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| Hieke -Rain Cape 28 x 22 Aroha Puketapu New Zealand Maori 1. Male Moko Mask (2001) 10 x 7 in, wood jade acrylic paint Rikirangi Manuel New Zealand Maori The origins of ta moko lie in the ancient story of Niwareka and her husband Mataora. They lived at a time when the art of chiseling the skin was not known and designs were painted on the body. In one tradition, Mataora mistreated Niwareka who fled to her father's people in Rarohenga, the underworld. Mataora pursued his wife, wanting to persuade her to return. But when he reached Rarohenga, the designs painted on his face were smeared with sweat from his exertions. Seeing his appearance, his wife's people ridiculed him - since their faces were marked with permanent incisions. Ashamed, Mataora begged his wife's forgiveness and asked his father-in-law to teach him the art of ta moko. Niwareka eventually forgave her husband and returned with him to the world above, taking with her the art of taniko, a delicate and intricate form of weaving. Mataora brought with him the knowledge of moko. In that way, knowledge of these arts entered the world.  2. Female Moko Mask (2001) 10 x 7 in, wood jade acrylic paint Rikirangi Manuel New Zealand Maori The origins of ta moko lie in the ancient story of Niwareka and her husband Mataora. They lived at a time when the art of chiseling the skin was not known and designs were painted on the body. In one tradition, Mataora mistreated Niwareka who fled to her father's people in Rarohenga, the underworld. Mataora pursued his wife, wanting to persuade her to return. But when he reached Rarohenga, the designs painted on his face were smeared with sweat from his exertions. Seeing his appearance, his wife's people ridiculed him - since their faces were marked with permanent incisions. Ashamed, Mataora begged his wife's forgiveness and asked his father-in-law to teach him the art of ta moko. Niwareka eventually forgave her husband and returned with him to the world above, taking with her the art of taniko, a delicate and intricate form of weaving. Mataora brought with him the knowledge of moko. In that way, knowledge of these arts entered the world. 
3. Hei Tiki, Hei Tiki, Hei Tiki (1997) 71 x 47 in, acrylic on canvas Kura Te Waru Rewiri New Zealand Maori Kura Te Waru Rewiri's works are interpretations of her life long experiences with the Ratana church. Contemporary Ratana followers like Rewiri are concerned by the apparent loss of traditional Maori knowledge. Moreover, her works indicate a mystical approach and a profound sense of spiritual connection with land and community; weaving together a personal and collective narrative of her Maori and female self, threads which create pathways between the past and present.  26 x 21 in, ink on paper John Bevan Ford New Zealand Maori Within our culture there developed a series of symbols especially visual ones, that drew attention to and reflected an appreciation of the need to act with care, regard and deference for the presence of those cosmic energies. Amongst these were images we entitled -- Kaitiaki -- or Guardians. A -- Kaitiaki -- image is designed to suggest to you that you are in a place or area that should be treated with care and respect. It should also connect with the need to take responsibility for caring as well as the strength to care for. For me the Guardian forms I use should encapsulate latent energy within a dignified self contained presence. In attempting this an important element is the cloak shape. In traditional Maori life a fine cloak signified identity, power and dignity of it’s wearer. Therefore the use of cloaks in these paintings is intended to contribute toward a feeling of distinction plus enshrouded power. 
5 Friends Meet (1995) 41 x 33 in, ink on paper John Bevan Ford New Zealand Maori Pacific Rim series, entitled -- Te Aitanga a Kiwa, -- The Progeny of Kiwa, where a focus on the cultural energies of the peoples of the Pacific Rim and their connections with one another and ourselves. The geometrical shapes represent Pacific Rim nations. Central to many Pacific nations is the fish hook and the exploits of Maui. It all started with a working seminar for indigenous artists of the Pacific Rim in Rotorua, New Zealand where visiting artists located themselves on a map of the Pacific ocean. 
6 Spreading Seeds (1995) 46 x 33 in, ink on paper John Bevan Ford New Zealand Maori Pacific Rim series, entitled -- Te Aitanga a Kiwa, -- The Progeny of Kiwa, where a focus on the cultural energies of the peoples of the Pacific Rim and their connections with one another and ourselves. The geometrical shapes represent Pacific Rim nations. Central to many Pacific nations is the fish hook and the exploits of Maui. It all started with a working seminar for indigenous artists of the Pacific Rim in Rotorua, New Zealand where visiting artists located themselves on a map of the Pacific ocean. 
7 Koha (1996) 26 x 25 in, ink on paper John Bevan Ford New Zealand Maori Pacific Rim series, entitled -- Te Aitanga a Kiwa, -- The Progeny of Kiwa, where a focus on the cultural energies of the peoples of the Pacific Rim and their connections with one another and ourselves. The geometrical shapes represent Pacific Rim nations. Central to many Pacific nations is the fish hook and the exploits of Maui. It all started with a working seminar for indigenous artists of the Pacific Rim in Rotorua, New Zealand where visiting artists located themselves on a map of the Pacific Ocean. 8. Taurapa (1999) 31 in x 8 in, wood carving James Taoni - a - Rickard New Zealand Maori Depicted is a scaled down relica of a war canoe sternpost, Taurapa, The carving reveals two central ribs that suggest the two creative principles of knowledge and life, the gods and mankind. A beaked figure -- manaia -- bites and wrestles with these forces as it battles the notions of war and peace. Surrounding these are open work spirals -- takarangi -- that represent the entry of light and knowledge into the world. The figure at the bottom represents the God of War,-- Tumatauenga -- or a revered ancester. 
9. Untitled 1 (2003) 29 in x 36 in, acrylic & water color on paper Robyn Kahukiwa New Zealand Maori A uniquely Polynesian treatment and bright, vivid palettes have made Robyn’s art instantly recognisable and respected by some of the worlds leading art historians such as Edward Lucie-Smith. In Robyn’s own words her works reflect the mana or prestige of her people; strength, energy, dynamism and continuance. Since the early 1970s Robyn Kahukiwa has been painting and exhibiting art that celebrates socio-cultural issues – some which are controversial – that are central to the Maori experience in -- Aotearoa -- New Zealand today but equally relevant to all indigenous peoples of the world; ranging over issues such as colonialism and the dispossession of indigenous people, motherhood and bloodties, social custom, mythology and political activism.
10. Untitled 1 (2003) 29 in x 36 in, acrylic & water color on paper Robyn Kahukiwa New Zealand Maori A uniquely Polynesian treatment and bright, vivid palettes have made Robyn’s art instantly recognisable and respected by some of the worlds leading art historians such as Edward Lucie-Smith. In Kahukiwa's own words, her works reflect the mana or prestige of her people; strength, energy, dynamism and continuance. Since the early 1970s Robyn Kahukiwa has been painting and exhibiting art that celebrates socio-cultural issues – some which are controversial – that are central to the Maori experience in -- Aotearoa -- New Zealand today but equally relevant to all indigenous peoples of the world; ranging over issues such as colonialism and the dispossession of indigenous people, motherhood and bloodties, social custom, mythology and political activism. 11. Haka (2003) 24 x 18 in Limited Edition Print Robyn Kahukiwa New Zealand Maori Haka is the dance of the Maori people. There are many types of -- haka -- including some that were specifically intended for battle. Today the -- haka -- is an aspect of Maori culture that has become a national expression of New Zealand’s identity. 12. Ko Te Hongi (2003) 18 x 24in Limited Edition Print Robyn Kahukiwa New Zealand Maori The -- hongi -- pressing of noses and inhalation of each other's breath is the traditional greeting of the Maori -- handed down from the ancestors. Te mihi, Te mihi nui, Te mihi Mana nui -- The greeting, The big greeting, The greeting of great -- mana -- prestige. 13. He Koka me Tamaiti (2003) 24 x 18in Limited Edition Print Robyn Kahukiwa New Zealand Maori Translation: Mother & Child  14. Hine II (2003) 24 x 18in Limited Edition Print Robyn Kahukiwa New Zealand Maori 15. Paikea (1991) 24 x 18in Acrylic on Paper Robyn Kahukiwa New Zealand Maori Paikea is an ancestor of the Ngati Porou, a tribe on the east coast of New Zealand's North Island. Paikea is the name assumed by Kahutia-te-rangi because he was assisted by humpback whales -- paikea -- that saved his life. 16. Hine (2003) 24 x 18in Limited Edition Print Robyn Kahukiwa New Zealand Maori In the creation story of the Maori, the first woman created from sand by Tane, the son of Ranginui-- Sky Father –and Papatuanuku -- Earth Mother, was Hine-ahu-one after Tane breathed life into her. Together their first born child was Hinetitama. She was very beautiful, so much so that in later times a beautiful woman could be complimented by being told, You are Hinetitama, the sight of you brings tears to our eyes 17. Whero Upoko (2003) 24 x 18in Limited Edition Print Robyn Kahukiwa New Zealand Maori Upoko -- Mask 18. Hine Whetu (2003) 24 x 18in Limited Edition Print Robyn Kahukiwa New Zealand Maori Hine Whetu: Hine of the Stars. The term -- whetu -- is often applied to comets and stars. 19. Waka Hoe (1996) 28 x 24 in Mono Print Gabrielle Belz New Zealand Maori Waka Hoe -- crew member of a canoe 20. Mana Wahine (1996) 28 x 24in Mono Print Gabrielle Belz New Zealand Maori Mana Wahine: Celebrating Maori Women 21. Koruru I (2004) 12 x 8 in, wood carving David Te Hira New Zealand Maori Placed high on the front apex of a -- wharenui -- carved house. Koruru represents an important tribal ancestor linked to the living by unbroken lines of descent. The style of carving originates from the East Coast of the North Island of New Zealand. 22. Koruru II (2004) 12 x 8 in, wood carving David Te Hira New Zealand Maori Placed high on the front apex of a -- wharenui -- carved house. Koruru represents an important tribal ancestor linked to the living by unbroken lines of descent. The style of carving originates from the Northern tribes of the North Island of New Zealand. 23. Koruru III (2004) 12 x 8 in, wood carving David Te Hira New Zealand Maori Placed high on the front apex of a -- wharenui -- carved house. Koruru represents an important tribal ancestor linked to the living by unbroken lines of descent. The style of carving originates from Taranaki, the West Coast of the North Island of New Zealand. 24. People of the Land (1997) 37 x 29 in acrylic on paper Darcy Nicholas New Zealand Maori My paintings are about identity, the ancestral lines that connect me with the universe. I want to paint the spiritual richness that speaks of the timeless culture that I know. 25. Koha (1996) 13 x 6in acrylic, wood Darcy Nicholas New Zealand Maori Nicholas became aware that the carved and painted mask was a huge omission from the contemporary Maori art movement. Ancestral faces had become a feature of his art, so he literally tore the face from his painted canvas and created a series of powerful painted wooden masks.  26. Taniwha (2001) Bone carving 2.5 in x 1.5 in Taniwha are fabulous beings believed to dwell in harbors, lakes and oceans. The pendant is carved from ox bone with inlaid eyes made of 42 million year old amber from a coal mine at Kamo, in the far north of New Zealand. Recently in New Zealand, a road construction project was modified to avoid disturbing a taniwha. In its original form, the road project would have encroached on a swamp which is said to be the home of a one-eyed -- taniwha -- creature named Karutahi. The local tribe, Ngati Naho, say the -- taniwha -- spends half the year in the swamp and it has a second home in the Waikato River to which it swims during floods. To ensure the swamp remained undisturbed, the construction company altered plans to preserve the historic site. 27. Hei Tiki (1999) 3 x 2 in, nephrite jade Clem Mellish New Zealand Maori Nephrite jade Tiki are valued for their beauty and rarity. They also provide a spiritual link with earlier generations who have worn them. Pendants that once belonged to departed relatives are venerated because of their associations with the dead. Several myths explain the origin of -- pounamu -- New Zealand nephrite jade. In one of the best known is a fantastic pet fish named -- Poutini -- that swam from -- Hawaiki -- the mythical home land of the Maori to the South Island of New Zealand. The pet fish belonged to a man named Ngahue.
 28. Wakahuia (2008) wood, paua shell, feathers, muka Nigel Hamahona New Zealand Maori 29 - 32 New Zealand Maori Bone Carvings Beef bone Pendants 33 - 34 Heru (I) & (II) wood, bone, paua shell Nigel Hamahona New Zealand Maori Toki Pou Tangata wood, flax (muka), jade, feathers Nigel Hamahona  35. Emu Dreaming (1997) 28 x 22 in , acrylic on canvas Walangari Karntawarra Australian Aboriginal The emu is the law keeper and protector of the law. This law is from the Dreamtime and cannot be changed unless the ancestors intervene. 
36. Emu's Nest (2001) 76 x 43 in, acrylic on canvas James P Simon Australian Aboriginal 37. Reflections (1993) 56 x 31 in, acrylic on canvas James P Simon Australian Aboriginal 38. Ancestral Masks 2004 35 x 34 in, oil on canvas James P Simon Australian Aboriginal 39. Rainbow Sunset (2004) 12 x 9 in, oil on canvas James P Simon Australian Aboriginal 40. Water Fall Infinity (2004) 12 x 9 in, oil on canvas James P Simon Australian Aboriginal 41. Two Sides of the Fence (2004) 26 x 24 in, oil on canvas James P Simon Australian Aboriginal 42. Cave Paintings (2004) 20 x 35 in, oil on canvas James P Simon Australian Aboriginal 43. Night Dreams (2004) 20 x 35 in, oil on canvas James P Simon Australian Aboriginal 44. Marama --Light (2007) wood, acrylic, ink, Nigel Hamahona New Zealand Maori This mask represents the essence of Te Po -- Night -- and Te Marama -- Day; taken from the creation story of the Maori, when Tane Mahuta -- God of the Forest -- separated sky from earth, light (enlightenment) came flooding into the world, thus life for mortal man could begin. The black moko design represents the world of darkness, before the separation and the colored moko depicts the breaking of dawn. 45. Kumete (2006) wood, feathers, paua shell, acrylic, ink, muka -- flax Nigel Hamahona New Zealand Maori
Kumete were food bowls used by tribal leaders on ceremonial occasions. These were carved out of wood and embellished with ornate designs. Although the lizard was not used as a food source, one has been placed on the inside of this bowl to show the importance of the vessel, for they “symbolize the Tapu -- power & prestige -- of chiefs, who were referred to as Tuatara and Kaweau “- both species of lizard
The end figures carved on the top of the Kumete represents both spiritual and physical nourishment.
Beneath the bowl is a design that represents the tendrils of the Hue -- Lagenaria vulgaris -- or gourd plant as it grows from seed to mature plant. The fruit of these plants were dried and used for food and water containers.
46. Whenua O Whakaari -- Land of White Island (2007)
6ft 4in width x 4ft Naomi Leonard New Zealand Maori/ Rarotonga/Cook Island
According to local legend, White Island, situated on the east coast of New Zealand's North Island, was formed when the great tohunga -- priest, Ngatoro-i-rangi was attempting to climb Mount Tongariro.
During his ascent, a great blizzard threatened the expedition and the tohunga was in grave danger of freezing to death.
Ngatoro-i-rangi prayed to his sister's in Hawaiiki -- the spiritual homeland of the Maori, for assistance and they sent the guardians of fire, Te Pupu and Te Hoata to rescue him. On their rescue mission from Hawaiiki, the guardians of fire surfaced at White Island, causing the land to erupt and burst into flames. 
47. Putorino (2007)
15 in x 2.5 in New Zealand Maori Putorino: The putorino is a purely Maori invention, occurring nowhere else in Polynesia or in any other part of the world. It is a wooden trumpet varying in length from 9 to 20 in.
48. Koauau (2007)
4 in x 1in New Zealand Maori
The koauau (also pu koauau) is unique among flute types in Polynesia because it is ductless and without a notch. As such, the flutist must make a lip embouchure. This embouchure is like a pucker when you whistle through your lips. Koauau flutes have four finger holes (sometimes only three) and are usually beautifully carved. Because of their beauty, they are sold as expensive art objects rather than musical instruments. The koauau is usually played to accompany a single singer, as a sound reinforcement to either a male or female voice.
49. Meeting Place (2004) 34 x 35 in, oil on canvas James P Simon Australian Aboriginal
50. Didgeridoo Dreaming (2004) 35 x 35 in, oil on canvas James P Simon Australian Aboriginal 51. Dancing with Brolga, 2003 24 x 27 in, oil on canvas James P Simon Australian Aborigine 52. Mana Wahine 24 x 18 Robyn Kahukiwa New Zealand Maori 53. Dream Dangers (2003) 13 x 19 in, oil on canvas James P Simon Australian Aborigine  54. Spirit's Of The Young & Old ( 2003) 11 x 18 in, oil on canvas James P Simon Australian Aborigine  55. Heart & Soul of the Young ( 2004) 11 x 18 in, oil on canvas James P Simon Australian Aborigine 54. Kete The Discovery Of Weaving - Maori Myth
According to one tradition from the Hauraki region, weaving and plaiting came from a fairy women-- patupaiarehe -- Hinerehia, who married a human man called Karangaroa, a chief
of the Maruiwi people from Motuihe Island in the Hauraki Gulf . They met when Hinerehia was gathering rehia, an edible seaweed. They married and had children.
Hinerehia was an expert in preparing and dyeing flax fibre, weaving garments and plaiting baskets and mats. She worked only at night and on foggy days. At dawn
she would put away her unfinished work, hiding it from the sunlight. This was the custom of the fairy people, as the sun would undo weaving and cause them to lose
their skills.
The women of Motuihe were anxious to learn Hinerehia’s skills but could not do so in the darkness. A priest -- tohunga -- agreed to confuse Hinerehia’s senses and keep her
working after the sun rose. Hinerehia continued to work while the women hiding nearby learnt her secrets. When she grew tired and laid her work aside, she realised she had
been deceived. She sang a sad farewell to the husband and children she would not see again, and then a cloud came down and carried her off to her old home in the Moehau Range.
55. Bone Carving pendant This Ngati Porou story tells of Rua-Te-Pupuke, and how he acquires the knowledge of Maori carving -- whakairo from Tangaroa, the god of the sea. This happened because Tangaroa took Rua-Te-Pupuke's son, Manuruhi. Manuruhi was kidnapped and pulled down to the depths of the sea by Tangaroa while he fished with a magic fish hook made for him by Rua-Te-Pupuke. Tangaroa took Manuruhi, firstly because he caught fish without performing the appr0priate incantation -- karakia and did not ask Tangaroa's permission, and secondly because he did not offer the first fish he had caught to Tangaroa. Rua-Te-Pupuke was devastated at the loss of his son. Determined to find Manuruhi he began his search in the seas. Eventually Rua-Te-Pupuke found Manuruhi as a a permanent carving -- tekoteko -- on top of Tangaroa's house -- wharenui. Tangaroa's house was made up of a number of carvings. The carvings located inside the house could speak but the carvings located outside on the porch could not. Rua-Te-Pupuke was furious with Tangaroa and he decided to avenge his son’s death. He sought advice from a women who told him he must block the window and door in Tangaroa's wharenui so that daylight could not enter. Taking this advice, Rua-Te-Pupuke waited for evening when Tangaroa returned home with his children - the fish of the sea. The next day Tangaroa and his children were unaware that the sun had risen because Rua-Te-Pupuke had covered the window and door of the wharenui. Rua-Te-Pupuke then uncovered the doorway, fighting and killing Tangaroa's children. He destroyed Tangaroa's hosue, taking the non-speaking carved posts from the porch of Tangaroa's home and the tekoteko in the image of his son. These non-speaking posts, known as poupou and Manuruhi the tekoteko, became the models for carvers. That is how the Maori acquired the knowledge of carving -- whakairo. Heru -- Comb This large heru (ornamental comb) is made from native New Zealand wood called rimu: Dacrydium cupressinum . The Heru has five teeth with an inlaid paua, a large New Zealand abalone with blue-green inner shell. Maori men traditionally kept long hair that was oiled and sometimes braided, and dressed upon their heads in elaborate topknots. These were augmented with heru and bird feathers, particularly feathers from the now extinct huia (native New Zealand bird: Heteralocha acutirostris).
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