Coad Unit #2: Oceanic Art #1-13

Staff God

Artist: DOC: late 18th to early 19th century Culture: Polynesian Material: wood, tapa, fiber, feathers Origin: Rarotonga, Cook Islands, central Polynesia Content: 2 1/2 ft tall wood carving, wrapped in protective plant fibers. Large column head-like wooden shaft which is placed upright. Lagr head on top and several heads carved below it; polished pearl shells and red feathers that are placed inside the bark cloth next to the interior shaft. The shaft itself is in the form of an elongated body. Central carved wooden shaft around which a roll of tapa is placed. Long and cylindrical. Brown and tan, wooden, carved. Larger than you think. Form: This elongated object is made up of wood, tapa, fiber, and feathers and is in the form of a staff. This piece is made from wood, while it's protective covering is made from different plant fiber into a type of bark cloth. To create this cloth-like material, bark had to be stripped off the trees, boiled, mashed into a pulp, laid out to dry, and pressed into a hybrid of paper and cloth called "tapa". The sculpture itself is a carved head over a variety of small figures carved horizontally off the vertical shape. The lower end is shaped in order to look like a phallus. Context: Most of these staff gods have been destroyed by being thrown in the village square in front of a European style church which represents the fall of one faith and the influence of another, which is evident throughout the history of the Cook Islands. Made before Christian conversion. Representations of the deities worshiped by Cook Islanders before their conversion to Christianity included wooden images in human form, slab carvings and staffs such as this, known as "god sticks." The materials of this sculpture were considered sacred, since most islands in Polynesia had barely any trees. The first European contact these islands had was in the 18th century. The islands were named for Captain Cook, who discovered the island chain while on a missionary funded voyage to new lands (connecting to the spread of Christianity through missionary and colonization work). Islanders would often give these carved objects to the missionaries who arrived on the island. The statues would then be brought back to Europe. Function: Spiritually, these sculptures were both used to communicate with ancestors and bring protective and procreative powers (hence the phallus shape). This was important because it speaks to the emphasis these people had on stability and the continual survival of their tribe. This statue's variety of figures spoke both to the protective nature of ancestry, as well as the importance of procreation. The large head at the top of the piece represents the ancestor(s) watching over the younger generations (represented by the numerous, smaller figures) and ensuring that they continue on to have children of their own. What is clear is that in their materials they combine the results of the skilled labor of men and women. They also have an explicit sexual aspect, thus embodying male and female productive and reproductive qualities. This staff god is a potent combination of male and female elements. The wooden core, made by male carvers, has a large head at one end and originally terminated in a phallus. Smaller figures in profile appear to be prominently male. Suggested that the other figures facing outwards could depict women in childbirth. The barkcloth, made by women, not only protects the ancestral power ('mana) of the deity, but contains it within the different layers.

Tamati Waka Nene

Artist: Gottfried Lindauer Date: 1890 CE Culture: Maori Polynesian, Czech artist Material: oil on canvas Origin: New Zealand Content: A painting with an elder tribal leader with a painted face mark with some sort of staff with feathers on the end. Wearing a crows clothing. Very defined and three dimensional. Form: Outlined subjects in pencil over a white background before applying translucent paints and glazes. Realistic, convincingly three-dimensional, and play beautifully with the contrast between light and shadow, causing his subjects to glow against their dark backgrounds. Context: Of Tamati Waka Nene who was a Maori chief and convert to the Wesleyan faith. Rangatira or chief of the Ngāti Hao people, and an important war leader. He had great mana. Based off of a photo by John Crombie; emphasizes the symbols of rank in the culture, such as elaborate tattooing, staff with an eye in the center, and the feathers dangling from the staff. reated by a famous New Zealand painter who was known for his portraits of Maori chiefs; New Zealand was one of the first islands to be populated by the Europeans and this work clearly shows the European influence in the use of materials, style, and overall stance and features of Tamati Waka Nene. Tattooed face displays mark of adulthood/achievement, confirmed warrior's virility. Function: Meant to give appraisal to the once strong man. Emphasized strength and boldness. Give homage to a proud chief and leader that is Tamati Waka Nene. Decoration and admiration. More than representation as records likenesses and bring ancestral presence into the world of the living. Stories around paintings/photographs keep them alive and present. Paintings of dead people cherished, wept over, and spoken to.

Hiapo (tapa)

Artist: Polynesians Date: 1850-1900 CE Material: tapa or bark cloth, freehand painting Origin: Niue Content: The cloth depicts, beside geometric shapes and patterns, plant motifs that extend along the end and diminish in size as the eye travels to the center. There is also writing on the side. Spirals, concentric circles, squares, triangles, and diminishing motifs (the design motifs decrease in size from the border to the center of the textile). Form: A cloth like material with concentric circles, spirals, other geometric shapes, and diminishing motifs and abstract patterns. In Eastern Polynesia (Hawai'i), bark cloth was created with a felting technique and designs were pounded into the cloth with a carved beater. In Samoa, designs were sometimes stained or rubbed on with wooden or fiber design tablets. In Hawai'i patterns could be applied with stamps made out of bamboo, whereas stencils of banana leaves or other suitable materials were used in Fiji. Bark cloth can also be undecorated, hand decorated, or smoked as is seen in Fiji. Context: Hiapo is a Niuean barkcloth. The Niueans were introduced to the art of bark cloth, or tapas, by their Samoa neighbors who came to them as missionaries. Tapa making is strictly a woman's art in Polynesian culture, as females were restricted to "soft" materials. The Niueans embraced tapas and added their own style including human motifs (signatures) and naturalistic themes (vegetation). Women's arts historically utilized soft materials, particularly fibers used to make mats and bark cloth and included ephemeral materials such as flowers and leaves. Created with a felting technique and designs were pounded into the cloth with a carved beater. Function: Can be used for clothing, bedding, and wall hangings. Textiles were often specially prepared and decorated for people of rank. Tapa was ceremonially displayed on special occasions, such as birthdays and weddings. In sacred contexts, tapa was used to wrap images of deities. In Polynesia, textiles are considered women's wealth. In social settings, bark cloth and mats participate in reciprocity patterns of cultural exchange. Women may present textiles as offerings in exchange for work, food, or to mark special occasions. For example, in contemporary contexts in Tonga, huge lengths of bark cloth are publically displayed and ceremoniously exchanged to mark special occasions. Today, western fabric has also been assimilated into exchange practices. In rare instances, textiles may even accumulate their own histories of ownership and exchange.

Terra Cotta Fragment

Artist: Unkown, Lapita people DOC: 1000 B.C.E Period: Neolithic Material: Terracotta Origin: Lapita, New Caledonia, Solomon Islands Content: Human face depicted in geometric patterns, fragment from vase or pot. Form: Anthropomorphic face, from face to geometric shapes, geometric stylization, patterned stamp designs, reddish ceramics, incised lines creating low relief, schematic/iconic Context: The patterns were incised into the pots before firing with a comb-like tool used to stamp designs into the wet clay. Each stamp consisted of a single design element that was combined with others to form elaborate patterns. Known for geometric and metamorphic designs. Decorative style included stylized faces containing cultural significance, known as "Lapita cultural complex". Function: Fragment of vessel used for storing, serving, or cooking food (utilitarian function). One of the finest examples of the Lapita potter's art, this fragment depicts a human face incorporated into the intricate geometric designs characteristic of the Lapita ceramic tradition. Used for rituals/ceremonial occasions?

Moai on platform

Artist: unknown DOC: 1100 - 1600 C.E. Culture: unknown Material: volcanic tuff figures on basalt base Origin: Rapa Nui (Easter Island) Content: A series of large stone sculptures surrounding a remote Polynesian island. Form: These statues are all identical, stylistic representations of human figures. They each have stoic positions and vacant expressions, with chiseled, square features. Most are around 50ft tall and weight around 70-100 tons. There are nearly 1,000 Moai statues total, surrounding the island and facing out to sea. Each is placed on a stone platform (an Ahu) and are balancing some sort of hat, made of scoria volcanic stone, on top of their heads. The scoria retains it's soft appearance and reddish hue. Context: What's strange about these sculptures is that the island they are located on is one of the most remote and the most desolate. There is not a lot of information about the sculptures themselves, the people who built them, or the history of this island (which is tree-less and seems formidable for civilization). Function: The statues show no obvious astronomical or directional orientation. On the islands there are no residential, political, or ceremonial sites besides the statues. It is hypothesized, however, that the creators of the statues might have believed that the figures could hold the spirits of the gods and form a bridge between the actual and the spiritual worlds. Another train of thought is that the figures recognize the bloodlines and lineages of chiefs and their successors. But since there are so many figures (more than could have been supported as a population on Rapa Nui), it is also believed the figures document many different chiefdoms of many different islands in Polynesia.

Presentation of Fijian mats and tapa cloths to Queen Elizabeth II.

Artist: unknown, Fijians DOC: 1953 Culture: Polynesian Material: multimedia performance (costume, cosmetics, including scent; chant, movement, and pandanus fiber/hibiscus fiber mats), photographic documentation. Origin: Fiji, Polynesia Content: Procession of Fijian women making their way through a group of Fijian men and women. Houses. Processing women are wearing skirts made of bark cloth (or masi, made by stripping the inner bark of mulberry trees, soaking the bark, and beating it into strips of cloth) painted with bold red, white, and black geometric patterns. Simpler the design, the more meaningful its function. Form: Leading lines, registers almost, leads eye through. Black and white. Women in procession wearing "masi" skirts with geometric patterns and holding bark cloth (tapa). There isn't too much artistic style to this photograph as it wasn't staged. It is possible, however, to see the ocean in the background, the ceremony in the middle ground, and more of the crowd in the foreground. Context: As a princess, Elizabeth had been traveling to the various colonies of the British empire. The sudden death of her father, however, prompted her return to England and immediate coronation. She then continued to travel the world, and visit the islands of Oceania, as queen. In this photo, we see the dignitaries of the the Tonga tribe presenting the queen with large rolls of tapa, while the other tribal members are sitting and singing while the tapa is presented. This photo was also taken as photography became more popular and mad it possible to document things that had never been documented before. After three days, Queen Elizabeth went to the Kingdom of Toga and this is the moment when they receive these special mats (gifts) for visiting by the Tongan Royal Family. Masi presented as gifts in important ceremonies such as weddings and funerals, or to commemorate significant events. Tapa cloths like masi, Fijian mats served and continue to serve an important purpose in Fijian society as a type of ritual exchange and tribute. Made by women, Fijian mats are begun by stripping, boiling, drying, blackening, and then softening leaves from the Pandanus plant. The dried leaves are then woven into tight, often diagonal patterns that culminate in frayed or fringed edges. Fijian art also includes elaborately carvings made of wood or ivory, as well as small woven god houses called bure kalou (left), which provided a pathway for the god to descend to the priest. Returning to the Queen's visit in 1953, while in Fiji she visited hospitals and schools and held meetings with various Fijian politicians. She witnessed elaborate performances of traditional Fijian dances and songs and even participated in a kava ceremony, which was (and continues to be) an important aspect of Fijian culture. The kava drink is a kind of tea made from the kava root and is sipped by members of the community, in order of importance. On the occasion of the Queen's visit, she was, as you might imagine, given the first sip of kava. In thinking about the importance of the kava ceremony, consider what might happen if everyone from a large group takes a sip from the same cup and of the same liquid. Although sipped in order of hierarchical importance, it would, in the end, put everyone in the group on the same level before beginning the event, meeting, or ceremony. Function: Capture a moment. Tell a story. Memorial. Mats are a ritual exchange and tribute. Cloth is often presented as a gift in important ceremonies or to commemorate significant events like the visit of Queen Elizabeth. Simpler the design, the more meaningful its function. Like masi, Fijian mats served and continue to serve an important purpose in Fijian society as a type of ritual exchange and tribute.

Ahu 'Ula (feather cape)

Artist: unknown, Hawaiians DOC: Late 18th Century CE Culture: Hawaiian Material: feathers and fibers Origin: Hawaii Content: Red, yellow, and black cape made of bundles of feathers Form: Red associated with aristocrats/gods, yellow valuable and prized. Context: Bright, velvet-like feathers came from tropical honeycreepers. Caught in the molting season and after yellow feathers were plucked out the birds were set free. Hawaiian male nobility wore feather cloaks and capes for ceremonies and battle. The cape consists of olona fibre netting made in straight rows, with pieces joined and cut to form the desired shape. Tiny bundles of red, yellow, and black feathers were attached to the netting in overlapping rows starting at the lower edge. Cloaks were created by artists who chanted the wearer's ancestors to imbue their power on it. In Polynesia, the color red was associated with both gods and chiefs. These were given as gifts to the sea captains and their crews who were the earliest European visitors to Hawaii, who in turn gave them European patrons. Capes unique and made for specific person.For most islands, rare materials like island and wood were considered more precious and only used for important pieces. People of the Hawaiian tribes also had to be careful not to depopulate the three species of bird which they harvested from to get the specific red and yellow feathers seen here. Since a single bird would only yield about 6-7 feathers, the amount of time the creation of these capes took was probably incredible. Function: Hawaiian male nobility wore feather cloaks and capes for ceremonies and battle. Symbols of power and social standing in Hawaiian culture. Protected wearers from harm. Not only were these capes usually reserved for chiefs, they were thought to grant the wearer the ability to commune with spiritual powers, granted the protection of the gods, and enabled direct communication with every deity. The capes were also considered to grant protection in battle, which might have been rooted in reality since the capes were so thick.

Female Deity

Artist: unknown, Micronesians DOC: 18th to 19th century CE Culture: Micronesian Material: wood Origin: Nukuoro, Micronesia Content: A wood carved piece standing about 7.2 ft. tall (larger than most people) and representing a female figure. Made from hard, heavy, grained wood, probably breadfruit. Indicative of woman from breast development and genitals. No tattoos unlike most figures during this culture but this was proper for women anyway. Elbows/knees shown with small flat protuberances. Naval shown by depression. Form: The figure is incredibly simplified, with no facial features, and incorrect proportions. There is, however, a significant incised pubic triangle and projecting behind. The wood of the piece is not only precisely carved, but also smoothed and sanded out. Context: Claimed by finder to have been found at standing at an altar where human victims were immolated. Gods were offered human sacrifices, food, etc. to get on their good side. Function: The significance of the incised pubic triangle, as well as the significant behind, was part of the emphasis on procreation and fertility (that was needed for the civilization to survive). It was traditionally believed that these idols (very rare in Micronesia) could contain the spirits of those who had passed. The figures were also usually kept by women and people believed that the ancestral spirits could speak through the female owners of the statues in order to admonish family members to treat each other better when family conflicts arose. Could represent a deity, either Kawe or an essentially evil spirit who lay over the people when the good god was gone.

Navigation chart

Artist: unknown, Micronesians DOC: c. 1800 CE Material: Wood and fiber Origin: Marshal Islands, Micronesia Content: Made from sticks from the midrib of coconut frounds that were tied together to form an open framework. Island were represented by shells tied to the framework. Threads represent ocean surface wave crest and directions. Form: Horizontal and vertical sticks act as supports. Context: Horizontal and vertical sticks act as supports, while diagonal and curved ones represent wave swells. Cowrie or other small shells represent the position of the islands. The information was memorized and the charts would not be carried on voyages. Marshall islanders built canoes and used this to navigate between island. Chart is known as rebbelib. Chart known as mattang, specifically made for people to become navigators. Function: Made by the Marshallese to navigate/pilot and understand wave/swell patterns of the Pacific Ocean by canoe off the coast of the Marshall Island of 1,000+ small islands.

Malagan display and mask

Artist: unknown, Papua New Guineans DOC: 20th century CE Culture: Papua New Guinean Material: wood, pigment, fiber and shell Origin: New Ireland Province, Papua New Guinea Content: A mask and headdress made from natural resources. Form: This mask is made from wood vegetable fibers, leaves, and shells. Pieces like this were fully painted with intricate linear designed emboldened by the red, blue, white, and yellow pigment paints. The facial features are representational, yet stylized and stand out among the colored lines painted on the face. The entire head piece (possibly the hair) is also entirely made of a red/orangish fiber. Context: This in another piece that honors the tradition of a chief passing on the rule of tribe to his sons. The settings of the Malangan ceremonies were set on a stage-like area with wooden platforms, reed backdrops, and designated places for sculptures to be erected in. The sculptures (see left) were representational of stylized human faces and created from wood and natural fibers, as well as decorative paints, feathers, and shells. The displays and the masks were used for ceremonies for a certain festival, which brought together a combination of different art forms. Function:

Ambum Stone

Artist: unknown, Papua New Guineans DOC: c. 1500 BCE Period: Neolithic Material: Greywacke Origin: Ambum Valley, Papua New Guinea Content: Anteater curled into fetal position/embryonic. Handheld. Form: Realistic Context: Advanced figurative expression could signify sacred purposes. Resembles long beaked echidna (considered sacred and perceived with supernatural powers by present day people), modern day people of area view it as supernatural. Subtractive sculpture. Greywacke stone hard material and time consuming to make signifies importance. Geometric motif. Symbolic of fertility. Echidna desired to fat. Function: Obscure since little is known about cultural makers. Unknown possibly for religious or spiritual purposes (from figurative expression and sacred echidna and greywacke material), particularly fertility rituals. Represents totemic species. Present day people use it as a spirit stone and use it in rituals. Considering Papuan's ancient morters and pestles were in forms of birds,humans, and animals, could be pestle.

Nan madol

Artist: unknown, Sandeleurs DOC: 700-1600 CE-Saudeleur Dynasty Culture: Sandeleurs Material: basalt and prismatic columns Origin: Pohnpei, Micronesia Content: A capital city made from a man-made construction of organized inlets and structures. Form: These atolls, islands, and walkways were all created out in the open ocean, right off the shore of the main island of Pohnpei. The site was built by stacking volcanic stone blocks onto of the shallow reef already in existence off shore. There is also evidence that people may have carved into the existing reef as well. Context: Often referred to the "Atlantis of the South Pacific", this inlet city served as both the ceremonial and the political seat of the island's ruling dynasty and helped unify the people of the island. At this time, societies like this one experienced the rule of chiefs who passed their dynasties down through their lineage. The city most likely saw the rule of a succession of different chiefs, each of which may have built upon and expanded the original structures. At its height, the city had an inlet for each specific purpose. There was one for canoe building, one for processing coconut oil, residential islets and a collection of islets used for ceremonial purposes. There was also a city center, where the ruler bodies would work from, as well as the ceremonial areas meant for funerary rituals, tombs and high walls to protect the remains of royalty. The city was eventually abandoned, either due to a lack of resources (like fresh water) or the impossibility to cultivate architecture, with the people returning fourth inland the main land mass. To initially build, the city required a quarry for volcanic rock (a soft material allowing for block cutting and carving) that was found on the island. The position of Nan Madol was probably also due to the advantage it gave for its inhabitants to engage in seafaring trade. The city's location on the water allowed it to be a port for other islands to come and bring their trade. The island and this city were also rediscovered by European powers during the time of Enlightenment, colonization and imperialism. This meant Europeans also began interacting and trading with island civilization like this one. Today, most of the inlets have been submerged under the sea due to the erosion of the volcanic structures and reef, as well as rising ocean levels. Function:

Buk (Mask)

Artist: unknown, Torres Islander people DOC: Mid-to late 19th century C.E. Culture: Torres Islander people Material: turtle shell, wood, fiber, feathers, shell Origin: Torres Strait Content: A ceremonial mask and headdress. Form: Actually, this mask is make from turtle shell plates. Most masked are primarily human representational, although most include anthropomorphic designs of humans fused with birds, fish, and reptiles. Context: Creations made from turtle shell have been a tradition in areas between Australia and New Guinea since at least 1606 C.E., when the Spanish explorer Diego de Prado recorded the phenomenon. Function: These masks were male initiation and funerary ceremonies. The masks represented heroes from cultural myths and their relationships with other animals.