MAORI ROCK DRAWING The Thea Schoon Interpretations
Robert McDougall Art Gallel)l 704. Chrislchurch City Council New Zealand 03994 MAO MAORI ROCK DRAWING The Theo Schoon Interpretations
FOREWORD INTRODUCTION
SOUTH ISLAND ROCK DRAWINGS
The earliest images crealed in New In many parts or the South Island, or even the type of animal being Zealand. thai have survived \0 our time. particularly where smooth surfaced portrayed, and some of these may well are Ihe drawings made In caves and outcrops 01 Ilmesione occur. prehiS represent mylhlcal monsters or Maori shellers by Maori artists as long ago toric Maori drawmgs can be round on legend such as the tamwha - or, as as the hUeenth century or earlier. the rock surface. where they have one leadlllg ethnologist put II. race survlyed ror several centuries. memones of crealures Irom another They have intrigued archaeologists, land. Occaslonafly the drawlOgs are m historians, and anlsts, who. admiring The reason for the aSSOCiation 01 lhe OUlhne, but most are blocked Ill. Ihe strength and elegance 01 the drawmgs With Ilmesione outcrops IS somehmes With a blank Slflp running deSigns. have conjectured abOut lhe,r lwofold: ftrstly. the ltmestone IS ollen down the centre. Frgures drawn m orIgins and slgmflcance. naturally shaped mlO overhangs which profile have lhe head. more olten than prOVided protection from wmd and ram not. laCing the YleWers fight. Only rarely In the late 1940'$lhearllsl Thee Schoon for both the arllsts and Ihelr artwork; are drawmgs lruly reallsllc: moslly the began 10 observe and record Ihe rock and secondly, the I1ghl-coloured shapes are stylized. somellmes to such draWings 01 the South Island, enthu smooth surlaces were no less allractlye an eXlent that accurate ldenlrflcatlon siastically responding 10 thelf aesthetic to people Iivmg cenfUnes ago than are can become dIfficult or quesllonable appeal with lhe graceful interpretations walls and fences to the Ngrarh\l" artists Geometncal desIgns also occur, some which constitute thiS exhibitIon 01 today. tImes standmg alone. but more often Melded together in lhese works are the as part of a human or creature lorm Ob,eclivllY 01 lhe scholar and Ihe Most Maora rock drawmgs were pro Most of the drawlOgs are of mdlYldual empathy of the artist obserVing across duced usmg black or red dry pigments objecls or designs drawn in Isolation, the centuries the work of earlier New - charcoal or red ochre A lew appear compOSitions do occur, and some are Zealanders responding to their time, to have incorporated white limestone qUite spectacular, but these are rare. place and beliefs, II is Schoon's painl rubbing, and some are aClually inCised ings together with the research carried into the surface 01 the rock, but the Although there is a general srrnilarrly out by staff 01 the Canterbury Museum majority have been literally drawn with amongst Ihe rock draWings throughout ihat has increased our understanding a piece of charcoal or ochre. lhe South Island. there are also regional of these early New Zealand images, differences. Certain objects are more The drawmgs are a valuable record 01 common In some areas than in others, We are grateful 10 Canterbury Museum, a form of artwork 01 the early New or they mlghl not occur at all outside lhe Alellander Turnbull library and the Zealanders whose artlslry IS beller a parllcular locallly Some styles of ROlorua Art Gallery lor granting per known from the objects they produced depIction. 100, have a IImlled dlstnbu miSSion to use and reproduce paint In the more constrained medIums of tlon and do not occur elsewhere. mgs. prillts and photographs from lhelr wood. stone. bone and shell. Some are It must be remembered that these collections for thiS ellhibition undoubted works 01 art and have as much appeal today as they did hye drawmgs that have SUrviVed lhe ele We also Wish to thank Mr MIchael ments throughout the South Island are hundred years ago Olhers are mere Trotter, Beyerley McCulloch, Lyn Wil lust a small fractIon of those lhat must doodles. ollen appearing as random liams and Joan Woodward of Ganter· have been drawn Many thousands hnes or blotches 01 pIgment haymg httle bury Museum. Mr John Perry Rotorua must have been destroyed by weather, or no dellberale form that can be Art Gallery, and Mr Frank Rogers .11M m more recent limes by vandalism dIscerned by the modern viewer. Yet Auckland for their yaluable adYlce and and land deyelopment. Many more Will overall. the rock artol the South Island, assistance In preparing thiS eXhibition. be gone by the turn or lhe century We whetherat Ka'koura or elilden, in North With great regret we note the passmg are IOdebted 10 the archaeologIsts and Olago or North Canterbury. does 01 the arllSl Theo Schoon who died at 10 lhe affrsts for recordmg Ihem. conform to certam conyentlons. lnan· Sydney on July 14th 1985. studymg them. even interpreting them. imate objects are rarely depicted; the and in some cases lor making copIes lew that are. are almost invariably man ayallable for all to see. to admire, and made objecls. Mountams. hills and perhaps to wonder .Ill. trees are not shown Birds, mammals John Coley, and fish are common, With humans Michael M TrOller bemg the most preyalent of all recog Director. nisable objects. Some creature forms Direclor Robert McDougall Art Gallery are not readily identifiable as to species Canterbury Museum
Robert McDougall Art Gallery - Canterbury Museum
Cove. Oesogn - AHURIRI GROUP HUNTING MEN AND DOGS 19<11 TheO Schoon MAORI ROCK • DRAWINGS: A matter of Interpretation
BeVl!,llly Mc.:Culluch canterbury Museum
The recording 01 the prehlstOrlc Maori drawmgs whIch occur," rock shelters. prmclpally ,n the Soulh Island of New Zealand. began over one hurldred and thirty years ago This !lrsl record In the 1852 sketch·book 01 the surveyor. Walter Mantell IS not extensive - In fact lusl a page ShowIng a se~lIon of drawIngs hom a Single North Otago shetter Yet In many ways II eplloml5eS most 01 the rock drawing recGfdlng and mterpretatlOn whICh look place dUring the next century and IOf Itl'S reason II ,s useful to look at Il,n • httle detail
Manlelfs sketcheS show that he was HAYllTO,", PHOTOGRAPH Of THE UKIROA DRAWINGS CIRCA 1890 selecllve In the draWIngs he depicted. the relationship 01 the lfl(hVldual draw mgs one 10 the other as they occurred -The best known 01 subsequent lOves admirable vehicle IOf such wor1t and on the fock lace ,s nOI IndIcated. and IIgators was Julius Haast (01 Cante'· Hamilton has lell us some splendid no size scale IS given The sketches are bury Museum). Augustus Hamilton of records 01 draWIngs. especially Ihose exculed In solid coloors wUh hard. Otago. aod J l Elmore. an American from the Wallakl RIver shelters Never clean outlines. the whole bemg des who had a parllcular Interest lO rock theless he 100 was seleclive. wllh 11111e Cribed as Ngahmamoe pamtmgsM arl a.~d worked to vaHOUS places concern lor scate or spatial relahon· throughout the wol1d ships as IS indicated by hiS publication Copies 01 these sketches were pub Haasl was essentially a SCientist In In t898 01 a selecllon of draWings from lished a lew years later 10 "h"strate comm'SSlonlOQ the artist T S COUSIOS the same sIte as Mantell Companson aspects 01 a paper by Manlell, uncer to make copies 01 the drawlOgs 10 the 01 the two versions (see Illustrations) gOing a further departure Irom the Important Weka Pass sheller 10 North Shows clearly the dillerences No prehistOriC onglnals II) the process; the Canterbury. Haast Improved on Man grealer adherence 10 accuracy is published versions were primed In a lell's work by ensurlOg thaI sl.;:e scales revealed by the records of J. l. Elmore, Single cotour only, and two Items Irom were Included - as well as an over· now held In the Hocken library. the onginal sketch-bOok were omilled all diagram shOWing the poSilionlOg ot Dunedm It IS obVIOUS that Mantelrs record Ihe draWings wllhln the shelter Although the people menlloned here (Including both the lleld-sketch and However. he too was selecllVe In whllt arc Ihe best-known recorders of Maon published version), was 01 lillie vtllue he recorded, haVing preconceived rock art pnor to Theo Schoon In the ellher t1rchaaologicaUy or artistically. Ideas about Soulh Islnnd rock-shelter laIc 19405 there were many others whO The selection of only cerlmn deSigns COI)led and photographed draWings for immediately introduced an clement 01 ,,'Augushls Hamilton (Iator to become lheir own personal interest. and many personal blils. wllile in ignoring bOlh Director 0' the Colonml Museum in ot them unfortunately chose toemphas the scale and Iho Spntilll relationships Wellington) had a parllculnr mlereSl m lZC the originalS by various methods. 0' the draWIngs one 10 the olher on the all aspects of Maon art He was Ihe lirst These IIlcluded outlining in chalk, rock 'ace. he may well have been person to record rock drawmgs oXlen 'Iouchmg-up' wllh vanous substances dlstortmg some dellbcrtlte intent or sIVely by photography The slow tllm Includmg Indian Ink and black greasy deSign on the part 01 the ongmal artist and more labonous and painstaking crayon. and III one notable mstance, photographic processes ot last century, ovcrpamtlng completely wllh red and The same applies to any change of which Included large negatives and black house palOt colour Further. Maon rock draWings. better control 01 contrast, proved an either red (haemllllle) or black (char~ coal) are mlact never 01 solid pigment. almost mvarl8bly being executed In a dry medium on a rock surface whiCh. however smooth. always has a degree of roughness As a result the draWings are always textured' to a greater or lesser degree With the background rock showlllg through III patChes - and never With a dean outline Mantell was therelore qUite Incorrect III re1emng 10 them as 'P811llmgs· while hiS ascrlpllOn 01 them to the Ngatlma moe tnbe was purely speculallve The Maon people Claimed neither !lrsl hand or tr..chllonal knowledge 01 the arllsts All thts may seem somewhat harsh CrlhClsm. Mantell was alter all a sur veyor not a prehistOrian. but neverthe· less he did claim to be somelhmg of an authority on the MaOri race And. as already stated. hiS work was qUite typical 01 nearly all the rock art record Ing which was to be done over !I.e nellt century -HE SMAE TA't:lROA DRAW1NG~ AS PV81ISHEO BY HAIAllTOI\l IN 11191 From all this. one thing becomes very clear. Although recording and Interpre tallon are actually quite dillerent diSCiplines - or should be - the one 6 wholly oblectlve the olher equally subJecuve .. it IS quite apparent that in their recording all these Investigators were quite unable to resist the temp tallon 10 Interprel ",hat they sa ~ on the 9 rock. None ollhem seems to have been willing 10 make a simple. phYSically accurate. copy 01 the original dra '1IOgS In this they jOined many other IOves tigators who made no aHempt at all to make copies, but ho were very Iree 10 tl1etr interpretatIOn 01 what they believed the dra ings to mean. 01 who did them, and 01 when they were done. Indeed, diSCUSSion 01 the meanlOg and origins of South Island rock arl was an Important aspect 01 many studies on N w Zealand prehistory In the last d cades of IIle nineteenth century, and continued well·into the twentielh. 10 The matn problem was thaI lhey were 12 so obviously 'different' from lhe art lorms practised by lhe Maoris al the .1 lime of European contact. and thiS problem was compounded by the MaOri people themselves who denied all knowledge of them. ThiS led to all sorts 01 unlikely speculations as to Ihom he artIsts had been. '11th some 01 Ih suggesllons verging on he ndlculous Very lillie las known 01 lhe prehlslory 01 Ne Zealand - and rock art Just did ROCK DRA:'II GS T TAKIRO. AS DEPICTED 1 RED BV TELL I 1868 nol flllOto the traditional accoun S Few II any investigators paused 0 ask be done wlthm the context 01 the Schoon's copies are 01 course Ihe themselves II the coun ry or human parllcular culture to which 1\ pertams. subJecl of the current exhlbllion and m culture had changed at all over the For some reason, there was very little thiS publication a separate essay IS years 01 PolyneSIan occupation. Even conslrucllve analySIS 01 New Zealand devoted 10 hiS york However there are lewer s emed to have been able 10 rock drawmgs done during Ihat lirst some pomls which should be noled make rational observations about the century of investigation here, drawings. such as the lact that you When Schoon Ilrsl commenced hiS cannot directly compare an art form rock art work he went to considerable ex CUI d With a dry drawmg medl m In 1946 Theo Schoon was employed by trouble to make hiS paintmgs an accu on a non-portable. natural surface With, Ihe Department or Inlernal Allairs to rale and realistic copy of wha he saw lor example. a piece 01 wood carving, make painted copies of rock art in on the rock. An excellent example of or a n ck ornament. or a faCial lalloO Canterbury and North Otago. This was thts IS hIs rendering of lhe lhree moas the first olficial recognition of the Irom Cr Igmore in South Canterbury, Nor can you compare the work of Imparlance of this arl form which had ThiS painting reproduces almost Polynesian man, living in New Zealand, hitherto been regarded as something exactly this most important group directly with Ihat of the cave arllsts 01 of a 'poor relallon' when compared wi~h even to the texture of the background Paleolithic Europe, or the Aborlgtnes the more spectacular and beller known rock and the f1akmg of the surface of Australia, nor yet the Bushmen 01 forms such as wood carving and green which has earned away some of lhe Africa. Or II you do compare il, II must stone working pigment.
THEO SCHOON'S COPY OF THE TAKIROA GROUP IN 947 But later the artist in Schoon came to But interpretation also is an Important some stone tools and a certain amount the fore. More and more his boards part of an archaeologist's work, of food, mainly from coaSlal resources. show his own interpretation of the atlhough archaeologists were more During the tflPS they sheltered under original works, coupled with the old concerned with the significance of rock rock overhangs - mostly of limestone bugbears of solid colour and hard draWings as part of Maori culture as a - building fires and ealing the food outline. Despite the amount of work whole. They were interested not only they had brought. as weI! as cooking done by Schoon, his copies are unfor in the drawings but Ihe empirical that they had gathered, tunately not an accurate record 01 evidence associated with them. They Maori rock art. altllough for many years catted on modern technological resour It was during these stay-overs that they they were used as a standard reference. ces such as radiocarbon dating as well drew, using charcoal from their fires Even more unlortunate is the lact that as controlled excavation techniques, and red ochre or haematite. (This latter Schoon, like so many others before and they added information from the pigment does not occur naturally in him. indulged in the practiceol'retouch research of other scientific disciplines most rock art areas and must have been ing' drawings with crayon as an aid to suCh as botany, zoology and geology, brougtll in deliberately.) clarity. This is regarded as particularly This approach was not whotty new bad in Schoon's case, because as an it had been used in a limited fashion Then between 700 and 400 years ago, artist himself, one would have expected by Haast in the previous century and most 01 the east coast forest was him to respect the integrity 01 other to a much greater extent by Roger Duff destroyed in a series of huge, man artists' work especially as he described of Canterbury Museum, who had made fires. The exact reason lor these some drawings as a major artistic accompanied Schoon on many 01 his witt never be known, but they resulled creation and believed all of them to excursions into the field, in a great reduction in the habitat of have been done for some special many bush birds. A number of species But now for the first time att the tines purpose ~ magical or ceremonial. Yel - Including all the moas - became his activities were such that they led of research were pulled together in a extlflcl. As a result, the areas formerly constructive way: no information was 10 the coining of the term "schooned" favoured for hunting and where many used in the interpretation of the draw to describe retouched rOCk drawings. 01 the rock shellers occur, became ings and their origin that COtild not be barren and inhospilable. There was no It was yet another artist, Anthony shown to be based on scientific facts. longer any reason to visit those areas Fomison, who in the 1960s made the The same criteria were used in looking and they were largely abandoned lor next major contribution to the study of at the drawings themselves and it was Ihe next few centuries, along with the rock art. Unlike Schoon. Fomison. .accepted that while it was possible 10 practice 01 rock art. while appreciative 01 the artistic merit be sure of what some 01 the objects 01 Maori rock drawings, seems to have depicted were, in many cases it was not. The drawings all have a strong cultural been able to separate Fomison the artist Nor was there anything indicating Ihe similarity and show a wide range of from Fomison the archaeologist. His reasons behind their execution. Cer artistic ability - from mere scrawls and records 01 South Canterbury rock art. tainly there was no evidence to show scribbles to welt exectlted, artistically painstakingly traced, dot by dot. onto that Ihey had any mythical. religious or balanced ligures. Despite the range of plastic sheeting are among the most ritual significance as had frequently arlistic talent apparent when a whole important we have. been proposed in the past. range of drawings is examined, they are So what is the modern archaeological not crude or primitive. many showlflg Fomison also interpreted the drawings, a quile sophisticated degree of styliza recognising a slylistic progression Irom interpretation 01 Maori rock drawings? We can be sure that with few exceptions tion. It seems likely that most of the Ihe relatively naturalistic to the more early travellers were involved Ifl the art all the South Island drawings were generalized or stylized. He also noted work ~ not just a selected few of executed about 500 or more years ago, Ihat in Ihe few post-European examples greater ability. The things they drew of rOCk art there was a return to a during the time of the early human occupation of New Zealand, commonly were malflly important objects from the naturalistic presentation. Fomison's theirenvironment usually animal forms called the '·moa hunter" period. (The painstaking tracings actually rellect the and humans. with some abstract importance he placed on the artistic exceptions are a few "contact period" drawings depicting missionaries, designs. There are no scenes depicted aspects of Ihe study of rock art he was and there are few examples which show sailing ships etc. which were probably the lirst investigator who seems to have deliberate composition. been able to accept the worth of the done by Maori guides accompanYing drawings as they stOOd. without embel early European explorers.) The marked difference between Maori lishment. He clearly saw no need to try During the moa hunter peflod almost rock drawlflgs and the beller known and improve upon them. all of the country was heavily forested, Maori wood carvings IS not iust a matter including what are now the grassland of a dillerenl medium. They were done If Anthony Fomison was the firsl person areas 01 the east coast. Certainly there centuries before most 01 the known to allempl really accurate reproduc was heavy forest around the main areas wood carvings in a quite different tions 01 Maori rock art. he was also the where rock drawings are now found. cultural peflod. last arlist to lake any great interest in This bUsh harboured abundant lood it, From the.1g60s onwards, rock art supplies in the form of birds - includ Most of the Maori rOCk art you wilt see became very much the province 01 ing a number of species of the now - ranging from that on souvenir bric archaeologists. Interest in the drawings extinct moas - as well as the Maori a-brac to the Schoon copies in the as an art form became secondary to the rat, or kiore. For this reason, the South current exhibition - shows a limited desire to record accurately as well as ISland 01 New Zealand probably had range of drawings, selected largely for to conserve. many shelters by now about the same human poptllation as their appeal to European artistic taste. having been either excessively vanda the ~orth even though the climate was This means Ihat most people get a very lised or subjected to increasing damage not as desirable, and agriculture could distorted view 01 what Maori rock art and weathering problems occasioned be practised only from Banks Peninsula is really like. by agricultural and industrial activities. north. The principal workers during this The people seem to have been living To truly appreciate rock drawings and period were Michael Trotter in North a more nomadic or 'hunter-gatherer' certainly before passing any interpre Otago and Beverley McCultoch in existence than did their vitlage tive judgemenl upon them - it is North Canterbury, both of whom con dwelling descendants. They made necessary to see them in their true centrated on recording in a manner numerous expeditions into the forested context. as they occur on a natural rock similar to that used by Fomison in interior of the South Island, to hunt and canvas the work 01 unknown artists of South Canterbury. gather game. They took with them many centuries past. Theo Schoon was the first to activate a reassessment of the significance of thiS early Maori art form. His discovenes were later developed and advanced by the excellent work carried out by the artist Tony Fomison, who. during the 1960s. was able to determine that four stylistic phases of design had occurred - 1) Nat~lralistic; 2) Less naturalistic. generalised: 3) Revival of naturalism: 4) Contact penod. Fomison. like Schoon. recog nised the unquestionable qualities that these drawings had as works of art, they were more than mere decoration. However, Fomison suppressed the artist In him a little more than had Schoon, Whilst these artists have shown an interest In Maori Rock drawing. few have exhibited quite the same dedica tion and enthusiasm as Theo Schoon.
THEa SCHOON Theo Schoon was born in Kebumen on the Island of Java in 1915. of Dutch parents. His father was a Dutch consul. At an early age he experienced contacl with the art and craft of IndoneSia and was fascinated wllh the architectural remains of a much earlier culture. the Hindu Empire, which survived through abandoned temples, There were also many archaeological expeditions to Java during the 1920s and some were carried out qUite close to Schoon's home. Such was his interest. that he was called upon on several occasions to record very fragile specimens. as they were excavated. This involvement brought him in close contact with some of the leading ethnologists of the Pacific. It was during these years of youth that the seeds of Interest in more primitive art forms were sown. Around the early 1930s he was sent 10 Holland to attend High School, and then moved on to the Academy of Fine Arts in Rotterdam. II was at this time Ihat hiS real inlerest in rock art began. The eXistence of rock drawing is global "I was not satisfied with the standard MAORI ROCK and in this way New Zealand roc·k obligatory art history books required by drawings. despite their unique features. art history professors at the School of DRAWING and are not exceptIOnal products of a Art",' The interest in other cultures and hunter gatherer society. However, their their art forms was fed by a growing THEO SCHOON real value as works of art remained number of art books that younger Neil Roberts. largely unrecognised until 1946 when European artists in the 1930s avidly Curator, Theo Schoon revealed through his sought. Theo Schoon was no excep Robert McDougall Art Gallery. paintings, photographs, and writing. tion. It was. however, In a department the latent potential that contemporary store in 1936 that he came across a Artists have pondered the significance New Zealand artists had on their own book on African Rock Drawing and of rock drawing and painting since the doorstep. discovered the revelation of its signif discoveries at Lascaux and Altamira Schoon also tendered the theory that icance. This book had been written by last century. However, the current of stood in variance 10 those ethnologists Professor Frobenius, an eminent eth widespread Interest had Its beginnings of the time that Maori rock drawings nologist, who later wrote books on the around 1904-1905 when a number of were not just the Idle scribbings of rock art of other continents. including younger European artists in Paris and nomadic Maori tribesmen sheltering Australia. The German professor was Munich discovered the real message from the rain but thought their design a pioneer In the specialised research that the artists of hunter gatherer quality were fine achievements of Maori and recording of art forms of primitive societies had to offer. The renunciation art. part of the magical ritual practices peoples. which he had begun 111 the of the academic or classical renais of the Tohunga of New Zealand, In 1947 1900s. sance approach to art with its premed Mr. Roger DUff, an eminent ethnologist. For the next forty years he investigated itated rendering of reality encouraged in a lecture to the Royal Society of New most of the surviving art forms of early a return to a source before the invol Zealand had to admit 'While artistic cultures. With a team of artists and vemenl of science in art. merit was generally passed over by ethnologists he built up a collection of Paul Klee. Joan Miro. Andre Masson previous observers I have learnt reference material on rock drawings and others all saw the creative poten through association with Mr, Theo that became of international signifi tial, inspiration. thai the rock art of more Schoon 10 recognise In many cases a cance. It was also during the mid 1930s primitive societies had to offer Its refinement of line and occasionally that more comprehenSive publications spontaneity, creative design, and sym apparent and pleasing play of design', on the caves at Lascaux in France and bolism offered genuine equivalents for Although a few other artists had made of Prehistoric Europe were made which the real world and a way forward. tentative studies of shelter imagery were of Immense II1terest to artists. Atter studying at Rotterdam, Thea Schoon also studied in France and for a brief time in Switzerland and Germany. In 1939 he accompanied his / parents to New Zealand. For a while , he attended Canterbury College School of Art where he made quite an impact with his satirical canoons. To say that he was nol impressed wilh arl I" in New Zealand and the current think i ing 01 many 01 its artisls at this lime " , would be an understatement. He found \ more to interest him in the Canterbury Museum than the adjacent Robert McDougall Art Gallery. In 1941 he was \" living in Dunedin and exhibited the following year at the Otago Art Society. ."" By 1942. however, he had moved to Wellington where he worked for a photographer in Manners Street who also provided him with studio space. It was around this time that he also gained an association with a number of more adventurous younger artists, MOA BIROS CRAIGMORE - TheoSchOOft that included Rita Angus, Dou9las McDiarmid. Gordon Walters, and Denis Knight Turner. All valued the important Theo Schoon approached Canterbury which had a frieze on it, in a sheller. creative message lhat primitive art Muse.um and expressed his wish to aboul 25 metres tong. Theo Schoon set forms had to offer, but it was perhaps record the drawings in these shelters about copying this, using 5 boards. He Gordon Walters who showed the grea ·that his proposal was looked at completed work on these on August 23. test interest for Maori art forms and put favourably. CarB. One board was damaged by dust the inspiration gained to most effective from Nor"west wInds and had 10 be use in his painting, Early 111 July Canterbury Museum engaged Theo Schoon to copy draw~ repainted. On Saturday, August 24, he ings at Craigmore. Cal.? On July 10, travetted with Mr Duff to a site at 1946. he lett Christchurch with Mr Duff. Hazetburn, about 3 kilometres away. The mosl impressive images were those There they were given permission to SOUTH CANTERBURY found at 'Gordons Valley', Pareora, camp In an unoccupied farmhouse which Theo Schoon set about record close to Blackter's High Shelter. The ing. The arrangements on Itle part of drawings were found to be in partic II would be fair to say that at this time Canterbury Museum had been some ularly good condition. Two days later Theo Schoon was not fully aware of the thing of an experiment. but Mr Duff was he started painting the figures on the Imagery that eXisted In New Zealand so enthusiastic with the results, that he right hand side, but after a further two rock shellers that was to stnke him like requested that Similar paintings be more days, rejected his work because a thunderbolt a few years later. In 1943 made of the olher rock drawings in the he did not feel if was a sufficiently good G B. Stevenson a North Otago amateur area, In a letter to Mr W. Vance, research reprodllction. Rain set in over the next ethnologist published an article in the officer to Ihe Department of Internal five days and made working difficult. 'Journal or the PolyneSian Society." Affairs, Timaru, he wrote ·'1 was almost impossible, so Theo Schoon This article aroused Theo Schoon's Impressed with their faithfulness of took the time to exptore the adjacent interest He stressed the fact that drawings. rather than being casual scribblings were imbued with spirilual qualities and were created at the core of spirituallile, The images were spiritual equivalents 01 the real waking world. "Like the priest. the artist was a link between man and the supernatural". SHEPHERDS CREEK WAITAKI VALLEY - Tlleo Schoon He lound Ihat the drawings' designs had a sel of basic ingredients which closely paralleled primitive religious art sidered as a curve, each dog as a whole, as rich. as Ihe Oplhi,"S but all of his - "Again and again I have found the related to lhe other. The dogs are not discoveries were not as welcoming, "I mosl surprising original creations only dogs, but a refined and conscious found a great many other drawings, major artistic feats. which border on blending of curves. The dogs together, some converted inlo chicken coops" 9 uncanny and frozen music, in which the are placed again as pari of another Ofher draWings were found on a prop very soul of the mytho poelic Polyne composition, countermovement. It erty on the Awamoko Stream, Cal. 22, sian has been crystalised". would not lake you much to detect the and on a farm at Ngapara on the Kurow sways of the movement in which dogs Road, during lhe time he was al Dun By mid-September he had moved on are placed or the countermovement troon. he 11elped support himself as he to Oamaru where he examined some harmonising the figure of a cross",' had often done at other locations by threatened drawings on limestone Theo Sclloon had moved from Waitaki dOll1g 'potboiler" portraits and studies outcrops at Tolara about 10km south 10 Duntroon by mid-May and made one of homesteads. These tiresome com of the town. A furlher application for 01 11is most speclacular finds on Ihe missions did not always end in the a vehicle was made to the Department right bank of the Maerewhenua River, ,happiest of circumstances. On one of Internal Affairs and declined. which he considered, surpassed those occasion while working at Duntroon, His stay in Oamaru was brief and by drawings at Ahuriri. The find was thaI after completing 3 portraits for a tarmer, Ihe following monlh he was working of a large tallooed figure, with spiral he was charged 6 shillll1gs tor [he petrol back in Soulh Canterbury, this time in patterns depicted on the torso, Cat, 79. to take him to and from his commission the Pareora Gorge, Cal. 14. and here he ThiS was lhe most unique discovery of remained until the end of November. Tile winter of 1947 was a severe one organised spiral design and Theo Schoon suffered from it. In On June 1, 1947, he was able to write a leller to Mr W. Vance, on July 7, he of further finds in the area. These expressed 110W it was affecting him "II SOUTHLAND inclLlded another moa drawing on a goes without explaining how I suffer property close to Earthquakes, where from the cold. from this severe winler, he found three sets of drawings, includ but I put up wilh Ihose trials gladly, so There had been several rumours of rock ing a spectacular eagle. Of Duntroon, long as it is given to me to make new drawings in Southland, al Clifden and he wrote "This District will prove to be discoveries 01 such beauty"\O Fenwick. This encouraged him to Iravel to Invercargill early in December, 1947, then to Clifden on the Waiau River, about 65 kilometres north west of Invercargill. Experience had indicated that certain limestone lerrain was a likely location for drawings. His calcu lations were correct and by the first week in January, 1948, he was able to reporl Ihat he had made several new finds, in Ihe Soull11and region, even IhOLlgil Ihe drawings had deteriorated to a greater degree than anywhere else. His evidence, based on the sites that he examined in Southland, strongly supporled his Iheory thai Ihe shellers, rather than being just places visited casually, had been sites of camps related 10 seasonal visits to hunting grounds. He conlinued his work in Southland until late in the month. CANTERBURY By mid-February, 1948, Theo Schoon was back in Chrislchurch and stayed for the next six weeks at Scarborough wilh Dr. Milligan, who was also an O!nthusiast of rock drawings. On April TATTOOED MAN DUNTROON - TileD SC/lOon What started out as a personal quest for material to learn from as an artist. also proved to be a major contribution to the tangible recording of a unique New Zealand art form, which often depicted life forms extinct for centuries as well as revealing something of the mental characteristic of the artists who created them. That these rock drawings are unique, major works of indigenous art. there seems no doubt. What mot ivated the artists may never been known for cenal n, but it seems quite obVIOUS 1I1at they all were done with a sense of purpose. The very fact that the imagery varied in subject and stylistic treatment seems to support Thea Sclloon's theory that at least some of the drawings were done with a sacred ritualistic intent and were intensely magical. whilst others were perhaps more casual indications to hunters, of markers of game to be had. Whatever the interpretation, they ag ree with imagery from most other hunter and gatherer societies. tn many ways. it has been the conflict of interpretalion 'TlMP'ENDEAN' SHELTER WEKA PASS (dp.la,11 - Tlleo Schoon on the part of artist and ethnologist. that has proved the stumbling block to 4 Ile travelled to Weka Pass. Waikari the North Island to continue his search. understanding. Art. 110wever. is much t~ copy the drawings on the properly From May, 1950, Ile surveyed most of older than science and it is science that "Timpendean" Cal.4. the I'Ivers of the North Island, and took art away from Its IIlstinctive reality The Weka Pass drawings presented continued to find evidence of rock and cast it in the mould of scientific some problems as considerable drawing on all the major rivers and their reality of the Italian Renaissance, that damage had been done as a result of tributaries. by the nllleteenth century, had virtually retouching in 1930. Aller completing DUl'lng this time. he supported himsell shifted creativity out of eXistence. 11e panels h reo the next area that drew by labouring. The attention given to the hiS allention was Marlborough. He preservation of these drawings had What Thea Schoon found in New continued hiS search on the upper been mild and he was continually Zealand rock drawings was no different reaches of the Conway River, behind frustrated by the lack of interest in what from what other artists found in \I1e art Kaikoura at Monkey Face. CaI.S. and he considered to be major CUlltHal forms of less developed societies. confirmed the existence of drawi ngs in assets. TillS Imagery had a purpose that was this area real and yet magical In its design. It did In the summer of 1950, he wrote to During June, the Fox Movietone Unit. UNESCO expressing his concern that not ape reality. but stood rather as grapllic anthropormorphic equivalents. filmed the Canterbury Drawings. Theo the government had not seen fit to Schoon was invited to participate in the employ a team of artists and scientists complete. yet not detached. Inventive Simplicity, rather than spontaneous documentation and travelled to Timaru to investigate and record these draw to take part. By August. all work on ings properly, crUdity. South Island rock drawings was complete. The response I" Europe was Immediate In 1947. while Thea Schoon was and enthusiastic. Both Dutch and worklllg In Duntroon, 11e wrote "If you Frencll Art Magazines carried articles can appreciate the overWhelming truth THE RESPONSE on New Zealand Rock drawings, and of Gaugum's distortions, it is truly a an article in 'Arts' by LP.J. Braat was small step forward toward the inherent From January, 1949. he was in Auck later pUblished in the New Zealand power in the simplest of forms. It is land staying with A.A.D. Fairburn. With Listener on April 13, 1951. possible to create a masterpiece, with whom he had corresponded for some Following the printing of that article. an elaborate range of ingredients, but time. Fairburn had developed a keen some debate ensued in the correspon also conceat the mere poverty it dis Interest in rock drawing designs. dence column of the New Zealand plays. but with the simplest ingredients, Drawlllg on Theo Schoon's i"spiration Listener, culminating in a radio talk power or weakness. is instantly he made several blocks which were arranged by 3YC on April27, 1952, Both eVident." then printed on labric. Dr. Duff and Thea Schoon were Invited Maori rock drawings are made of the to put forward tlleir respective points In the June/July Issue of 'Home and simplest ingredients and their power IS of view. Buildings' A.R.D. Fairburn expressed immediate. They emerge as masterpie his enthusiasm "I did not know of the Dr Duff, on hearing Theo Schoon's talk, ces in their own right. eXistence of these marvellous paintings said "Every word of Thea Schoon's talk until Mr Schoon sent me his photo conveys that single-minded enthusi FOOTNOTES: graphs," As well as the writer/artist asm, which has inspired him, since his AR.D. Fairburn. Theo Schoon had on first sig ht of the South Island rock I Correspondence TSINR, February, 1985 Side, Gordon Walters, who had spent drawings at Otago Museum."" 2 Correspondence RD/WV. July, 1946 some time working with him on shelter 3 Report WV/Departmenl Inlernal Alfaors. sites during the willter of 1946, and September, 1946 Despite the privations and living virtu Denis Knight Turner. 4 Correspondence TSIWV. Seplember. 1946. ally as a hermit most of the time during 5 Correspondence TSIWV. October. 1946. On February 15, Theo Schoon spoke almost eight years, Theo Schoon 6 Correspondence Under Secrelary ollntema\ to tile Christchurch Session of the maintains that he learnt a great deal, AlIaifSIWV, Oclober, 1946 Science Congress. An exhibition of his spiritually and as an artist. He achieved 7 Correspondence TS/WV, June. 1947 pllotographs was aIso held at this time. a balance and power. which he had 8 Correspondence TSIWV, June. 1947 HIS plea for preservation and a greater never had before. He emerged alto 9 IbId 10 Correspondence TS/WV, july, 1947 recognition of these endangered art gether a beller painter. 1 New Zealand Listener, 8 April. 1952. p.8. works was :1oted and reported by the TS Theo Schoon, NR Nell ROberts. WV Wilham press, but went largety unheeded. ThiS was an experience he could not Vance, RD Roger Dull. After he completed making further have learnt anyWhere else. in any other copies of his paintings, h returned to way, CHijlflll~llI1~lilrlijl ~~lijr~lll~r~~ IL C01369675 les, New Zeatand Listener. September 12, 'Rock DraWing Reassessed'. 10 May. 1947. P 6-7 1947 SI venson, GB 'Waltakl Maon Paintings', 'New Zealand Rock DraWing', 24 May, Dull, RS ArlS Year Book 6, 1950, Maon Art Journal of IIle PolyneSian Society. 52.4. 1947 III Roc. Ora "lings, p 6-11 1943, P 191-198. Southern Cross, 'Early Rock Treasures'. 5 Dunn. R An and Auslralla, New Zeatand Troller, MM and McCulloch. B Preillstoflc February, 1949 Rock Shellel Art. 4, p 54-65. June, 1966. Rock Art of New Zealand, Longman Paul. Southland TImes, 'V,SII by Dutch Arllsl'. 20 Dunn. MR taOrt RocJ.. Art A H & A W. 1981 December. 1947 Reed Wellington, 1972 Waaka. P 'The Grand Pallern of Life', New 'AnCient Rock DraWings Dunn. MR Gordon Wallers. AuCkland Clly Zealand Listener, 21 July. 1982, P 34-35 found In Southland', 10 Arl Gallery, 1983. p 10-12 More about those Rock DraWings' New January, 1948. Dur'lr'l. MR Bullelln OfNew Zeatana Art, Val 8. Zealand Listener 18 April, 1947 1980. P 3-11 UNPUBLISHED CORRESPONDENCE Dunn. MR 'The Art of Thea Schoon', Art New NEWSPAPERS TSiDepartment of Internal AffalfS, 1946-1953 Zeatand.25. 1982. p 22-23 Marlborougtl Express, 'Rock DraWing', 20 May. TS/NR, March, 1985 FOnllson. A Maon Rock Drawings', EXhl/)ltlon 1947 Reports of Deparlment of Internal Allalfs on HondbooJ.., VIC lana UniverSlly of Wellington Press. 'Rock Dravllngs", 12 June, 1947 Maori Rock Drawmgs. 1916-1956 Counc,l of Adult Educallon 'Maoro Rock DraWing In Caves', 14 Maon Rock Drawmg hie, Canterbury Museum, Schoon TN \'1 Zealand's Oldesl Arl Galler- February, 19,18 1946- 951 CATALOGUE THE DRAWINGS Water colour Canterbury Museum and copied the drawings in this Collection shelter during April 1948. Most of the onginal draWings were Thomas Selby Cousins was the nephew of Samuel Cousins and made 111 charcoal. However, some 5 Monkey Face - Spiral Monster came to New Zealand in 1864. By were made by using a type of red Kaikoura the 1870s. he was living in Can crayon of haematite (oxide of iron), Oil on Board 505 x 634mm terbury and had establis.hed a A few draWings In South Canterbury (Actual size). reputation as a watercolourlst and and elsewhere, have a yellowish This black outline and silhouette illustrator. In 1876, Dr Julius von colour achieved by abrading and monster was copied by Theo Haast the first director of Canter brUising the limestone surface. Cat Schoon during September, 1948. bury Museum engaged Cousins to 15 IS an example of this treatment. Canterbury Museum Collection. do measured scale drawings of the Most drawings are monochrome. s~elt~r either black silhouette. or out-I,ne Images found in a on 'Timpendean' farm, Walkan. Von Images, however, Imagery with blank Haast had a keen Interest III rock II SOUTH CANTE8BURY centres does occur as at Frenchmans drawlllgs and developed hiS own GUlly Cat. 14 and Earthquakes. theories on their origins, Duntroon Cat. 21, It is thought that 6 Eagles in Flighl Craigmore Pareora this could be the result of the way 1946 in wtllch the drawings design ,:"as 2 'Timpendean' Shelter. Weka Pass, Oil on Board 512 x 633mm constructed, rather than haVing Waikari, 1876 1:4 Reduction Canterbury Museum definite meaning. Thomas Selby Cousins 1840-1897 Collection. The ravages of time and In some Watercolour 432 x 153mm The depiction of the now extinct cases, the efforts of well-m~anlng This measured scale drawing, is a New Zealand eagle that occurs on European restorers, have contributed 12: 1 reduction. several shelters in South Canter to the deterioration of many of these Canterbury Museum Collection. bury and Otago were amongst the drawings, so that today, they are In first rock images recorded by Theo a most fragile state. 3 'Timpendean' Shelter, Weka Pa~s, Schoon, during July 1946 at Cralg 1876, Composite Measured Details more, south-west of Timaru. Thomas Selby Cousins 1840-1897. 7 Moas Craigmore Pareora 1946 SUBJECTS Watercolour 750 x 1045mm Canterbury Museum Collection. Oil on Board 645 x 522mm Among the most prominent and 1:3 reduction consistent subject types, are mons Canterbury Museum Collection. 4 'Timpendean' Sheller Weka Pass This depiction of moa birds. 111 ters. e.g. Weka Pass, Waltohl and !he 1948 Taniwha frieze. Each of these exhibit black and red outline, was copied Theo Schoon by Theo Schoon during July, 1946. eVidence of the hand of a more skilled Panels 1-7 each 520 x 650mm artist. Dogs, fish, birds and birdmen Oil on Board 8 Wailohi Frieze Composition 1946 are particularly common subjects. In The 'Timpendean' Shelter is the Oil on Board panels 4 - 6/6 each some shelters. the Images of long maJor site in the Canterbury region 520 x 650mm extlllcl birds, such as the moa, N.Z. lor Maon rock drawings. Canterbury Museum Collec~ion. eagle and goose occur. AI.so there are Located on private property 35k~ These black sil houelle figures defillite narratives. often III fragmen north of Christchurch, The main were copied during August. 1946, depictin~ tary compOSitions, actiVI gallery of thiS shelter extends for by Theo Schoon. The Waitohi ties of tlunting, fishing, raftillg. etc. 22 metres and 11as fragmentary Frieze Composition is located as well as European horses, ships and deSigns with one drawing super north of Opihi in a shelter approx houses. Ttlis latter imagery. dates Imposed upon another. imately 3 x 23 metres. from what has been termed the 9 Hazelburn High Sheller 1946 'Contact' penod. That IS drawlllgs Black asymetrical silhouette dated after 1769. 011 on Board panels 1-4-7 of 7, figures are on a higher level, With each 635 x 763mm a five metre red snake-like crea 1:4 reduction jaw~, ture, with open swallowing Canterbury Museum . [CANTERBURY beneath. The lower designs IS Theo Schoon copied the draWings thought to post-date those above. in the Hazelburn district during The Weka pass shelter,. has August 1946_ Julius von Haast Recording details however, suffered from conSider Hazelburn, north west of Timaru, 01 the 'Timpendean shelter', 1876 able relouching during the twen has many limestone escarpments 181 x 265mm tieth century. parallel to the Raincliff Road. Thomas Selby Cousins 1840-1897 Theo SchOQ,n travelled to Waikari The drawings in ochre and black are both In open and sllhouelle 16 Mullip/e Humans Tolara Valley 22 Woman glvmg Bir/h. Awamoko form depicting danCing anthropo 1941 Slream, DUll/roan. /941 morphic forms beanng clubs. all on Board 500 x 625mm Oil on Board 634 x 506mm 3: 1 Reduction 1:2 reducllOn 10 Mons/er Swallowing a Mall Rain Canterbury Museum Collection Canterbury Muselllll Collection cliff Opihi /946 In January 1947, Theo Schoon Theo Schoon copied lhlS birth Oil on Board 637 x 758mm copied a number of famt drawlflgs scene which he found 10 black 1:5 reduction outlined 111 black, wl1ich suggested OUIlme on limestone durmg June Drawn in ochre and black. a narrative IntentiOn of dogs. men 1947 T1IlW Sr..:Iloon camped at Ralnclilf dancing, men ill canoes, fishmg, Bridge during November 1946 and etc. copied many drawings in shelters In the area. He also discovered PHOTOGRAPHS others thai were unknown. Mons ters were believed to have lived in III NORTH OTAGO Tlleo Schoon took 11Undreds of pho caves and devoured passing tographs of Maon draWings and the travellers. sites In which he found them. In 1949 17 Shepherds Creek, Wai/aki RIVer This Image, nearly two melres 130 unages were pI.lfchased from the VII/ley. 1941 long, IS localed in a shelter of artist by the Department of Inlernal Oil on Board 505 x 760mm draWings. Affal(s. These are now held by the t:3 Reduction Alexander Turnbull Library In Canterbury Musellm Collection Wellington, 11 Man in a MoJO/Ii Canoe 1945 Theo Schoon copied these red and Oil on Board 505 x 632mm black outline and silhouette draw The photographs Included In Ihls Actual Size iIlgs dll(ing March of 1947. Canferbury Museum Collection. exhibition are not prmts made by Theo Theo Schoon copied this drawing Schoon but recent copies of hiS Images. dunng November 1946, which was 18 A/lllrir; Grovp. H(ln/ing Men and one of a group of drawings found Dogs, /941 on a station near Raincll/l. It 011 on Board 505 x 760mm 23 Cr3lgmore Valley No.1 Site depicts men 10 a t1ax canoe. The 1:2 ReductIOn Ptlotograph Mokihl appears to have been 111 Canterbury Museum CollectIOn 24 Gordons Valley Pareora Site profile while the figures are shown These spectacular deSigns of men Photograpl1 frontal. and dogs were copied from the greywacke roof of a cave on the 25 Waltohl Fneze Sheller Detail Study 12 Man With Dog 1945 Ahumi River, by Theo SctlOon 26 Waltohl Sheller Fneze Detail Study 011 on Board 507 x 633mm durmg May 1941 27 Waltohl Shelter Fneze Detail Study 1.3 Reduction The black Silhouette and open Canterbury Musellm Collection treatment of the figures IS conSI 28 Waltohi Sheller Frieze Detail Study This drawing depicts a stylised dered by some authorities to place 29 Hazelburn High Shelter No.1 Sile man and dog and whales drawn 10 them In a later penod to other PI10tograph drawlllgs In the Waltaki River both oullme and Silhouette 10 red 30 Hazelburn Detail Study and black. Valley, Hydro development In the distnct 31 Hazelburn SI1elter Detal! has submerged these drawings 32 Stleller Oplh! River 13 C%nial Ch(lrch Raincliff Bridge since Itley were copied. 1946 33 Ahunn River Site Photograph 011 on Board 500 x 630mm 34 Shepherds Creek Waltakl River Canterbury Mllseum Collection 19 Tallooed Mall. Maerewhem/(1 Valley Detail Study River. Dun/roan, /941 This Klee like Church depiction, IS 35 Weka Pass Malfl Sheller Walkarl amongst the most recent drawmgs Oil on Board 505 x 633mm 10 South Canterbury. datmg from 1:5 Reduction 36 Weka Pass Sheller Oetall Study what has been termed the 'Contact' Canterbury Museum Collection 37 Weka Pass Sheller Detail Study period i.e. aller 1769. This unique metre high figure With spiral talloos was discovered III a sheller about 13 kilometres north t4 Birdmen Frenchmans G(llIy Pareora /946 west of J\!qapara and copied by PRINTS 011 on Board 525 x 675mm Theo Scho, 'during July 1947 Actual size. Canterbury Museum Co(le-ction 20 W/IlIJes find Sails Maerewhen(la 38 DeSign In Oplhl River Style c 1950 These draWings, located m a small River,D(ln/roon. /941 Theo Schoon gully near the Pareora River, were 011 on Board 505 x 760mm Lmoblock 1m 120 x 390mm Pnf1ted copied by Theo Schoon during 1:2 Reduction 1982 by J F Perry October, 1946. Canterbury Museum Collection Rotorua An Gallery Collection These drawillgs localed on pnvate The Imagery includes birds, bird property are conSidered to date 1!1 39 Des\gn ill Oplhl River Style c 1950 men and fish, which has been part from the 'Contact' period in Theo Schoon conSidered may have had some particular the depiction of a Euro association with hunting magic. Lifloblock 1m t 10 x 250mm Pnnted pean salllflg vessel. 1982 by J, F Perry The draWings were copied by Theo Rotorll1l Art Gallery Collection Schoon during May 1947. 15 Opi/li 11/, & IV 1941 21 Man in Profile WIllI Three Fingers. 40 Bird DeSign In Ahurm Style c.1950 Oil on Board each 503 x 760mm Ear/hQuakes. Dun/roon, /941 Theo Schoon 1:5 Reduction Panels 3 and 4 01 all on Board 520 x 650mm Llnoblock 1m 310 x 340mm Printed 6 panels 1:5 reduction 1982 by J F. Perry Canterbury Museum Collection. Canterbury Museum ColiectlOn Rotorua Art Gallery Collection Theo Schoon copied drawings on Copied by Theo Schoon during shelters on a privafe property. June 1947 This black profile figure Opihl. dUring January 1947. The drawn m both silhouette and open The Robert McDougall Art Gallery drawmgs in white and black are form was located on the wall 0' a P.O Box 237 Christchurch, examples of the bruised and linear cave a few kilometres south west technique With Imagery that Balanic Gardens, Rolleston Avenue, of Duntroon. Stylistically these Christchurch 1 mcludes stylised fish and anthro figures closely resemble those m pomorphic figures, over-lapping. the Aht/rin River valley ISBN 0·90 8874·055