Like the central pillar that bears the image of a favoured ancestor, this panel is one of the main element in the house of a dignitary.

But this one has a particularity as its entire surface is covered with motives.

Also, and that is less frequent, some black and white pigments have been added to give more presence.

In the upper half part, four joined heads are depicted to symbolise the ancestors in communion through drinking alcohol at the same diamond cup.

The tribal values of unity and sharing are underlined through this symbol, showing how close are the living from the dead in the Paiwan society.

Under the four heads, two animals, probably some muntjac deers, are placed there to insist on the hunting prowess of the central figure.

In addition, in the two superior corners of the panel, two volatiles appear to eat their food from a bowl.

In the central part, the figure of a hunter is standing, his head crowned with a double heads hundred-paths snake (Ancistrodon), one head at each extremity of its body.

The two heads of the snake are drinking alcohol to a triple linked cup, the hunter drinking with them at the middle cup. This animal is considered by the Paiwan as their original ancestor.

The dress is limited to a belt figured by a stripe of black pigment which is still distinguishable around the hip and a shell bead belt crossing his chest from the the left shoulder to the right hip. This belt is carved, painted in red and inlaid with pieces of mother of pearl or, when the mother of pearl was lost, with white ceramic.

This kind of accessory means that its holder is a chief. The body is presented in a frog position typical to the paiwan tradition but also to the austronesian art. Other particularity, the nails are clearly carved on the wood for an unknown reason, unless these are tattoo marks on the fingers that the artist wanted to show off – this is another common element with the austronsian art.

The eyes, whether it is the hunters, the serpent or the ancestors ones, are always figured by a neat hole in which were most probably inlaid black vegetal seeds, usually coming from the sapinus tree.

In the lower part of the panel, we note on the left and right sides the carvings of objects placed there to help identify the figure. One single head means the person depicted was a famous head-hunter, bringing back a head being a ritual and magic act. The vase is also a very well looked-after belonging that the Paiwan transmit from one generation to the other generation.

Two shaman boxes, also called boxes for divination tools, are carved, an element that would confirm that the figure has the power to communicate with the spirits.

This would explain much of the power that he is believed to enjoy when he was living and that this reprensentation of him is having to protect the chief and the villagers.