AP AH Content Area 9

The Pacific

Nan Madol

Saudeleur Dynasty

Pohnpei, Micronesia

700 ce

Basalt Boulders and Prismatic Columns

Visual

Megalithic

92 small artificial islands connected by canals

Built out into the water so canoes could go through

No mortar used to stack rocks

Tall and thick walls to protect from waves

Contextual

City built to separate upper class from lower class

Only for the elite

Built by people under the command of dictator

Function: Ceremonial and Political

Theory: Magic used to lift rocks/Great birds or giants were the creators

‘Ahu ‘Ula

Hawaii (Polynesia)

18th century

Feather and Fiber

Mana

inner life force coming from the gods

Tapu

protection of mana (wrapping/covering)

Visual

Made of 500,000 bird feathers - some birds had only seven usable feathers

Feathers would only be plucked (to not anger gods)

Red- gods and chiefs

Yellow- very rare= valuable

Geometric and curvilinear patterns

Contextual

Symbol of power and social standing

Worn by chiefs to ceremonies and battles (protection)

Bigger garment= higher rank

Artist chants while making it to “summon” power

Wearer’s history used to determine pattern

Feathers gathered by women, fiber by men

Often given as a gift to respected people

Hiapo (Tapa)

Niue

1900

Tapa or Bark Cloth, Freehand Painting

Visual

Fine lines, geometric designs, getting smaller motifs

Edges- representation of native plants

Bark cloth pounded flat, stuck together with plant pastes- performed only by women

Designs- pounded with carved beating tool/rubbing over stencil (unique to maker)

Certain designs- for high ranked people

Contextual

Worn in important stages of lives

Given as gift to places traveled to

Function: clothing, bedding, wall hangings

Displayed on special occasions (spiritual/religious)

Idea: people wrapped in tapa to preserve mana

Could function as currency (no tapa=poor)

Men- hard material; Women- soft material

Seen as women’s arts and wealth

Staff God

Cook Islands

19th century

Wood, Tapa, Fiber, and Feathers

Visual

Wood core (made by men) wrapped in barkcloth with geometrical patterns (made by women)

Elongated body topped by carved head (1/3 of wood carving; 1 to 3 proportion)

Line of smaller figures- below head (spine like)- alternate between women in childbirth (frontal) and men ancestors (profile)

Large head- male deity (maybe Tangaroa- fertility god)

Red feathers, pearls, and wrapping- symbol of contained mana

Phallus- Tangaroa responsible for creation (removed by missionaries)

Contextual

Function: not sure
Meant to be “soul of god”

Potentially used to worship Tangaroa

Celebrates life before colonialism (non-Christian)

Symbolizes fertility and sexuality

Moai on Platform (Ahu)

Rapa Nui

1600 ce

Volcanic Tuff Figures on Basalt Base

Visual

Large heads, prominent foreheads, and large broad noses and ears

Generalized features

Arms at the sides that reach straight down

Statues elevated on platform (stone mixed with cremation ashes)- platform just as sacred

Some have “topknots”- hairstyle (depict ancestral chiefs/importance)

Carved eye sockets- white inserted during ceremonies to “awaken power”

Contextual

Theory: mark burial/ritual sites

Guardian spirits- most face inland to watch people

Tribute/way of connecting with ancestors

Method of moving statues: “walked” using ropes to push and pull

Presentation of Fijian Mats and Tapa Cloths to Queen Elizabeth II

Fiji, Polynesia

1953 ce

Multimedia Performance and Photographic Documentation

Visual

Fijian mats- dried and softened plant leaves woven into patterns (being presented)

Barkcloth- beat inner bark of tree glued together (worn by women)

Simpler mat design = more meaningful function

Contextual

Function: To honor and welcome Queen Elizabeth II

Presented as gifts in important ceremonies

Tamati Waka Nene

Gottfried Lindauer

1890

Oil on canvas

Visual

Subject: Man centered in portrait holding weapon

Cloak covered in feathers and earring- treasure

Green tattoos (moko) cover his entire face

Background- atmospheric perspective

Clear forms- natural representation of human anatomy and clothing

Shows Tamati Waka Nene- chief who helped maintain peace with the British

Contextual

Function: preserving person in history and physically embody him

Culture- show respect to dead by hanging their photo

Attire shows status

Gottfried Lindauer- moved to New Zealand and started painting Maori leaders

Technique (Renaissance naturalism)- oil on canvas, atmospheric perspective

Painted 3 years after Tamati Waka Nene died

Female deity

Nukuoro, Micronesia

19th century

Wood

Visual

Oval head, column like neck, flat buttocks

Lack of face detail and flexed legs- provide “blank canvas” ready to take on deity’s vital force

Geometric abstract sculpture- simplified anatomy

Proportions- long torso, wide shoulders, short legs

Vertical, freestanding, symmetrical sculpture

Nails- allowed clothing to be added

Triangular pelvis- mandatory tattoo for elite women

Contextual

Religious purposes

Represents specific deity or ancestor (related to diff families)

Used for special annual harvest ritual

Belief: spirit resides inside figure during festival (decorated)

Influenced European arts

Worshipped along with primary figure

Navigation Chart

Marshall Islands, Microneisa

19th century

Wood and fiber

Visual

Made of wood= light, waterproof, and buoyant

Horizontal and vertical sticks- support chart

Diagonal sticks- water and wind currents

Shells- islands

Coconut fiber- ties sticks

Contextual

Mnemonic device- memorized prior to a voyage

Function: map that navigates seas and islands

Malagan display and mask

Papua New Guinea

20th century ce

Wood, pigment, fiber, and shell

Visual

Symmetrical sculpture with asymmetrical designs

Diff colors on left and right- creates contrast (dancers have diff appearance when they turn)

Simple, geometric, repetitive motifs- unique to deceased they’re dedicated to (strength and honor)

Headdress- curvilinear

Abstract anthropomorphic face with stylized features

Red, yellow black= war, magic, violence

Base depicted as rock cod- changes from male to female over time

Contextual

Function: used at funeral sites (farewell to dead and celebration of their achievements)

Represents person’s soul/spirit (not a portrait)

Belief: soul enters sculpture (burned or left to rot after it leaves= rebirth)

Ownership similar to copyright= unique art

Expensive and requires a lot of resources

Buk Mask

Torres Strait

19th century ce

Turtle shell, wood, fiber, feathers, and shell

Visual

Three parts: bird, human face, and feathers (stitched together pieces)

Raffia acts like hair (adds texture)

Turtle shell masks unique to this region

Bird theory- mythological creature connected to certain family (animal they don’t hunt or see as special?)

Circular pieces- represent ornaments worn on occasions

Contextual

Function: Used as a part of a costume made of grass for funerals, male initiation rites, and to encourage good harvests or hunts

Connection to spiritual world

Theory: face of a hero/ancestor