View allAll Photos Tagged gingerroot
Philadelphia, PA
Camera: Leica M6 + 35mm Voigtlander
Film: Ilford HP5
Photo by Bob Sweeney
sweeneybob.net
PELUPO FESTIVAL 2023
11th March 2023
Siam Country Club, Pattaya, Thailand
Photo by Natthanon T.
Special thanks to the VIJI Corp team
Philadelphia, PA
Camera: Leica M6 + 35mm Voigtlander
Film: Ilford HP5
Photo by Bob Sweeney
sweeneybob.net
Cross Section Photos by James Markus Photography LLC Copyright © 2013 - All Rights Reserved - www.Photomatter.com,Images of fruit, and vegetables in cross section slices
Cross Section Photos by James Markus Photography LLC Copyright © 2013 - All Rights Reserved - www.Photomatter.com,Images of fruit, and vegetables in cross section slices
Philadelphia, PA
Camera: Leica M6 + 35mm Voigtlander
Film: Ilford HP5
Photo by Bob Sweeney
sweeneybob.net
Philadelphia, PA
Camera: Leica M6 + 35mm Voigtlander
Film: Ilford HP5
Photo by Bob Sweeney
sweeneybob.net
Philadelphia, PA
Camera: Leica M6 + 35mm Voigtlander
Film: Ilford HP5
Photo by Bob Sweeney
sweeneybob.net
That's what can happen when you forget you bought gingerroots. Meanwhile I put them into soil and they are growing nicely.
Philadelphia, PA
Camera: Leica M6 + 35mm Voigtlander
Film: Ilford HP5
Photo by Bob Sweeney
sweeneybob.net
Philadelphia, PA
Camera: Leica M6 + 35mm Voigtlander
Film: Ilford HP5
Photo by Bob Sweeney
sweeneybob.net
Philadelphia, PA
Camera: Leica M6 + 35mm Voigtlander
Film: Ilford HP5
Photo by Bob Sweeney
sweeneybob.net
Philadelphia, PA
Camera: Leica M6 + 35mm Voigtlander
Film: Ilford HP5
Photo by Bob Sweeney
sweeneybob.net
TIME AND CHANGE
Designs for malanggans spanned generations
An artist spent months making a malanggan, which was viewed for only a few hours before it was destroyed; years might pass before anyone requested the same design again. Yet when the time came, another artist was able to produce it, faithful to the last details. With no pictures to look at, and no models to follow, how did he do it?
Artists recreated designs from memory
Apparently, artists were walking encyclopedias of malanggan designs. To a lesser extent, each patron knew some designs, too, especially his own. When a patron wanted a particular malanggan, he would name the design, and an artist knew just how it should look.
For the most part, New Irelanders don't make many malanggans any more. But when the occasional carver takes up his tools, the designs he recreates date back many generations.
Design transcended time and place
Except for the materials from which they're made, these masks look quite similar, even though the one on the left was made about 75 vears before the one on the right. And they're probably from different locations, too-masks like these, called tatanua, come from many parts of New Ireland.
The crests atop the masks represent the hairstyle once worn by a man in mourning: he shaved one side of his head, and covered it with lime.
Sometimes carvers made mistakes
According to Field Museum anthropologist Phillip Lewis, the artist who carved the figure at right knew that the upper bird should hold a snake in its bill, as it does in the figure at left. But the artist forgot to include it.
When asked about his mistake, the artist wasn’t concerned. He said that the patron who had commissioned the piece had never seen a carving like it before, and wouldn't know the difference.
Magic ruled a malanggan's power
Memorial figures were dangerous, and could cause difficulties ranging from illness to death. So when Field Museum anthropologist Phillip Lewis collected them in 1954, his friends in New Ireland feared for his safety.
They warned Dr. Lewis not to stand near the winches hoisting the crates, and advised him not to travel with the memorial figures, (He flew, the malanggans sailed.) They fed him gingerroot for protection, and said magic spells to avert disaster.