Material culture of the upper Sepik
Attempts have been made to map the style areas of the Sepik River region of Papua New Guinea. These were based on the (art) style of the most prominent carved and painted works. While this has, in the past, provided a framework for discussing the art of New Guinea and of the Sepik region in particul...
保存先:
| 出版年: | URI:https://journals.openedition.org/jso, |
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| 第一著者: | |
| フォーマット: | Article ou chapitre numérique |
| 言語: | Anglais |
| 出版事項: |
Journal de la société des océanistes
2018
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| 主題: | |
| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 要約: | Attempts have been made to map the style areas of the Sepik River region of Papua New Guinea. These were based on the (art) style of the most prominent carved and painted works. While this has, in the past, provided a framework for discussing the art of New Guinea and of the Sepik region in particular, it is no longer useful for research on the full range of material culture of Sepik peoples. Objects have been found in places quite far from where they were made, as a result of trade, warfare, intermarriage, migrations and flood, complicating the identification of local styles. Further, different kinds of objects have been variably subject to these effects and have different patterns of distribution. In this paper I examine the distribution of five kinds of artefacts to determine the boundaries of presence/absence and distinct variations in those kinds of artefacts, in the Upper Sepik region from Ambunti to the West Papuan border. For reasons of convenience, ethno-linguistic groups are used as a proxy for provenance. |
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