An Archaeological Perspective
Introduction
The Marquesan Archipelago, located in French Polynesia, has been a subject of fascination since the arrival of Europeans in the late 16th century. Among the most intriguing aspects of Marquesan culture are the anthropomorphic sculptures, commonly referred to as tiki. Despite their historical significance, these sculptures have not been systematically surveyed, documented, and analyzed until recent decades.
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Historical Background
The first recorded encounter between Europeans and the Marquesan people, or Te Enana, occurred in July 1595 when Spanish explorers Alvaro de Mendaña and Pedro Fernández de Quiros visited the islands. This encounter marked the beginning of European influence in the region, which significantly altered the Marquesan social fabric. The anthropomorphic sculptures, however, predate these encounters and are deeply rooted in Marquesan culture and religion.
The Marquesas Island Rock Art Project
In 1984, the Marquesas Island Rock Art Project was initiated by Maeva Navarro of the Département d’Archéologie, Centre Polynésien des Sciences Humaines, under the direction of Edmundo Edwards. This project marked the first systematic effort to document the stone tiki of the Marquesas. Over the course of five years, eighty-four stone statues were documented across seventeen valleys on the six inhabited islands of the archipelago.
Characteristics of the Tiki
The tiki represent deified ancestors, including chiefs and priests, and are not necessarily depictions of the god Tiki. These sculptures are found in various forms, including statues carved in the round, modified boulders, and figures in deep bas-relief. Common visual characteristics include large circular eyes, wide noses, and slightly flexed legs. The tiki are associated with sacred sites, such as shrines (me’ae) and ritual places within tribal communal complexes (tohua).
Distribution and Location
The majority of the documented tiki, 63.1 percent, were found on Hiva Oa, with significant numbers also located on Nuku Hiva and other islands. The sculptures are often found in situ, but many have been relocated, making their original context uncertain.
Material and Structure
The tiki were primarily carved from sacred red volcanic tuff, with some sculptures crafted in basalt or gray/yellow tuff. The size of the head, considered the seat of supernatural power, is a significant feature, often comprising one-third or more of the statue‘s height. Decorative elements, such as tattoos and headdresses, are common, reflecting the cultural and religious significance of the sculptures.
Conservation Issues
The preservation of these sculptures poses a significant challenge, particularly for those carved from the more friable red and yellow volcanic tuff. Efforts to protect the sculptures from environmental deterioration include the construction of thatched roofs over the most fragile tiki at Me’ae Iipona, Puamau.
Age Determination and Artistic System
Determining the age of the tiki is challenging, with estimates ranging from the 13th to the 18th century AD. The stylistic similarities between the tiki, petroglyphs, and other Marquesan art forms suggest a homogeneous decorative system that reinforced social solidarity and the political positions of chiefs, priests, and warriors.
Conclusion
The anthropomorphic sculptures of Nuku Hiva and the broader Marquesan Archipelago offer invaluable insights into the culture, religion, and social organization of the Marquesan people. While significant progress has been made in documenting and analyzing these sculptures, much remains to be explored. Future research will undoubtedly enhance our understanding of these remarkable artifacts and the civilization that created them.
Sources and Further Reading
Tiki: Anthropomorphic Sculptures, Sacred Structures and Powerful Places in Marquesas Islands
Image Credit
Moai Image Credit
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