Redalyc.Canibalismo Sagrado En Isla De Pascua
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Easter Island
Birdman or Birdbrain About the Show When The Book pages transform into rongorongo script, Freddi, Samantha, and Fred transport back to 1765 to Rapa Nui (a.k.a. Easter Island) and face to face with a 15-ton moai! It’s just another day at Curriculum Connections the beach as the trio jump off cliffs, swim through shark infested • ancient civilizations waters to the Birdman’s Island (Motu Nui), oh, and try to find The Book • archeology • Easter Island along the way! Subject Areas Introduction • language arts • social studies Historical mysteries are a sure-fire way to get students interested in the past. Studying the origins and meaning of the giant stone statues of Rapa Nui give students a wonderful opportunity to delve into a civilization that remains an enigma. Historical Background Rapa Nui, an island in the Pacific Ocean off the coast of Chile, is more than 1,000 miles away from the nearest inhabited island, Pitcairn Island. Rapa Nui received the name Easter Island from Admiral Jacob Roggeveen, who sailed a trade ship for the Dutch West India Company. He landed on the island on Easter Day, 1722, and named it in honor of the holiday. It is now a Chilean territory. A mere 66 square miles, Rapa Nui was inhabited for thousands of years by Polynesians who raised crops, built houses, and worshipped gods in nearly complete isolation from the rest of the world. They also created enormous stone statues, moai, that still stand. These statues are thought to honor sacred chiefs and gods and may have emerged out of friendly competitions between groups of craftsmen. -
The Ancient Astronomy of Easter Island: the Mamari Tablet Tells (Part 1)
The Ancient Astronomy of Easter Island: The Mamari Tablet Tells (Part 1) Sergei Rjabchikov1 1The Sergei Rjabchikov Foundation - Research Centre for Studies of Ancient Civilisations and Cultures, Krasnodar, Russia, e-mail: [email protected] Abstract The ancient priest-astronomers constantly watched many heavenly bodies. The record about Halley‟s Comet of 1682 A.D. has been decoded completely. Good agreement between it and the results of European astronomers is seen. The records about Halley‟s Comet of 1835 A.D. as well as about the sun, the moon, Mars and Saturn have been de- ciphered as well. The obtained information is the basis in order to understand some aspects of the bird-man cult. Keywords: archaeoastronomy, writing, folklore, rock art, Rapanui, Rapa Nui, Easter Island, Polynesia Introduction The civilisation of Easter Island is famous due to their numerous ceremonial platforms oriented on the sun (Mulloy 1961, 1973, 1975; Liller 1991). One can therefore presume that some folklore sources as well as rongorongo inscriptions retained documents of ancient priest-astronomers. The Faint Echo from Rapa Nui Routledge (1998: 249) says about the rongorongo board called kohau-o-te-ranga (the Mamari tablet): It was the only one of the kind in existence, and was reported to have been brought by the first immigrants; it had the notable property of securing victory to its holders, in such a manner that they were able to get hold of the enemy for the “ranga” – that is, as captives or slaves for manual labour. Consider the record on the Mamari tablet (C), see figure 1. -
MISCELLANÉES Rongorongo Glyphs Clarify
MISCELLANÉES Rongorongo Glyphs Clarify Easter Island Rock Drawings par Sergei V. RJABCHIKOV * Many Easter Island (Rapa Nui) rock drawings sinker for net or line (Métraux, 1940 : 188, fig. (petroglyphs) can be understood taking into 13b). I have distinguished three glyphs 149 Hatu- account the readings of the rongorongo records hatu (epithets of the sun god Makemake/ of the famous « talking boards » only. This arti- Tangaroa/Tiki/Tane), glyphs 14Tiki atua ‘the cle is devoted to the study of a new portion of the deity Tiki’ in combination with two glyphs 149 Rapanui petroglyphs. In deciphering the rongo- Hatuhatu as well as glyph 47 ava (cf. Rapanui rongo glyphs I use my own classification and avaava ‘to lift’; on the other hand, this sign may translation scheme (Rjabchikov, 1987: 362-363, depict a sucker) in combination with two words fig. 1 ; 1993a : 126-127, fig. 1 ; 1993b : 23, fig. 1 ; 39-4 (pae)rati ‘the paerati fish’. It is known that 1994 : 8, fig. 6 ; 1995a : 5, figs 12 and 17 ; 1997- according to Rapanui beliefs, the god Makemake 2001). Besides, I always take into consideration was connected with the ocean and fishes (Rjab- the vocabularies and rules of alternating sounds chikov, 1999a). of the Polynesian languages. 3. A fish-in-fish motif is incised at Ava o Kiri 1. Two fishlike creatures are depicted at Ahu (Lee, 1992 : 78, fig. 4.58). Another fish-in-fish Ra’ai (Lee 1992: 90, figure 4.75). They are a fish motif is also incised at the same panel (Van and a young one. -
The Ancient Astronomy of Easter Island: Mars and Sweet Potatoes
The Ancient Astronomy of Easter Island: Mars and Sweet Potatoes Sergei Rjabchikov1 1The Sergei Rjabchikov Foundation - Research Centre for Studies of Ancient Civilisations and Cultures, Krasnodar, Russia, e-mail: [email protected] Abstract The role of the monument Moai a Mata Mea at Easter Island in the fertility cult has been explained. The own late statue that belonged to the ruling Miru group can provisionally be dated back to ca. 1691 A.D. on the backbone of the archaeoastronomical studies as well as the written sources. Some data about watchings of the total solar eclipse of September 16, 1773 A.D. and Halley‟s Comet of 1682 A.D. are presented as well. A new information on the early settlement of Rapanui is of our interest, too. Keywords: archaeoastronomy, writing, Rapanui, Rapa Nui, Easter Island, Polynesia Introduction Easter Island is a remote spot lost in the Pacific Ocean where many ceremonial platforms were oriented toward certain positions of the sun (Mulloy 1961, 1973, 1975; Liller 1991). Therefore numerous plat- forms and statues could be used as specific astronomical instruments. Mars in the Rapanui Beliefs The monument Moai a Mata Mea stands close to the north of the royal residence Tahai. Its height is around 2.5 m. The statue‟s name literally means „The statue (by the name of) Mata Mea [The Red Eye],‟ and this personal name denotes Mars, besides, the grammatical article a for proper names introduces it. Why did the natives choose this place for the monolithic sculpture? It is evident that this celestial body played the great role in the religious beliefs of the local rulers. -
Face Petroglyphs in Easter Island Caves As a Possible Sign of Their Special Status
48-49/2017-2018 ICDIGITAL Separata 48-49/9 MM1 ICDIGITAL Eine PDF-Serie des Institutum Canarium herausgegeben von Hans-Joachim Ulbrich Technische Hinweise für den Leser: Die vorliegende Datei ist die digitale Version eines im Jahrbuch "Almogaren" ge- druckten Aufsatzes. Aus technischen Gründen konnte – nur bei Aufsätzen vor 1990 – der originale Zeilenfall nicht beibehalten werden. Das bedeutet, dass Zeilen- nummern hier nicht unbedingt jenen im Original entsprechen. Nach wie vor un- verändert ist jedoch der Text pro Seite, so dass Zitate von Textstellen in der ge- druckten wie in der digitalen Version identisch sind, d.h. gleiche Seitenzahlen (Pa- ginierung) aufweisen. Der im Aufsatzkopf erwähnte Erscheinungsort kann vom Sitz der Gesellschaft abweichen, wenn die Publikation nicht im Selbstverlag er- schienen ist (z.B. Vereinssitz = Hallein, Verlagsort = Graz wie bei Almogaren III). Die deutsche Rechtschreibung wurde – mit Ausnahme von Literaturzitaten – den aktuellen Regeln angepasst. Englischsprachige Keywords wurden zum Teil nach- träglich ergänzt. PDF-Dokumente des IC lassen sich mit dem kostenlosen Adobe Acrobat Reader (Version 7.0 oder höher) lesen. Für den Inhalt der Aufsätze sind allein die Autoren verantwortlich. Dunkelrot gefärbter Text kennzeichnet spätere Einfügungen der Redaktion. Alle Vervielfältigungs- und Medien-Rechte dieses Beitrags liegen beim Institutum Canarium Hauslabgasse 31/6 A-1050 Wien IC-Separata werden für den privaten bzw. wissenschaftlichen Bereich kostenlos zur Verfügung gestellt. Digitale oder gedruckte Kopien von diesen PDFs herzu- stellen und gegen Gebühr zu verbreiten, ist jedoch strengstens untersagt und be- deutet eine schwerwiegende Verletzung der Urheberrechte. Weitere Informationen und Kontaktmöglichkeiten: institutum-canarium.org almogaren.org Abbildung Titelseite: Original-Umschlag des gedruckten Jahrbuches. -
On the Observations of the Sun in Polynesia
On the Observations of the Sun in Polynesia Sergei Rjabchikov1 1The Sergei Rjabchikov Foundation - Research Centre for Studies of Ancient Civilisations and Cultures, Krasnodar, Russia, e-mail: [email protected] Abstract2 The role of the Polynesian sun god Tagaloa has been studied. The Polynesian characters Maui-tikitiki, Tane and Tiki were related to the sun as well. The solar data of Easter Island are essential indeed. The rongorongo text on the Santiago staff about the solar eclipse of December 20, 1805 A.D. has been de- coded. The Mataveri calendar was probably incised on a rock in 1775 A.D. So, a central event during the bird-man festival was the day of vernal equinox. The priests-astronomers watched not only the sun and the moon, but also some stars of the zodiacal constellations and other bright stars. Keywords: archaeoastronomy, rock art, writing, Easter Island, Polynesia, Fiji, Vanuatu Introduction On the strength of PMP *gilak „shine, glitter,‟ *gilap „lustre, shine,‟ *dilap „to shine, flash,‟ *kilap „lus- tre, shine,‟ and *silap „sparkle‟ (ACD) one can reconstruct the root *la „shine etc.‟ I suppose that PPN *la‟aa „the sun‟ came from that word. Other reflexes are as follows: PPN *gigila „shine, glitter‟ and *tugi „to ignite, light‟ (POLLEX). Cf. also Maori ngiha (< *ngia) „fire; to burn,‟ Hawaiian niania „shining‟ and Rapanui ngiingii „hot; burning hot‟ as well as Samoan „ila „to shine, sparkle‟ [thus, PPN *kila means „ditto;‟ it is my own reconstruction]. Figure 1. 2 An earlier version of this paper, “The Cult of the Sun in Polynesia”, was read to a session of the 20th annual con- ference of the New Zealand Studies Association together with the Norwegian Maritime Museum and the Kon-Tiki Museum, Oslo in association with the University of South Australia, in Oslo, Norway, on June 26, 2014. -
Initiation Rites As a Possible Key to the Decipherment of the Rongorongo Script Of
Initiation rites as a possible key to the decipherment of the rongorongo script of Easter Island M. de Laat Introduction The rongorongo script of Easter Island has only barely survived the ravages of history. Of the 25 inscribed wooden artefacts in existence – mostly tablets – the majority is badly damaged and only partly legible. Barthel (1958) has published 24 of these texts labelling them alphabetically as A, B, C, etc. His transcriptions and nomenclature will be used in this paper. In addition to this collection, there exists a substantial corpus of very brief texts and isolated signs that have not yet been systematically catalogued. They have been engraved on rock panels, wooden statues, and skulls, painted on tapa cloth figures, and tattooed on human skin. When in the second half of the 19th century rongorongo came to the attention of the outside world, those with more than a superficial acquaintance with the writing system had all perished. Consequently, the information that has been handed down about the nature of the script, its function in pre-missionary society, and the contents of its inscriptions, is fragmentary and unreliable. Only two things seem reasonably certain: the script was used to record the native tongue – known today as Rapanui – and it was read from left to right in reverse boustrophedon style. Given the correspondence between the number of syllables of the language and the inventory of signs that make up most of the corpus, several researchers have proposed that the script is basically syllabic (e.g., Macri 1996; Pozdniakov 1996; Horley 2005). 1 There have been only two generally accepted proposals regarding the subject matter of the inscriptions. -
Megaliths of Easter Island
Around the Petit-Chasseur Site in Sion (Valais, Switzerland) and New Approaches to the Bell Beaker Culture, edited by Marie Besse, page 321-330 Proceedings of the International Conference “Around the Petit-Chasseur Site” – Sion, Switzerland, 2011 Megaliths of Easter Island Nicolas CAUWE Abstract In 1992, a thesis came to light, sustaining the collapse of Easter Island’s culture after a change in the landscape. This idea was more than a simple hypothesis: the demonstration of the deforestation of the island was the basis of this reflection. The solution presented here appears radically contradictory; however it is not more than an amendment of the previous one: twenty years ago, understanding of environmental change contributed fundamentally to knowledge; since then, the dossier has been enriched with the history of the island’s monuments. Now we know that the statue platforms never were destroyed, but conscientiously dismantled and converted into necropolis. Likewise it is demonstrable that the volcano-quarry (Rano Raraku), where the moai were sculpted, was not abandoned in mid-operation, but voluntarily turned into an assembly of human figures. The absence of great famines on Rapa Nui during the 17th and the 18th centuries is shown by precise analyses. The very scarce presence of weapons of war is a fact deduced from technological studies. Finally, critical examination of the myths and legends shows that these texts do not record historical events, but the view which Easter Islanders at the end of the 19th century took of their past, after they had been irredeemably cut off from it by circumstances beyond their control. -
Rapanui Placenames: Keys to the Mysteries
Rapanui Placenames: Keys to the Mysteries Sergei V. Rjabchikov Krasnodar, Russia A number of placenames are investigated which shed light upon the culture of Easter Island. Easter Island (Rapa Nui), "the center of the world" according to the local views, keeps many secrets. Placenames are important sources that can help to decode the mysterious culture of this island (Rjabchikov 1993a; 1996a; 1996b; 1996c; 1997a; 1997b). This report deals with several placenames which are key ones for understanding Rapanui ethnology. It is necessary to keep in mind the rules of the gradual phonetic evolution of the Polynesian languages in order to read some of the names successfully. The Rapanui Creation Chant contains the name Tiki-te-Hatu 'Tiki-the lord', associated with Tiki, the first man or the god creator in central and marginal Polynesia (Metraux 1940, 321, 323). This god in the ancient New Zealand religion is regarded as the deity Tane's creative power, and Tane is a personified form of the sun (Buck 1938, 265; Best 1955, 16). So one can suppose that the Rapanui placename Hatu 0 puna (Barthel 1962, 105) is connected with this religious idea. Indeed, the ghost Puna is mentioned in a myth (Metraux 1940,312-313). Puna was always looking at the priestess and she was watching over the skull, an incarnation of the god creator Makemake (Tiki, Tane, Tangaroa.) The name Puna is also included in the four placenames Ahu puna hoa, Ahu puna kape, Ahu puna poho, and Ahu puna rere takatea (Barthel 1962, 104). Rapanui ahu signifies 'ceremonial platform', hoa is 'friend', kope is 'son', 'young person'; Maori poha is 'youngest child of a family' or Names 46.4 (December 1998):277-281 ISSN :0027 -7738 © 1998 by The American Name Society 277 278 Names 46.4 (December 1998) 'full', rere is 'to rise or to'set, as heavenly bodies'; Rapanui rere is 'to fly', taka is 'round', 'bright red', takataka is 'sphere', 'round', tea is 'white', and takatea is 'semen'. -
Hoa Hakananai'a and the Orongo “Doorpost”
LOST AND FOUND: HOA HAKANANAI‘A AND THE ORONGO “DOORPOST” JO ANNE VAN TILBURG University of California at Los Angeles This article is designed to make two related arguments. The first establishes the original provenance of the Orongo “doorpost” as a paenga ‘basalt foundation stone’ incorporated into a high-status, elliptical house with a thatched superstructure (hare paenga or hare vaka). The paenga was subsequently re-purposed and re-carved by adding an anthropomorphic face and then re-positioned at the entrance of a stone house at Orongo. Collected in 1914 by the Mana Expedition and then either left behind or taken from their stores, perhaps during the “native rising”, it was later placed in front of the island’s main colonial residence before its probable sale to a second collector aboard the Carnegie in 1916. The second argument is that the altered situations of the “doorpost” and the basalt statue known as Hoa Hakananai‘a, itself re-positioned from an as yet unknown ceremonial site (ahu) to the interior of the same Orongo house before being collected by H.M.S. Topaze in 1868, removed both objects from their traditional contexts but did not necessarily alter their value to the Rapanui community. HOA HAKANANAI‘A1 On 4 November 1868 Lt William Metcalf Lang and Dr Charles Bailey Greenfield of H.M.S. Topaze discovered and then—with the substantial aid of their shipmates, resident missionaries, colonials and nearly all members of what was then a small Rapanui community—collected Hoa Hakananai‘a from the ceremonial village of Orongo, Rano Kau, Rapa Nui. -
The Birds of Paradise
Rapa Nui Journal: Journal of the Easter Island Foundation Volume 14 Article 4 Issue 4 December 2000 The irB ds of Paradise Georgia Lee Follow this and additional works at: https://kahualike.manoa.hawaii.edu/rnj Part of the History of the Pacific slI ands Commons, and the Pacific slI ands Languages and Societies Commons Recommended Citation Lee, Georgia (2000) "The irB ds of Paradise," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 14 : Iss. 4 , Article 4. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol14/iss4/4 This Research Paper is brought to you for free and open access by the University of Hawai`i Press at Kahualike. It has been accepted for inclusion in Rapa Nui Journal: Journal of the Easter Island Foundation by an authorized editor of Kahualike. For more information, please contact [email protected]. Lee: The Birds of Paradise The Birds ofParadise Georgia Lee, Ph.D. Whilst thefleet ofcanoes o'er the ocean are paddled The flocks ofgods are above in the heavensflying. -Maori song; Beckwith J970:90 INTRODUCTION in it. Lono, the god of IN THE OCEAN WORLD OF POLYNESlA, birds-especially sea agriculture, was repre birds-played an important symbolic role, and had enormous sented by a long wood influence on the ancient seafarers of the Pacific. In both myth post with a bird figure and cult, the bird theme is the most widespread, but least un at the top (Beckwith derstood, ofthe symbolic elements found throughout Polynesia 1970:92, 34). It was (Handy 1940:323). Many studies in the past have connected forbidden to kill frigate birds with visual images found throughout Oceania. -
Death of a Moai.Pdf
Fo.cwo,d: POl'es fol' Tho"sht t is a pleasure and a privilege to write a preface for this short but extremely important study I of the problems and potential solutions involved in trying to preserve the statues and rock art of Easter Island for future generations. The author, by far the leading expert on this topic, has opened my eyes, like those of an "activated" moai, to many factors which had not crossed my mind before. For example, it has not occurred to me that, ironically, it is predominantly the weather-resistant basalt statues which are now indoors in museums, while the far more vulnera ble figures in red scoria remain in the open air. And I had never realized that the causes and sources of deterioration were so numerous and so varied. The moai have suffered cruelly-even their birth, the original quarrying, caused them stress, and they have been subject to endless harmful processes and episodes throughout their long lives-both natural and inflicted by hu mans. Most obvious is the damage caused by moving them around, erecting them, and then toppling them; but far more insidious is the gradual penetration of their pores by water and salt. The analogies to the life of a human being are abundant and manifest. You undergo a hor rendous birth, life's a struggle and then you die, after long and undignified deterioration. As Elena Charola shows, ways are being sought to at least postpone the death of the moai and the rock art. They cannot and certainly will not survive for ever but, thanks to her efforts and those of others, present-day science is coming up with solutions-quite literally, sometimes-that may achieve a stay of execution.