The former is most simply described as a black animal with a white chest, the latter as a black animal with a white flash on its flank. Black-and-white configurations provide strong contrasts. Buxton offered an explanation of the appeal of such contrasts, noting (1973: 7) that ‘marking and patterning are very highly estimated in the Mandari visual aesthetic; and the strong contrast markings of black on white, red on white, or a combination of all three, stand out so strikingly in a landscape devoid of strong colour that the importance given to it can be readily understood’. Such an explanation.
