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Fig. 4. -- Kenyah dog design, copied from a Kayan model. From a tatu-block in the Sarawak Museum. (No. 1054.108.)
Fig. 5. -- Kayan dog design. From a tatu-block in the Sarawak Museum. (No. 1054.106.)
Fig. 6. -- Kayan dog design. From a tatu-block in the Sarawak Museum. (No. 1054.88.)
Fig. 7. -- Kayan double dog design for outside of thigh of man. From a tatu-block in the Sarawak Museum. (No. 1054.31.)
Fig. 8. -- Kayan designs of dog with pups (TUANG NGANAK). A=pup. For thigh of man. From a tatu-block in Sarawak Museum. (No. 1054.57.)
Fig. 9. -- Kenyah jaws of centipede design (LIPAN KATIP), for breast or shoulder of man. From a tatu-block in the Sarawak Museum. (No. 1054.20.)
Fig. 10. -- Kenyah crab design (TOYU). A=mouth (BA), B=claw (KATIP), C=back (LIKUT), D=tail (IKONG). From a tatu-block in the Sarawak Museum. (No. 1054.71.)
Plate 137.
Fig. 1. -- Sea Dayak modification of the dog design. From a tatu-block in the Sarawak Museum.(No. 1054.102.)
Fig. 2. --(No. 1054.101.)
Fig. 3. --(No. 1054.67.)
Fig. 4. --(No. 1054.109.)
Fig. 5. --(No. 1054.70.)
Fig. 6. -- But known as "scorpion" (KALA) pattern.From a tatu-block in the Sarawak Museum. (No. 1054.69.)
Fig. 7. -- Barawan and Kenyah modification of the dog design, known as "hook" (KOWIT) pattern. From a tatu-block in the Sarawak Museum. (No. 1054.63.)
Fig. 8. --(No. 1054.75.)
Fig. 9. -- Kenyah modification of the dog design, but known as the "prawn" (ORANG) pattern. From a tatu-block in the Sarawak Museum. (No. 1054.89.)
Plate 138.
Fig. 1. -- Kayan three-line pattern (IDA TELO) for back of thigh of woman of slave cla.s.s. From a tatu-block in the Sarawak Museum. (No. 166A Brooke Low Coll.)
Fig. 2. -- Kayan four-line pattern (IDA PAT) for back of thigh of woman of middle cla.s.s. From a tatu-block in the Sarawak Museum. (No. 1434.)
Fig. 3. -- Kayan (Rejang R.) three-line pattern (IDA TELO) for back of thigh of women of upper and middle cla.s.ses. From a tatu-block in the Sarawak Museum. (No. 1054.2.)
Fig. 4. -- Kayan (Uma Pliau) design for front and sides of thigh of high cla.s.s women. A = TUSHUN TUVA, tuba root; B = JALAUT, fruit of PLUKENETIA CORNICULATA; D = KOWIT, interlocking hooks. From a tatu-block in coll. C. Hose.
Fig. 5. -- Kayan design for front of thigh of woman of high cla.s.s. A = TUSHUN TUVA; B = DULANG HAROK, bows of a boat; C = ULU TINGGANG, hornbill's head; D = BELILING BULAN, full moons. From a tatu-block in the Sarawak Museum. (No. 1432.)
Fig. 6. -- Barawan design for the shoulder or breast of men. From a drawing.
Fig. 7. -- Design of uncertain origin, on the calf of the leg of an Ukit man.
Plate 139.
Fig. 1. -- Kayan (Rejang R.) design known as IDA TUANG or IDA LIMA for back of thigh of women of high rank. Note the hornbill heads at the top of the design. From a tatu-block in the Sarawak Museum. (No. 166D Brooke Low Coll.)
Fig. 2. -- Kayan (Rejang R.) design; compare with Figs. 5 and 11. From a tatu-block in the Sarawak Museum. (No. 166C Brooke Low Coll.)
Fig. 3. -- Long Glat hornbill design (after Nieuwenhuis). This is tatued in rows down the front and sides of the thigh.
Fig. 4. -- Kayan (?) hornbill design, known, however, as the "dog without a tail" (TUANG BUVONG ASU). From a tatu-block in the Sarawak Museum. (No. 1054.8.)
Fig. 5. -- Kayan (Rejang R.) tatu design known as "dog without a tail"
(TUANG BUVONG ASU) pattern, for front and sides of thigh of women of high rank. From a tatu-block in the Sarawak Museum. (No. 166G, Brooke Low Coll.)
Fig. 6. -- Kayan three-line and four-line design (IDA TELO and IDA PAT) for back of thigh of women of low cla.s.s. From a tatu-block in the Sarawak Museum. (No. 1435.)
Fig. 7. -- Uma Lekan Kayan anthropomorphic design (SILONG), tatued in rows down front and sides of thigh.
Fig. 8. -- Kayan bead (LUKUT) design, tatued on the wrist of men.
Fig. 9. -- ,, ,, ,,
Fig. 10. -- ,, ,, ,, From a tatu-block in the Sarawak Museum. (No.
1054.62.)
Fig. 11. -- Portion of Uma Lekan Kayan design for back of thigh of women of high rank (after Nieuwenhuis).
Plate 140.
Fig. 1. -- Tatu design on the forearm of an Uma Lekan Kayan woman of high rank. From a rubbing of a carved wooden model in the Sarawak Museum. (No. 1398.)
Fig. 2. -- Tatu design on the thigh of an Uma Lekan Kayan woman of high rank. From a rubbing of a carved wooden model in the Sarawak Museum. (No. 1398.)
Fig. 3. -- Tatu design on the forearm of an Uma Phan Kayan woman of high rank. A = BELILING BULAN, full moons; B = DULANG HAROK, bows of a boat; C = KAWIT, hooks; D = DAUN WI, leaves of rattan; E = TUSHUN TUVA, bundles of tuba root. From a carved wooden model in the Sarawak Museum. (No. 1431.)
Fig. 4. -- Kenyah design, representing the open fruit of a species of mango (IPA OLIM), tatued on b.r.e.a.s.t.s or shoulders of men. From a tatu-block in the Sarawak Museum. (No. 1054.14.)
Fig. 5. -- Kayan (Baloi R.) KALANG KOWIT or hook design for back of thigh of woman of high rank. From a tatu-block in the Sarawak Museum. (No. 1054.54.)
Plate 141.
Fig. 1. -- Design on the hand of a Skapan chief tatued in the Kayan manner. From a drawing.
Fig. 2. -- Design on the arm of a Peng man. From a drawing by Dr. H. Hiller of Philadelphia.
