South East Australian Aboriginal Shields

Aboriginal Broad Shields and Parrying shields

Techniques of Broad Shield Construction

South-east aboriginal broad shields were traditionally crafted using two primary methods:

1. Carving from a Living Tree
   The most common method involves carving the shield from the inner bark of the Manna Gum tree (Eucalyptus viminalis) . The artisan would cut the shape from beneath the outer bark of the tree, shaping it into the reversed hourglass form. The shield maker would remove the flat shield slab, which would then be whittled thinner and flatter and warped by heat to curve in either direction. The shield was drilled in two places, and a handle was carved from a green branch. The imbedded grip, once dried, is so firmly attached that it is virtually impossible to remove.  After the shield was shaped and drilled, the surface would be incised with designs specific to the tribe or clan. While some suggest these designs could serve as the maker’s signature, it is more likely that they represent clan-specific totemic symbols.
2. Carving from a Single Piece of Wood
   The second technique became more prevalent after the introduction of steel tools. In this method, both the shield and the handle were carved from a single piece of wood, creating a design that was both functional and aesthetically striking. Shields with separate handles may lose their handles over time, but the shield still retains most of its value. 

Broad Shield Decoration

South-east Australian aboriginal broad shields are often adorned with intricate incised designs. These designs include concentric diamond shapes, herringbone patterns, along with parallel chevron and diagonal flutings. The designs are usually symmetrical, adding to the visual appeal of the shield. Shields from the Murray River region, in particular, often feature panels separated by uncarved strips. These strips, typically painted in contrasting colors (often red), create a striking effect when paired with the grooved patterns carved into the shield’s surface.

The aesthetic beauty of the incised design and whether the patterns were created using neolithic or steel tools significantly impacts the shield’s value. The level of detail and the craftsmanship displayed in these shields make them highly desirable among collectors.

Use of Aboriginal Broad Shields

Aboriginal broad shields were primarily used for protection in traditional combat, particularly in defense against projectiles like spears and throwing clubs during formalized intertribal battles. While the shields were crucial in such rare confrontations, the most common form of Aboriginal warfare was small-scale raids or “payback” expeditions targeting specific individuals. These raids, typically involving a small group of men, focused on surprise ambushes and quick escapes.

These raids, typically involving a small group of men, focused on surprise ambushes and quick escapes. These shields were utilized in group skirmishes rather than in strict single combat or duels and, because of their parrying-like points on both ends, may have functioned both for protection and offense. due to the nature of these raids, broad shields were not used frequently in everyday conflict.

Broad shields likely played a key role in the spectacular intertribal “tournaments” to settle disputes. These tournaments, which could involve hundreds  of participants, were highly formalized events held between tribes. They often began with volleys of projectiles, at which point the broad shields proved invaluable in deflecting the incoming attacks. As the battles progressed, seasoned warriors would engage in one-on-one combat using boomerang-shaped clubs, Leangle clubs, and parrying shields.

The Purpose and Significance of South-East Australian Aboriginal Art

One of the most defining features of Aboriginal art from South-East Australia is its consistency across various mediums—whether carved into wood, painted on skin, or inscribed on rock. These designs and patterns form a shared visual language, deeply rooted in the cultural tradition. However, colonization in Victoria, described by historian Janet McCalman as one of the fastest and most comprehensive in the world, led to the disruption and loss of many traditional practices, including the meanings behind Aboriginal art. This resulted in the erosion and loss of cultural knowledge and social structures within these communities.

Incised designs were a depiction of country, ancestral heritage and clan identity One of the most significant examples of Aboriginal mark-making as a form of communication is the Batman Treaty of 1835. In this event, European settler John Batman attempted to acquire land from the Woiwurrung and Boonwurrung people near Melbourne. Aboriginal leaders, including Billibellary, made marks on the treaty document, which were seen as their signatures. These marks, resembling those found in tree carvings, were not European-style signatures but symbols of authority and identity within Aboriginal society. 

In the 19th century, these marks and designs also appeared on possum skin cloaks, shields, and other artifacts, symbolizing territorial connections, kinship, and spiritual ties to the land. Designs often referenced geographical features, such as rivers or lakes, effectively creating a map of both physical and spiritual landscapes. 

The Changing Role of Artefacts in South-East Aboriginal Culture

The arrival of European settlers brought profound changes to the role and meaning of Aboriginal artefacts in South-East Australia. Before European colonization, Aboriginal material culture was deeply intertwined with cultural, spiritual, and communal practices. Artefacts were not mere objects but essential expressions of identity, history, and relationships with the land. These items were used for practical purposes, ceremonies, and as ways of transmitting knowledge across generations and communities.

With the establishment of the Central Board for the Protection of Aborigines (CBA) in 1859 and later the Board for the Protection of Aborigines (BPA) in 1869, the Victorian government aimed to control and segregate Aboriginal populations through reserves and missions. This forced relocation disrupted traditional Aboriginal life and led to the commodification of Aboriginal artefacts. As reserves like Coranderrk became tourist attractions for Victorian-era travelers, artefacts were sold or traded between Aboriginal people and European visitors. While these artefacts were often made for sale but they still hold cultural value, though they are less collectable than those created for traditional Indigenous use.

A common misconception in contemporary Australia is that all Aboriginal shields were stolen or are trophies of war. While some South-Eastern Aboriginal communities are calling for the return of artefacts, including shields, claiming they have sacred and secret meanings, it is important to note that these objects were prominently displayed and used in public settings during traditional ceremonies and combat.

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Further reading

Brisbane museums collection of  Queensland shields

Shields of Aboriginal Australia