Pacific (700-1953 CE) Flashcards

1
Q

Nan Madol IDs

A

Micronesia
700-1600 CE
Basalt boulders and prismatic columns

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2
Q

Nan Madol

A

Use of stacking
Great lost city
Ceremonial complex
Political center
Tombs, dwellings, administrative centers
Man-made structures
Canals running through
Near a lagoon
Giant birds moved the materials into place (or the twin sorcerers, Oloshopa and Oloshipa)

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3
Q

Moai

A

Emphasis on head and ears
Increased in size over time
Platformed
Commissioned by wealthy people
Watch over the island
Knocked over by the British
Rocks were from a quarry 11 miles away (how did they transport them? aliens?)
Problems (overpopulation, deforestation, and rats) caused by missionaries led to a loss in faith of their gods (so they turned their attention from their ancestral gods a little bird-man god)
Population dwindles as Peruvians take people as slaves and introduce smallpox

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4
Q

Moai IDs

A

Rapa Nui
1100-1600 CE
Volcanic tuff and basalt

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5
Q

Ahu’ula

A

Geometric motifs
Trapezoidal
For ceremonies and battles
Gives sacred protection to the wearer
Shows wealth
Restricted to men of high status
Passed through generations
Yellow feathers (valuable)
Red feathers (associated with gods and chiefs)

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6
Q

Ahu’ula IDs

A

Hawaiian
Late 18th century CE
Feathers and fiber

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7
Q

Staff god

A

Male genitals on one side, head on the other side
Abstract
Protects ancestral power (mana) of deity
Contains mana in the wrapping of the tapa
Represents Tangaroa (creator god)

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8
Q

Staff god IDs

A

Rarotonga, Cook Islands
Late 18th to early 19th century CE
Wood, tapa, ber, and feathers

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9
Q

Female deity

A

Stylized
Geometric
Balanced
Symmetrical (in a weird way)
Would’ve been clothed (dressing is part of the ritual)
Unknown content (mythical creature/ancestor, primary goddess Kawe, protective goddes Ko Kawe, etc.)
No iconography
Triangle (connects to tattoos in the Nukuoro culture)
Kept in a community temple
Offerings were given to gain favor and blessings
Destroyed for being idols

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10
Q

Female deity IDs

A

Nukuoro, Micronesia
18th to 19th century CE
Wood

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11
Q

Frigate bird buk

A

Incised facial designs
Inlaid seashell eyes
Raffia hair
Discs on wings (amplify sense of bird in flight)
Lattice work around face
Memory and mask remain, but the moment when the mask is worn will not (flexible, cements the community)
Worn for male initiation ceremonies, funerals, and “increase rights” (increase the fertility of the crops)
Part of a costume
Used in reenactments of cultural heroes/ancestors
Highly emotional
Bird looks like it’s flying
Frigate bird (represents connection between the human world and the ancesteral world/heaven)
Materials were from other islands (trade/interaction)
Burned by missionaries

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12
Q

Frigate bird buk IDs

A

Torres Strait
Mid to late 19th century CE
Turtle shell, wood, ber, feathers, and shell

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13
Q

Hiapo

A

Soft materials (because made by women)
Different depending on the island
Clothing, bedding, and wall hangings
Specially prepared and decorated for people of high status
Displayed during special occasions (weddings, birthdays, etc.)
Wraps images of deities
Used for funeral/burial rites as well
Fine lines and geometric motifs (influenced by Samoan missionaries)
Stopped production, but now inspires contemporary artists
Still used in celebrations as historical artifacts

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14
Q

Hiapo IDs

A

Niue
1850-1900 CE
Tapa

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15
Q

Tamati Waka Nene

A

Records likeness
Brings ancestral presence into the world of the living
Hung in family home and wharenui (central building of community center) to be spoken to, wept over, and cherished
Subject (important war leader)
Kahu kiwi (fine cloak with kiwi feathers)
Earring (greenstone or pounamu)
Tewhatewha (weapon with feathers with an abalone hand grip)
Accessories mark him as man of mana
Moko (face tattoo)
Based on a photograph (commissioned by London) because photographs were easier and cheaper

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16
Q

Tamati Waka Nene IDs

A

Gottfried Lindauer
Māori
1890 CE
Oil on canvas

17
Q

Navigation chart

A

Non-portable
Studied and memorized so it wouldn’t get lost during a journey
Maps currents and islands
Diagonals represent steady currents
Curvy lines are swells caused by winds and disrupted by islands
Created by a navigator

18
Q

Navigation chart IDs

A

Marshall Islands, Micronesia
19th to early 20th century CE
Palm fronze and cowry shells

19
Q

Malagan display and mask

A

Totem poles to hold masks when not in use
Masks have teeth
Asymmetry
Ceremony sends souls of the dead to the afterlife
Restores balance after a period of chaos (after death)
Increases prestige of the family of the dead and the dead themselves
Ceremony concludes with the initiation of young men into the adult community
Souls of the dead enter the sculpture and then leave once the ceremony’s over
Represents the life force of a person at that time
Taboos that are present during mourning period are lifted after the ceremony
Elaborate (preparations can take up to a year)

20
Q

Malagan display and mask IDs

A

Papau New Guinea
20th century CE
Wood, pigment, fiber, and shell

21
Q

Presentation of Fijian mats and tapa cloths to Queen Elizabeth II

A

Imagery of royal crowns
Geometric patterns
Floral motif
Made for Queen Elizabeth II on the occasion of her coronation
Gender roles (men harvested the bark, women made the cloth)
Decoration is unique to local tradition

22
Q

Presentation of Fijian mats and tapa cloths to Queen Elizabeth II IDs

A

Fiji, Polynesia
1953 CE
Multimedia performance