De kalkhouder is gemaakt van een peervormige kokosnoot.<BR> De buitenzijde is geheel versierd met snijwerk in reliëf.<BR> Dit bestaat vooral uit een dubbel spiraalmotief.<BR> Dit herhaalt zich in rijen naast en boven elkaar.<BR> De ingezonken gedeelten van het snijwerk zijn met kalk ingevuld.<BR> Als spatel of likstokje dient een houten staafje.<BR> Het heeft een kegelvormige greepmet daaronder een verdikte rand waarmee het rust op de bovenkant van de kokosnoot. <BR> De motieven zijn kenmerkend voor de kunststijl van het Sentanimeer.<BR> Deze kalkhouder werd in 1903 verzameld door G.A.J. van der Sande in het dorp Ifar. <BR> <BR> Lime containers were among the possession of nearly every man and woman. Most followed the custom of chewing lime and the betel nut as a kind of stimulant.<BR> Most of the lime containers were made from the lagenaria gourd. Yet, the wives of chiefs possessed lime containers made of coconut shell. They were completely covered by an incised decorations, the pattern being formed by the ridges. The incision might be rubbed with lime. The decoration was done by specialists.<BR> All lime gourds were provided with spatula which is missing here. These instrument vary in shape from undecorated sticks to objects with elaborately carved handles.<BR> Betel chewing is still common practice. The plastic cups or empty beer cans replaced the former materials. <BR> Almost all artefacts in the Sentani region were adorned with engravings, paintings or burned with figurative and geometrical designs, often interlocking spiral ornaments (referred to as fouw). These decorations are labelled as homo, a term that can be translated as ‘’writing’’ and refers both to sculpting and painting. In addition to aesthetically enhancing artefacts, homo give information about the person, family, and village who owned the object. Specific designs were used by particular groups of people and passed on from one generation to another. Each family or clan had its own designs that were kept. In addition, political alliances between villages were visualised by the use of specific designs. Designs and ornaments have mythological origins. This is suggested by local narratives in which decorations often figure in relation to spirits and ancestors. The clans used to hold control over the reproduction of the animal’s images.<BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR>