OK, first off beautiful piece, regardless of the context. Very faithful to the aesthetic of more classical pieces, while having a very unique modern flare.
As for re-interpretation of ethnographic pieces, I believe Mike hit it right on the head, when he spoke of context, particularly in representation. Many of us here also have non-ethnographic pieces as well. On many levels modern non-ethnographic pieces hold a valuable niche in of in themselves. They are modern art and often practical interpretations of pieces whose own working lives are no more due to their own inherent rarity. Yet, for me, what makes a piece ethnographical is its rooting within a cultural context. If an interpretation is made, no matter how faithful its superficial resemblence is to an ethnographic piece, without the cultural context of intention/rooting, it is still just a modern interpretation. Meaning for me, if we say we are speaking about modern made khukris, if a Westerner made a perfect replica, but whose life and intention in creation was not rooted in the tradition of use and ownership but rather was an expression of mere visual art, while in value as a work of art, it would not be to me a traditional khukri. Whereas, the ugliest bolo, pounded out of a leaf spring, full of file and hammer marks, but with the intention of serving a traditional cultural role, lets say hanging off a farmers belt for work, or in the case of some modern Moro swords, marking off a man's status within adult life, then it is an ethnographic piece. I guess for me it comes down to how I view ethnographic pieces, the value in them is not just the innate material merit of the piece itself, but the cultural connotations and history that they inhabit. Now that is not to say a Westerner could not make an ethnographic piece, or what pieces in any given culture will inhabit that niche. Cultures/civilizations are dynamic, constantly in a state of flux. However, it is all dependent on the intention of its creation. Now, that is not to say non-ethnographic pieces do not have value or worth, but I cannot call a Western made kris, made without tradition or intention, to be displayed on a Western wall, where its value will not be rooted in Moro culture, but as an expression of Western cultural interpretation, a Moro kris. I can call it a Western interpretation, but without the intention, then... Hmmm...Ive rambled, and dont think I make much sense. Oh well, Mike said it better.
