4:4:6 Transactions. 



tattoo-patterns with those of Polynesia, particularly of the Marquesas Group, 

 serves to mark New Zealand forms as emanating from a different source. 

 The writer has seen no series of illustrations of tattoo-patterns of Melanesia. 

 Is there any series of designs in that region in any way resembling Maori 

 forms ? The tara whakairo was known in New Zealand and Fiji, but is not 

 reported from Polynesia. In regard to the designs adopted by the Maori 

 in his wood-carving, some of which are intricate and involved, we look in 

 vain to Polynesia for archetypal forms. These designs bear not the impress 

 of modern development ; their general aspect is archaic, and often highly 

 conventional. It seems probable that in some cases they are symbolical, 

 but, unfortunately, no attempt was apjjarently made to gain an insight 

 into this branch of Maori knowledge while the men w^ho possessed such 

 knowledge were living — a remark that may be equally applied to Maori 

 star lore. It is certain that some of the grotesque semi-human figures, 

 such as the Marakihau and Kekerepo, bear names found in Maori mythology. 

 One outstanding fact is that the Maori did not attempt to represent his 

 gods in his publicly exposed wood-carvings. Of the great number of carved 

 figures in human form to be seen in the first-class house, not one of such 

 figure represented a god, though heroes and mythical creatures were 

 so shown. The carved figures on the slabs of house-walls represented 

 ancestors. In two cases we can trace designs to Melanesia — those of the scroll 

 and the inanaia — while another resembling the 2)uhoro is also to be found 

 there. Professor Haddon, in his work "Evolution in Art," speaks of the 

 occurrence of scrolls and spirals in New Guinea, and remarks, " I suspect 

 that most of the Oceanic wood-carving is due to Melanesian influence. "^ 

 We can trace some of the wood-carving patterns of the Maori to Melanesia, 

 but not, so far as the writer is aware, to Polynesia. In the textile art of 

 the Maori we certainly encounter rectilinear designs, often largely made up 

 of various dispositions of the triangle. Presumably this is owing to the 

 difficulty of forming curved lines in the curious style of plaiting (not true 

 weaving) employed by the natives of New Zealand. Wherever the Maori 

 used chisel or brush he indulged in curved lines. A trained artist has 

 suggested that the Maori was unwittingly influenced by his surroundings — 

 that the rounded contours of foliage masses and other natural forms caused 

 him to evolve in these isles those curvilinear designs for which his decorative 

 art is remarkable. The writer is unable to discuss this subject, owing to 

 bis utter ignorance of this phase of culture ; but if analogous conditions 

 obtained in Polynesia, then the rectilinear art of that region would demand 

 rectilinear contours in nature. 



We know the curved lines of Maori patterns of painting, as seen on 

 house-rafters, canoes, &c., many depicting graceful and pleasing designs of 

 a superior type. We know the curved-line designs in his tattooing and 

 carving. We also know that the Maori came from Polynesia, that he speaks 

 the Polynesian language, and that he retains many Polynesian customs 

 and myths. Did he, as he stepped ashore here, relinquish his artistic 

 designs, and proceed to evolve others of a totally different type, or did he 

 adopt them from a people already in possession of these isles ? 



Another interesting object not traceable to Polynesia is the heitiki, a 

 highly prized pendant of singTilar form known to us all, usually fashioned 

 from the intensely hard nephrite, or greenstone, a task demanding a great 

 expenditure of time and labour. The curious form of this grotesque image 

 is not without its meaning, and tradition states that it originated in very 

 far-away times — in fact, in the days of the gods. Was this archaic form 



