra. Ragidup. Pays des Toba-Batak, Sumatra. Ragidup. Toba-BatakLander, Sumatra.

65. Geïmporteerd zijden weefsel. Atjeh, N. Sumatra. Tissue of imported Silk Ikatted on theWarp. Acheh. Tissu de sur soie importée. Avec ikat sur la chaïne. Atcheh. Gewebe von importierter Seide. Ikattiert auf der Kette. Atjeh.

66. Zijden ikatweefsel. Atjeh. Silk Tissue with Ikatted Warp Strokes. Acheh. Tissu de soie avec des bandes {'ikat sur la ch&ïne. Atcheh. Seiden Gewebe, mit i/raftierten Kettenstreifen. Atjeh.

67. Weefgetouw met voetbeweging. Kota Gëdang. Sumatra's Westkust. Loom with Pedal Driving. Kota Gëdang, West Coast of Sumatra. Métier tisser avec motion de pied. Kota Gëdang, Cöte ouest de Sumatra. Wcbstuhl mitFussbetrieb Kota Gëdang,Sumatra's Westküste.

68. Ikat. Djambi, Sumatra

69. Katoenen namaak tjinde. Ingevoerd door deV.O.C. Cotton imitation Chinde. Imported by theDutch E. IC. Imitation chinde de coton. Importé par la icdes Indes Orientales Hollandaise. Nachahmung-Cfiindeaus Kattun. Eingeführt durch die Hollandische Ostindische Compagnie.

70 Soendaneesche weefsters. Sundanese Weaving Women Tisseuses Sundanaises. Sundanesische Weberinnen.

71. Ruige batik. Dëmak. Rough Batik. Dëmak. Batik rudi. Dëmak. Rauhes Batik. Dëmak.

72. Kam kasang. Pëkalongan

73. Javaansche Batiksters. Javanese Batik Women. Femmes javanaises au batik Javanische Batikmacherinnen

74. Javaansche Batiksters. Javanese Batik Women. —« Femmes javanaises au batik. Javanische Batikmacherinnen.

75. Oud-Javaansche batik. Ancient Javanese Batik. Batik javanais ancien. Altjavanisches Batik

76. Oud-Javaansche batik. Ancicnt Javanese Batik. Batik javanais ancien. Altjavanisches Batik.

77. Oud-Javaansche batik. Ancient Javanese Batik. Batik javanais ancien. Altjavanisches Batik

78. Javaansch meisje in gebatikte kleeding. Javanese Girl in batik. Jeune fille javanaise, habillée en batik. Javanisches Madehen in BafiAc-Kleidern.

79. Javaansche batik. Javanese Batik. Batik javanais. |avanisches Batik.

80. Batik uit Djambi, Sumatra. Batik from Djambi, Sumatra. Batik de Djambi, Sumatra. Batik aus Djambi, Sumatra.

81. Tjanting. Chanting. Chanting. Tjanting

82. Batik uit Djambi, Sumatra. Batik from Djambi, Sumatra. Batik de Djambi, Sumatra. Batik aus Djambi, Sumatra.

83. Gebatikte saroeng Djambi, Sumatra. Sarong with Batik. Djambi, Sumatra. Sarong batik Djambi, Sumatra. Batikkiertes Sarong. Djambi, Sumatra.

84. Gebatikte Saroeng. Djambi, Sumatra. Sarong with Batik. Djambi, Sumatra. Sarong batik. Djambi, Sutnatra. Batikkiertes Sarong. Djambi. Sumatra.

85. Oude Voor-Indische, eenzijdig gebatikte en beschilderde saroeng. Ancient Sarong from India Proper, with Batik and Painting on one side. Sarong ancien de linde antérieure avec batik et peinture dun cöté. Altes vorderindisches Sarong, auf einer Seite batikkiert und bemalt.

86. Tweezijdig gebatikte slendang. Palembang. Slendang with Batik on both sides. Palembang. Un Slendang avec batik sur les deux cötés. Palembang Ein auf beide Seiten batikkiertes Slendang. Palembang.

87. Was-batik. Beschilderde doek met voorstellingen uit het epos Ramayana. Uit Voor-Indië op Celebes ingevoerd. Wax Batik. PaintedKerchiefwith Representations from theRamayana Epic. Imported to CelebesfromIndiaProper. Batik eire. Toile peinte avec representations du poème épiqueRamayana. Importée Célèbes de linde antérieure. Wachsbatik.BemaltesTuch mitVorstellungen aus dem Ramayana-Epos. Aus Vorderindien nach Celebeseingeführt,

88. Bamboekokers van de Toradjas. Midden-Celebes. Bamboo Tubes of the Toraja. Central Celebes. Boïtes de bambou des Toraja. Célèbes Central. Bambusbüchsen der Toraja. Mittel-Celebes.

89. Bamboe-ornament. Geelvinkbaai, Noord-Nieuw-Guinea. Bamboo Ornament. Geelvink Bay, North New Guinea. Ornements de bambou. Baie de Geelvink, Nouvelle Guinee septentrionale. Bambusverzierung. Geelvinkbai, Nord-Neu-Guinea.

90. Bamboe-ornament. Geelvinkbaai.Noord-Nieuw-Guinea. BambooOrnament Geelvinkßay, North New Guinea. Ornements de bambou. BaiedeGeelvink. Nouvelle Guinee septentrionale. Bambusverzierung. Geelvinkbai, Nord-Neu-Guinea.

91. Bamboe-ornament. Geelvinkbaai, Noord-Nieuw-Guinea. Bamboo Ornament. Geelvinkßay, North New Guinea. Ornementsde bambou.Baie deGeelvink, Nouvelle Guinee septentrionale. Bambusverzierung. Geelvinkbai, Nord-Neu-Guinea.

92a.Ornament tempelfluit. Noord-Nieuw-Guinea. OrnamentofaTempleFlute.NorthernNewGuinea. Ornement d'une flüte de temple. Nouvelle Guinee du Nord. Verzierung einer Tempelflöte. NordNeu-Guinea.

92. Bamboe-ornament. Geelvinkbaai, Noord-Nieuw-Guinea. Bamboo Ornament. Geelvink Bay, North New Guinea. Ornements de bambou. Baie du Geelvink, Nouvelle Guinee septentrionale. Bambusverzierung. Geelvinkbai, NordNeu-Guinea.

93. Bamboe-ornament. Humboldtbaai, Noord-Nieuw-Guinea. Bamboo Ornament. HumboldtBay, North New Guinea. Ornements de bambou. Baie de Humboldt, Nouvelle Guinee septentrionale. Bambusverzierung. Humboldtbai, Nord-Neu-Guinea.

96. Bamboe-ornament. Humboldtbaai, Noord-Nieuw-Guinea. Bamboo Ornament. Humboldt Bay, North New Guinea. Ornaments de bambou. Baie de Humboldt. Nouvelle Guineeseptentrionale. Bambusverzierung. Humboldtbai, Nord-Neu-Guinea.

97. Bamboe-ornamenten derKënja-Dajaks. Borneo. Bamboo Ornaments of the Kënya Dayak. Borneo. Ornements de Bambou des Kënya-Dayak. Borneo. Bambusverzierungen der Kènya-Dayak. Borneo.

98. Bamboe-ornamenten der Kënja-Dajaks. Borneo. Bamboo Ornaments of the Kënya-Dayak. Borneo. Ornements de bambou des Kënya-Dayak. Borneo. Bambusverzierungen der Kënya-Dayak. Borneo.

99. Bamboe-ornamenten der Kënja-Dajaks. Borneo. Bamboo Ornaments of the Kënya Dayak. Borneo. Ornements de bainbou desKënya-Dayak. Bornéo. Bambusverzierungen derKënya-Dayak. Borneo.

100. Bamboe-ornamenten der Sëmindoeng-Dajaks. Borneo BambooOrnaments ofthe Sëmindung Dayak. Borneo. Ornaments de bambou des Sëmindung-Dayak.Borneo. Bambusverzierungen derSëmindung-Dayak.Borneo.

ÏOI. Staatsiestaf-ornamenten. Noord-Borneo. Ornaments of State Staves. North Borneo. Ornements de batons de parade. Bornéo septentrional. Verzierungen auf Prunkstaben. Nord-Borneo.

lOla. Bamboe-ornament der Batang-Loepar-Dajaks. Borneo. Bamboo Ornament of the Batang-Lupar Dayak. Borneo-Ornement de bambou des Batang-Lupar-Dayak. Bornéo. Bambusverzierung der Batang-LuparDayak. Borneo.

102. Statiestaf-ornamenten.Noord-Borneo. Ornaments of State Staves. NorthBorneo. Ornements de batons de parade. Borneo septentrional. Verzierungen auf Prunkstaben. Nord-Borneo-

103. Bamboe-ornament der Ot-Danom-Dajaks. Borneo. Bamboo Ornament of the Ot-Danom-Dayak. Borneo. Omement de bambou des Ot-Danom-Dayak. Bornéo. Bambusverzierung der Ot- Danom-Dayak. Borneo.

104/106. Bamboe-ornament der Ot-Danom-Dajaks. Borneo. Bamboo-Ornament of the Ot-Danom-Dayak. Borneo. Ornement de bambou des Ot-Danom-Dayak. Borneo. Bambusverzierung der Ot-Danom-Dayak. Borneo

107. Bamboe-ornament der Sanggau-Dajaks. Borneo. Bamboo Ornaments of the Sanggau Dayak. Borneo. Ome ments de bambou des Sanggau-Dayak. Borneo. Bambusverzierungen der Sanggau-Dayak. Borneo.

108. Bamboe-ornament der Dajaks. Borneo. Bamboo Ornaments of the Dayak. Borneo. Ornements de bambou des Dayak. Borneo. Bambusverzierungen der Dayak. Borneo.

109. Houten Korwar. Geelvinkbaai, Nieuw-Guinea. Wooden Korwar. Geelvink Bay, New Guinea. Korwar de bois. Baie de Geelvink, Nouvelle Guinee. Holz-Korwar. Geelvinkbai, Neu-Guinea.

109a. Houten Korwar. Geelvinkbaai, Nieuw-Guinea. Wooden Korwar. Geelvink Bay, New Guinea. Korwar de bois. Baie de Geelvink, Nouvelle Guinee. Holz-Korwar. Geelvinkbai, Neu Guinea

110. Houten haak. Humboldtbaai, Noord Nieuw-Guinea. Wooden Hook. Humboldt Bay, North New Guinea. Crochet en bois. Baie de Humboldt, Nouvelle Guinee septentrionale. Holzhaken. Humboldt-Bai, NordNeu-Guinea.

111. Voorsteven-veisiering met merschelijke figuren Zuid Nieuw-Guinea. Decoration of Prow withHumanFigures. South New Guinea. Decoration une étrave avec de figures humaines. Nouvelle Guinee meridionale. Vorderstevenverzierungmit menschlichen Gestalten. Süd-Neu-Guinea.

112/113. Schedel-Korwar. Noord Nieuw-Guinea. Scull "Korwars". Northern New Guinea. Crane "Korwars". Nouvelle Guinee septentrionale. Schadel-"Korwars". Nord-Neu-Guinea.

114/115. Houtsnijwerk. Groot-Kei. Wood Carvings. Great Ki Island. Sculptures en bois. Grande ile de Kei. Holzschnitzerei. Grosse Kei-Insel.

116. Houten voorouderbeeld. Eiland Nias. Wooden Image of Ancestor. Nias Island. Statuette ancestrale de bois. He de Nias. Hölzernes Ahnenbild. Nias-Insel.

117. Doodenpaal. Westerafdeeling, Borneo. Death Stela. Western Department, Borneo. Pilier de mort. Departement Occidental, Borneo. Totensaule.Westliche Abteilung, Borneo.

118. Sapoendoe, wachter der zielenstad. Borneo. Sapundu. Guardian ofthe Town of Souls. Borneo. Sapundu, gardien de la ville des ames. Borneo. Sapundu, Wachter der Seelenstadt. Borneo.

119. Combinatie van Sapoendoe en tempatong. Borneo. Sapundu combined with "tempatong". Borneo. Sapundupourvu du „tempatong". Borneo. Supundu mit dem „tempatong" kombiniert. Borneo.

120. Houtsnijwerk. Groot-Kei. Wood Carving. Great Ki Island. Sculptures en bois. Grande ïle de Kei. Holzschnitzerei. Grosse Kei-Insel.

121. Houtsnijwerk. Groot-Kei. Wood Carvings. Great Ki Island. Sculptures en bois. Grande ïle de Kei. Holzschnitzerei. Grosse Kei-Insel.

122. Huis in Tondjong. Midden-Celebes. House in Tondjong. Central Celebes. Maison Tondjong. Célèbes Central. Haus zu Tondjong. Mittel-Celebes.

122a. Huis in Tondjong. Midden-Celebes. House in Tondjong. Central Celebes. Maison Tondjong. CélèbesCentral. Haus zu Tondjong. Mittel-Celebes.

123. Met snijwerk versierde planken uit de huizen der Toradja's in Tondjong. Midden-Celebes. Beams withCarvings of the Houses of the Toradja, Tondjong. Central Celebes. Planehes avec décorations gravées, des maisons des Toradja Tondjong. Célébes central. Bretter mit eingeschnittenem Muster aus den Hausern der Toradja, Tondjong. MittelCelebes.

124.Tooverstaf derBataks. Sumatra. MagieWand ofthe Batak. Sumatra. Baguette magique des Batak. Sumatra. Zauberstab der Batak. Sumatra.

125. Boveneinde der Bataksche tooverstaven. Upper Ends of the Batak Magie Wands. Extrémité supérieure des baguettes magiques desBatak. Oberes Ende der Batak-Zauberstabe.

126. Bataksche hoorn voor toovermiddelen. Batak Hom for Magie Accessories. Corne des Batak pour les accessoires magiques. Batak-Horn für Zauberei-Zubehör.

127. Muziekinstrument. (Këtjapi) Celebes. Musical Instrument. (Kechapi) Celebes. Instrument musical. (Kechapi) Célèbes. Musikinstrument. (Kechapi) Celebes.

128. Huis van den Radja van Bawomataloewo. Nias. House of the Rajah ofBawomataluwo. Nias. Maison du raja de Bawomataluwo. Nias. Haus des Rajas zu Bawomataluwo. Nias.

129. Voorgevel van het huis van den Radja van Bawomataloewo. Nias. Front of the House of the Rajah of Bawomataluwo. Nias. Facade de la maison du raja de Bawomataluwo. Nias. Vorderseite des Raja-Hauses zu Bawomataluwo. Nias.

130. Woning. Padangsche Bovenlanden. House. Padang Upland. Maison. Pays montagneux" de Padang. Wohnung. Hochland von Padang.

131. Woning. Padangsche Bovenlanden. House. Padang Upland. Maison. Pays montagneux de Padang. Wohnung. Hochland von Padang.

132. Woning in afbraak. Padangsche Bovenlanden. House during Demolition. Padang Upland. Maison pendant demolition. Pays montagneux dePadang. Wohnung in Abbruch. Hochland von Padang.

133. Djamboer (jongelieden-verblijf) te Baroes Djahé, Karo-Bataklanden, Sumatra. so-calledyambur, or Meeting Place of Youg People, at Baroes Djahé, Karo-Batak Lards, Sumatra. Maison de réunion pour jeunes gens nommée jambur, Baroes Djahé, Pays des Karo-Batak, Sumatra Zusammenkunftshaus junger Leute, das Jambur, zu Baroes Djahé, Karo-Batak-Lander, Sumatra.

134. Masker. Boven-Mahakam, Centraal-Borneo.— Mask. Upper Mahakam, Central Bornco. Masque. Mahakam supérieur, Borneo central. Maske. Ober-Mahakam, Mittel-Borneo.

135. Masker. Mëndalam-Kajans. Tandjong Karang, Centraal-Borneo. Mask. Mèndalam-Kajans. Tandjong Karang, Central Borneo. Masqué. Mëndalam-Kajans. Tandjong Karang. Borneo central. Maske. Mëndalam-Kajans. Tandjong Karang. Mittel-Borneo.

136. Houten masker. Bali. Wooden Mask. Bali. Masqué de bois. Bali. Hölzerne Maske. Bali.

137. Houten masker topèng). Java. Wooden Mask (topèng). Java. Masqué en bois {topèng). Java. Holzmaske (Topèng).

138. Houten masker (topèng). ]ava. Wooden Mask (topèng). Java. Masque en bois (topèng). Java. Holzmaske (Topèng) Java.

139. Houten masker (topèng). Java. Wooden Mask (topèng) Java. Masqué en bois (topèng). Java. Holzmaske (Topèng). Java.

140. Gongstandaard. Djaparaasch houtsnijwerk. Gong Standard. Wood Carving of Japara. Porte-gong. Sculpture de bois de Japara. Gonghalter. Holzschnitzerei aus Japara.

141 143. Houtsnijwerk. Djapara. Wood Carvings Japara Sculpture en bois. Japara. Holzschnitzerei. Japara

144. Houtsnijwerk vanDjapara. Indischezaal, Kon. Paleis, Den Haag. WoodCarvings from Japara. Indian Room, Royal Palace, The Hague. Sculpture en bois de Japara. Salie indienne, Palais Royal, La Haye. Holzschnitzerei aus Japara. Indischer Saai, königlicher Palast, im Haag.

145. Houtsnijwerk van Djapara. Indische zaal, Kon. Paleis, Den Haag. Wood Carvings from Japara. Indian Room, Royal Palace, The Hague Sculpture en bois de Japara. Salie indienne. Palais Royal, La Haye. Holzschitzerei aus Japara. Indischer Saai, königlicher Palast im Haag.

146. Koperen wajanglamp. Java. Brass Wayang Lamp. Java. Lampe de cuivre pour Ie wayang. Java. Kuptern Wayang-Lampe- Java.

147. Diverse versieringsmotieven op koperen schalen. Java. Various Omamental Motifs of Brass Bowls. Java. Motifs décoratifs différents sur bassins de cuivre. Java. Verschiedene Verzierungsmuster auf Messingschalen. Java.

148a. Javaansch sirihstel. Javanese Sirih Set. Service sirih [javanais. Javanisches Tafelgerat für Sirih.

148b. Javaansch sirihstel. Javanese Sirih Set. Service sirih javanais. Javanisches Tafelgerat für Sirih.

148c. Oud-Javaansche koperen lamp. Ancient Javanese Brass Lamp. Lampe de cuivre javanaiseancienne.— Altjavanische Kupferlampe.

148d. Ornament op Oud-Javaansche talam. Ornamentation on an Ancient Javanese talam. Décoration dun talam javanais ancien. Verzierung eines altjavanischenTalams.

149. Vee-bel. Madoera. Koperen schaal. Sumatra. Gordelplaten. W. Sumatra. Javaansche kommen {bokors) Cow-Bell. Madura. Brass Bowl. Sumatra. Buckles of Belt. W. Sumatra. Javanese Bowls (boter). Sonnaille. Madura. Bassin de cuivre. Sumatra. Boucles. Sumatra Occidental. Bassins javanais (fooAror). Vieh-Schelle. Madura Messingschale. Sumatra. Gürtelsclmallen. W. Sumatra. Javanische Schalen (bokcr)

150. Koperen sirihbakken. Z.-0.-Borneo. Beteldoozen. Sumatra. Koperen kistje. W.-Sumatra. Brass sm/i Holders S.-0.-Borneo. Betelboxes. Sumatra. Brass Box. W.-Sumatra. Cuvettes de cuivrepour sirih. Bornéo du S.E. Boïtes bétel. Sumatra Petite boïte de cuivre. Sumatra Occidental. Messingnapfe für Sirih. S.-0.-Borneo Betelbüchsen. Sumatra. Messingkastchen. W.-Sumatra.

151. Koperen (messing) kommen uit de Padangsche Bovenlanden. BrassBowls. Upland ofPadang. Cuvettes de laiton. Pays montagneux de Padang. Messingnapfe. Hochland von Padang.

152. Messingkommen met ornament. Midden-Sumatra. Decorated Brass Bowls. Central Sumatra. Cuvettes de laiton ornementées. Sumatra Central. Verzierte Messingnapfe. Mittel-Sumatra.

153. Ornamenten op kommen. Padangsche Bovenlanden. Ornaments on Bowls. Upland ofPadang. Décorations sur des cuvettes. Pays montagneux de Padang. Verzierungsmuster auf Napfen. Hochland von Padang.

154. Koperen schaal. Padangsche Bovenlanden. Brass Bowl. Upland ofPadang. Écuelle de laiton.Pays montagneux de Padang. Messingschale. Hochland von Padang.

155.Bronzen schaal.Padangsche Bovenlanden. Bronze Bowl. Upland ofPadang. Écuelle de bronze. Pays montagneux de Padang. Bronzene Schale. Hochland von Padang.

156/157. Koperen Gëndi's (waterkruiken). Padangsche Bovenlanden. Brass Water Pitchercalledgëncfi. Upland ofPadang. Jarre I'eau de cuivre nommée gëndi.Pays montagneux de Padang. Wasserkrug (gëndi) aus Messing. Hochland von Padang.

158. Bronzen schaal. Padangsche Bovenlanden. Bronze Bowl. Upland of Padang. Écuelle de bronze. Pays montagneux de Padang. Bronzene Schale. Hochland von Padang.

159. Koperen ketel. Padangsche Bovenlanden. Brass Kettle. Upland of Padang. Chaudière en cuivre. Pays montagneux de Padang. Messingkessel. Hochland von Padang.

160. Koperen sirihdoosjes. Padangsche Bovenlanden. Brass Boxes for sirih. Upland ofPadang. Boïtes sinTi de cuivre. Pays montagneux de Padang. Messingkistchcn für Sirih. Hochland von Padang.

161. Bovenaanzicht koperen beteldoos. Padangsche Bovenlanden. Lid ofBrass Betel Box. Upland ofPadang. Cöté supérieur d'une boïte bétel en cuivre. Pays montagneux de Padang. Deckelstück einer Betelbüchse aus Messing. Hochland von Padang.

162. Koperen model van een huis. Padangsche Bovenlanden. Brass Model of House. Upland ofPadang. Modèle de maison en cuivre. Pays montagneux de Padang. Messingmodel eines Hauses. Hochland von Padang.

163. Koperen model van een Minangkabausch huis. Padangsche Bovenlanden. Brass Model of House in Minangkabaw. Upland of Padang. Modèle de maison du Minangkabau en cuivre. Pays montagneux de Padang. Messingmodell eines Hauses in Minangkabau. Hochland von Padang.

164. Koperen schaal op voet. Padangsche Bovenlanden. Brass Bowl with Leg. Upland ofPadang. Écuelle de laiton pied. Pays montagneux de Padang. Messingschale mitFuss. Hochland von Padang.

166. Bronzen schaal.Padangsche Bovenlanden Bronze Bowl. Upland ofPadang. Écuelle debronze. Pays montagneux de Padang. Bronzene Schale. Hochland von Padang.

165. Koperen lamp. Boeton. Brass Lamp. Boeton. Lampe de cuivre. Boeton. Messinglampe. Boeton

167. Koperen kalkdoos. Padangsche Bovenlanden. Brass Chalk Box. Upland of Padang. Boite achaux en cuivre. Pays montagneux dePadang. Messingschachtel fürKalk. Hochlandvon Padang.

168. Batak met koperen armring. Sumatra. Batak Man with Brass Bracelet. Sumatra. Homme batak avec bracelet de cuivre. Sumatra. Batakker mit'Kupferarmring Sumatra.

169 Koperen armring der Toba-Bataks. Sumatra. Brass Armlet of the Toba-Batak. Sumatra. Bracelet de cuivre des Toba-batak. Sumatra. Messing Armspange der Toba-Batakker. Sumatra.

170. Fragment Bataksche vuurslag. Fragment of Batak Flint and Steel. Fragment dun briquet desBatak. Bruchstück eines Batakker-Feuerzeugs.

171. Koperen sirihstellen. Java. In het midden: Sirihbak. Midden-Sumatra. Brass Set for sirih. Java. Centralpiece: SirihBowl. Central Sumatra. Service sirih en cuivre. ]ava.Pièce centrale: Cuvette sirih. Sumatra central. Messingen Tafelaufsatz für Sirih. Java. lm Mitten: Sirih-Napf. Mittel-Sumatra.

172. Sirih-schotel en etensblad. Atjeh, Sumatra. Plate for sirih and Tray. Acheh, Sumatra. Plat pour sirih et plateau. Atcheh, Sumatra. Sirih-Schüssel und Platte. Atjeh, Sumatra.

173 Sirih-schaal. Midden-Sumatra. Plate for sirih. Central Sumatra. Écuelle pour sirih. Sumatra central. Sirih-Schale. Mittel-Sumatra.

174. Staandekoperen lampen uit Noorden Midden-Sumatra. Brass standing Lamps. Northernand Central Sumatra. Lampes statives de laiton. Sumatra septentrional et central. Kupferne stehende Lampen. Nordund MittelSumatra.

175/177. Bronzen voorwerpen. Broenei, Borneo. Bronze Objects. Broenei, Borneo. Objets de bronze. Broenei, Borneo. Bronzegegenstande. Broenei, Borneo.

178. Bronzen drakengong. Broenei,Bornco. Bronzen Dragon Gong.Broenei, Borneo. Gong de bronze dragon Broenei, Bornéo. Drachengong aus Bronze. Broenei, Borneo.

179. Bronzen gong, zijvlak. Broenei. Bronze gong, side view. Broenei. Gong de bronze, vue laterale. Broenei. Bronzegong, Seitenansicht. Broenei.

180. Bronzen gong. Broenei. Voorzijde, zijvlak en detail. Bronze Gong. Broenei. Front and Side view and Detail. Gong de bronze. Broenei. Vue de face, vue laterale et détail. Bronzegong. Broenei Vorder-, Seitenund Teilansicht.

181. Bronzen ketel. Broenei, Borneo. Bronze Kettle. Broenei, Borneo. Chaudière en bronze. Broenei, Borneo. Bronzekessel. Broenei, Borneo.

182a. Deksels van zilveren doosjes. Padangsche Bovenlanden. Lids of Silver Boxes. Upland ofPadang. Couvercles de boïtes en argent. Pays montagneux de Padang. Deckel von Silverschachteln. Hochland von Padang.

182b. Zilveren tabaksen kalkdoosjes. Padangsche Bovenlanden. SilverBoxes for Tobacco and Chalk.Upland ofPadang. Boïtes tabac et chaux en argent. Pays montagneux dePadang. Silberne Tabakund Kalkschachteln. Hochland von Padang.

182c, d, e. Zilveren tabaksen kalkdoosjes. Padangsche Bovenlanden. Silver Boxes for Tobacco and Chalk. Upland of Padang. Boïtes tabac et chaux en argent. Pays montagneux de Padang. Silberne Tabakund Kalkschachteln. Hochland von Padang.

182f. Zilverentabaks-'enkalkdoosjes. Padangsche Bovenlanden. SilverBoxes forTobacco and Chalk. Upland ofPadang. Boites tabac et chaux en argent. Pays montagneux de Padang. Silberne Tabakund Kalkschachteln. Hochland von Padang.

183. Zilveren gordelplaat. Padangsche Bovenlanden. Silver Belt Buckle. Uplands ofPadang. Boucle en argent Pays montagneux de Padang. Gürtelschnalle aus Silber. Hochland von Padang.

184. Gedreven zilveren schaal op houten voet. Bali. (Verz. P. A. J. Moojen) Embossed Silver Bowl upon wooden pedestal. Bali. (Collection ofP. A. J. Moojen, C. A.). Écuelle dargent repoussée, sur piédestal en bois. Bali. (Collection de Mons. P. A. ]. Moojen). Silberschale mit erhabener Arbeit auf Holzgestell. Bali. (Sammlung P. A. ]. Moojen).

185. Gedreven zilveren beker met deksel. Bali (Verz. P. A. J. Moojen). Embossed Silver Cupwith Lid. Bali. (Col lection ofP. A. ]. Moojen, C. A.). Gobelet dargent repoussé avec couvercle. Bali. (Collection de Mons. P. J- Moojen). Silberbecker mit erhabener Arbeit und mit Dcckel. Bali. (Sammlung P. A. ]. Moojen).

186. De dalang met zijn poppen. The "Dalang" with his Puppets Le „Dalang" avec ses marionettes. Der „Dalang" mit seinen Puppen.

187 189. Wajang Poerwa. Verschillende typen. Wayang Purwa. Different Types. Wayang Purwa. Types différents. Wayang Purwa. Verschiedene Gestalten.

190. Wajang-poerwa. Soerakarta.

199. Wajang golèk. Houten poppen. Wayang golèk. Wooden Puppets. Wayang golèk.Poupées en bois. Wayang golèk. Holzpuppen.

200. Gamelan-orkest. Jogkjakarta. Gamelan Orchestra. Jogyakarta. Orchestre gamelan. Jogyakarta. Gamelan Kapelle. Jogyakarta.

201/203. Wajang-wong. Soerakarta.

204. Wajang-wong danser, logjakarta. Wayang-wong Daneer. Jogyakarla. Danseur Wayang-wong. Jogyakarta. Wayang-wong Tanzer. Jogyakarta.

205. Wajang-wong. Soerakarta.

206. Wajang-wong. Soerakarta.

207. Dierfiguren uit de wajang-wong. AnimalFiguresof theWayang-wong. Figures animalesdu Wayang-wong— Tiergestalten aus demWayang-wong.

208. Oud-Javaansche krissen met parnor en inlegversiering. Ancient Javanese Creeses with parnor and Inlaid Ornaments. Des criss parnor et marquetterie javanais anciens. Alte javanische Krisse mit sog. Parnor und Einlegearbeit.

209. Javaansche goudsmeden, metalen krisbeslag vervaardigend. Javanese Goldsmiths making Scab bards for creeses. Orfèvres javanais préparant des fourreaux pour criss. Javanische Gold schmiede bei der Herstellung von Kris-Scheiden.

210. Javaansche lanspunten met goud geïncrusteerd. Javanese Lance-heads with gold Incrustation. Fers de lance javanais avec incrustation dor. Javanische Lanzenspitzen mit Goldeinlegearbeit.

211. Javaansche kris. Vorstenlanden. Javanese Creese. The Principalities. Criss javanais.Les Principautés Javanischer Kris. Fürstenlande.

212. Indonesische pronkwapens. (l)Java. (2)Borneo. (3) Java. Indonesian State Swords. (1) Java. (2)Borneo. (3) Java Épées de gala indonésiennes. (1) Java. (2) Bornéo. (3) Java. Indonesische Prunkwaffen. (1) Java. (2) Borneo (3) Java.

213. Javaansche pronkwapcns met goud geïncrusteerd Javanese State Swords with gold Incrustation. Épées de gala javanaises avec incrustation dor. Javanische Prunkwaffen mit Goldeinlegearbeit.

214. Ivoren krisgreep. Madoera. Zilveren krisgreep Java. Ivory Creese Haft. Madura. Silver Creese Haft. Java. Poignée de criss d'ivoire. Madura. Poignée de criss dargent. Java Elfenbeinern Krisgriff Madura. Silberner Krisgriff. Java.

215. Houten krisgrepen. Java. Wooden CreeseHafts. Java. Poignées de criss en bois. Java. HölzerneKrisgriffe.'Java

216. Houten krisgreep Bali. Ivoren krisgreep. Java. Houten krisgreep. Java. Wooden Creese Haft. Bali. Ivory Creese Haft. Java. Wooden Creese Haft. Java. Poignée de criss en bois. Bali Poignée de criss d'ivoire. Java Poignée de criss en bois. Java. Holzgriff eines Kris. Bali. Elfenbeingriff eines Kris. Java Holzgriff eines Kris. Java.

217. Houten krisgreep. Bali. —Wooden Creese Haft. Bali Poignée de criss en bois. Bali. Holzgriff eines Kris, Java.

218. Een Javaansche krisscheeden-maker. Javanese Scabbard Maker. Homme javanais faisant desfourreaux criss. Ein Javanischer Krisscheiden-Verfertiger.

219 Verschillende typen van krisscheeden. Various Types of Scnbbards for Creeses. Types variés de fourreaux criss. Verschiedene Formen von Krisscheiden.

220. Zilveren beslag van Javaansche krissen. Silver Scabbards of Javanese Creeses. Fourreaux dargent de criss javanais. Silberne Scheiden javanischer Kris.

221. Zilveren beslag van Javaansche krissen. Silver Scabbards of Javanese Creeses. Fourreaux dargent de criss javanais. Silberne Scheiden javanischer Krisse.

222. Staatsiekris in gouden scheede. Zuid-Celebes. State-Creese in GoldenSheath. South Celebes Criss de gala dans vn fourreau dor. Célèbes méridional. Staatskris in Goldscheide. SüdCelebes.

223. Krisgreep. Sumatra. CrceseHaft. Sumatra. Poignée de criss. Sumatra. Krisgriff. Sumatra.

224. Krisgreep. Zuid-Celebes. CreeseHaft.South Celebes. Poignée de criss. Célèbes méridional. Krisgriff. Süd- Celebes.

225 Schilden. Midden Celebes. Borneo. Mentawei-eilanden. Borneo. Borneo. Shields. Central Celebes. Borneo. Mentawei Islands. Borneo. Borneo-Boucliers.Célèbes Central. Borneo. Hes Mentawei. Borneo. Borneo. Schilde. Mittel-Celebes. Borneo. Mentawei-Inseln. Borneo. Borneo.

226. Mandau. Dajaks. Borneo. Swordof theDayakcalled mandau.Borneo. Épée des dayak nommée mandau. Bornéo- Mandau genanntes Schwert der DayaksBorneo.

227. Houten krisgreep. Soeloe-eilanden. Filippijnen. Wooden Creese Haft. Sulu Islands. Philippines. Poignée de crissen bois. Hes Sulu. Philippines. Holzgriff eines Krisses Sulu-Insel. Philippinen.

228. Sumatraansche wapens. Weapons of Sumatra Armes sumatranaises. Sumatranische Waffen.

229. Houten model voor een gouden krisgreep. Bali. Wooden Model for Golden Creese Haft. Bali. Modèle en bois pour une poignée de criss dor. Bali. Holzmodell für einen Goldenen Krisgriff. Bali.

230 231. Balische kris met krishouder. Balinese Creese with Creese Holder. Criss de Bali avec porte-criss. Balischer Kris mit Krisbehalter.

232 233. Houten krishouders. Bali. Wooden Creese Holders. Bali. Porte-criss en bois. Bali. HölzerneKrisbehalter. Bali.

234. Oud-Javaansche krissen (Madjapahit tijdperk). Ancient Javanese Creeses (Madjapahit-period). Des criss javanais anciens (Madjapahit-période). Alte Javanische Krisse (Madjapahit-Periode).

235. Oud-Javaansche krissen met inlegversiering. Ancient Javanese Creeses with Inlaid Ornaments. Des criss mar quetterie javanais anciens. Alte Javanische Krisse mit Einlegearbeit.

236. Krisgrepen, Madoera Creese Hafts, Madura. Poignées de criss, Madura. Krisgriffe, Madura.

237. Ivoren krisgrepen, Java. Ivory Creese Hafts, Java. Poignées d'ivoire de criss, Java. Elfenbeinern Krisgriffe, Java.

238. Krisgrepen, Bali. Nrs. en goud, No. ivoor, No. ivoren krisgreep, Madoera. Creese Hafts, Bali. and gold, ivory, Ivory Creese Haft, Madura. Poignées decriss dor, Bali (4 et 51, Poignée de criss d'ivoire, Bali. Poignée de criss divoire, Madura. Krisgriffe, Bali. und Gold, Elfenbein, Krisgriff Madura, Elfenbein.

239. Nrs. 12. Houten krisgrepen, Java. Wooden Creese Hafts, Java. Poignées de criss en bois, Java. Hölzerne Krisgriffe, Java.

240. Nrs. 13—15. Ivoren krisgrepen, Java. Ivory Creese Hafts, Java. Poignées de criss d'ivoire, Java. Elfen beinern Krisgriffe, Java.

241. Nrs. 16—18. Houten krisgrepen, Java. Wooden Creese Hafts, Java. Poignéjs de criss en bois, Java. Hölzerne Krisgriffe, Java.

242. Ivoren krisgrepen. Celebes. Ivory Creese Hafts, Celebes. Poignées de criss d'ivoire, Celèbes. Elfenbeinern Krisgriffe, Celebes.

243. No. 19.Ivoren krisgreep, Madoera. Ivory Creese Haft, Madura. Poignce de criss d'ivoire, Madura. Elfcnbeinern Krisgriff, Madura. No. 20. Ivoren krisgreep, Java (Solo). Ivory Creese Haft, Java (Solo). Poignée de criss d'ivoire Java (Solo). ElfenbeinernKrisgriff, Java (Solo). No. 21. Ivoren krisgreep, Java (Cheribon). Ivory Creese Haft. Java (Cheribon). Poignée de criss d'ivoire, Java (Cheribon). Elfenbeinern Krissgriff, Java (Cheribon).

244. No. 22. Houten krisgrcep, Madoera. Wooden Creese Haft, Madura. Poignée de criss en bois, Madura. Hölzern Krissgriff, Madura. No. 23 en 24. Houten krisgrepen, Java. Wooden Creese Hafts, Java. Poignées de criss en bois, Java. Hölzerne Krisgriffe, Java.

245. No. 25. Ivoren krisgreep. Java. Ivory Creese Haft, Java. Poignée de criss d'ivoire, Java. Elfenbeinern Krisgriff, Java No. 26. Houten krisgreep, Java. Wooden Creese Haft, Java. Poignée de criss en bois, Java. Hölzern Krisgriff, Java.

FIG. VERZAMELING COLLECTION SAMMLUNG 3- 12 J. Fortgcns. 17-18 Van Kerckhoff, 's-Gravenhage. 20 -21 Museum Landen Volkenkunde, Rotterdam. 42 -45 Ethn. Museum, Militaire Academie, Breda. 47 -50 Kol. Instituut, Afd. Volkenkunde, Amsterdam. 60 -61 Van Kerckhoff, 's-Gravenhage. 63 -68 Kol. Instituut, Afd. Volkenkunde, Amsterdam. 69 -71 Museum Landen Volkenkunde, Rotterdam. 72 ... Kol. Instituut, Afd. Volkenkunde, Amsterdam. 75 -77 W. O. J. Nieuwenkamp, Florence. 79 ... Museum Landen Volkenkunde, Rotterdam. 80 -86 Kol. Instituut, Afd. Volkenkunde, Amsterdam. 87 ... Museum Landen Volkenkunde, Rotterdam. 88 .... E. van Walcheren. 89-108 naar teekeningen van prof. J. A. Loebèr Jr. 109 109 A. Weruméus Buning. 110-112 113 Museum Landen Volkenkunde, Rotterdam. 116 ... L. D. Petit. 121 Missiehuis, Tilburg. 124 Kol. Instituut, Afd. Volkenkunde, Amsterdam. 125 .... Stadtisches Völkermuseum, Frankfurt a.M. 126 .... 's Rijks Ethn. Museum, Leiden. 127 Mr. J. G. Huyser. 134-135 's Rijks Ethn. Museum, Leiden. 136 L. D. Petit. 137-139 Kunstzaal Van Lier, Amsterdam.

13 Museum Landen Volkenkunde, Rotterdam.

15-16. Kol. Instituut, Afd. Volkenkunde, Amsterdam.

19 ... Kol. Instituut, Afd. Volkenkunde, Amsterdam.

23 ... Th. van Erp, 's-Gravenhage.

24 28 Museum Landen Volkenkunde, Rotterdam.

29 -35 Kol. Instituut. Afd. Volkenkunde, Amsterdam.

36 ... W. O. J. Nieuwenkamp, Florence.

37-41 Kol. Instituut, Afd. Volkenkunde, Amsterdam.

51 H. F. E. Visser.

58 .... L. D. Petit.

59 ... W. O. }. Nieuwenkamp, Florence.

141 Foto ir. H. Maclaine Pont. 146 .... L. D. Petit. 147 Teekeningen van Mr. J. G. Huyser. 148 161 Mr. J. G. Huyser. 162 ... Mevr. Wed. Mr. Th. Dentz van Schaick-Marlof. 163 L. D. Petit. 164 ... ir. J. A. Stoop. 165-171 Mr. J. G. Huyser. 172 .... 's Rijks Ethn. Museum, Leiden H. Landmann Mr. J. G. Huyser. 175-177 Museum fur Völkerkunde, Basel. 178-179 's Rijks Ethn. Museum, Leiden. 180 H. Landmann. 181 .... Museum, Bataviaasch Genootschap. Weltevreden. 112 ab J. Th. Petrus Blumbergen. 183 ... Museum Landen Volkenkunde, Rotterdam. 187-189 naar teekening van Prof. A. Loebèr Jr. 190-194 L. D. Petit. 195- 196 naar teekening van Prof. J. A. Loebèr Jr. 197-198 P. A. J. Moojen. 200 207 Opnamen Tassilo Adam. 210-213 Mr. J. G. Wurfbain. 214 .... L. D. Petit. 215 's Rijks Ethn. Museum, Leiden. 216-217 Kol. Instituut, Afd. Volkenkunde, Amsterdam. 220-221 Mr. J. G. Huyser. 222 223 Kol. Instituut, Afd. Volkenkunde, Amsterdam. 224 228 Ethn. Museum, Militaire Academie, Breda. 229 .... L. D. Petit. 230-231 Mr. J. G. Wurfbain. 232 .... Ethn. Museum, Militaire Academie, Breda. 233 Mr. J. G. Wurfbain. 234 237 241 J. W. Van Dapperen. 242 .... Kunstzaal van Lier, Amsterdam. 243 245 J. W. van Dapperen.

148c. ... 's Rijks Ethn. Museum, Leiden.

182 ede Mevr. Wed. Mr. Th. G. Dentz van Schaick-Marlof.