Oceanian art

Micronesia comprises second-wave settlers of Oceania, encompassing the people of the islands north of Melanesia, and has an artistic tradition attested to early Austronesian waves from the Philippines and the Lapita culture.[2][3] Among the most prominent works of the region is the megalithic floating city of Nan Madol. The city began in 1200 AD, and is still being built when European explorers begin to arrive around 1600. The city however, undergoes a decline by around 1800 along with the Saudeleur dynasty, and is abandoned altogether by the 1820s. The 19th century would see the region divided up amongst the colonial powers, however art continued to thrive. Wood carving by men in particular flourishes in the region, creating richly decorated ceremonial houses in Belau, stylized bowls, canoe ornaments, ceremonial vessels, and sometimes sculptured figures. Women on the other hand created textiles and ornaments like bracelets and headbands. Stylistically, Micronesian art is streamlined and of a practical simplicity to its function, but is typically finished to a high standard of quality.[11] This was mostly to make the best possible use of what few natural materials they had available to them.[12]

The first half of the 20th century saw a downturn in Micronesia's cultural integrity and a strong foreign influence from both western and Japanese Imperialist powers. A number of historical artistic traditions, especially sculptural, simply ceased to be practiced. However other art forms continued, including traditional architecture and weaving. But by the second half of the century, independence from colonial powers allows their traditional arts to find a renewed interest and respect from within the region, and a new generation are taught these art forms. There is also a notable movement of contemporary art within Micronesia toward the end of the 20th century.[13]

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  Dinonga eidu (idol); circa 1800; wood; height: 35 cm (133⁄4 in.); from the Caroline islands; Musée du quai Branly (Paris)
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  Gable figure (dilukái); late 19th century-early 20th century; painted wood; height: 65.2 cm (252⁄3 in.); from Palau, by Belauan people; Metropolitan Museum of Art (New York City)

Birdmen (Tangata manu) paintings in a cave at the foot of Rano Kau, Rapa Nui (Easter island).

Polynesia, like Micronesia, stretched back to Lapita cultural traditions. Lapita Culture included parts of the western Pacific and reached as far east as Tonga and Samoa.[14] However much of Polynesia, like the islands of Hawaii, New Zealand, Tahiti, and Easter Island, had only relatively recently been settled by indigenous peoples. The most famous Polynesian art forms are the Moai (statues) of Rapa Nui/Easter Island. Polynesian art is characteristically ornate, and often meant to contain supernatural power or mana.[15] Polynesian works of art were thought to contain spiritual power and could affect change in the world.[16] However the period beyond 1600 AD had seen intense interaction with European explorers, in addition to continuing earlier cultural traditions. The collections of European explorers during the period show that classical Polynesian art was indeed flourishing. In the 19th century, depopulation of areas due to slave raiding and Western diseases disrupted many societies and cultures. Missionary work in the region caused the conversion to Christianity, and in some cases the destruction of traditional cultural and artistic heritage of the region, specifically sculpture. However more secular art forms continue, such as carving non-religious objects like kava bowls and textile work such as tapa making. With the end of colonialism however, Polynesians increasingly attempted to assert their cultural identity.[17]

Australian Aboriginal rock painting from Namadgi National Park

Australian Aboriginal people are most known for their rock art, which they continue to practice after their contact with Western explorers. Other forms of art however, reflect their lifestyle of often moving from one camp to another and is utilitarian and portable, albeit still highly decorated. They used rocks and other natural sources mixed with water to make their paint. Often using sticks to make their famous but recent (from 1971) dot paintings. Even today we still see Aboriginals making these. When dancing, they paint their bodies with white "paint" and apply it to their body in patterns and meaningful shapes and lines. Their dancing uses native Australian animals as inspiration.[18]

Melanesia, comprising New Guinea and the surrounding islands and people of first wave settlers, has perhaps the most striking art of all Oceania. Stylistically art is typically highly decorative and portrays exaggerated forms, often of sexual themes. It is mostly made in connection with ancestors, hunting, and cannibalism. Commonly they would be used in the context of spiritual rituals, such as the creation of elaborate masks. However, few examples of Melanesian art exist on the islands today.[5]

After 1600, like the other regions of Oceania, saw increasing encounters with European explorers. What they witnessed was a flourishing tradition of art and culture, such as the first record of the region's elaborate wood carving. It isn't until the latter half of the 19th century, however, that westernization begins to takes its toll. Some traditional forms of art go into decline, but others like sculpture survive and even thrive in the region. Not until more of the islands were explored by the western powers that the sheer diversity of Melanesian art begins to be seen. By the 20th century, Melanesian art begins to find its way to the West and has a profound impact on contemporary artists. However a great cultural disruption would follow the second World War, and much traditional art would begin to decline or be destroyed. This would be followed decades later by a newfound appreciation for their native art forms.[19]