Abstracts

JOURNAL FÜNF KONTINENTE
FORUM FÜR ETHNOLOGISCHE FORSCHUNG
BAND 1 · 2014/2015
Weltoffen seit 1862
FORSCHUNGSBERICHTE
AFRIKA ∙ AMERIKA ∙ ASIEN ∙
OZEANIEN ∙ AUSTRALIEN
Weltoffen seit 1862
Beatrix Hoffmann
GÜNTHER PROTÁSIO FRIKEL
(1912–1974)
EIN BIOGRAPHISCHER VERSUCH
ABSTRAC T
One of the less-known German anthropologists who contributed significantly
to the Brazilian anthropology of the Amazon basin was Günther Protásio Frikel
(1912–1974). In 1931 he came to Brazil to become a Franciscan missionary
and worked as such from 1937 till 1963, soon discovering his passion for anthropology and the Amerindians of the Amazon. After doing some research
on the Candomblé of Bahia and the Amazonian archaeology, he began ethnographic research on the karib-speaking groups of the Trombetas riverine
system (a northern tributary of the lower Amazon river) in the mid 1940s.
Until his death in 1974 Frikel studied various indigenous groups, mainly from
the northern lower Amazon but also some groups, which are living in southern
Pará. Frikels main interest was focused on the Tiriyó, a karib-speaking group
of the Guyanas, living at both sides of the frontier with Suriname.
Since Protásio Frikel seems to be almost forgotten outside of a small community of scientists engaged with the study of the karib-speaking groups at the
Guyanas, the paper aims to commemorate the anthropologist, who did pioneering research in the Brazilian Guyanas.
FORSCHUNGSBERICHTE: AMERIKA
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Abb. 1: Schurz (Detail) für Frauen mit
geometrischer Musterung, ParukotoCharuma, erworben 1964 bei den
benachbarten Tiriyó, Nordbrasilien,
um 1960, Glasperlen, Samenkapseln,
Käferflügeldecken, Metallteile,
Federn, Raubvogel-Schnäbel,
Pflanzenfaserschnur, B. oben 37 cm,
B. unten 48 cm, H. 35 cm,
Slg. Günther Protásio Frikel, MFK
Inv. Nr. 64-12-1 (siehe Abb. 15a).
© Marianne Franke
Klaus-Peter Kästner
DIE MONTAÑA-SAMMLUNG VON
ERNST JOSEF FITTKAU –
EINE KULTURGESCHICHTLICHE
BETRACHTUNG
ABSTRAC T
In 2010 the Munich State Museum of Ethnology (now Five Continents Museum)
acquired a large ethnographic collection from the zoologist and passionate
collector Professor Dr. Ernst Josef Fittkau (1927–2012). He compiled a huge
number of ethnographic objects from many ethnic groups of Amazonia, most
of which he collected during his research work which he carried out in various
regions of the Amazon basin for many years.
The subject of this paper is the collection from the Montaña tribes Cofán,
Huaorani, Aguaruna, Shuar, Canelo, Shipibo, Conibo, Campa (Asháninca),
Amuesha and Matsigenka which live in the Eastern parts of Ecuador and Peru.
The geographic region Montaña extends along the forested Eastern slopes of
the Andes which form the Western edge of the Amazon basin.
The author describes selected ethnographic pieces and their reference to
cultural history. The tribal cultures concerned are classified according to historical ethnographic aspects.
FORSCHUNGSBERICHTE: AMERIKA
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Abb. 1: Massatogefäß (Detail) mit
Gesichtsdarstellung, Shipibo, zentrale
Montaña, Rio Ucayali, Ost-Peru,
Slg. E. J. Fittkau, in der Zeit von 1963
bis 1992, polychrome Keramik,
H. 14 cm, Dm (Öffnung) 9,5 cm, MFK,
Inv. Nr. 10-333 575 (siehe Abb. 9).
© Marianne Franke
Klaus Schönitzer
FROM THE NEW TO THE OLD WORLD
Two indigenous children brought back to Germany
by Johann Baptist Spix and Carl Friedrich Philipp Martius
ABSTRAC T
During their expedition in the early 19th century (1817–1820), Bavarian
naturalists and explorers Johannes Baptist Spix and Carl Friedrich Philipp
Martius, had contact with various indigenous populations in Brazil. They
took two indigenous children from the Amazon region to Germany where they
stayed alive just a few months. They were named Isabella and Johannes or
correspondingly to the nation they belonged to – Miranha and Juri. The king
himself probably encouraged the two scientists to do so. The purpose of this
action is not really clear. Martius acquired these children as slaves while he
was traveling without Spix. Martius gave contradictory versions how he got
the children but later he stated that he took the children to Munich out of
compassion to save them from a life in slavery. Until recently this version was
cited. In old age Martius confessed in a diary that it was a dark deed.
This article aims at discussing this interethnic contact and is a case study to
show how the acquaintance with two Indians, taken to Munich, influenced the
perception about the nature of Indians from Brazil in Germany at that time.
FORSCHUNGSBERICHTE: AMERIKA
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Fig. 1: Detail of the epitaph for
Juri and Miranha, two indigenous
children from Brasil, about 1824,
bronze, 40 x 48 cm. Designed
by Johann Baptist Stiglmaier
(1791–1844), Inv. Nr. K-67/509,
Foto: P. Fliegauf.
© Münchner Stadtmuseum,
Sammlung Angewandte Kunst
Dianne Newell and Wolfgang Stein
THE KSRAROM-LARHAE TOTEM
POLE C.1885 OF CANADA’S
NORTHWEST COAST CULTURE AREA
ZUSAMMENFASSUNG
Im Jahr 2005 erwarb das Staatliche Museum für Völkerkunde München, 2014
umbenannt in Museum Fünf Kontinente, über den Kunsthandel den unteren
Teil eines Totem- oder Wappenpfahles, der wohl in den 1880er Jahren im Dorf
Gitsegukla der Gitk’san First Nation an der kanadischen Nordwestküste geschnitzt und aufgestellt worden war. Er trug den Namen Ksrarom-larhae, nach
jener Familie, die ihn einst in Auftrag gegeben hatte. Das Pfahlteil ist 3 Meter
und 12 Zentimeter hoch, stark beschädigt und mit minimalen Resten seiner
ursprünglichen Fassung. Der vorliegende Aufsatz zeichnet die Biographie
dieses Wappenpfahles nach, ausgehend von seiner Ursprungsgemeinde, den
Erwerb durch einen Kunsthändler, der ihn in vier Teile zersägte, bis in die beiden Museen, in denen er – in Teilen – jetzt zu sehen ist. Das Canadian Museum
of Civilization kaufte 1987 die oberen drei Abschnitte, offenbar in Unkenntnis,
dass das Basisteil noch existierte, und ließ den fehlenden unteren Teil von
indianischen Künstlern anhand alter Fotos und Gemälde nachschnitzen. Der
so wieder komplette, aber nicht mehr originale, Wappenpfahl wurde 1998
aufgestellt. Es wird der Frage nachgegangen, wie es möglich war, dass ein
derartiges Objekt überhaupt in den Kunsthandel gelangte. Welche Rolle spielten dabei die ursprünglichen Eigentümer, wie verhielten sich die kanadischen
Behörden beim Verkauf an den Händler und wie lässt sich überhaupt ein fairer
Marktpreis ermitteln. Der kulturelle Wert und die finanzielle Bewertung des
Wappenpfahles hat sich im Laufe seiner Reise von seinem Ursprungsort über
einen Schuppen als Lagerplatz am Frazer River und durch die Welt des kulturellen Erbes in den letzten fünfzig Jahren sicher oft gewandelt.
FORSCHUNGSBERICHTE: AMERIKA
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Fig. 1: Close-up of “Totem Poles,
Kitsegukla, 1912” by Emily Carr, oil on
canvas, 126.8×98.4 cm (see fig.7).
© Vancouver Art Gallery,
Founders’ Fund, VAG 37-2
Harry Falk
BUDDHISTISCHE RELIQUIENBEHÄLTER AUS DER SAMMLUNG
GRITLI VON MITTERWALLNER
ABSTRAC T
At her much-regretted demise, Prof. Gritli von Mitterwallner left a number
of Buddhist reliquary caskets from Gandhara that found their way into the
Museum Fünf Kontinente in Munich. Making use of a recent catalogue of such
reliquaries, the new acquisitions are presented and evaluated within their
relevant categories. The scope of the said catalogue is extended here to present a prehistory of the reliquary caskets that shows that its earliest forms go
back to north Syria of the 9th century BCE, where they became used as containers for incense. The use of incense and keeping it in such containers then
spread to Attica, where new shapes developed in ceramic ware. A combination
of forms and material from Syria and Attica then led to new designs in Hellenistic Bactria, where the containers were made from soft stone and shaped on
a lathe. Without their inner compartments, the Bactrian forms were then reproduced in Gandhara. Further influence from the Greek world is also apparent in a particular ornament only found in Gandhara and the use of gold foil
flowers. These reliquaries derived from incense containers were then replaced
at the end of the first century CE by stūpa-shaped containers that replicate
the stūpa construction with its contents in a miniature form; these were not
meant in all cases to be interred inside a stūpa but also to serve as a private
object of veneration in a chapel of a wealthy household.
FORSCHUNGSBERICHTE: ASIEN
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Abb. 1: Beschriebener Deckel
eines Reliquiars (s. Abb. 25),
MFK, Inv. Nr. 2015-17-7.
Richard Salomon
EINE AUF KHAROṢṬHĪ
BESCHRIEBENE KUPFERTAFEL
AUS DER SAMMLUNG
GRITLI VON MITTERWALLNER¹
ABSTRAC T
The collection of Gritli von Mitterwallner formerly contained a metal plate
which was part of a donation of the Buddha’s relics in a stūpa. The plate has
been lost and is only preserved in two photographs. Its text is here presented
and reconstructed as far as the many illegible letters permit. The inscription
mentions the three sons of Zaṃdasa as the donors. It is dated in an unspecified era, but for several reasons an equivalent date between 60 and 81 CE is
most likely.
FORSCHUNGSBERICHTE: ASIEN
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Abb. 1: Teilansicht des Guldara Stupa
in Afghanistan, ca. 2. Jh. n.Chr.
(aus: Warwick Ball, Archaeological
Gazetteer of Afghanistan, 1982).
Maria Schetelich
EINE INDISCHE WASSERPFEIFE
IM MUSEUM FÜNF KONTINENTE
ABSTRAC T
In spite of being one of the most interesting pieces from the Scherman
collection in the Munich Museum Fünf Kontinente, the bell-shaped hukka
with its unusual figurative decoration of dancing theriomorphic and human
figures remained hidden in the store rooms of the museum for long years, due
to lack of details about its history and purpose. Monika Zin was the first to
describe it and to roughly date it (not before the middle of 18th century). But
a clue for its possible context and purpose – if only a provisional one – can
perhaps be obtained from looking into Śaiva mythology and annual festivals,
particularly Mahāśivarātri. Thus, the object could well have been a ritual
vessel for smoking bhang or gañj (according to a current belief of Yogic tradition the “mundane” equivalent of amṛta, the nectar of the gods), which is an
integral part of the Mahāśivarātri ceremonies.
FORSCHUNGSBERICHTE: ASIEN
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Abb. 1: Wassergefäß für eine
Wasserpfeife, Chargaon bei Mathura,
Indien, Bronze, H. 41cm, Dm. 24cm,
Slg. Scherman, MFK, Inv. Nr. Mu. 1.
© Marianne Franke
Dieter Klein
EINE PERLE DER SÜDSEE?
Martin Voigt als Kaiserlicher Postagent, Fotograf und Sammler
von Ethnographica in Deutsch-Neuguinea (1902–1906)¹
ABSTRAC T
Martin Voigt (1878–1952) came to German New Guinea in the year 1902 as
Imperial Postmaster. In this role he made it a priority that the native Melanesians were employed as minor officials in the postal service. This enabled
Voigt to come in close contact with his employees, of whom he always spoke
in a positive way.
As a keen photographer, he documented not only the German colonial life but
also the traditional ways of the indigenous population. He cooperated with
other photographers in the colony, exchanging and buying photos. He also
began to collect ethnographic objects. Voigt’s employment in the postal service meant that he was able to discover different areas of German New Guinea
and learn about the indigenous population.
However, as a result of recurring bouts of malaria, he was forced to give up
his post in the South Seas in 1906 and return to Germany. He stored his collections (photos, ethnographic objects, letters and postcards) in his attic where
they remained for 90 years. The majority of the photographic bequest was
acquired by the Five Continents Museum (Museum Fünf Kontinente).
FORSCHUNGSBERICHTE: OZEANIEN
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Abb. 1: Ansichtskarte »Gruß aus
dem Bismarck Archipel«.
In vorgedrucktem Jugendstilrahmen
eingeklebtes Foto, handschriftlich
bezeichnet als: »Nebenstehend
Eingeborene unserer Insel, genannt
Kanaker«.Slg. Dieter Klein.
Pauline Reynolds
A PITCAIRN TIPUTA
IN THE FIVE CONTINENTS MUSEUM
ZUSAMMENFASSUNG
Die Entdeckung eines weiteren Rindenbastponchos (tiputa) von Pitcairn
Island in den Beständen des Museums Fünf Kontinente wird zum Anlass
genommen, der Tradition der Rindenbastherstellung auf dieser Insel nachzugehen. Es waren die tahitianischen Frauen der Meuterer von der Bounty um
Fletcher Christian, die ihr Wissen und ihre Geräte aus Tahiti mitgebracht hatten und auf diese Weise für Bekleidung der kleinen Gemeinde sorgten. Die Art
der Rindenbastherstellung aus der inneren Rinde des Papiermaulbeerbaums
blieb die gleiche, aber an der charakteristischen, etwas abgewandelten Verzierung kann man die Ponchos aus Pitcairn eindeutig identifizieren. Solche
Ponchos wurden von den tahitianischen Frauen und ihren Töchtern hergestellt und als Geschenke an die Mitglieder von Schiffsbesatzungen gegeben.
Der Münchner Poncho muss zwischen 1808 und 1823 gesammelt worden sein,
denn im Juni 1825 befand er sich bereits in London.
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Fig. 1: The Mutineers turning
Lieutenant Bligh and part of the
officers and crew adrift from his
Majesty’s Ship the Bounty.
Hand-coloured aquatint engraving.
Artist: Robert Dodd, 1790.
© National Library of Australia
Georg Schifko und Anita Gamauf
EIN EMBLEMATISCHER VOGEL
NEUSEELANDS ALS
KRISTALLISATIONSPUNKT FÜR DIE
KRITIK AN ANDREAS REISCHEK
Zur Eingliederung des ausgestorbenen Huia
(Heteralocha acutirostris) in die ethnographischen und
zoologischen Sammlungen des österreichischen
Neuseelandforschers und den daraus erfolgten Vorwürfen
ABSTRAC T
Andreas Reischek (1845–1902), a New Zealand explorer from the province of
Upper Austria, brought extensive collections of the New Zealand avifauna
and of Maori culture back to Austria, which are mainly housed in the Naturhistorisches Museum in Wien (NHMW) and in the Weltmuseum Wien. These
collections also include items from the extinct Huia (Heteralocha acutirostris),
a bird renowned for the strong sexual dimorphism of its beak. In the NHMW
there are two skeletons and eight skins of the Huia. Reischek’s ethnographic
collection, housed in Vienna’s Weltmuseum, boasts five feather ornaments
that are unique documentations of Maori culture the like of which cannot be
found even in New Zealand’s museums. One piece in particular deserves special
mention, namely the ornament presented to Reischek by none less than the
Maori King Tawhiao. There also exist four skins of the Huia which have been
used as ear pendants. This article discusses the various objects from Reischek’s
collections that are related to the Huia. It also addresses the criticism that
has emerged over the years with regard to these objects.
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Abb. 1: Heteralocha acutirostris
(Huia), 1849, (aus: Iconographie
ornithologique, Marc Athanase
Parfait Œillet Des Murs [1804-1878]).
Greg Castillo
DAS VOLK DER SPINIFEX
ALS VERTRETER DER MODERNE
DES KALTEN KRIEGES
ABSTRAC T
Aboriginal Australian contemporary artists create works that express both
their indigenous traditions as well as the unprecedented conditions of global
modernity. This is especially true for painters of the Spinifex Arts Project, a
collective established in 1997 to create “government paintings” as documents
of land tenure, which were used in negotiations with the government of Western Australia to reclaim desert homelands.
British and Australian nuclear testing in the 1950s displaced the Anangu
tjuta pila nguru, known to us as the Spinifex people, from their millennial lifeworld. Their exodus and subsequent struggle to regain lost homelands
through paintings produced as Native Title evidence makes Spinifex art not
simply an expression of Tjukurpa, or “Dreamings”, but also an artifact of the
atomic age, and its impact on a culture far from the front lines of cold war
conflict.
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Abb. 1a: Detail aus
»Daisy Bates mit Spinifex
People in Ooldea«.
© Slg. A.G. Bolam,
South Australian Museum
Robyn Kelch
PRO COMMUNIT Y –
SPINIFEX ARTS PROJECT 2013
IN MÜNCHEN
ABSTRAC T
“Pro Community” is an exhibition series curated and organized by ARTKELCH
in Freiburg, which showcases Australian Aboriginal art from one region per
year at different venues in Germany. With its focus on community-based art
centers, which are collectively owned and managed by the artists themselves,
the series provides a clear statement about provenance, authenticity and
ethical sourcing of Australian Indigenous art.
In 2013 the State Museum of Ethnology in Munich was one of the Pro Community exhibition partners, introducing the Spinifex Arts Project to the German
audience. Visitors had the chance to get an idea of the overwhelming creativity of one of the longest ongoing art traditions on earth, whose modern
forms are based on ancient rock, sand and body painting techniques that are
more than 40,000 years old. Its spiritual roots can be found in the Tjukurpa or
“Dreaming”, the ever ongoing creation process, which connects past and present, the spiritual and the secular, the people and the land.
The Spinifex people belong to the last remaining nomads of Australia. Their
paintings reflect the “archetype” of Aboriginal art and emanate so much
power that even people who know nothing about the identity and land of the
Spinifex People, their creation story and their disastrous “atomic history”
can feel it. The political dimension of their art is stunning. By painting their
country and ancestral stories, the Spinifex People were able to win the Native
Title claim for 55,000 square kilometers of their traditional land.
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Abb. 1: Gemeinschaftswerk von
Spinifex-Frauen: Anne Hogan,
Carlene West, Kathleen Donegan,
Myrtle Pennington, Yarangka
Elaine Thomas: Kungkurungkalpa
ka Minyma Tjintirtjintir, Acryl
auf Baumwolle, 195×151 cm,
2012, MFK, Inv. Nr. 13-336 822
© Spinifex Arts Project