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Wood carving is one of the supreme expressions of New Zealand identity. Beginning with carving's mythical origins, Te Toi Whakairo explores the evolution of styles and techniques through the four main artistic periods to the present day, and provides detailed explanations of carving styles in different parts of the country, using examples from meeting houses and leading artists. Later chapters delve into the main structures, forms and motifs, and the role of the woodcarver, and explore the status of the art in contemporary New Zealand. Practical guidance is given for use of materials, tools, techniques, surface and background decoration, the human figure, and carving poupou.
Maori woodcarving is enjoying popularity unparalleled in modern times. Since the groundbreaking Te Maori exhibition toured America and New Zealand, thousands of people have come to appreciate Maori woodcarving, with some 'having a go' at carving in wood themselves. Hirini Moko Mead, formerly Professor of Maori at Victoria University of Wellington and himself an accomplished carver, has written this book about what is surely New Zealand's most original and most representative art form. He details the tools and timbers, the styles, patterns and techniques in a clear and proven manner for the amateur carver. He examines the historical and cultural tradition of carving, its origins and development, tribal variations and interpretations. He also explores the survival and vitality of the art, not only in the context of pre-European society, but also against the background of a resurgent Maori consciousness in modern New Zealand.
Tikanga Maori is the authoritative and accessible introduction to understanding the correct Maori ways of doing things as they were done in the past, as they are done in the present - and as they may yet be.In this revised edition, Hirini Mead has added an extensive new chapter on mana whenua, mana moana, Maori authority over land and ocean, and the different interpretations and applications of mana whenua and mana moana historically and today.Hirini Mead has also updated the section on tangihanga to include contemporary issues about cremation choices and what happens to the deceased in Maori/non-Maori partnerships where there are disputes about following tangi tikanga or Pakeha traditions.The remainder of the book explores how tikanga Maori may influence contemporary life and society, and Hirini Mead proposes guidelines to help us test appropriate responses to challenges that may yet be laid down.
'Relationships between and among people need to be managed and guarded by some rules'. Professor Hirini Moko Mead's comprehensive survey of tikanga Maori (Maori custom) is the most substantial of its kind every published. Ranging over topics from the everyday to the esoteric, it provides a breadth of perspectives and authoritative commentary on the principles and practice of tikanga Maori past and present.
Te Toki me te Whao is the first book by one of New Zealand's most esteemed experts in wood carving - and the first dedicated to Maori tool technology since Elsdon Best's Stone Implements of the Maori (1912). Building on a lifetime of study and experience, Clive Fugill provides a complete historical record as well as a practical guide in the use of Maori tools and technology. The book traces the mythical origins of wood carving and stone implements in the Pacific, location and use of materials in New Zealand, the manufacture of tools, and how to use them in making works in wood, stone and bone. Illustrated with over 80 of Clive's drawings, the book also features colour photos by Chris Hoult.
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 analyzes 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.