On Pl. 140, Fig. 1, is shown the design on the forearm of a high-class
woman of the Uma Lekan Kayans of the Batang Kayan river, Dutch Borneo;
in our opinion these elegant designs are quite in the front rank of
the tatu designs of the world. In spite of the elaboration, it is quite
possible to distinguish in these the same elements as in the Uma Pliau
specimen, viz.: BELILING BULAN ULU TINGGANG DAUN WI and TUSHUN TUVA;
but the DULANG HAROK is absent, and the SILONG or face pattern appears.
Nieuwenhuis [9, Pl. 93, b] figures the arm-tatu (supinator surface
only) of a Kayan woman of the Blu-u river, a tributary of the Upper
Mahakkam; the main design is evidently a hornbill derivative, the
knuckles are tatued with quadrangular and rectangular blotches. The
hornbill plays an important part in the decorative art of the Long
Glat, a Klemantan tribe of the Mahakkam river, and we suspect that,
if these Blu-u Kayans are of true Kayan stock, they have borrowed
the hornbill design from their neighbours.
With regard to the thigh patterns, it is usual to find the back of
the thigh occupied with two strips of an intersecting line design,
or some modification thereof; the simplest form is shown on Pl. 138,
Fig. 1; it is known as IDA TELO, the three-line pattern, and is used
by slaves; a more elaborate example from the Rejang river is shown in
Fig.
Pages:
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334