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Art is the soul of culture. This book is an introduction to the art of whakairo rakau (Maori wood carving) from the Tai Tokerau district, the 'Northland' region that stretches from Auckland to the top of the country. It discusses the characteristics and definitions of the regional style and the debates surrounding provenance, as well as northern carvers and their tools, materials and work. The dynamic history of the practice, including its development, appropriation of European materials and ideas, decline, repression and recent revival, is examined using a wealth of historical resources, and the place of museums and individuals in the collection and renaissance of these taonga (treasures) is critically assessed. This is followed by a comprehensive illustrated catalogue of Tai Tokerau wood carvings in national and international museums, many of which cannot normally be viewed by the public. The book is a valuable guide for anyone interested in some of the earliest and most beautiful works of Maori craftsmanship. It is written for the non-specialist reader, although people with a scholarly, professional or cultural relationship with the region and its art will discover more about Tai Tokerau whakairo rakau.
Te Puna - Maori Art from Te Tai Tokerau Northland gathers writing about the art of Te Tai Tokerau - carving, painting, weaving, architecture, ceramics and digital art - by leading art historians and curator. It discusses how Maori art was collected by museums and others, and argues that Te Tai Tokerau was the cradle for contemporary Maori art. Shorter essays focus on moko (tattoo) and waka building, and highlight artists such as Ralph Hotere, Shane Cotton and Kura Te Waru Rewiri.
A rich, authoritative look at a material that plays an essential role in human culture Wood has been a central part of human life throughout the world for thousands of years. In an intoxicating mix of science, history, and practical information, historian and woodworker Harvey Green considers this vital material's place on the planet. What makes one wood hard and one soft? How did we find it, tame it? Where does it fit into the histories of technology, architecture, and industrialization, of empire, exploration, and settlement? Spanning the surprising histories of the log cabin and Windsor chair, the deep truth about veneer, the role of wood in the American Revolution, the disappearance of the rain forests, the botany behind the baseball bat, and much more, Wood is a deep and satisfying look at one of our most treasured resources.
With over 300 step-by-step pictures, the Backyard Bowyer is geared for the beginning bowyer, backyard hobbyist, and anyone who has ever pondered building a wooden bow. Easy to read and follow steps go down to even the smallest detail in the design and construction of basic archery bows. Learn to craft fine wooden bows without huge investment in equipment and materials, and without being bound by location and limited workspace. Learn to construct: A classic target flat bow, an English Longbow suitable for hunting, and even your own strings and arrows for traditional and primitive archery.
Includes detailed chapters devoted to each of the five major cultural regions of the Pacific: Australia, Melanesia, Micronesia, Polynesia, and the islands of Southeast Asia.
The ‘mighty totara' is one of New Zealand's most extraordinary trees. Among the biggest and oldest trees in the New Zealand forest, the heart of Maori carving and culture, trailing no. 8 wire as fence posts on settler farms, clambered up in the Pureora protests of the 1980s: the story of New Zealand can be told through totara. Simpson tells that story like nobody else could. In words and pictures, through waka and leaves, farmers and carvers, he takes us deep inside the trees: their botany and evolution, their role in Maori life and lore, and their current status in New Zealand's environment and culture. New Zealand's largest trees, the kauri Tane Mahuta and the totara Pouakani, are both thought to be around 1000 years old. They were here before we humans were and their relatives will probably be here when we are gone. This book tells a great tree's story, and that is New Zealand's story too.
Traditional objects of great beauty, made of wood, bone, greenstone, feathers and fibre, are collected in this sumptuous pictorial guide to Maori art. Deidre Brown has selected the finest of Brian Brake's photos, and adds interesting and informed commentary on the Maori gods and legends that inspired these works.
This groundbreaking book explores the revolution in New Zealand museums that is influencing the care and exhibition of indigenous objects worldwide. Drawing on practical examples and research in all kinds of institutions, Conal McCarthy explores the history of relations between museums and indigenous peoples, innovative exhibition practices, community engagement, and curation. He lifts the lid on current practice, showing how museum professionals deal with the indigenous objects in their care, engage with tribal communities, and meet the needs of visitors. The first critical study of its kind, Museums and Maori is an indispensible resource for professionals working with indigenous objects, indigenous communities and cultural centers, and for researchers and students in museology and indigenous studies programs.
The chieftainess Te Ao Kairau lived in the north of the Waiapu Valley. Desiring carving for the meeting houses that she was having erected, she chose her nephew Iwirakau to travel to Uawa to learn the arts of carving at the Rawheoro whare wananga. Iwirakau had a studious nature and practical bent, and many close connections to major lines in Ngati Porou. Upon his return from his studies, Iwirakau added new details acquired from Uawa to the designs and styles of the Waiapu, and became a leader of carving in the Waiapu area. When the whare wananga later declined, such was the strength of the passing down of knowledge that the style of carving associated with them continued. And one of the strongest to survive was that of the Iwirakau School. From the emergence of the chapel and the wharenui in the nineteenth century to the rejuvenation of carving by Apirana Ngata in the 1920s, Maori carving went through a rapid evolution from 1830 to 1930. Focusing on thirty meeting houses, Ngarino Ellis tells the story of Ngati Porou carving and a profound transformation in Maori art. Beginning around 1830, three previously dominant art traditions - waka taua (war canoes), pataka (decorated storehouses) and whare rangatira (chief’s houses) - declined and were replaced by whare karakia (churches), whare whakairo (decorated meeting houses) and wharekai (dining halls). Ellis examines how and why that fundamental transformation took place by exploring the Iwirakau School of carving, based in the Waiapu Valley on the East Coast of the North Island. An ancestor who lived around the year 1700, Iwirakau is credited for reinvigorating the art of carving in the Waiapu region. The six major carvers of his school went on to create more than thirty important meeting houses and other structures. During this transformational period, carvers and patrons re-negotiated key concepts such as tikanga (tradition), tapu (sacredness) and mana (power, authority) - embedding them within the new architectural forms whilst preserving rituals surrounding the creation and use of buildings. A Whakapapa of Tradition tells us much about the art forms themselves but also analyses the environment that made carving and building possible: the patrons who were the enablers and transmitters of culture; the carvers who engaged with modern tools and ideas; and the communities as a whole who created the new forms of art and architecture. This book is both a major study of Ngati Porou carving and an attempt to make sense of Maori art history. What makes a tradition in Maori art? Ellis asks. How do traditions begin? Who decides this? Conversely, how and why do traditions cease? And what forces are at play which make some buildings acceptable and others not? Beautifully illustrated with new photography by Natalie Robertson, and drawing on the work of key scholars to make a new synthetic whole, this book will be a landmark volume in the history of writing about Maori art.
Girl of New Zealand presents a nuanced insight into the way violence and colonial attitudes shaped the representation of Māori women and girls. Michelle Erai examines more than thirty images of Māori women alongside the records of early missionaries and settlers in Aotearoa, as well as comments by archivists and librarians, to shed light on how race, gender, and sexuality have been ascribed to particular bodies. Viewed through Māori, feminist, queer, and film theories, Erai shows how images such as Girl of New Zealand (1793) and later images, cartoons, and travel advertising created and deployed a colonial optic. Girl of New Zealand reveals how the phantasm of the Māori woman has shown up in historical images, how such images shape our imagination, and how impossible it has become to maintain the delusion of the “innocent eye.” Erai argues that the process of ascribing race, gender, sexuality, and class to imagined bodies can itself be a kind of violence. In the wake of the Me Too movement and other feminist projects, Erai’s timely analysis speaks to the historical foundations of negative attitudes toward Indigenous Māori women in the eyes of colonial “others”—outsiders from elsewhere who reflected their own desires and fears in their representations of the Indigenous inhabitants of Aotearoa, New Zealand. Erai resurrects Māori women from objectification and locates them firmly within Māori whānau and communities.