one of the most sophisticated styles of carving in the South Pacific Islands, with a technical virtuosity, vocabulary of fantastic motifs, and range of colour unique in Oceanic art. Although malanggan carvings have been found in other areas of Melanesia, they are indigenous to northwestern New Ireland.

Malanggan carvings take the form of friezes, masks, and sculpture, in either horizontal or vertical form, depicting continuous narrative. The precise uses of the narrative carvings have not yet been determined, but it appears that they are certainly used in ritual ceremonies for deceased persons of notoriety and social position and probably also in initiation rites of young men. In both such events, one of their functions is to enhance the prestige of those responsible for the arduous preparation of the festivals, which often last for months.

The narrative sculpture consists of a single piece of softwood that has been carved in openwork and painted red, black, yellow, and white. The carvings include references to specific persons who played a role in the life of the deceased, as well as metaphorical references to animals and historical events. Usually appearing in the centre of the carving is a circular form representing “the big fire,” a motif that has been interpreted as the Sun or as the hearth of the deceased man's home. Mythological beings appear juxtaposed with representations of the planets and elements, weapons, tools, and symbols of mythical battles. The richness and diversity of the motifs appear to be boundless. The images are often intertwined and placed on top of each other. In contrast to the narrative sculpture, malanggan masks are limited to symbolizing mythological personages. The wealth of motifs employed, however, is unlimited. The masks, like the narrative carvings, are directly associated with the rituals for departed souls.