Rock-Pictures In New

Guinea

IN an article by J. Roder, in a recent issue of “Man” (the monthly publi cation of the Royal Anthropological Institute), the statement appears, in ref erence to certain rock-paintings in New Guinea, that with the exception of some rock-paintings described by Dr. Strong, of Papua, in 1923, no further discoveries have been made.

Mr. Roder is taken seriously to task in a subsequent issue (May, 1940), by Mr. F.

L. L. Bell, now librarian .of the Sydney Municipal Library, who, after graduating from Sydney University in Anthropology, carried out field work in the Tongan group, off the east coast of New Ireland, in 1933.

Mr. Bell describes how he was con ducted to caves in a rugged limestone cliff-face to get to which he had to negotiate an almost perpendicular de scent. He describes how, inside the cave, on a projecting limestone column, as well as on walls and ceiling, were innumer able paintings in red and ochre. The paintings are mostly crude representa tions of human figures in various posi tions, some resembling a herring-bone pattern in composition. Like all other caves, of which there were many on the island, this one had its own snecial name —“the cave connected with love-magic”.

This, of course, provides the clue to the pictures and the purpose of the cave.

Bell explains how a love-sick swain would repair to the cave in the early morning, not having partaken of food previously, taking with him a sharp turtle-bone, a ripe betelnut and some red ochre. The youth would mix the ochre with spittle, in the palm of his hand, and mark out the two human figures, male and female respectively, with his fore finger. The turtle-bone was then dipped in the ochre-spittle, and used to pierce the betelnut, which, when subsequently offered to the female concerned, had the desired effect by comoleting the magical circuit.

Though Bell does not say so, there are, no doubt, certain spells which must be re cited in connection with the preparation of the “point”, as there are in all magical performances. The spell, in fact, is the essential feature of Melanesian magic.

This form of love-magic is very old, though it is still practised to-day at Tonga. It is acquired by inheritance from older men. There is no reason to believe that these simple paintings are of pre historic type or significance, as many en thusiastic pre-historians would be inclined to think at first notice. It is of interest to note that primitive man chooses such security and isolation as is offered by caves and dark places, to perform this

very human rite.

Anthropos.