The Moai statues and the rock art of Easter Island reveal much about the prehistoric culture of a remarkable but short-lived society on the world's most isolated inhabited island. That the culture has survived is a testament to the contemporary artists of Rapa Nui, who today are still inspired by the island's ancient myths and design motifs.
Christian Tuki - Rapa Nui Artist
We all know deep in our heart what fills our soul, what motivates us, what is what we like to do. Well, this was my decision: to become an artist. The truth is that the only thing that supports my decision was to know that ever since I was a kid I liked to draw and when I was 18, almost unconsciously and from scratch, I held my first exhibition.
There were 8 paintings. With my grandfather Juan, Mayor at that time, I got some panels and white paint. The Principal of Easter Island’s Primary School let me use the Gym of the school. In that place I painted and arrange the panels and I turned on the lights. Then I waited. My uncle Bene Aucara Tuki, nowadays a prominent Rapa Nui artist, came in and said: “son, may I put some of my carvings under the panels?”
For me, it was like a lifesaver and that’s how my first exhibition, at age 18 was set up. And that’s how it became part of the Tapati Rapa Nui (Easter Island Week) and it was also part of the great celebration of the 100 years of the annexation of the insular territory to the continental territory.
Christian Tuki photograph by Miguel Opazo
The Governor, Mayor, authorities, an article for Papeete, Tahiti’s Nou Bell, even Toribio Merino came through that gym. The magic of those moments changed my perspective. To be honest I didn’t realize the meaning of what happened until some years later but I can’t explain how it felt.
This has been a tough decision that cost me a lot, even a family. It is very hard for me to see myself in a picture. I find it difficult to speak about the meaning of the things I see but this is my decision: I am TUKI, a Rapa Nui artist.
The Gallery
Painting descriptions provided in English /American and Spanish
Ao
Aringa Matato'a
Honu - Turtle
Ao 1.50 x 0.90 mt Textures, Acrylic Paint
A symbol of power, wore by Ariki (king) and Mata To'a (warriors) only, as well as other people who shall prove its use.
The oar shape clearly denotes the importance of navigation and the nomad spirit of us Rapa Nui people.
Símbolo de poder, solo usado por Ariki (rey) Mata To´a (guerreros) u otras personas que acreditaran su uso. La forma de remo habla muy claramente de la importancia de la Navegación y de lo Nómades de nosotros los Rapa Nui.
Aringa Matato'a 1.50 x 0.90 mt
Acrylic paint and textures
According to tradition, the Hanau Eepe hid at the Poike during the most critical moment of conflicts among two rival groups and they built a defensive ditch at the base of the peninsula from north to south.
Finally, the Hanau Momoko, rivals to the Hanau Eepe, surprise them from behind the ditch pushing them into it and then burning it. Only one Hanau Eepe survived.
One of the names of this ditch is Ko Te Umu O Te Hanau Eepe ("The Hanau Eepe Curanto"). This cruel battle took place around 1680. Archeological information contradicts the idea of a defensive ditch for being discontinuous. On the other hand the Hanau Eepe had been related with the Long Ears and the Hanau Momoko with the Short Ears but this has no relation with races or ear length. What happened is that the term eepe "strong" with epe "ear". Momoko means as a lizard or thin , both features can still be noticed within the natives of the island. This confusion among investigators originated a version in which there were two migrations: a Polynesian migration (momoko) and a subsequent migration from Peru (eepe) which has not real base.
Aringa Matato'a 1.50 x 0.90 mt
Acrílico y texturas
Según la tradición los Hanau Eepe se refugiaron en el Poike durante el momento más crítico de los conflictos entre dos grupos rivales y construyeron una zanja defensiva en la base de la península de norte a sur. Finalmente, el bando rival Hanau Momoko los sorprende por detrás de la zanja y los empuja a ésta prendiéndoles fuego, sobreviviendo sólo un Hanau Eepe. Uno de los nombres de la zanja es Ko Te Umu O Te Hanau Eepe ("El Curanto de los Hanau Eepe"). Esta cruenta batalla ocurrió alrededor de 1680. Los datos arqueológicos contradicen la idea de una zanja defensiva por ser discontinua. Por otro lado se ha relacionado a la raza de los Hanau Eepe con los Orejas Largas y a los Hanau Momoko con los Orejas Cortas, pero esto no tiene relación ni con raza ni con largo de oreja. Lo sucedido es que se ha confundido Eepe "fornido" con Epe "oreja". En cambio Momoko es "como lagartija" o "delgados", ambos rasgos aun presentes en los isleños. Esta confusión dio pie a investigadores para hablar de una migración polinésica (Momoko) y otra posterior (Eepe) del Perú Precolombino que habría traído el megalitismo, lo cual no tiene base real.
Honu - Turtle 1.50 x 0.90 mt
Textures and Acrylic paint
These petroglyphs exist in many places. Males and females, in different sizes which tells us of the abundance of the same.
Mystic beings. Avareipua, Hotu Matua s sister, the first king to arrive in the island, had a dream in which she was transformed into a Honu who travelled to Rapa Nui and she told about Te Pito o te Henua, the button bell of the world. The turtles, honu use to appear sporadically, less frequently than long ago. According to the archeologists, the tupa would be the places from which they could be seen arriving.
Honu - Tortuga 1.50 x 0.90 mt
Texturas y Acrílicos
Estos Petroglifos se muestran en distintos lugares, machos y hembras y en distintos tamaños, eso habla de la abundancia de las mismas.
Seres místicos, de hecho Avareipua la hermana de Hotu Matua, el primer rey que llego a la Isla, tuvo un sueño y fue convertida en Honu que viajo a Rapa Nui y ella hablo de Te Pito o te Henua, el ombligo del mundo.Las tortugas, honu, suelen aparecer de modo esporádico, con menos frecuencia que antaño. Según los arqueólogos, las tupa serían los lugares desde donde se atisbaba su llegada.
Ka Tere Koe - Run 1.50 x 0.90 mt
Textures and acrylic paint
This paint represents a rooster chasing a hen. These birds were introduced in the island. To possess them was considered of high social standard among people. Rooster’s feathers decorate the best Pukao (Crowns, head dresses).
Ka Tere Koe - Arrancate, huye 1.50 x 0.90 mt
Texturas y Acrílicos
Simboliza al Gallo siguiendo a la Gallina. Estas aves fueron introducidas en la Isla. La posesión de estas aves era signo de status, las plumas del Gallo adornan los mejores Pukao (Coronas, moños).
Kahi - Tuna Fish 1.50 x 0.90 mt
Textures and Acrylic Paint
Yellow fin and blue fin Kahi are abundant species in Rapa Nui. A culinary delicacy.
In ancient times, capturing a big one was a reason to celebrate. Obviously the fisherman and his family were not able of eating so much so one part was donated to the Church and a curanto was organized for all the people to participate. I believe that this particular tradition reflects the Rapa Nui people in its roots.
Kahi de aleta amarilla y azul, son especies que abundan en Rapa Nui. Una exquisitez culinaria. Antiguamente capturar uno grande, era motivo de celebrar, obviamente el pescador y su familia no eran capaces de comer tanto, entonces una parte era donada a la Iglesia y se organizaba un Curanto, en el cual participaba todo el pueblo. Considero que esta tradición en particular refleja en la raíz al pueblo Rapa Nui.
A rock fish. Its main characteristic is a very sharp dorsal spine. When threatened he gets rough (choppy) so if a largest fish wants to eat him, his spine would free him.
Pez de roca, su característica principal, es que cuenta con una espina dorsal muy aguda, cuando se siente amenazado se engrifa, así cuando un pez mas grande lo quiere engullir, su espina lo libra y escapa.
Manu Tara Vahine - Female Sea Bird 1.50 x 0.90 mt
Textures and acrylic paints
Manu Tara, a good luck sea bird is here depicted in its female gender. In Rapa Nui Culture the most fertile females are privileged with respect to the others.
Manu Tara Vahine - Ave Marina Hembra 1.50 x 0.90 mt
Texturas y Acrílicos
Manu Tara ave marina de buen augurio, representada en este caso en su genero femenino. En la Cultura Rapa Nui las hembras más fértiles son privilegiadas con respecto a las demás.
Manutara 1.50 x 0.90 mt
Textures and Acrylic paint
All social life of Easter Island people would adhere, long ago, to the worshiping of the Manutara bird (sterna fuscata). A good omen bird. Every year, the main ceremony would be held to appoint a chief that would receive the name of Tangata Manu (Bird Man). In order to receive this honor, it was necessary to get the first egg laid by the manutara bird. The ceremony was held in a place named Orongo where the participants needed to swim across the open sea, overcoming dangerous currents and waves to reach an islet where the bird nested. After the egg was collected, they needed to swim back to the shore as fast as they could, to show it to the people gathered in that place.
The holder of the egg was from that moment protected by the gods and would become the “tangata-manu”. He would shave his head and paint it in red; wore a crown-wig made of human hair, called “hau-oho”; painted his head in red and black and finally, he would change his name for the name of the upcoming year.
After the ceremony, the tangata – manu would retire to a house build especially for him at the slope of Rano- Raraku, in a region called Orohié, for one year.
Toda la vida social de los pascuenses se ceñía otrora, en torno al culto del pájaro manutara (Sterna Fuscata) Pájaro de la suerte. La ceremonia principal tenía como fin nombrar cada año un jefe que recibía el nombre de Tangata Manu (Hombre pájaro). Para lograr este título era preciso apoderarse del primer huevo puesto por dicha ave marina migratoria. Esta ceremonia se realizaba en el lugar llamado Orongo,
Para ir en busca del huevo era menester atravesar a nado un brazo de mar revuelto y dificultoso a causa de los vientos y los escollos; llegar a un islote, peligrosamente combatido por el oleaje; y luego en posesión del primer huevo allá recogido, retornar a toda prisa, pues era indispensable hacer ver el huevo, lo antes posible a los pascuenses reunidos en la orilla.
El poseedor del huevo, protegido desde ese momento por los dioses se tornaba en " tangata-manu" debía afeitarse la cabeza y pintársela de rojo; ponerse luego una corona- peluca de cabellos humanos, llamada "hau-oho"; pintarse el rostro de rojo y de negro; y por último cambiar de nombre tomando el de año que iba a empezar.
Luego, el tangata-manu se retiraba por un año, a una casa que construían para él en las faldas del Rano-Raraku en la región llamada Orohié.
Roost or roosters. These birds were brought into the island. The family who possessed them had a higher social standing. Chicken coops with a peculiar shape were built. Those coops had a small entry in which the birds only could get in. The door was a stone of the precise size to prevent robbery. The general size was of an average modern room. Rooster´s feathers were used and are still used to make Pukaos or ornamental head dresses.
Gallo ó gallos. Estas aves fueron introducidas en la isla, el ó la familia que las poseía tenia un rango superior, además se construyeron gallineros que tenían una arquitectura muy particular, ya que entraban por un espacio que solo las aves podían accesar y así se evitaba el robo y la puerta era una piedra del tamaño justo para este fin. El tamaño general era el de una habitación actual aproximadamente. Sus plumas eran y son ocupadas para hacer Pukaos o Tocados decorativos.
Nanue Hatu 1.50 x 0.90 mt
Textures and Acrylic paints
This is one of Rapa Nui´s staple food. It is eaten as Pisissihue and also as Nanue Hatu, when it becomes an adult. I recommend it in Tunu Ahí (grilled) and stewed Nanue with maika (banana). There is also a neon yellow Naue Para, being the gray one, the most common one.
Esta es una de las especies básicas de la dieta Rapa Nui, se come como Pisissihue y como Nanue Hatu cuando ya es adulto. Recomiendo el Pisisihue en Tunu Ahí (a la parrilla) y el Nanue a la olla con maika (plátano). También existe el Naue Para de color amarillo fosforescente, siendo el color gris el más común.
Orongo/Manu Tara 1.50 x 0.90
Textures and Acrylic paint
At the Rano Kau volcano we will find the Rapa Nui’s ancestors ceremonial city, Orongo, where the ancient ritual of the bird man “Tangata Manu” was celebrated. This originated the island’s most relevant celebration, the Tapati Rapa Nui which is still held every year. From Orongo one can see the Motu Nui, Motu Iti and Motu Kao Kao islets. These “motus” are inhabited by several sea birds, the “Manutara” bird among them. Legend says the man who collected the first egg laid by the manutara would become the king of the island for one year; he would become the Tangata Manu. Besides from Orongo and its wonderful view to the ocean, it is highly recommended to visit the crater view point with its impressive setting, where the dare may follow the road down to the crater lagoon.
Orongo/Manu Tara 1.50 x 0.90 mt
Texturas y Acrílico
En el volcan Rano Kau encontramos la ciudad ceremonial de los ancestros Rapa Nui, Orongo, donde se celebraba el antiguo ritual del hombre pájaro "Tangata manu". Este es el origen de la fiesta más importante de la isla, Tapati Rapa Nui. Desde Orongo apreciamos los islotes Motu Nui, Motu Iti y Motu Kao Kao. Estos "motus" son habitados por diversas aves marítimas. Entre ellas el ave fragata "Manutara". La leyenda dice que el hombre que recogia el primer huevo del Manutara seria el rey de la isla por un ano, el Tangata Manu. Además de Orongo y su maravillosa vista hacia el océano se recomienda visitar el mirador del cráter, que muestra su imponente presencia y el más aventurero puede bajar por la huella hacia la laguna del cráter.
Mamari - Eggs 1.30 x 1.30 mt
Textures and Acrylic Paint
The Mamari (egg) of the Manu Tara (Sacred Sea Bird) represented the extension of life since the egg also represented the food required to survive. Besides, the Tangata Manu (Bird Man) competition demanded the physical fitness of its participants. For this reason, the winner of this competition would be awarded not only with the Political Authority but also with the maidens belonging to different clans since he would be demonstrating his superior genetics.
Mamari - Huevos 1.30 x 1.30 mt
Texturas y Acrílicos
El Mamari (huevo) del Manu Tara (Ave Marina Sagrada) era la prolongación de la especie, ya que este huevo representaba el alimento necesario para la supervivencia. Además la competencia del Tangata Manu (Hombre Pájaro) demandaba el estado físico de sus competidores, por ello el ganador de la competencia además de la Autoridad Política obtenía a las doncellas de los diferentes clanes, ya que este además demostraba su genética superior.
Tangata Manu - Bird Man 1.0 x 1.0 mt
Textures and Acrylic paint
The decline of the Rapa Nui Culture was marked by this competition or rite. After the battle among the Hanau E´epe (Long eared, the dominant class) and the Hanau Momoko (Short eared, the dominated class) in the ditch at the Poike volcano slope in which the Hanau Momoko won their freedom they needed to get organized and since survival was a significant part of the goals as a society, they created this competition. It clearly represented the search for food through the Mamari (egg) and the physical superiority through the competition demands. The winner would become the Tangata Manu, a superior man that was physically and spiritually capable of leading his people to survival.
Tangata Manu - Hombre Pájaro 1.0 x 1.0 mt
Texturas y Acrílicos
La decadencia de la Cultura Rapa Nui es marcada por esta competencia o rito. Después de la Batalla entre Hanau E´epe (Orejas largas, Clase dominante) y los Hanau Momoko (Orejas cortas, clase dominada) en la zanja en las faldas del Volcán Poike y en la cual los Hanau Momoko ganaron y con esto la libertad, bueno después igual se debían organizar y como la supervivencia era parte importante de los objetivos de la sociedad, se creo esta competencia. Marcaba claramente la búsqueda del alimento atreves del Mamari (huevo) y la superioridad física a través de las exigencias de la competencia. Bueno el ganador era el Tangata Manu un hombre superior física y Espiritualmente que era capaz de llevar a sus congéneres a la supervivencia.
Vaka Ama 1.50 x 0.90 mt
Textures and Acrylic paint
Polynesian migrations from island to island, all across the sea were made in big boats commanded by several sailors in which long voyages of several weeks or months could be made. The boats used for limited trips were the vaka-ama, boats with seesaw, which are still common among natives of many Polynesian regions and the far east. The ones for long trips in which a higher cruise speed was required, were equipped with sail, pole, wood oar and stone anchors. They were big boats that could transport whole families with their food, animals and vegetables for their food or future plantations. But the classical ancient boat, for long trips was the double canoe or catamaran which was more stable and had a wider transportation capacity. According to Polynesian traditions it was common, during long journeys, to slip apart double canoes, provide them with seesaw and oar in order to increase their cruise speed.
Las migraciones de los polinesios, de isla en isla o a lo largo de los caminos del mar se hacían en grandes barcas, tripuladas por numerosos navegantes en las cuales se podían efectuar periplos de muchas semanas o meses de duración. Las usadas para las jornadas limitadas eran las vaka-ama, los barcos con balancín, que aún son comunes entre los indígenas de muchas regiones de Polinesia y el extremo oriente. Las utilizadas para viajes largos, en los cuales se requería mayor velocidad de crucero, iban equipadas con vela, mástil, remos o pagayas de madera y anclas de piedra. Las había de gran tamaño, que podían transportar familias enteras con sus víveres, animales domésticos y vegetales para la alimentación o para futuras plantaciones. Pero la clásica embarcación antigua, para los viajes que duraban semanas o meses, era la piragua doble o catamarán, de mayor estabilidad y capacidad de transporte. Según las tradiciones polinesias, era frecuente que en algún largo viaje, las piraguas dobles fueran separadas y se las proveyera de balancín, ama, que aumentaba su velocidad de crucero.
Boat. By means of this abstract shape that represents a boat I wanted to show two symbols that are quite contemporary to the time in which they were sculpted on the stone. For example the Honu (turtle) is drawn over a Moai’s belly and it represents the anchor of a boat with three poles also drawn. The Tangata Manu (Bird Man) is actually carved over a stone at the Ceremonial City of Orongo. This symbol is quite significant in the decline of the Rapa Nui culture.
Bote. A través de esta forma abstracta que simula un bote quise mostrar dos símbolos muy contemporáneos a la época en que fueron tallados en la piedra. Por ejemplo la Honu (tortuga) esta dibujada en la panza de un Moai, y representa el ancla de un barco con tres mástiles que también esta dibujado. El Tangata Manu (hombre Pájaro) esta figura se encuentra tallada en una piedra en La Ciudad Ceremonial de Orongo, símbolo muy trascendente en la decadencia de la cultura Rapa Nui.
Kahi - Tuna Fish 1.50 x 0.90 mt
Textures and Acrylic Paint
Yellow fin and blue fin Kahi are abundant species in Rapa Nui. A culinary delicacy. In ancient times, capturing a big one was a reason to celebrate. Obviously the fisherman and his family were not able of eating so much so one part was donated to the Church and a curanto was organized for all the people to participate. I believe that this particular tradition reflects the Rapa Nui people in its roots.
Kahi de aleta amarilla y azul, son especies que abundan en Rapa Nui. Una exquisitez culinaria. Antiguamente capturar uno grande, era motivo de celebrar, obviamente el pescador y su familia no eran capaces de comer tanto, entonces una parte era donada a la Iglesia y se organizaba un Curanto, en el cual participaba todo el pueblo. Considero que esta tradición en particular refleja en la raíz al pueblo Rapa Nui.
Manutara 1.50 x 0.90 mt
Textures and Acrylic paint
All social life of Easter Island people would adhere, long ago, to the worshiping of the Manutara bird (sterna fuscata). A good omen bird. Every year, the main ceremony would be held to appoint a chief that would receive the name of Tangata Manu (Bird Man). In order to receive this honor, it was necessary to get the first egg laid by the manutara bird. The ceremony was held in a place named Orongo where the participants needed to swim across the open sea, overcoming dangerous currents and waves to reach an islet where the bird nested. After the egg was collected, they needed to swim back to the shore as fast as they could, to show it to the people gathered in that place.
The holder of the egg was from that moment protected by the gods and would become the “tangata-manu”. He would shave his head and paint it in red; wore a crown-wig made of human hair, called “hau-oho”; painted his head in red and black and finally, he would change his name for the name of the upcoming year.
After the ceremony, the tangata – manu would retire to a house build especially for him at the slope of Rano- Raraku, in a region called Orohié, for one year.
Toda la vida social de los pascuenses se ceñía otrora, en torno al culto del pájaro manutara (Sterna Fuscata) Pájaro de la suerte. La ceremonia principal tenía como fin nombrar cada año un jefe que recibía el nombre de Tangata Manu (Hombre pájaro). Para lograr este título era preciso apoderarse del primer huevo puesto por dicha ave marina migratoria. Esta ceremonia se realizaba en el lugar llamado Orongo,
Para ir en busca del huevo era menester atravesar a nado un brazo de mar revuelto y dificultoso a causa de los vientos y los escollos; llegar a un islote, peligrosamente combatido por el oleaje; y luego en posesión del primer huevo allá recogido, retornar a toda prisa, pues era indispensable hacer ver el huevo, lo antes posible a los pascuenses reunidos en la orilla.
El poseedor del huevo, protegido desde ese momento por los dioses se tornaba en " tangata-manu" debía afeitarse la cabeza y pintársela de rojo; ponerse luego una corona- peluca de cabellos humanos, llamada "hau-oho"; pintarse el rostro de rojo y de negro; y por último cambiar de nombre tomando el de año que iba a empezar.
Luego, el tangata-manu se retiraba por un año, a una casa que construían para él en las faldas del Rano-Raraku en la región llamada Orohié.
Hei or crown. They can be made out of palm leaves or different flowers. Tradition says: Flower behind the right ear: Engaged Woman. Flower behind the left ear: Single Woman. Men also wear them but just for protection from the sun.
Hei o corona, pueden ser de hojas de Palmera o de distintas flores, la costumbre dice: Flor en la oreja derecha Mujer Comprometida. Flor en la oreja izquierda Mujer Soltera. Los hombres también las usan, pero su uso es para protegernos del sol.
"I want to paint everything and all, but always seeking for a sense or content. A way to uplift the object or themes I choose. I want to tell that Rapa Nui petroglyphs speak about the food, the fish species, the Tangata Manu (bird man) and the power acquired by possessing his eggs. I want to showcase Rapa Nui, further than it’s moais, to show its people, natural and affectionate people, who love simple things, music and are respectful of nature and its laws. I want to tell that we like being so far away but that we still need to grow and learn. That we are far from being a political majority but we are one of the wonders of the world and even if we don’t have enough votes, we are a recognized world patrimony".
(left) Tangata Rapa Nui / Insular Man
1.50 x 0.90 mt Acrylic Paint
Typical Rapa Nui man. Pukao (head dressings) feathers, vegetal fibers, sea shells are quite rooted in our culture ever since our ancestors. Long time ago they used to have different meanings. Nowadays I believe they have to do with investing certain objects with a special power or as lucky charms.
To find out more about the work of Rapa Nui Artist Christian Tuki, please visit his website at http://www.tukirapanui.cl where you can find the latest information and details of planned exhibitions.
