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BORNEO MATS 129 lato and Sercombe 2007). Manufactured trade goods circulated from the coast upward along the major rivers, together with Indian religious and political influences, followed later by Muslim influences. The upriver people, in return, delivered to the ports the much-sought-after forest products (Peluso 1983), as well as gold and, sometimes, slaves. Certain items traded upriver—brass or bronze gongs, porcelain jars, and glass beads, for example— became important sacred and heirloom objects, pusaka, among the peoples there and frequently occur in the iconography of their plaiting traditions. References to the long practices of intercultural warfare and headhunting also figure prominently in decorated mat motifs, as do sacred and power-invoking motifs, often from Kaharingan religious concepts. As discussed below, many of these motifs can be subtle and difficult to identify. Technique and Style In a not so remote past, Borneo peoples created a broad range of plaited objects adapted to specific functions. In the relatively isolated communities of the interior, each household was able to make everything necessary for daily life, including the plaited articles needed for its activities. In addition to decorated and plain-woven mats, these included sun hats, burden and storage baskets, fans, and a variety of other object types, many of which share decorative motifs. These were created mostly for local needs—whether daily use, prestige, or ritual purposes—although some were also traded or bartered away. Status among the interior peoples was always gained through expertise and, since Borneo people have a keen eye for beauty, the best artisans—plaitresses included—could achieve local fame for their work, even Facing page top to bottom FIG. 6: Mat woven in 1951 by Mirentje Bahoei referencing elements of the mihing origin myth. Ngaju. Rattan. Photo: A. H. Klokke. FIG. 7: A naturalistic rendition of the soul ship, here named banama ruing. Note the inscription at the bottom, which is the name of the plaitress and the date. The largely traditional motifs are augmented by ones of Western origin, including anchors and guns. Ngaju. Lamunti village. 1950. Rattan. 226 x 94 cm. Collection and photo: Roger Dashow. FIG. 10 (top): A tricolor striped mat with two large figures; a house of spirits; and various other motifs including jars, gongs, and dogs. Ot Danum. Rattan. 196 x 94 cm. J. B. Spurr Collection. Photo: D. Bonstrom. FIG. 11 (above): A free composition mat of dragons (nabau) and human or godly figures. “Iban” of uncertain origin. Rattan. 294 x 139 cm. J. B. Spurr Collection. Photo: D. Bonstrom. FIG. 8: Sleeping or sitting mat with parallel rows of motifs varying within each row, including water buffalo, dragons, chickens, fish, human figures, and heirloom ceramic jars, all figuring in the paraphernalia of a major ritual. Probably Ngaju. Rattan. 201 x 102 cm. Collection and photo: Mark Johnson. FIG. 9: Modern free composition with male and female human figures and blank areas filled in with various motifs. Iban of the lower Baluy River, Sarawak. Rattan. 234 x 132 cm. Collection and photo: MH.


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