They are monolithic human figures carved from rock on the Polynesian island of Rapa Nui (Easter Island) between 1250 and 1500 CE. Nearly half are still at Rano Raraku, the main Moai quarry, but hundreds were transported from there and set on stone platforms called Ahu around the island's perimeter. Almost all Moai have overly large heads three-fifths the size of their bodies and their minimalist style related to forms found throughout Polynesia. They are full body sculptures with wide eyes and prominent features, some often had ‘hats’ sculpted out of different materials (like red scoria) that showed wealth, power, or religious signifigence. The statues were of deceased ancestors.
Mimis and Kangaroo (24-2) This piece was found in Arnhem Land Australia and is dated to be created around 16000 to 7000 bce. It was painted in red and yellow ocher and white pipe clay. The skinny, human like, stick figures were called mimis were said to be ancestrial spirits. The paintings are done in x-ray style ( which was like bones and organs could be seen. Images are shown mostly in profile. This style of painting was continues until European arrival. other random photos cause I couldn’t find the one in the book ditto for the one down here
Painted by Mithinarri Gurruwiwi represent the part of the origin myth of eastern Arnhem Land, The first humans the Wawilak sisters-walked about with their digging sticks, singing, dancing, naming things and populating the world with their children. But somehow the offended the Wititj (olive serpent) and he swallowed them but was then called before a council of serpents representing all the clans. Wititj had to admit his wrong doing and spit the sisters out. The conference of snakes signifies the origin of ritual activites. At the center of the painting a dark rectangle is ment to represent’s water hole and the clans cerimonial centerand the Yolngu’s home for both the unborn and the dead. Snakes are associated with water and rain, and are covered in dots which represents eggs and fertility. Used cross hatching (rarrk) red and yellow ocher and black pigment.
This iamge contains one of the first representations of a human in oceanic art. It had probibly fell off a boat and cracked. It was found in a reef in santa cruz island and is estimated to have been created around 1200 -1000 bce.
Detail of Interior of a Tamberans The tamberans contain the cultural art and are where business is conducted. It is also used for storing Yams. The size of the tamberan is also associated with the status and power of the owner. They usually have curved or triangular roofs with detalis on the ceilings braced by a central pole. Paintings are of ancestors. Every stage of construction of this building is accomyanied by a ceremony which are held in the mornig while the womens and young boys are asleep. The completion is celebrated with elaborate fertility rituals and an all night dance. Women are allowed to participate in these dances and are allowed to enter the new building but afterward they must eave and the house has to be cleansed and becomes closed to them.
The asmat who live in the grass lands on the south west coast were well known
as warriors and head hunters. They believed a mythic hero carved their ancestors
from trees. And to honor the dead they carved poles known and had celebrations known as mibs, when they were finished the poles were left to deteriorate. The rituals were to re-establish the balance between life and death. They used to have hunting parties when the poles were established and used to place the enemies heads on the bottom of the poles. The bent over position resembles that of a praying mantus and which is the symbol of head hunting the paint on the bodies represented scars.
Tatanua Masks The Tatanua Masks were worn during the Tatanua Dance. which assures male power and men avoid women for 6 weeks in advance. The masks represent the spirits of the dead. The masks were helmet like and were carved and painted with simple repetitive motifs (like ladders, zig zags, anf stialized feathers. The paint is applied in specific ritual order: first lime white for magic spells, then red ocher to recall the dead spirits who died violently, then black the symbol of warfare, then yellow and blue. They represented animals and were supposed to instill fear.
Nan Madol Royal Mortuary Compound Covered 170 acres and 92 network canals. 35 foot thick walls protected it from the ocean and they were made of basalt logs stacked in coordinting courses (rows or columns). The logs were molded by using a system of heating and cooling.
Faces appear with in faces. Used to instill fear in opponents when in combat. Simple designs in bands and high arched eyebrows are shown. They frame sunburst eyes with small pupils. Low relief and patterns suggest tatooing which was considered highly developed.
Decorated barks cloth and feather work. Mallets used to make the fabric left stylized patters on the cloth. The patterns were made of bamboo stamps. This was very laborous and often done by women.
Kearny Cloak The feather cloaks were a symbol of wealth and honor. There was a ritual way of making it. Worn at the shoulders and draped down like a cape or a cone made in 1843.
Portrait of a Maori Drawn by Sydney Parkinson in 1769. Shows a Maori with painted tatoos and ornate jewlery. The neclace is called a hei-tiki or a carved human figure. He has a comb in his hair along with three feathers. Women were forbidden to wear the feathers. The long eared pendant was probibly made of green jade. Green stones have supernatural powers. The neclace however would have been his most prized possesion, they were said to be legendary heros or ancestors and they were special powers were gained through them.
Carved Lintel Maori wood carving is characterized by a combo of massive underlying forms and delicate surface ornament they adorned store houses and meeting houses. The one in the text book probibly collected on Captin Cooks ship in 1773 is one of the oldest surviving carvings. The one in the text book also had haliots shell eyes and detail.
Maori Meeting house Were centered around standing tikis or ornate statues. They had flaring nostrals and open figure 8 shaped mouths and pertruding tounges to add a terrifying aspect. They tounge gesture was defiant and aggressive. They had massive arms and legs and they normally hold whales or fish. This building was probibly a museam. Carved by master carver Raharuhi Rakupo. The structure was supposed to symbolize the sky father the interior roofing was made to look like the spine and ribs of him. There were also releif figures on the surrounding walls of other ancestors. This meeting place was concidered a national treasure.
Royal Symbols Deborah U. Kakalia. Used only two colors when designing her quilts to reflect the original bark painting of the Hawaiian islands. The crowns (even though they were adapted from europeans) and bold colors signify a sense of cultural pride. He design is created the same way children create snowflakes. Then they are stiched together for the quilt like form.
Man’s Love Story Originated from the aboriginal ideas of Sand Painting. They transformed the ‘ground paintings’ into murals using simplistic patterns and colors. It was lead by an art teacher, Geoffrey Bardon, in 1971 and sparked the ideas of many including the artist of this piece, Clifford Possum Tjapaltjarri. Although simple in design they follow a complex narritive.