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House-post Figure

19th century
On view at The Met Fifth Avenue in Gallery 354
The Kambot people live along the banks of the Keram River, a tributary of the lower Sepik River in New Guinea. This figure was not originally an independent sculpture but probably formed part of a housepost supporting the roof of a ceremonial house. The image represents either Mobul or Goyen, two mythical brothers who are associated with the creation of plants and animals. The brothers' spirits were believed to reside within the houseposts at certain times. This figure is probably the largest surviving example of Kambot wood sculpture. The head is a double image in which the eyes and nose of the central face also form the arms and flute of a second, smaller figure.

Artwork Details

Object Information
  • Title: House-post Figure
  • Date: 19th century
  • Geography: Papua New Guinea, Lower Sepik, Keram River
  • Culture: Kambot people
  • Medium: Wood, paint, fiber
  • Dimensions: H. 96 × W. 23 × D. 18 in. (243.8 × 58.4 × 45.7 cm)
  • Classification: Wood-Architectural
  • Credit Line: The Michael C. Rockefeller Memorial Collection, Gift of Nelson A. Rockefeller, 1969
  • Object Number: 1978.412.823
  • Curatorial Department: The Michael C. Rockefeller Wing

Audio

Cover Image for 1718. Ancestral figure, Kambot artist

1718. Ancestral figure, Kambot artist

Simon Maro Nowep

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SIMON MARO NOWEP (English translation): As a child, I often played with this carving, when I followed my father up into the ceremonial house. So when I see it now, I am moved.

KATERINA TEAIWA (NARRATOR): Maro Nowep is the son of a renowned Kambot painter, Simon Nowep. In 2014, he was shown a photograph of this exact carving, which brought back powerful memories.

SIMON MARO NOWEP (English translation): This carving is definitely the spirit of Sarampan.

When I first used to see it, I would be very afraid. I would see it and run away.

KATERINA TEAIWA: When Maro Nowep was a boy, it resided in a central, public part of the men’s ceremonial house. But back before Germans and Americans arrived in the village in the 1950s and 60s…

SIMON MARO NOWEP (English translation): …it resided in the restricted ‘taboo room.’

KATERINA TEAIWA: Its appearance was meant to be fearsome. Eventually though, Nowep conquered his fear.

SIMON MARO NOWEP (English translation): I would touch this carving, playing with its legs. But my father would say, “No, it’s forbidden to play with this carving. You will not be able to sleep at night if you play too much with it or damage it.”

KATERINA TEAIWA: Maro Nowep believes this figure was carved by his grandfather.

He sees many aspects of its appearance as expressions of the artist’s individual style.

SIMON MARO NOWEP (English translation): So the markings on the forehead that look like a face within a face are simply decoration. How they can make it look good is what they are thinking. How the carver feels, how they want to carve and decorate a figure. Well, they do what they want, according to their own thoughts.

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Interview with Simon Maro Nowep recorded by Dr. Daniel von Rüdiger.

    Listen to more about this artwork

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