TEXTILES DES ANDES
95
FIG. 10 (above): Sketch showing the assembly
of the vertical post through the support carved
in the form of a hawk at the end of the ridge
beam. Ceremonial house in the Sawos village of
Nangosap, Papua New Guinea.
From Coiffi er, 1982, p. 582.
FIG. 11 (above right): Gable sculpture from the
Iatmul village of Yentchenmangua, Papua New
Guinea. Collected in 1912/1913.
Wood, pigment. H: 117 cm.
From Kelm, 1966, no. 370.
© bpk/Ethnologisches Museum, SMB.
FIG. 12 (right): Gable sculpture from the iatmul
village of Kararau, Papua New Guinea. Collected
in 1912/1913 by the Sepik-Expedition.
Clay, pigment. H : 51.5 cm. Berlin, Kelm, 1966, n° 360.
© bpk / Ethnologisches Museum, SMB.
tery ornaments were considered “bald” houses
(nambutale). In 1986, two of the fi ve ceremonial
houses in the village of Nangosap (Kosimbi
and Nyanglambi) were “hirsute” and erected
on the village’s great ceremonial square, while
the other three (Djorimbit, Yameyagwi, and
Djambi) were “bald” houses built perpendicular
to the other two.
GABLE SCULPTURE MYTHS
A number of origin myths explain the proximity
of these sculptures to the ceremonial houses.
According to Kumut Kavun (Coiffi er, 1994:
1094), a member of the Suaru clan of Yentchen
village, they are connected with the nyawinemba
moiety of the community (people of the sun