Transactions and Proceedings of the New Zealand Institute, 1921 [electronic resource]

Volume 53, 1921

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Post-European Designs.

It is extremely difficult to draw the line of demarcation between original Maori patterns and those of post-European date. The Maori patterns already described are very simple, and the same motive is used in regular sequence throughout the field of the panel. In the case of the house Te Paku-o-te-rangi at Whanganui, already mentioned, though there are two motives on the one panel, they are separated into definite areas by vertical stakes (tumatakahuki) and an arrangement of coloured rods. The post-European panels are more complicated, have more than one motive, and are combined less uniformly, though they may be symmetrical in one or more directions. From these distinctions it will be seen that the two classes conform to J. L. Myres's^* definition of patterns and designs: “If a motive, or any combination of motives, is used in regular sequence it forms a pattern. Motives combined less uniformly compose a design, which may be symmetrical in one or more directions, or otherwise adapted by the balance, rhythm, or porportion of its parts to decorate a given field, more or less spacious, but of definite shape.” Though the terms may have been used somewhat loosely in this article, for practical purposes we may say that the old Maori work consists of patterns, and the post-European of designs.

The second distinguishing feature of post-European work, in many panels, is the introduction of non-Maori motives. By the arrangement of lines and spaces the Maori geometric combinations went as far as chevrons, triangles, and lozenges. The conservatism of his art prevented him from going farther, though other geometric figures could easily have been produced. With the advent of the European other motives were introduced, such as squares and octagons. Once the old patterns were departed from, lines and spaces were combined in various ways and obeyed only one rule, that of symmetrical balance in a horizontal direction. In some panels we can see where the craftsman, through a miscalculation, did not get his design quite

[Footnote] * Notes and Queries on Anthropology, p. 203. Royal Anthropological Institute, 1912.

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symmetrical laterally. Many of the post-European designs are rendered still harder to distinguish by the fact that in some of our best existing carved houses the panels were stitched by skilled Maoris, who gave them old names and maintained that they were original Maori designs. Some of them have old Maori patterns included in part of the panel. The application, however, of the above two points of distinction, and careful cross-examination, shows that the Maori craftsmen were probably unconsciously influenced by modern conditions. Their idea of good work was to make the designs as complicated as possible. The retention of some original Maori motives as part of the design, and the application of some old Maori name, made the new design an original Maori one in their minds.

There are several of these designs amongst the Arawa and East Coast people, but they are absent from the conservative Whanganui. A few have been selected to illustrate this class, and the names given are translated from the original manuscript written by one of the old men who assisted in making the designs. They may be roughly classified into—

(1.)

Designs with an original Maori motive forming part:—

Fig. 4, kcotoretore makamaka. This is an alternative Arawa name for waharua, the single-stitch lozenge, which is shown in the lower third of the panel and gives its name to the whole design.
Fig. 5, whakaiwituna (eel's bones). This is seen in the upper third. It is the overlapping wrapped stitch without the vertical stake and with the original middle motive repeated twice on either side. The rest of the design is called mangati and mangata, from a fancied resemblance to a figure in the game of cat's cradle (whai).

(2.)

Designs with non-Maori geometrical figures :—

Fig. 6, mumu. This takes its name from the squares or chequers in the upper or lower thirds of the panel, and will be dealt with later.
Fig. 7, pekapeka. Amongst its many meanings, pekapeka means a flat plait of nine strands. As there are nine vertical lines in the top row of the panel, the design probably takes its name from that. In the middle third the octagon appears as a motive, but, though the outstanding feature of the design, there is no name for it.
Fig. 8. This design, for which I have not the name, shows the double triangle, which, though of widespread distribution, was unknown to the Maori.

(3.)

Designs with Maori motives not hitherto used:—

Fig. 9, patungarongaro (fly-flap), from the large lozenge in the lower third. Fly-flaps were made of flax plaited in the form of a lozenge and fixed to a handle. They were used to keep the flies away from a corpse when it was lying in state.
Fig. 10, hereweromanu (bird-spear). The bone point of bird-spears were usually barbed on one side, at intervals, in threes. The motive for the name is shown in the lower third, where the three barbs appear on both sides for the sake of symmetry.
Fig. 11, Rangitihi, the name of the carved house in the Auckland Museum. This is shown in the middle third of the design. The lower third of the design is called rapakaheru, the blade of the old Maori wooden spade, and is taken from a figure in cat's cradle that bears the same name.

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- Fig. 4. Kotoretore makamaka.
  
  Fig. 5. Whakaiwituna.
  
  Fig. 6. Mumu.
  
  Fig. 7. Pekapeka
  
  Fig. 8.
  
  Fig. 9. Patungarongaro.

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- Fig. 10. Hereweromanu.
  
  Fig. 11. Rangitihi.
  
  Fig. 12. Mokoia.
  
  Fig. 13. The coil of the string of the kite of Whakatau.
  
  Fig. 14. Aka matua.

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Fig. 12, Mokoia, the island in Lake Rotorua. This is shown in the lower third, standing in Lake Rotorua. A similar figure can be produced in cat's cradle. The rest of the design is supposed to represent Matariki (the Pleiades).

(4.)

Designs in which the names are purely fanciful.

Fig. 13, “The coil of the string of the kite of Whakatau, who flew his kite from a small hill at the time that Hine-te-iwaiwa went to search for Whakatau to avenge the death of Tuhuruhuru. The death was avenged. The motive of the name is seen in the middle third of the design.” Whakatau-potoki was one of the great heroes of the race when they were in Polynesia. He is famous in song, story, and incantation.
Fig. 14: “Aka matua (the firm root) is the name of this design. It is the firm root by which Tawhaki climbed upwards to the heavens to get his daughter Arahuta, who was born of his heavenly wife.”
Another design, with very slight modification, is described as follows: “Aka taepa (the loose root), is the name of this design. This is the way by which Karihi, younger brother of Tawhaki, attempted to climb to the heavens and nearly lost his life.” The story of the two brothers is told in detail in Grey's Polynesian Mythology.

An excellent picture of post-European designs, taken from Porourangi, on the East Coast, is shown in Hamilton's Maori Art, part 2, plate xiii, fig. 2.

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