The Birdman Motif of Easter Island
Archaeological studies have been in progress for many years on Easter Island. However, the majority of studies and excavations have focused on the monolithic statues (moai) and ceremonial shrines (ahu). Many early visitors and researchers noted and commented upon a few petroglyphs, but little attention was directed towards the island's rock art, either generally or specifically. This could be due to the lesser visibility of the rock carvings: the statues and ahu stand out clearly and dramatically in the landscape, but petroglyphs are often hidden in high grass. Many petroglyphs are eroded and indistinct, or concealed in caves.
Despite unusual design motifs and the large sizes of many of the designs, Easter Island rock art was basically overlooked prior to 1981 when an intensive documentation project began. It soon became apparent that the rock carvings and paintings represent a highly sophisticated art, with unique motifs. The rock art of Easter Island is clearly the finest in the Pacific.
On Easter Island, petroglyphs are located in every sector of the island where there are suitable surfaces. Favored locations are smooth areas of lava flow (called "papa" in Rapa Nui), or on smooth basalt boulders. Most of these surfaces occur along coastal areas and often are associated with major ceremonial centers.
Some important ahu have, as part of their structure, elegantly carved basalt stones (paenga), with petroglyphs on them. Paintings survive in caves or in some of the stone houses at Orongo where they are protected against the weathering process.
The Rock Art of Easter Island
One of the most famous motifs on Easter Island is that of
Birdman, a halfman-halfbird image that was connected to cult events at the sacred site of Orongo. A bit of background on the culture is necessary to explain this unusual cult.
A paramount chief (ariki mau) held the original power in the society, as was typical throughout Polynesia. Over time, the chief's omnipotence declined (possibly as a result of ecological stresses), and the secular power on the island was seized by a warrior class, called matatoa. The result was a decline in the old religion of ancestor worship and an increase in acts of warfare. At this time, statue making appears to have ceased, and the birdman cult came into being. The emblem of birdman (a crouching profile human with a bird head and beak) became rule by the matatoa.
The birdman cult festivities were held at one of the most scenic spots on the island, Orongo, located on a narrow ridge between a 1,000 foot drop into the ocean on one side and a deep crater on the other.
The most sacred area at Orongo is called Mata Ngarau, where priests chanted and prayed for success in the annual egg hunt-and seemingly also carved the petroglyphs.
|
|
Orongo Narrow ridge separating
the sea and a deep crater
|
The sacred site at Orongo has a cluster of basalt boulders perched on the rim of a 300-meter cliff. Here, every rock is
covered with carvings, most of them portraying birdman.
The view is from the site looking out to sea where three small islets can be seen. The two larger figured in the birdman cult ceremony.
Orongo View from 300-meter cliff
|
|
The famous birdman image (below) from Orongo, Easter Island. This figure is a combination of a human being seen in profile with the head, beak, and gular pouch of a frigate bird. The majority of these motifs are carved in bas relief so that they stand out clearly, using the effects of light and shadow to enhance the form. |
The famous birdman image (above) from Orongo, and (left) a crouching birdman stands out in bas-relief
|
|
 |
