History Unit 8 Assignment: Timeline Activity

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Chapter 37

OCEANIA BEFORE 1980

Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.

Learning Objectives

Describe the relationship of Dreamings and the X-ray style in Australian art.

Explain where one would find a bisj pole as well as the pole’s purpose.

List the central architectural features of an Iatmul village.

Analyze the role of ancestors in the art and architecture of Oceania.

Interpret the form and function of the Dilukai figures.

Describe the likely purpose of the colossal monolithic sculptures on Rapa Nui (Easter Island).

List the uses of barkcloth in the art of Oceania.

Explain the purposes of tattooing in Polynesia.

Discuss the arts produced for the Hawaiian kings.

MAP 37.1

37.1 Oceania.

Figure 37.1

37.1 Raharuhi Rukupo and others, interior of the Te Hau-ki-Turanga wharenui (meeting house), Poverty Bay, New Zealand, Polynesia, 1842–1845. Reconstructed in Te Papa Tongarewa, Museum of New Zealand, Wellington.

Figure 37.1a

37.1a Maori meeting houses symbolically represent an ancestor’s body. Carved wood freestanding pou tokomanawa support the ridge beam, and poupou relief panels represent ancestors in frontal positions.

Figure 37.1b

37.1b The lead sculptor, Raharuhi Rukupo, who was also chief of the Rongowhakaata clan, included his self-portrait at the entrance to the wharenui. His face and body are covered with elaborate Maori moko tattoos.

Figure 37.1c

37.1c Some of the ancestor figures are female, and the stitched lattice tukutuku panels are the work of female fabric artists, but women were not permitted to enter the Maori men’s community house.

Figure 37.1A

37.1A Composite animal-human figurine (Ambum Stone), from Ambum Valley, Papua New Guinea, Melanesia, ca. 1500 bce. Graywacke, 7 7/8" high. National Gallery of Australia, Canberra.

Figure 37.2

37.2 Auuenau (male ancestor figure), from East Alligator Rivers, Northern Territory, Australia, ca. 1913. Ocher on bark, 4' 10 5/8"  1' 1". Museum Victoria, Melbourne.

Figure 37.3

37.3 Asmat bisj poles, from Omadesep village, Faretsj River, Papua province, Melanesia, mid-20th century. Mangrove wood, paint, and fiber, 18' high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Collection, bequest of Nelson A. Rockefeller, 1979).

Figure 37.4

37.4 Iatmul ceremonial men’s house, East Sepik, Papua New Guinea, Melanesia, mid- to late 20th century.

Figure 37.5

37.5 Elema hevehe masks retreating into the men’s house, Orokolo Bay, Papua New Guinea, Melanesia, early to mid-20th century.

Figure 37.5A

37.5A Abelam korambo (tamberan), Maprik, Sepik River, Papua New Guinea, Melanesia, photographed in 1974.

Figure 37.6

37.6 Abelam yam mask, Papua New Guinea, Melanesia, 20th century. Painted cane, 1' 6 9/16" high. Cleveland Museum of Art, Cleveland (gift of Nathaniel Sloane in memory of Rose White).

Figure 37.7

37.7 Uli statue, from New Ireland, Papua New Guinea, 18th or early 19th century. Wood, ocher, and charcoal, 4' 11 1/8" high. Musée du quai Branly, Paris.

Figure 37.8

37.8 Tatanua helmet mask, from New Ireland, Papua New Guinea, Melanesia, 1884–1895. Wood, paint, opercula shells, lime plaster, plant fiber, bark, bark cloth, rattan, and cord, 1' 3 1/4" high. Museum of Fine Arts, Houston.

Figure 37.9

37.9 Canoe prow and splashboard, from Trobriand Islands, Papua New Guinea, Melanesia, 19th to 20th centuries. Painted wood, 1' 3 1/2" high, 1' 11" long. Musée du quai Branly, Paris.

Figure 37.10

37.10 Canoe prow ornament, from Chuuk, Caroline Islands, Micronesia, late 19th century. Painted wood, birds 11"  10 5/8". British Museum, London.

Figure 37.11

37.11 Model of a men’s ceremonial house (bai) at 75 percent scale, from Belau (Palau), Micronesia, 20th century. Ethnologisches Museum, Staatliche Museen zu Berlin, Berlin.

Figure 37.12

37.12 Dilukai, from Belau (Palau), Micronesia, late 19th or early 20th century. Wood, paint, and kaolin, 2' 1 5/8" high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Collection, bequest of Nelson A. Rockefeller, 1979).

Figure 37.13

37.13 Row of moai on a stone platform, Ahu Tongariki, Rapa Nui (Easter Island), Polynesia, ca. 1200–1500. Volcanic tuff and red scoria.

Figure 37.14

37.14 Mele Sitani, ngatu with manulua designs, Tonga, Polynesia, 1967. Barkcloth.

Figure 37.15

37.15 Tattooed warrior with war club, Nukahiva, Marquesas Islands, Polynesia, early 19th century. Color engraving in Carl Bertuch, Bilderbuch für Kinder (Weimar, 1813).

Figure 37.16

37.16 Hair ornaments, from the Marquesas Islands, Polynesia, early to mid-19th century. Bone, 1 1/2" high (left), 1 2/5" high (right). University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia.

Figure 37.17

37.17 A’a, from Rurutu, Austral Islands, Polynesia, ca. 1800. Wood, 3' 8" high. British Museum, London.

Figure 37.18

37.18 Staff god (Tangaroa?), from Rarotonga, Cook Islands, Polynesia, ca. 1900. Wood, 2' 4 1/2" high. Cambridge University Museum of Archaeology and Anthropology, Cambridge.

Figure 37.19

37.19 Kuka’ilimoku, from Hawaii, Polynesia, ca. 1790–1810. Wood, 4' 3 1/4" high. British Museum, London.

Figure 37.20

37.20 Head of Lono, from Hawaii, Polynesia, ca. 1775–1780. Feathers over wickerwork, human hair, dogs’ teeth, and pearl shells, 2' 3/4" high. British Museum, London.

Figure 37.21

37.21 Feather cloak of Kamehameha III, from Hawaii, Polynesia, ca. 1824–1843. Feathers and fiber netting, 4' 8 1/3"  8'. Bishop Pauahi Museum, Honolulu.

Figure 37.21A

37.21A Te Whare Runanga (view of interior), Waitangi, Bay of Islands, New Zealand, Polynesia, 1934–1940.

Discussion Questions

How are bisj poles implicated in violence within Asmat society? What are examples of art from other societies that celebrate war or violence?

Why do some of the Oceanic cultures create small and fragile works of art, while others create monumental and permanent works?

What are some of the different reasons there has been a revival of cultural heritage practices and indigenous art forms among various peoples of Oceania?

History Unit 8 Assignment: Timeline Activity

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