On the supinator surface BELILING BULAN
and ULU TINGGANG occur again, but instead of DULANG HAROK, there are
two other elements, a bold transverse zigzag known as DAUN WI (D),
rattan leaves, and at the proximal end of the pattern an interlacing
design, TUSHUN TUVA (E), bundles of tuba root (DERRIS ELLIPTICA). The
fingers are very simply tatued with a zigzag on the carpal knuckles
and transverse lines across the joints; the thumb is decorated in
a slightly different way. In Dr. Nieuwenhuis' designs cited above,
we find much the same elements; in one of them the BELILING BULAN are
more numerous and more closely set together, so that the concentric
circles of one set have run into those of the next adjoining; the
TUSHUN TUVA pattern is termed POESOENG, evidently the same as TUSHUN;
the spirals are much degraded in one example and are called KROWIT,
or hooks, whilst in the more elaborate example they are known as MANOK
WAK, or eyes of the SCOPS owl; the PEDJAKO PATTERN is an addition,
but the meaning of the word is not known; the pattern on the fingers
is much more complex than in the Uma Pliau example, and is perhaps
a degraded hornbill design.
Nieuwenhuis [8, Pl. XXIV.] figures the hand of a low-class woman
tatued with triangular and quadrangular blotches, and with some rude
designs that appear to have been worked in free-hand.
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