The Islands of Timor

The Portuguese connection with the Islands of Timor, geographically located at the easternmost tip of Insulindia, dates back to the early-16th century, and developed in the aftermath of the conquest of the major outposts of Goa (1510), Malacca (1511), and the Protectorate of Ormuz (1515), whose control facilitated the opening of commercial maritime routes along the Asian coast.

To the north of Dili, East-Timor capital city, the small Atauro Island, positioned between the much larger Island of Timor and the volcanic islands of Indonesia, has been recorded in Portuguese cartography since 1512. The first landing in Atauro however, dates from 1515, in the reign of King Manuel I (r. 1495-1521), and was accomplished by Rui de Brito Patalim[1], Captain of Malacca. The Portuguese presence on the Islands of Solor and Timor will eventually last until 2000, two years before the new country independence.[2]

Previous to the arrival of these first Europeans, Chinese, Malay and Javanese sailors had already sought to acquire the precious sandalwood autochthonous to these islands, and essential raw material for the production of the incenses widely used throughout the Southern China Sea regions in religious ceremonies and rituals, Buddhist rites and wealthier Hindus funeral pyres.[3] In fact, due to the secular interaction with Chinese and Arabian merchants, Timor was mentioned in the “Description of Foreign Peoples”, a Chinese treaty dating from circa 1225, as Ti-wu, a land abundant in sandalwood. Additionally, there is also a reference to trade in turtle shells from Eretmochelys imbricata , and some silver, both destined to supply China.[4]

White sandalwood (santalum album ), valued for its fragrance and medicinal qualities, was also utilised in art, being one of the most desired Timorese raw materials, only comparable to honey and wax. In some 16th century written records, namely those by Tomé Pires in Suma Oriental (1514-1515), and Duarte Barbosa (1516), there are also references to slave trade.[5] By supplying the Indian and Southeastern Asian markets, Portuguese merchants monopolised the sandalwood trade, predominantly carried out by an unofficial group of Portuguese brokers, known as topasses, in the islands of Solor and Timor. In exchange, the topasses would carry with them prestigious commodities, such as gold, porcelain, Indian textiles, iron made weaponry, tin and lead, as diplomatic gifts for local chieftains and rulers[6].

In terms of the islands’ sociopolitical organization, Antonio Pigafetta recorded that the sole surviving ship from Fernão de Magalhães circumnavigation fleet, the Vitória, anchored at the northern coast of Timor in 1522. Magalhães secretary reported that the island western territories were ruled by kings to which the lesser chieftains owed allegiance, that the people wore no clothes, and that the women carried gold and brass bracelets up to their elbows.[7]

In the second half of the 16th century Dominican missionaries settled on the Island of Solor, between the Islands of Timor and Flores, with the purpose of initiating the evangelisation of local populations. In spite of the spreading of Christianity to neighbouring islands, Timor was left out of that early effort, the Portuguese presence only intensifying in 1702, upon the arrival of Governor António Coelho Guerreiro, who would order the building of the first fortification with the purpose of intensifying missionary activity. Atauro was colonised by Portugal from 1702 to 1975, occupied by Japan during World War II and subsequently, from 1975 to 1999, by Indonesia.[8]

From the 19th century onwards, the territory started to gain some autonomy from Portuguese India’s government, eventually becoming dependant of Macao in 1844, and achieving administrative autonomy in 1894.[9] By the late 19th century, Timor’s eastern region, including the Island of Atauro, would create links with other colonies.

This interesting patinated wood anthropomorphic sculpture, possibly carved in sandalwood in an almost “cubist” linear style, depicts a distinguished male ancestor, a spiritual image commonly known as itara and characteristic from the Atauro Island production.

Defined by proportions that depart from naturalism, the stylised naked male figure presents a rather disproportionate head, in relation to body, covered by a small hat of inverted bowl shape. Its facial details, angular and concisely outlined, are defined by a triangular nose and half-closed eyes, in introspective stance. The expression is reinforced by the horizontal incision outlining the mouth, whose downturned corners emphasise the figure’s meditative character.

Of slight ventrally inclined posture, the sculpture features arms pending along the body – the arms and forearms seem to be separated by elbow bracelets – and linearly depicted trunk, nipples and penis. The cylindrical section legs, slightly bent, rest on rectangular blocks whose vertical grooves suggest the shape of feet.

Meditative and closed eyed, the figure motionless posture, in abandonment, intends to convey a state of trance in allusion to a dead individual – a distant ancestor, founder of a specific family lineage.

Usually accompanied by a female figure, forming a couple – originally tied with ropes and dressed – these images were placed in the homes of the heads of lineage, hanging from poles adorned with branches (rumah tara), for the purpose of gaining protection and familial wellbeing. The number of itara reflected the family ancestor status, and considering the ritual context of their use they could also embody a protective role against thieves.[1]

This itara was carved during the period of Portuguese presence in Timor and, despite the fact that it does not directly evidence that influence, it does reflect Atauro’s sociocultural context in the late-19th and early-20th centuries. The reinforcing of political, commercial and administrative impositions on the colony bred a climate of revolt that would eventually turn Atauro into a prison island. This environment would have contributed to the reinforcement of traditional arts, as evidenced by the simplicity and, paradoxically, the expressivity of this sculpture.

Similar sculptures can be seen at Paris’s Musée du Quai Branly, New York’s Metropolitan Museum of Art, and Denver’s Art Museum.

Leonor Liz Amaral

[1] ROSSEL, Siebe, WENTHOLT, Arnold (eds.), Tribal Treasures in Dutch Private Collections, AFdH Publishers, 2008, p.131.

[1] In LOUREIRO, Rui Manuel, Notícias de Timor nas Fontes Portuguesas dos Séculos XVI e XVII, Revistas Científicas do UCP, 2015, pp.180-181; TELES E CUNHA, João M., “Timor e o Comércio do Sândalo”, Os Espaços de um Império, Estudos, Ciclo de Exposições Memórias do Oriente, 1999, p. 228.

[2] The East Timor Portuguese Colony encompasses the period between 1596 and 1975.

[3] LOUREIRO, Rui M., Notícias de Timor nas Fontes Portuguesas dos Séculos XVI e XVII, 2015, p.180, 182; TELES E CUNHA, João M., “Timor e o Comércio do Sândalo”, 1999, p. 226.

[4] In ALPERT, Steven G., The Carver’s Hand, Sculptural Arts of Timor and Atauro, 2024, p. 3; TELES E CUNHA, João M., “Timor e o Comércio do Sândalo”, 1999, p. 227.

[5] In LOUREIRO, Rui M., Notícias de Timor nas Fontes Portuguesas dos Séculos XVI e XVII, 2015, pp.180-181.

[6] Idem, pp. 229-230.

[7] Pigafetta in LOUREIRO, Rui M., Notícias de Timor nas Fontes Portuguesas dos Séculos XVI e XVII , 2015, pp.181-183; Pigafetta in TELES E CUNHA, João M., “Timor e o Comércio do Sândalo”, 1999, pp. 228-229.

[8] A Treaty defining the border between Portuguese Timor (East Timor) and Dutch Timor (Western Timor) was signed in 1859, between Portugal and The Netherlands.

[9] DIAS, Pedro, Extremo Oriente, Arte de Portugal no Mundo, Editor Público – Comunicação Social, SA, 2009, pp. 133-134.