Pagan races of the Malay Peninsula - Sabrizain.org

4IO DECORATIVE ART part ii
There, for instance, is represented the thunder-god
Kari, and the symbols of his power, together with
the god Pie and his daughter Simei. In addition to
these there are certain fabulous animals, described as
the guardians of Paradise, and a great variety of
flowers and fruits. A Putto is shown lying with his
head upon a magic stone-cushion, and receiving from
Pie in a dream instructions as to the manufacture of
mats and other objects. But most unfortunately there
is no coherence, and the exact connotation even of the
word " gu " itself is wanting. The designs themselves
are so vague, that one can scarcely distinguish human
beings from animals, and the same design, or part of
a design, often signifies many entirely different objects.^
The burial patterns or "penitah"^ of the dead are
said to be cut by the Sna-hut upon a bamboo tube which
is deposited in the grave (inserted in the deceased's
girdle). By these patterns the life-story of the person
or persons concerned is depicted, so that on their
appearing before the judgment throne of Kari the
bamboo serves as a kind of credentials. The patterns
inscribed on these bamboos vary according to the age
and sex of the deceased. Their import has up to the
present received no manner of explanation.^
Birth Bamboos.
The Semang " tahong " is a ** birth bamboo
carried by the woman, which nobody but her husband
may see, but which she must never go without. It
contains, we are told, "no flower-patterns."'*
1 Vaughan-Stevens, iii. 124. mand," is of course a possible one,
2 The form given by Vaughan- though I do not feel quite sure of it.
Stevens is "penitor" (" pcneetor ").
^ Vaughan-Stevens, iii. 119, 120.
The suggested derivation from " titah," ' V. B. G. A. xxiv. 466, 467; cp.
the royal word meaning to "com- Vaughan-Stevens, iii. 1 1 5.
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