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  • Tools on workshop floor. Pick Up Sticks Enterprises, Studio & Workshop of Architect & Artist Christopher Dukes, Kingsford, Sydney, New South Wales, Australia.
    Pick-Up-Sticks-Enterprises-Christoph...jpg
  • Drills & tools. Pick Up Sticks Enterprises, Studio & Workshop of Architect & Artist Christopher Dukes, Kingsford, Sydney, New South Wales, Australia.
    Pick-Up-Sticks-Enterprises-Christoph...jpg
  • This house was built in 1984 by father of the last owner, Mr. Thao Phang Khay (born in 1972), of De Cho Chua A village, Pung Luong commune, Mu Cang Chai district, Yen Bai province. This was the home of a family of four. Hmong houses are built of wood, directly on the ground. For the flower Hmong of Mu Cang Chai, the wood must be that of the po mu tree (visible growing behind this house). House-building is men's work. Only axes and knives are used as tools, and all of the pieces are lashed together. This house was reconstructed at the museum in six days in 1999, by a group of seven Hmong villagers.
    Vietnamese-Museum-of-Ethnology-31.jpg
  • Built in 1998 by Rchom Ju, Rchom Ek, Rchom Uek, Ksor Ul, and Ksor Ka-ro (Giarai Arap group), from Mrong Ngo village, Ia Ka commune, Chu Pa district, Gia Lai province. The most prominent decorations on the Giarai tomb are large wooden sculptures carved from tree trunks using adzes, cutlasses and knives. Carvings of sexually-explicit men and women and pregnant women symbolise fertility and birth. Other carvings of seated children (often placed at the four corners), animals, and everyday people are the 'servants' of the dead in the afterlife. Broken or inverted serving dishes, bottles, cups and trays, and wooden models of tools are placed inside the tomb to provide the deceased with the necessities they will need in the other world. The tomb's wooden roof is covered with a tightly plaited bamboo matting. Men join together to embellish this with delicate, curvilinear designs painted with natural red pigments. Crowning the roof is an intricately carved openwork panel depicting the rituals that accompany the tomb and its abandonment ceremony. Once the ceremony is concluded, the tomb will be abandoned to fall to pieces.
    Vietnamese-Museum-of-Ethnology-22.jpg
  • This house was built in 1984 by father of the last owner, Mr. Thao Phang Khay (born in 1972), of De Cho Chua A village, Pung Luong commune, Mu Cang Chai district, Yen Bai province. This was the home of a family of four. Hmong houses are built of wood, directly on the ground. For the flower Hmong of Mu Cang Chai, the wood must be that of the po mu tree (visible growing behind this house). House-building is men's work. Only axes and knives are used as tools, and all of the pieces are lashed together. This house was reconstructed at the museum in six days in 1999, by a group of seven Hmong villagers.
    Vietnamese-Museum-of-Ethnology-34.jpg
  • This house was built in 1984 by father of the last owner, Mr. Thao Phang Khay (born in 1972), of De Cho Chua A village, Pung Luong commune, Mu Cang Chai district, Yen Bai province. This was the home of a family of four. Hmong houses are built of wood, directly on the ground. For the flower Hmong of Mu Cang Chai, the wood must be that of the po mu tree (visible growing behind this house). House-building is men's work. Only axes and knives are used as tools, and all of the pieces are lashed together. This house was reconstructed at the museum in six days in 1999, by a group of seven Hmong villagers.
    Vietnamese-Museum-of-Ethnology-33.jpg
  • This house was built in 1984 by father of the last owner, Mr. Thao Phang Khay (born in 1972), of De Cho Chua A village, Pung Luong commune, Mu Cang Chai district, Yen Bai province. This was the home of a family of four. Hmong houses are built of wood, directly on the ground. For the flower Hmong of Mu Cang Chai, the wood must be that of the po mu tree (visible growing behind this house). House-building is men's work. Only axes and knives are used as tools, and all of the pieces are lashed together. This house was reconstructed at the museum in six days in 1999, by a group of seven Hmong villagers.
    Vietnamese-Museum-of-Ethnology-32.jpg
  • Built in 1998 by Rchom Ju, Rchom Ek, Rchom Uek, Ksor Ul, and Ksor Ka-ro (Giarai Arap group), from Mrong Ngo village, Ia Ka commune, Chu Pa district, Gia Lai province. The most prominent decorations on the Giarai tomb are large wooden sculptures carved from tree trunks using adzes, cutlasses and knives. Carvings of sexually-explicit men and women and pregnant women symbolise fertility and birth. Other carvings of seated children (often placed at the four corners), animals, and everyday people are the 'servants' of the dead in the afterlife. Broken or inverted serving dishes, bottles, cups and trays, and wooden models of tools are placed inside the tomb to provide the deceased with the necessities they will need in the other world. The tomb's wooden roof is covered with a tightly plaited bamboo matting. Men join together to embellish this with delicate, curvilinear designs painted with natural red pigments. Crowning the roof is an intricately carved openwork panel depicting the rituals that accompany the tomb and its abandonment ceremony. Once the ceremony is concluded, the tomb will be abandoned to fall to pieces.
    Vietnamese-Museum-of-Ethnology-23.jpg
  • Built in 1998 by Rchom Ju, Rchom Ek, Rchom Uek, Ksor Ul, and Ksor Ka-ro (Giarai Arap group), from Mrong Ngo village, Ia Ka commune, Chu Pa district, Gia Lai province. The most prominent decorations on the Giarai tomb are large wooden sculptures carved from tree trunks using adzes, cutlasses and knives. Carvings of sexually-explicit men and women and pregnant women symbolise fertility and birth. Other carvings of seated children (often placed at the four corners), animals, and everyday people are the 'servants' of the dead in the afterlife. Broken or inverted serving dishes, bottles, cups and trays, and wooden models of tools are placed inside the tomb to provide the deceased with the necessities they will need in the other world. The tomb's wooden roof is covered with a tightly plaited bamboo matting. Men join together to embellish this with delicate, curvilinear designs painted with natural red pigments. Crowning the roof is an intricately carved openwork panel depicting the rituals that accompany the tomb and its abandonment ceremony. Once the ceremony is concluded, the tomb will be abandoned to fall to pieces.
    Vietnamese-Museum-of-Ethnology-21.jpg
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