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From a drawing by a Maloh. From a tatu-block in the Sarawak Museum. From a drawing. Plate 143. From a tatu-block in the collection of H.H. the Rajah of Sarawak. From a drawing. Design tatued on the calf of the leg of an Ukit. From a photograph. Tatu design on the foot of a Kayan woman of low class. From a drawing. From a drawing. From a drawing. From a tatu-block. From a photograph.
In the Long Glat thigh-tatu the bands of pattern are not separated by lines of IKOR, as with the Kayans. A of the plate is termed BETIK KULE, leopard pattern, and is supposed to be a representation of the spots on the leopard's skin; it is stated to be taken from a Long Tepai tatu-block; the knuckles are tatued with a double row of wedges, the finger joints with quadrangles.
A = TUSHUN TUVA, tuba root; B = JALAUT, fruit of PLUKENETIA CORNICULATA; D = KOWIT, interlocking hooks. From a tatu-block in coll. C. Hose. Kayan design for front of thigh of woman of high class. 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.
From a tatu-block in the Sarawak Museum. Plate 140. 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. 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. 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. From a tatu-block in the Sarawak Museum. From a tatu-block in the Sarawak Museum. Plate 141. Design on the hand of a Skapan chief tatued in the Kayan manner. From a drawing.
From a tatu-block in the Sarawak Museum. From a tatu-block in the Sarawak Museum. Plate 137. Sea Dayak modification of the dog design. From a tatu-block in the Sarawak Museum. From a tatu-block in the Sarawak Museum. Plate 138. From a tatu-block in the Sarawak Museum. From a tatu-block in the Sarawak Museum. From a tatu-block in the Sarawak Museum.
Kenyah dog design, copied from a Kayan model. From a tatu-block in the Sarawak Museum. Kayan dog design. From a tatu-block in the Sarawak Museum. Kayan dog design. From a tatu-block in the Sarawak Museum. Kayan double dog design for outside of thigh of man. From a tatu-block in the Sarawak Museum. A=pup. For thigh of man. From a tatu-block in Sarawak Museum.
Barawan design for the shoulder or breast of men. From a drawing. Design of uncertain origin, on the calf of the leg of an Ukit man. Plate 139. From a tatu-block in the Sarawak Museum. From a tatu-block in the Sarawak Museum. This is tatued in rows down the front and sides of the thigh. From a tatu-block in the Sarawak Museum. From a tatu-block in the Sarawak Museum.
Brief references to tatu will also be found in the writings of Burns, Brooke Low, MacDougall, De Crespigny, Hatton, St. John, Witti, and others, but notices of all these will be found in Mr. Ling Roth's volumes. Explanation of Plates. Plate 136. From a tatu-block in the Sarawak Museum. Uma Balubo Kayan dog design. From a tatu-block in the Sarawak Museum. From a tatu-block in the Sarawak Museum.
From a rubbing of a carved model in the Sarawak Museum. From a tatu-block in the Sarawak Museum. Plate 142. Tatu design on the forearm of a Kalabit woman. From a drawing. Tatu design on front of leg of a Kalabit woman. C = BETIK LULUD, shin pattern. From a photograph. Tatu design on back of leg of a Kalabit woman. A = BETIK BUAH, fruit pattern; B = BETIK LAWA, trunk pattern. From a drawing.
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