(2) The designs carved in the solid or in high relief are for the most part conventionalised copies of human and animal forms; but the conventionalising is not carried so far as in those of the first class, so that the carving generally constitutes an unmistakable representation of the original. The posts set up as altars to the gods are generally carved in the human form, and the degree of elaboration varies widely from the rudest possible indication of the head and limbs to a complete representation of all the parts. But in no case (with the possible exception of some of the figures carved by Malanaus) is the human form reproduced with any high degree of accuracy or artistic merit (Figs. 50 — 53)
The animal forms are used chiefly as the figureheads of war-boats and at the ends of the main roof-beams of the houses; and some of these are executed with a degree of artistry that must win our admiration, especially when we reflect that the timber used is generally one of the harder kinds (but not iron-wood) such as the mirabo (AFZELIA PALEMBANICA), and that the only tools used are the axe, sword, and knife. The animals most frequently represented are the dog, crocodile, monkey, hornbill, and bear (Pls. 122, 125, Figs. 45, 46, 54 — 57). Carved dogs, comparatively little conventionalised, are sometimes used as the supports of low platforms upon which the chiefs may sit on ceremonious occasions.
(3) The handles of the swords, generally of deer's antlers, but sometimes of wood, exhibit a group of highly peculiar closely allied designs. All these seem to be derived from the human form, although in many cases this can only be traced in the light of forms intermediate between the less and the more highly conventionalised (Pls. 129, 184). In examples in which the human form is most obvious, it has the following position and character: — The butt end of the blade is sunk in a piece (about six inches in length) of the main shaft of the antler at its distal or upper end. This piece constitutes the grip of the handle or hilt. The proximal or lowest point of the antler projecting at an angle of some 70[degree] from the grip is cut down to a length of some four inches, forming a spur standing in the plane of the blade and towards its cutting edge. The grip is lashed with fine strips of rattan. The spur and the thick end in which the spur and the grip unite are elaborately carved. If the sword is held horizontally, its point directed forwards and its cutting edge upwards, the butt end is presented with the spur vertically before the face of the observer. It will then be seen that the surface turned to the observer presents the principal features of the human figure, standing with arms akimbo face to face with the observer. The key to the puzzle Is the double row of teeth. Above this are the two eyes. Below the level of the mouth the elbows project laterally, and a little below these and nearer the middle line are the two hands; and below these again the two legs stand out, carved not merely in relief, but in the solid, and bent a little at the knee. The feet are indicated below and more laterally. From the crown of the head projects a ring of short hair made up of tufts white, black, and red in colour. Another short tuft projects from the region of the navel (? pubis), and a pair of tufts project laterally a little below the level of the mouth. The extremity of the main shaft of the antler projects a little beyond the feet of the human figure, and is carved in a form which is clearly an animal derivative — probably from the dog or possibly the crocodile. From its open jaws projects a long tuft of hair, and a pair of short tufts project laterally from the region of its ears. The whole of the carved part of the hilt thus represents a man standing upon the head of a dog (or crocodile). The interpretation of the whole is much obscured by the fact that the parts of the human figure named above are separated from one another by areas which are covered with a continuous scroll design in low relief, and by the fact that all the lateral parts of the carved area bear, scattered irregularly in relief, reduplications of the various features of the human figure, E.G. of the hands, elbows, knees, and even of the teeth, as well as many pairs of interlocking hooks. These last, which recur in other decorative designs, and which (as was said above) seem to symbolise the taking of heads, form an important and constant feature of the whole scheme of decoration. In the more elaborate examples they are carved out of the solid; and usually one hole (or more) about 5 mm. in diameter perforates the thickest part of the hilt, and contains in the middle plane a pair of these interlocking hooks.
In the most elaborate examples of these carved sword hilts all obvious trace of the human figure is lost in a profusion of detail, which, however, is of the same general character as that of the examples described above, and seems to consist of the various features of the human and animal pattern combined in wild profusion with regard only to decorative effect, and not at all to the reproduction of the parent forms.
With the decorative designs of the hilt of the sword must be classed those of its sheath. The sheath consists of two slips of TAPANG wood firmly lashed together with finely plaited rattan strips, both strips being hollowed so that they fit closely to the blade. It is provided with a plaited cord, which buckles about the waist. The inner piece of the sheath is smooth inside and out. The outer surface of the outer piece is often elaborately decorated. The decoration consists in the main of designs carved in relief; and these are composed of the same elements as the design upon the sword hilt, namely, hooks, single and interlocking, elbows, teeth, etc., all woven about with a scroll design of relieved lines.
(4) The designs reproduced in fretwork are in the main adaptations of some of those used in decorating surfaces, especially of the dog pattern; but they are always conventionalised in a high degree (see Pl. 130). The hook pattern is frequently introduced to fill up odd corners. The human form is seldom or never traceable in work of this kind. Fretwork is chiefly used to adorn the tombs of chiefs.
(5) The designs chased on the surfaces of the blades of swords and knives and spear-heads form a distinctive group. They are flowing scroll patterns containing many spiral and S-shaped curves in which no animal or plant forms can be certainly traced, though suggestions of the KALANG ASU may be found. The lack of affinity between these patterns and those applied to other surfaces suggests that they may have been taken over from some other people together with the craft of the smith; but possibly the distinctive character is due only to the exigencies of the material. Some of the designs painted on hats and shields exhibit perhaps some affinity with these. This work is almost confined to the Kayans.
It is worthy of remark that the art work of the Kayans is in the main of a public character; for example, the decorative carving about the house is done by voluntary and co-operative effort in the public gallery and hardly at all in the private rooms; and ornamented hats and shields are hung in the gallery rather than in the private rooms; again, the war-boats, which are the common property of the household, are decorated more elaborately than those which are private property.
All these forms of art work are the products of distinctly amateur effort; that is to say that, although certain individuals attain special skill and reputation in particular forms of art, they do not make their living by the practice of them, but rather, like every one else, rely in the main upon the cultivation of PADI for the family support; they will exchange services of this kind, and definite payments are sometimes agreed upon, but a large amount of such work is done for one another without any material reward.
The Kenyahs, Klemantans, and Ibans