Mask M.0019 in UCL Ethnography Collection
Object Description
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| Figure 1 The front and Back of the mask M.0019 with scale. (Photo: Jiaxin Wu 25. 02. 2019) |
Object M.0019 in UCL Ethnographic Collection is a humanoid wooden mask which is carved into three-dimensional shape and painted with black and red, outlining the human facial features (Figure 1) . The holes on the sides and top of the mask suggest it may have had other components attached. The dimensions and the weight of the mask are shown in figure 2.
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| Figure 2 Dimensions and weight of the mask (photos: Jiaxin Wu 25. 02. 2019). |
The tag of the mask states:
‘M.19 Mask’ and ‘N. America and Eskimo’, which links the mask with
Eskimo. However, the form and style of the mask is more consistent with those originating from
Northwest Coast Indigenous groups (figure 3a; 3b) .
(3b)
Figure 3a, 3b :Two masks have similar style as the mask M.0019 found in the British Museum: (3a): The dance masks from Tlingit object no. Am1842,1210.84; (3b): the medicine(shaman’s)mask from Tlingit object no. Am, St.705, displaying in the room 26 (The British Museum 2019) .
The Northwest coast refers to the western region of North America bounded by the Pacific Ocean (figure 4). Nowadays, American Indian groups living in this region partially share some cultural customs and artistic practices (King, J.C.H 1979; Inverarity, R.B., 1971; Malin, E. 1978).
The Northwest coast refers to the western region of North America bounded by the Pacific Ocean (figure 4). Nowadays, American Indian groups living in this region partially share some cultural customs and artistic practices (King, J.C.H 1979; Inverarity, R.B., 1971; Malin, E. 1978).
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| Figure 4 The location of the Northwest Coast. The arrow points out the study area. (Williams, M.S.T 2013:6) |
The abundant natural resources facilitated the development of local society and culture especially art and wood-working. The exposed transverse surface of the mask indicated it was extracted longitudinally from its raw material ------ highly possible is yellow cedar (Chamaecyparis nootkatensis) which is one of common wood used for carving ceremonial objects due to its fine and soft texture (Emmons et al.,1991:165-166；Malin, E. 1978: 22；Alix, C 2012:17). The form of art in Northwest Coast is known for its three-dimensional sculptural art and symmetrical curvilinear designs on two-dimensional surface (Holm, B 1972; Inverarity, B.R 1971).
The wooden mask represents the local craftsmanship as the carvers were trained to follow the characteristic style of carving and use particular tools (Malin, E. 1978; Emmons et al., 1991: 167-170). The tool-marks of trimming, carving, chiseling and scrubbing found on the mask cancorresponds to tools described by Malin (1978: 21). (Figure 5 and 6)
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| Figure 5 The tool-marks found at the front of the mask and the corresponding tools (image a,b,c from Malin, E 1978:21) (Photo:Jiaxin Wu 04. 03. 2019) |
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| Figure 6 The tool-marks found at the back of the mask and corresponding tools (image d, e from Malin, E 1978:21) (Photo: Jiaxin Wu 04. 03. 2019) |
The humanoid mask also attached with social and cultural value as it represents the spirits and or ancestor, is probably carved for three special occasions:
- Potlatch ------ the feasting activity, represents the chiefs and ancestors of high rank;
- Ceremonies ------ for performing and re-enacting myths (figure 7)
- For shamanism and healing
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| Figure 7 The transformation mask for potlatch dancing from Kwakwaka’wakw (Inverarity , B.R 1971:figure 90) |
However, after the potlatch ban by Government of Canada in 1881 (until 1951)(John, L 1992), the masks made later were just for sale and for appealing travellers and traders (King, J 1979). Therefore, the mask with traces of use is a good example of Northwest Coast Indian art , culture, and society.
Condition Assessment
With the aid of UV light and the microscope, the revealed physical damage and accretions of the mask are summarized in figure 8 below.
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| Figure 8 The summary of the mask's condition with illustrations |
The suspicious bio-deterioration found on the mask needs the further examination, and conservation treatment should be discussed after that.
The mask is currently stored at the third top drawer of the showcase in Material Culture Room. There is a potential risk that the mask will sway when it moves with the drawer. Therefore, it needs a mount to prevent it from swaying and protect it when the drawer is moving.
Alix, C 2012 'Introduction: Arctic peoples and wood' in Études/Inuit/Studies, Vol.36, No.1 pp.5-13,15-22 Université Laval
URL:http://www.jstor.org/stable/42870463
Emmons et al., 1991. The Tlingit Indians. George Thornton Emmons; edited with additions by Frederica de Laguna and a biography by Jean Low., Seattle: New York: University of Washington Press ; American Museum of Natural History.
Holm, B 1982 Chapter 2: From in Northwest Coast Art in Indian art traditions of the Northwest coast edited by Carlson R.L Burnaby, B.C: Archaeology Press, Simon Fraser University.
Inverarity, R.B., 1971. Art of the Northwest Coast Indians Berkeley. London: University of California Press.
John, L 1992. "After the Fur Trade: The Aboriginal Labouring Class of British Columbia, 1849-1890" in Canadian Historical Association. vol. 3 (no. 1): 69–93. URI:https://id.erudit.org/iderudit/031045ar
Malin, E. 1978. A world of faces: Masks of the Northwest Coast Indians; with line illustrations by the writer. Portland: Timber Press.
Williams, M.S.T. 2009 ‘Alaska and Its People: An Introduction’ in The Alaska native reader history, culture, politics / edited by Williams, M.S.T., Pp. 1-11 Durham: Duke University Press.
The British Museum 2019 Collection Online:
Figure 3a : Object Am1842,1210.84
https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=537657&partId=1&searchText=Tlingit+mask&page=1 [retrieved 05. 04. 2019]
Figure 3b : Object Am, St.705
https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=533907&partId=1&searchText=Tlingit+mask&page=1[retrieved 05. 04. 2019]
