Art History homework is going to the resource drive and finding images for the different maori terms in the word document art history intro
maoridictionary.co.nz find the definitions
Iwi
http://evolvingnewsroom.co.nz/map-of-new-zealands-maori-iwi-tribes/
Hapu
https://teara.govt.nz/en/tribal-organisation
WHANAU EATING TOGETHER
The importance of older people within the whānau (extended family), especially their role in nurturing the young, is conveyed in this early 20th-century painting, ‘The time of kai’, by Gottfried Lindauer. All generations, from elders to young children and babies, gather near the hāngī (earth oven) to partake of eel, kūmara and shellfish.
https://teara.govt.nz/en/artwork/978/whanau-eating-together
View of Maori Pa, Tawhiti museum
[Credit: Nigel Ogle]
https://archaeologynewsnetwork.blogspot.com/2015/11/roadworks-unearth-possible-fortified.html#auMKgOMoMq4KmBEc.97
Hoe:
Male Moko:
A less historical explanation of the origin of Maori tattoo can be found in the local legend which suggests that ta moko, the Maori tattoo, came from the underworld, called Uetonga. The legend states that there was a young warrior called Mataora, who fell in love with the princess of the underworld, called Niwareka. Niwareka came above ground to marry Mataora.
However, Mataora mistreated Niwareka, which in turn, made her return to the underworld. Mataora, sick with guilt about the way he treated his wife pursued her to the underworld, only to be greeted by her relatives who laughed at his ragged appearance and smudged face paint.
Mataora apologized before Niwareka’s family, and this act won Niwareka back. Before returning above ground, it was said that Niwareka’s father, the king of the underworld taught Mataora the art of ta moko. Mataora brought back these skills to his people and that was how the Maori came to have their distinct type of tattoo.
http://www.zealandtattoo.co.nz/tattoo-styles/maori-tattoo/
An unidentified Maori woman in a top hat shows off her chin moko. The photo is believed to date from around the 1890s
https://www.dailymail.co.uk/news/article-4696128/Portraits-traditionally-inked-Maori-women.html
https://www.radionz.co.nz/news/te-manu-korihi/283228/marae-nationwide-feeling-their-age
The intricate and rich interior of Kauhuranaki marae. (Hastings). Photo: Robin and Sam Walters
Taniko - the woven pattern bordering a maori cloak
Cook-Voyage Collections
at the Pitt Rivers Museum
Margery Blackman describes the cloak thus: 'This cloak is not large, being 96-99 cm long and 122.5-126.5 cm wide. The body of the cloak is in S-direction compact twining, with occasional parts of rows where the twist is changed to a Z-direction. Long tufts of white dog hair are formed into tassels by half-hitching with fine flax fibre yarns. Groups of these tassels are attached to the cloak but do not completely cover the twining. The taniko border of this cloak is made on the same warps as the body. On the upper and lower part there are three rows of small triangles worked in natural flax-coloured and dark black-brown taaniko. The central field of the border is divided into seven sections. In three of these a vertical zigzag pattern is worked in two-colour, two-direction taaniko. Superficially this appears to be countered weft-twining but careful examination shows that two rows of two-colour twining are worked with an S-twist followed by two rows in a Z-twist. Two other areas of the border appear to be S-direction compact twining of alternating light and dark wefts. I was not able to examine both the faces of this border to confirm this. The two remaining panels of this border are in a horizontal and vertical linear design described by Ling Roth as a "squared meander". It is worked in a combination of two-colour taaniko for the horizontal lines and half-twist twining for the verticals. The angle of the taaniko twist is low and it is worked in an S-direction.' The kaupapa of the cloak is muka (New Zealand flax fibre) twined in compact single pair-twining. There are 7 whenu warp threads per cm and 8-9 aho weft threads per cm The cloak appears to have been finished at the top with a plaited edge. The top 30-35 mm of the cloak is folded over towards the outside and the edge held in position with a length of muka cord, which has been threaded through both layers at intervals of approximately 3 cm and tied, holding the folded-over edge in position. Strips of dog skin are attached to the folded-over top edge with the same cord. Four ties of plied muka have been added to the cloak at the neck edge. The taniko border is as described above. The description of two panels of S-direction compact twining of alternating light and dark wefts appears to be correct on examination of the back of the border. In addition, there are small motifs, of alternating light and dark squares, in these areas. The sides of the cloak have been finished with a braid of muka, held in place by aho weft fibres, but with gaps left, producing a textured edge. It appears that three successive wefts have been used to secure the braid, and then the cord left unsecured for the following three weft passes. At the same time, a plaited edge appears to have been created along the inner edge of the braid. The bundles of dog hair appear to have been made in several different ways. In some, the ends of a small bundle of hairs have been plaited with small bundles of flax fibres. The fibres have been joined with those from other small plaits to create a larger bundle, of perhaps 12-14 smaller plaits. Once the smaller plaits have been joined, a flax cord has been made, several centimetres in length, which has the smaller hair bundles at one end. This thicker cord has been coiled up, and attached to the kaupapa of the cloak with a finer muka thread. Alternatively, small bundles of hair appear to have been gathered around a short cord of muka fibre, and the whole bound with additional fibre to keep the hair in place. 18-22 of this type of small bundle have been laid side-by-side, and twined together with muka to form a flat 'ribbon', with the tufts of hair protruding from one long edge. The length of 'ribbon' has been attached to the cloak with thinner muka fibre along the opposite long edge. One of the tassels of dog hair in the centre of the cloak has a small bundle of brown feathers attached above it. It is possible that the bundles of hair were made by more than one person. (See page 14 of 'Two Early Maori Cloaks', by Margery Blackman, in New Zealand Crafts, number 13 (Autumn 1985), pp. 12-15.
(This museun is located in Oxford in the UK).
http://web.prm.ox.ac.uk/cookvoyages/index.php/en/the-objects/102-objects/new-zealand/344-1886-21-19.html
Raranga:
Raranga (plaiting) is a very old art that is practised in many parts of the world. The first Pacific settlers – the ancestors of Māori – brought this technique to Aotearoa New Zealand. Raranga was originally used to make practical items for survival, like rope, fishing nets, and baskets.
https://collections.tepapa.govt.nz/topic/3647
Burial chests or bone caskets:
https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=494459&partId=1&images=true
maoridictionary.co.nz find the definitions
Iwi
http://evolvingnewsroom.co.nz/map-of-new-zealands-maori-iwi-tribes/
Hapu
https://teara.govt.nz/en/tribal-organisation
WHANAU EATING TOGETHER
The importance of older people within the whānau (extended family), especially their role in nurturing the young, is conveyed in this early 20th-century painting, ‘The time of kai’, by Gottfried Lindauer. All generations, from elders to young children and babies, gather near the hāngī (earth oven) to partake of eel, kūmara and shellfish.
https://teara.govt.nz/en/artwork/978/whanau-eating-together
Roadworks Unearth Possible Fortified Village In New Zealand
View of Maori Pa, Tawhiti museum
[Credit: Nigel Ogle]
https://archaeologynewsnetwork.blogspot.com/2015/11/roadworks-unearth-possible-fortified.html#auMKgOMoMq4KmBEc.97
Hoe:
Captain Cook’s Maori paddles: an artefact of encounter
Living in a multicultural, globalised world, it’s hard to imagine the moment when different cultures first met, or a time when people’s knowledge of each other’s worlds was nonexistent.
Yet, on 12 October 1769, seven Maori canoes paddled out from the east coast of New Zealand south of Poverty Bay to investigate a large ship. The vessel was the HMS Endeavour, captained by Captain James Cook, and this was the first time the Maori people had encountered a European.
They were at first reluctant to approach the ship but then, according to the diary of ship’s surgeon William Monkhouse, “very soon enter’d into a traffick with our people for [Tahitian] cloth… giving in exchange their paddles (having little else to dispose of) and hardly left themselves sufficient number to paddle a shore.”
For the Maori wooden paddles, for instance, the researchers have traced back almost 250 years from the artefact to the first encounter – through close study of the wooden paddles themselves, which are intricately decorated in red ochre, as well as through sea charts, ship’s log records, diary entries, inventories and, significantly, discussions with a Maori kin-group whose ancestors may have been among those who exchanged paddles for goods with Cook’s crew.
“The paddles would have been part of a set used to paddle a waka taua, a large canoe embodying the spiritual potency (mana) of a kin-group personified by their chief,” explained Adams. “They were probably given as a gift to Tupaia, the Tahitian priest-navigator-interpreter who accompanied Cook and his men to New Zealand, possibly in an effort to bind him and his own mana to the local genealogical networks.”
Tupaia was to die of typhus at Batavia and his possessions were brought back to Britain, where they were sent by Lord Sandwich, then Lord of the Admiralty and Cook’s patron, to Trinity College, Cambridge, in October 1771. After being exhibited for many decades in Trinity College Library, they were deposited in the Museum in 1914.
https://www.cam.ac.uk/research/features/captain-cooks-maori-paddles-an-artefact-of-encounterTupaia was to die of typhus at Batavia and his possessions were brought back to Britain, where they were sent by Lord Sandwich, then Lord of the Admiralty and Cook’s patron, to Trinity College, Cambridge, in October 1771. After being exhibited for many decades in Trinity College Library, they were deposited in the Museum in 1914.
Male Moko:
This photograph of an unidentified Maori man with a moko (facial tattoo) was taken in 1880.
Some Christian missionaries disapproved of moko, arguing that they were a heathen practice, so some Maori men let their facial hair grow to cover their tattoos.
https://nzhistory.govt.nz/media/photo/maori-man-with-mokoThe Maori tattoo legend
The legend of Mataora (learn more about this legend).
A less historical explanation of the origin of Maori tattoo can be found in the local legend which suggests that ta moko, the Maori tattoo, came from the underworld, called Uetonga. The legend states that there was a young warrior called Mataora, who fell in love with the princess of the underworld, called Niwareka. Niwareka came above ground to marry Mataora.
However, Mataora mistreated Niwareka, which in turn, made her return to the underworld. Mataora, sick with guilt about the way he treated his wife pursued her to the underworld, only to be greeted by her relatives who laughed at his ragged appearance and smudged face paint.
Mataora apologized before Niwareka’s family, and this act won Niwareka back. Before returning above ground, it was said that Niwareka’s father, the king of the underworld taught Mataora the art of ta moko. Mataora brought back these skills to his people and that was how the Maori came to have their distinct type of tattoo.
http://www.zealandtattoo.co.nz/tattoo-styles/maori-tattoo/
Tattoo taboo: Remarkable portraits show the last traditionally inked Maori women before the 'ta moko' face marking was outlawed by British colonialists
Ta moko was originally carved with bones creating a scarring on the skin and each was unique to the wearer. The tattoo depicted the story of the wearer's family, their ancestral tribe and their position within that group.
An unidentified Maori woman in a top hat shows off her chin moko. The photo is believed to date from around the 1890s
https://www.dailymail.co.uk/news/article-4696128/Portraits-traditionally-inked-Maori-women.html
Marae nationwide feeling their age
https://www.radionz.co.nz/news/te-manu-korihi/283228/marae-nationwide-feeling-their-age
The intricate and rich interior of Kauhuranaki marae. (Hastings). Photo: Robin and Sam Walters
Taniko - the woven pattern bordering a maori cloak
at the Pitt Rivers Museum
Margery Blackman describes the cloak thus: 'This cloak is not large, being 96-99 cm long and 122.5-126.5 cm wide. The body of the cloak is in S-direction compact twining, with occasional parts of rows where the twist is changed to a Z-direction. Long tufts of white dog hair are formed into tassels by half-hitching with fine flax fibre yarns. Groups of these tassels are attached to the cloak but do not completely cover the twining. The taniko border of this cloak is made on the same warps as the body. On the upper and lower part there are three rows of small triangles worked in natural flax-coloured and dark black-brown taaniko. The central field of the border is divided into seven sections. In three of these a vertical zigzag pattern is worked in two-colour, two-direction taaniko. Superficially this appears to be countered weft-twining but careful examination shows that two rows of two-colour twining are worked with an S-twist followed by two rows in a Z-twist. Two other areas of the border appear to be S-direction compact twining of alternating light and dark wefts. I was not able to examine both the faces of this border to confirm this. The two remaining panels of this border are in a horizontal and vertical linear design described by Ling Roth as a "squared meander". It is worked in a combination of two-colour taaniko for the horizontal lines and half-twist twining for the verticals. The angle of the taaniko twist is low and it is worked in an S-direction.' The kaupapa of the cloak is muka (New Zealand flax fibre) twined in compact single pair-twining. There are 7 whenu warp threads per cm and 8-9 aho weft threads per cm The cloak appears to have been finished at the top with a plaited edge. The top 30-35 mm of the cloak is folded over towards the outside and the edge held in position with a length of muka cord, which has been threaded through both layers at intervals of approximately 3 cm and tied, holding the folded-over edge in position. Strips of dog skin are attached to the folded-over top edge with the same cord. Four ties of plied muka have been added to the cloak at the neck edge. The taniko border is as described above. The description of two panels of S-direction compact twining of alternating light and dark wefts appears to be correct on examination of the back of the border. In addition, there are small motifs, of alternating light and dark squares, in these areas. The sides of the cloak have been finished with a braid of muka, held in place by aho weft fibres, but with gaps left, producing a textured edge. It appears that three successive wefts have been used to secure the braid, and then the cord left unsecured for the following three weft passes. At the same time, a plaited edge appears to have been created along the inner edge of the braid. The bundles of dog hair appear to have been made in several different ways. In some, the ends of a small bundle of hairs have been plaited with small bundles of flax fibres. The fibres have been joined with those from other small plaits to create a larger bundle, of perhaps 12-14 smaller plaits. Once the smaller plaits have been joined, a flax cord has been made, several centimetres in length, which has the smaller hair bundles at one end. This thicker cord has been coiled up, and attached to the kaupapa of the cloak with a finer muka thread. Alternatively, small bundles of hair appear to have been gathered around a short cord of muka fibre, and the whole bound with additional fibre to keep the hair in place. 18-22 of this type of small bundle have been laid side-by-side, and twined together with muka to form a flat 'ribbon', with the tufts of hair protruding from one long edge. The length of 'ribbon' has been attached to the cloak with thinner muka fibre along the opposite long edge. One of the tassels of dog hair in the centre of the cloak has a small bundle of brown feathers attached above it. It is possible that the bundles of hair were made by more than one person. (See page 14 of 'Two Early Maori Cloaks', by Margery Blackman, in New Zealand Crafts, number 13 (Autumn 1985), pp. 12-15.
(This museun is located in Oxford in the UK).
http://web.prm.ox.ac.uk/cookvoyages/index.php/en/the-objects/102-objects/new-zealand/344-1886-21-19.html
Raranga:
Raranga (plaiting) is a very old art that is practised in many parts of the world. The first Pacific settlers – the ancestors of Māori – brought this technique to Aotearoa New Zealand. Raranga was originally used to make practical items for survival, like rope, fishing nets, and baskets.
https://collections.tepapa.govt.nz/topic/3647
Burial chests or bone caskets:
https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=494459&partId=1&images=true
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