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The Art of Rua: The Work of the Maori Carver
| Article
# : |
15810 |
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Section : |
CULTURE
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| Issue
Date : |
1 / 1989 |
4,572 Words |
| Author
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Lowell D. Holmes
Lowell D. Holmes is professor and chairman of the Department
of Anthropology at Wichita State University. |
Ao-tea-roa (the long white cloud) was the name that the Maori captains gave their new home as their fleet of swift catamarans approached their island destination. But what appeared to them as an unbroken cloud bank was, in fact, a range of snow-clad mountains that dominated the skyline of the land that, many years later, white men would name New Zealand. The men and women aboard the fleet had only a few weeks earlier departed tropical isles to the northeast. Their new home would provide not only opportunity but also hardship--the challenge of survival would require all of their skills of adaptation and innovation. In time, they would fashion a new society, a new technology, and a new artistic tradition as unique and intriguing as any to be found in the vast South Sea island world.
This art tradition, when viewed from an ecological perspective, might best be labeled "the art that history and climate fashioned." Certainly it is impossible to appreciate the Maori artistic tradition--its forms, function, meanings, or dynamics of growth--without first reviewing Maori prehistory, especially the saga of migration through the insular Pacific world.
Over thirty-five hundred years ago, the ancestors of the Maori moved out of Southeast Asia and began settling the islands now known as Tonga, Fiji, and Samoa. These people, who had already perfected the double-hulled seagoing canoe, the catamaran, are today known as the Lapita people, a term actually assigned to their style of pottery. The people of Samoa and Tonga lived in relative isolation, evolving what is today referred to as Polynesian culture. Then around A.D. 500 they began moving eastward and northward--to the Cook and Society islands, to the Marquesas, Australs, Tuamotus, and to
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