Lip Plate Collection

Costumes of a man and woman of the Tlingit nation, Port des Francais (Lituya Bay), Northwest coast of America (Alaska)
FLO4722373 Costumes of a man and woman of the Tlingit nation, Port des Francais (Lituya Bay), Northwest coast of America (Alaska)

A lip plate of substance
Trevor Cole

Suri woman and child
Trevor Cole

Mura Indian, with Lip Ornaments; A Trip up the Trombetas, 1875. Creator: Unknown
Mura Indian, with Lip Ornaments; A Trip up the Trombetas, 1875. [Indigenous man from the Trombetas River region of the Amazon in South America]. From, Illustrated Travels by H.W. Bates

Male Face Mask (Chihongo), Angola, Mid-late 19th century. Creator: Unknown
Male Face Mask (Chihongo), Angola, Mid-late 19th century

A dying tradition
Trevor Cole

Adorned
Trevor Cole

An Old Nayas Indian, His Granddaughter, and a Boy, 1855 / 1869. Creator: George Catlin
An Old Nayas Indian, His Granddaughter, and a Boy, 1855/1869. Eeh-zep-ta-say-a (said to be chief) with Wy-en-wy-en-ne (his granddaughter)

Lengua Chief, His Two Wives, and Four Children, 1854 / 1869. Creator: George Catlin
Lengua Chief, His Two Wives, and Four Children, 1854/1869. on the banks of the Rio Uruguay

Members of the Payaguas Tribe, 1854 / 1869. Creator: George Catlin
Members of the Payaguas Tribe, 1854/1869. Chief with elongated ears and wives with lip plates in Chacos, Paraguay

Nayas Indian Chief, His Wife, and a Warrior, 1855 / 1869. Creator: George Catlin
Nayas Indian Chief, His Wife, and a Warrior, 1855/1869. Wuhxt (chief) on Queen Charlottes Island

Lengua Medicine Man with Two Warriors, 1854 / 1869. Creator: George Catlin
Lengua Medicine Man with Two Warriors, 1854/1869. Medicine manw ith lip late on the banks of the Uruguay

Members of the Botocudo Tribe, 1854 / 1869. Creator: George Catlin
Members of the Botocudo Tribe, 1854/1869. On the Rio Parana, in Uruguay

Nayas Indians, 186[2?]. Creator: George Catlin
Nayas Indians, 186[2?]. Tsa-hau-mixen (secondary chief) with Kib-be (wife) with lip plates

A Mursi woman wearing a large clay lip plate. Shortly before marriage, a girls lower lip will be pierced and progressively stretched over a year or so

A woman of the Mursi tribe. Once married Mursi women pierce their lower lip and stretch it by inserting increasingly large plugs until they can wear a clay lip plate

NATIVE BRAZILIANS. Three Native Brazilians of a tribe known as Botocudos, with large ear and lip plugs. Photographs and drawing, late 19th or early 20th century

South America, head of lowland Amerindian woman with stretched lips holding traditional lip plate in her mouth, front view

Illustration of African woman wearing lip plate

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"The Lip Plate: A Cultural Tradition on the Brink of Extinction" A lip plate of substance, adorned by the Suri woman and child, tells a story deeply rooted in cultural heritage. This ancient practice can be traced back to various indigenous tribes across different continents. In 1875, an unknown artist captured the striking image of a Mura Indian with lip ornaments during a trip up the Trombetas River. The intricate designs and vibrant colors showcased their rich artistic traditions. Moving to Angola in the mid-late 19th century, we encounter a male face mask known as Chihongo. Its purpose remains shrouded in mystery, but its presence symbolizes the interconnectedness between art and identity. Sadly, this once-thriving tradition is now facing extinction. An old Nayas Indian stands alongside his granddaughter and a young boy in George Catlin's poignant depiction from 1855/1869. Their solemn expressions hint at the fading legacy they are witnessing firsthand. George Catlin's extensive documentation also includes images like Lengua Chief with his wives and children or members of the Payaguas Tribe. Each photograph serves as a testament to diverse cultures that have embraced this unique form of self-expression throughout history. As we delve deeper into Catlin's collection, we encounter Nayas Indian Chief with his wife and warrior or three young Tobos men - all proudly displaying their distinctive lip plates. These images offer glimpses into societies where these adornments were cherished symbols of status or beauty. The Botocudo Tribe is another group featured within Catlin's work; their elaborate lip plates serve as powerful markers of tribal affiliation and personal identity within their community. Today, however, these captivating traditions are hanging by a thread. As modernization sweeps across our world at an unprecedented pace, traditional practices such as wearing lip plates risk being forgotten forever unless efforts are made to preserve them for future generations.