Arcade Sale | London

Arcade Sale | London

View full screen - View 1 of Lot 24. A ‘Ngatu Tahina’ Tapa Cloth (bark and pigment), Tongan culture, Polynesian Islands, Pacific, 20th century .

A ‘Ngatu Tahina’ Tapa Cloth (bark and pigment), Tongan culture, Polynesian Islands, Pacific, 20th century

Lot Closed

October 29, 02:23 PM GMT

Estimate

300 - 500 GBP

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Lot Details

Description

Panel comprised of sections of beaten and flattened bark of trees (feta’aki) which are joined together to form a complete cloth (ngatu), with dark brown pigment used for the stamping and overpainting of the surface decoration of repeat and alternating columns of patterns, which include the armorial shield with the coat-of-arms of Tonga, Sila ‘o Tonga, doves and the sea eagles (Ikale Tahi), which symbolise royalty, British royal lions (British protectorate 1900-1970 and never a colony), and Norfolk pines (which represent the Hala Paini, pathway to the royal palace in Nuku’alofa), the plain edges painted with section numbers


 

Approximately 250cm high, 448cm wide; 8ft 2in., 14ft. 6in.

These bark cloth cloths along with other items are a distinct technique used by the Pacific Island cultures from the time the first peoples migrated to the various islands, the Lapita people, over three thousand years ago, and it remains an important aspect of their societies, religion and cultural identity. They are often given as gifs. The Tongan peoples, from the Kingdom that comprises of 170 islands, continue to be the most prolific tapa producers from the Pacific. The Tongan monarchy was established by constitution in 1875, with paramount chief Tupou Taufa’ahau taking the name George I (reign 1845-1893). The colour, size, designs and use of the cloths are the important factors. The patterns historically used on pottery, barkcloth and even some tattoos, are still evident today. Including the shooting star motif (Fetu’ufuka), symbolic of the 1910 appearance of Halley’s Comet. The cloths, used for ceremonial occasions can vary in size and extend to up to 100 meters (with historic references of them being up to a mile long), and used as processional pathways. They can then be divided up after the event and given to guests. They can be held up during the performance occasions, taking on a sacred significance, or some are designed to be used as room dividers. The repeat patterns are created by using patterned rubbing blocks and pigment and as well as stylised motifs, of animals, plants and geometric forms, can also include text. The overall design constructs a conceptual framework and is made up of three main elements. Straight lines are units of measurement, the layout of the motif set used and the symbolic motifs used. The earlier designs were primarily geometric and in the late 19th century, naturalistic designs were incorporated. Traditionally this technique could be used for clothing but that is a tradition that only takes place for some formal occasions. As items they are considered vital to any home, as significant identifiers of their culture and society.


Similar examples in public collections:

Bowers Museum, Santa Ana, California, two comparable Tapa Cloths in the (Inv. 93.18.1: donated by Jeff and Laura Blackie);

Economic Botany Collection, Royal Botanic Gardens, Kew;

Hunterian Museum, University of Glasgow, ‘Barkcloth: Revealing Pacific Craft’, Exhibition 29th August 2019 - 8th December 2019;

Museum of Natural and Cultural History, University of Oregon;

Peabody Museum of Archaeology and Ethnology, Harvard University;

Puke Ariki Heritage Collection, Online (comparable ngatu, Acc.No. A63.755);

Te Papa Tongarewa Museum of New Zealand, Wellington, New Zealand (comparable ngatu, Inv.No. FE008723 and FE010244);