Hoa Hakananai'a

Last updated

Easter Island Statue
Angled View of the Hoa Hakananai'a Statue.JPG
Hoa Hakananai'a in the Wellcome Gallery in the British Museum
MaterialFlow lava
SizeHeight: 2.42 metres (7.9 ft)
Createdc. 1000-1600 AD
Present location British Museum, London, Gallery 24
Registration 1869,1005.1

Hoa Hakananai'a is a moai, a statue from Easter Island. It was taken from Orongo, Easter Island (Rapa Nui) in 1868 by the crew of a British ship and is now in the British Museum in London.

Contents

It has been described as a "masterpiece" [1] and among the finest examples of Easter Island sculpture. [2] Though relatively small, it is considered to be typical of the island's statue form, [3] [4] but distinguished by carvings added to the back, associated with the island's birdman cult. [5]

Etymology

The statue was identified as Hoa Hakananai'a by islanders at the time it was removed; the British crew first recorded the name in the form 'Hoa-haka-nana-ia' or 'Hoa-haka-nama-ia'. [6] It has been variously translated from the Rapa Nui language to mean 'breaking wave', [7] 'surfriding', [6] 'surfing fellow', [8] [9] 'master wave-breaker', [10] 'lost or stolen friend', [11] 'stolen friend', 'hidden friend' [12] or 'doing robberies/mockeries friend'. [8]

Provenance

In 1868, Hoa Hakananai'a was standing erect, part buried inside a freestone ceremonial "house" in the Orongo village at the south-western tip of the island. It faced towards an extinct volcanic crater known as Rano Kau, with its back turned to the sea. [13] [14] It may have been made for this location, or first erected elsewhere before being moved to where it was found. [14] [15]

The statue is thought to date from 1000‍– 1200 CE. [16] No Easter Island statues have been scientifically dated, but statue making in general is said to have begun by at least 1000 CE, [17] and occurred mostly between 1300 and 1500 CE. [18] Manufacture is said to have ended by 1600 CE, when islanders began to topple them. [19] The Y on the chin and the clavicles are rare on Easter Island statues, and said to be late innovations. [20]

Physical description

The front of Hoa Hakananai'a's head Hoa Hakananai'a.jpg
The front of Hoa Hakananai'a's head
Damage on Hoa Hakananai'a's hands at the front Front hand damage.jpg
Damage on Hoa Hakananai'a's hands at the front

Typical of Easter Island moai , Hoa Hakananai'a features a heavy brow, blocky face with prominent nose and jutting chin, nipples, thin, lightly angled arms down the sides and hands reaching towards the stomach, which is near the base. It has a raised Y-shape in the centre of the chin, eyes hollowed out in a way characteristic of statues erected elsewhere on the island on ceremonial ahu platforms, and long, rectangular stylised ears. A line around the base of the neck is interpreted as representing the clavicles; [21] [22] [23] there is a semi-circular hollow for the suprasternal notch.

Most statues on Easter Island are of a reddish tuff, [24] [25] but Hoa Hakananai'a is made from a block of dark grey-brown flow lava. [26] Though commonly described as basalt, quarried near to where the statue was found, [25] there is no record of petrological analysis to confirm this. [27] [28] It stands 2.42 metres (7.9 feet) high, is 96 cm (3.15 ft) across, and weighs 4.2 tonnes. [11]

The base of the statue, now concealed in a modern plinth, may originally have been flat, and subsequently narrowed, or was rough and tapering from the start. [21] [22] [23]

Lower back of Hoa Hakananai'a showing the maro (belt or girdle) and buttocks Lower Back of Hoa Hakananai'a.jpg
Lower back of Hoa Hakananai'a showing the maro (belt or girdle) and buttocks

In its original form, the back is thought to have been plain, apart from a maro, a belt or girdle, which consists of three raised lines and a circle above, and an M on a vertical line below. Near the base are slight indications of buttocks. [23]

The top of the head is smooth and flat, [28] and could originally have supported a pukao , a cylindrical stone "hat". A flat round stone found near the site of the statue may have been such a hat, [29] or, if the base was flat, a bed plate on which the statue once stood. [30] It has been suggested that the statue was originally erected so that the top of the head would have been horizontal. [31]

Carvings

The back of the statue, between the maro and the top of the head, is covered with relief carvings added at an unknown time after the statue was made. [5] [32] [33] They are similar in style to petroglyphs on the native rock around the Orongo village, where they are more common than anywhere else on the island. [34] [35]

Either side and above the ring on the maro are two facing birdmen ( tangata manu ), stylised human figures with beaked heads said to represent frigatebirds. Above these, in the centre of the statue's head, is a smaller bird said to be a sooty tern ( manutara ). Either side of this is a ceremonial dance paddle ( ao ), a symbol of male power and prestige. Along the edge of the left ear is a third paddle, because of its smaller size possibly a rapa rather than an ao, and on the right ear a row of four vulva symbols ( komari ). Y-shaped lines drop down from the top of the head. [36] [37]

When first seen by Europeans, the carvings were painted red against a white background. The paint was totally or mostly washed off when the statue was rafted out to HMS Topaze. [38] [39]

Precise reading of these designs varies. The birdmen are popularly interpreted as Makemake, a fertility god and chief god of the birdman cult. [40] This cult, said to have replaced the older statue cult, was recorded by early European visitors. [41]

It involved an annual competition to retrieve the first egg laid by migrating sooty terns. The contest was held at Orongo, and the winning man became Makemake's representative for the following year. [42] [43] The last ceremony is thought to have been held in 1866 or 1867. [44]

New studies

Petroglyphs on the back of Hoa Hakananai'a Petroglyphs on the back of the Hoa Hakananai'a Statue.jpg
Petroglyphs on the back of Hoa Hakananai'a

After the most intensive survey of the statue to date, a more detailed interpretation of the carvings has been proposed. [45] The new survey, which followed an as yet unpublished laser scan survey, [46] comprised a combination of Photogrammetry and Reflectance Transformation Imaging, used to create high-resolution digital images in "two and a half" and three dimensions. [47] [48] [49]

This allowed several details to be clarified. The Y-shaped lines at the top of the head are the remnants of two large komari, partly removed by the other carvings, which were added at a later date. The small bird has a closed beak, not open as had often been described, and the foot of the left birdman has five toes, not six. There is a small, shallow carving below the left ear, which could be a komari or the head of an ao. The beak of the right birdman comes to a short, rounded end, not a long pointed tip; the latter reading of the digital models was supported by a new interpretation of a photo of the statue taken in 1868. [39]

The short beak has been contested, [50] [51] and in turn the original study has been defended. [52] In other studies, it has been proposed that the existing carvings on the back all but conceal four earlier birdman figures, [53] and that an engraved birdman fills the area of the front between the nipples and the hands. [54] The latter was rejected, [55] and defended. [56] None of this can be seen in the new digital models. [57]

Close up of the carvings identifying the male (left) and female (right) birdman, with their fledgling above, as proposed in a disputed interpretation. Also seen in this image are the two large earlier komari that extend onto the top of the statue's head. Close up of the bird beaks.jpg
Close up of the carvings identifying the male (left) and female (right) birdman, with their fledgling above, as proposed in a disputed interpretation. Also seen in this image are the two large earlier komari that extend onto the top of the statue's head.

The archaeologists behind the new digital study also proposed a new way to read the main composition. It was suggested that the elements worked together to portray the birdman ceremony, with the left birdman figure male, the right female (two of the four "egg gods"), and the bird above them their new-hatched fledgling. "Meanwhile the entire statue has become Makemake, its face painted white… in the manner of the human birdman". [58] One group of critics described this interpretation as "interesting, thought provoking and even somewhat poetic", but, while "greatly impressed by the work", rejected the proposals. [51]

The archaeologists behind the new digital study have released the captured photogrammetry model online, along with the Reflectance Transformation Imaging datasets. [59] The latter represent the front, lower back, middle back, upper back and the back of the head. These viewers allow for the dissemination of the results to stimulate discussion.

Recent history

Sketches of Hoa Hakananai'a by Lt. Colin Dundas, while it was on board HMS Topaze in 1868 Sketches by Lt. Colin Dundas, when moai Hoa Hakananai'a was on board HMS Topaze in 1868.jpg
Sketches of Hoa Hakananai'a by Lt. Colin Dundas, while it was on board HMS Topaze in 1868

Hoa Hakananai'a was found in November 1868 by officers and crew from the British Royal Navy ship HMS Topaze. [60] When first seen, it was buried up to about half its height or even more. [29] [61] [62] It was dug out, dragged down from Rano Kau on a sledge, and rafted out to the ship. [63]

It was photographed while Topaze was docked in Valparaíso, Chile, from back [39] and front. [64] At that time Commodore Richard Ashmore Powell, [11] captain of the Topaze, wrote to the British Admiralty offering the statue, along with a second, smaller moai known as Hava. [65]

HMS Topaze arrived in Plymouth, England, on 16 August 1869. The Admiralty offered the statue to Queen Victoria, who proposed that it should be given to the British Museum. [65] It was mounted in a plinth and exhibited outside the museum's front entrance, beneath the portico. During the Second World War, it was taken inside, where it mostly remained until 1966. In that year it was moved to the museum's then Department of Ethnography, which had separate premises in Burlington Gardens. It returned to the British Museum's main site in 2000, when it was exhibited on a new, higher plinth in the Great Court, before moving to its present location in the Wellcome Trust Gallery (Room 24: Living and Dying). [66] [67]

Hoa Hakananai'a was selected by British Museum director Neil MacGregor for his A History of the World in 100 Objects . [68] [69]

In 2010 it was the target of a protest against BP's handling of the Deepwater Horizon oil spill in the Gulf of Mexico. [70]

Repatriation

The Rapa Nui people consider the moai to have been taken without permission. In November 2018 Laura Alarcón Rapu, the Governor of Easter Island, asked the British Museum to return the statue. The museum agreed to discuss a loan of the statue with representatives of the people. [71] Keeper of the Department of Africa, Oceania and the Americas at the British Museum, Lissant Bolton, visited Easter Island in June 2019. [72] Leonardo Pakarati has filmed a documentary Te Kuhane o te tupuna or “The spirit of the ancestors”, in which Hoa Hakananai'a is a symbol stolen from Rapa Nui, whose spirit or mana must be recovered to restore welfare to the island. [73]

See also

Related Research Articles

<span class="mw-page-title-main">Easter Island</span> Chilean island in the Pacific

Easter Island is an island and special territory of Chile in the southeastern Pacific Ocean, at the southeasternmost point of the Polynesian Triangle in Oceania. The island is renowned for its nearly 1,000 extant monumental statues, called moai, which were created by the early Rapa Nui people. In 1995, UNESCO named Easter Island a World Heritage Site, with much of the island protected within Rapa Nui National Park.

<span class="mw-page-title-main">Moai</span> Monolithic human figures on Easter Island

Moai or moʻai are monolithic human figures carved by the Rapa Nui people on Rapa Nui in eastern Polynesia between the years 1250 and 1500. Nearly half are still at Rano Raraku, the main moai quarry, but hundreds were transported from there and set on stone platforms called ahu around the island's perimeter. Almost all moai have overly large heads, which account for three-eighths of the size of the whole statue. They also have no legs. The moai are chiefly the living faces of deified ancestors.

<span class="mw-page-title-main">Rapa Nui people</span> Indigenous Polynesian people of Easter Island

The Rapa Nui are the indigenous Polynesian peoples of Easter Island. The easternmost Polynesian culture, the descendants of the original people of Easter Island make up about 60% of the current Easter Island population and have a significant portion of their population residing in mainland Chile. They speak both the traditional Rapa Nui language and the primary language of Chile, Spanish. At the 2017 census there were 7,750 island inhabitants—almost all living in the village of Hanga Roa on the sheltered west coast.

<span class="mw-page-title-main">Rano Raraku</span> Volcanic crater in Easter Island

Rano Raraku is a volcanic crater formed of consolidated volcanic ash, or tuff, and located on the lower slopes of Terevaka in the Rapa Nui National Park on Easter Island in Chile. It was a quarry for about 500 years until the early eighteenth century, and supplied the stone from which about 95% of the island's known monolithic sculptures (moai) were carved. Rano Raraku is a visual record of moai design vocabulary and technological innovation, where 887 moai remain. Rano Raraku is in the World Heritage Site of Rapa Nui National Park and gives its name to one of the seven sections of the park.

<span class="mw-page-title-main">Katherine Routledge</span> British archaeologist

Katherine Maria Routledge was an English archaeologist and anthropologist who, in 1914, initiated and carried out much of the first true survey of Easter Island.

<span class="mw-page-title-main">Motu Nui</span> Islet near Easter Island, national monument of Chile

Motu Nui is the largest of three islets just south of Easter Island and is the westernmost place in Chile. All three islets have seabirds, but Motu Nui was also an essential location for the Tangata manu cult which was the island religion between the moai era and the Christian era. Motu Nui is the summit of a large volcanic mountain which rises over 2,000 meters from the sea bed. It measures 3.9 hectares in land area and is the largest of the five satellite islets of Easter island. It is one of three islands that is closest to Point Nemo, the place in the ocean that is farthest from land, the other two being Ducie Island, one of the Pitcairn Islands, and Maher Island in Antarctica.

<i>Aku-Aku</i> Book by Thor Heyerdahl

Aku-Aku: the Secret of Easter Island is a 1957 book by Thor Heyerdahl published in Norwegian, Swedish, Danish and Finnish, and in French and English the following year. The book describes the 1955–1956 Norwegian Archaeological Expedition's investigations of Polynesian history and culture at Easter Island, the Austral Islands of Rapa Iti and Raivavae, and the Marquesas Islands of Nuku Hiva and Hiva Oa. Visits to Pitcairn Island, Mangareva and Tahiti are described as well.

<span class="mw-page-title-main">Tangata manu</span> The winner of a traditional competition of Easter Island

The Tangata manu was the winner of a traditional ritual competition on Rapa Nui to collect the first sooty tern egg of the season from the nearby islet of Motu Nui, swim back to Rapa Nui, and climb the sea cliffs of Rano Kau to the clifftop village of Orongo.

<span class="mw-page-title-main">Rapa Nui National Park</span> World Heritage Site in Easter Island

Rapa Nui National Park is a national park and UNESCO World Heritage Site located on Easter Island, Chile. Rapa Nui is the Polynesian name of Easter Island; its Spanish name is Isla de Pascua. The island is located in the southeastern Pacific Ocean, at the southeastern extremity of the Polynesian Triangle. The island was taken over by Chile in 1888. Its fame and World Heritage status arise from the 887 extant stone statues known by the name "moai", whose creation is attributed to the early Rapa Nui people who inhabited the island starting between 300 and 1200 AD. Much of the island has been declared as Rapa Nui National Park which, on 22 March 1996, UNESCO designated a World Heritage Site under cultural criteria (i), (iii), & (v). Rapa Nui National Park is now under the administrative control of the Ma´u Henua Polynesian Indigenous Community, which is the first autonomous institute on the island. The indigenous Rapa Nui people have regained authority over their ancestral lands and are in charge of the management, preservation and protection of their patrimony. On the first of December 2017, the ex-President Michelle Bachelet returned ancestral lands in the form of the Rapa Nui National Park to the indigenous people. For the first time in history, the revenue generated by the National Park is invested in the island and used to conserve the natural heritage.

<span class="mw-page-title-main">Makemake (deity)</span> Deity in the Rapa Nui mythology of Easter Island

Makemake in the Rapa Nui mythology of Easter Island is the creator of humanity, the god of fertility and the chief god of the "Tangata manu" or bird-man sect. He appeared to be the local form, or name, of the old Polynesian god Tane. He had no wife.

<span class="mw-page-title-main">King of Easter Island</span> Polynesian kingdom ended in 1888

Easter Island was traditionally ruled by a monarchy, with a king as its leader.

<span class="mw-page-title-main">Orongo</span> Stone village and ceremonial center on Easter Island

Orongo is a stone village and ceremonial center at the southwestern tip of Rapa Nui. It consists of a collection of low, sod-covered, windowless, round-walled buildings with even lower doors positioned on the high south-westerly tip of the large volcanic caldera called Rano Kau. Below Orongo on one side a 300-meter barren cliff face drops down to the ocean; on the other, a more gentle but still very steep grassy slope leads down to a freshwater marsh inside the high caldera.

Since the removal from Easter Island in 1868 of the moai now displayed at the British Museum, a total of 12 moai are known to have been removed from Easter Island and to remain overseas. Some of the moai have been further transferred between museums and private collections, for reasons such as the moai's preservation, academic research and for public education.

<span class="mw-page-title-main">History of Easter Island</span>

Geologically one of the youngest inhabited territories on Earth, Easter Island, located in the mid-Pacific Ocean, was, for most of its history, one of the most isolated. Its inhabitants, the Rapa Nui, have endured famines, epidemics of disease, civil war, environmental collapse, slave raids, various colonial contacts, and have seen their population crash on more than one occasion. The ensuing cultural legacy has brought the island notoriety out of proportion to the number of its inhabitants.

HMS <i>Topaze</i> (1858)

HMS Topaze was a 51-gun Liffey-class wooden screw frigate of the Royal Navy. She was launched on 12 May 1858, at Devonport Dockyard, Plymouth.

<span class="mw-page-title-main">Father Sebastian Englert Anthropological Museum</span> Anthropology museum on Hanga Roa, Rapa Nui

The Father Sebastian Englert Anthropological Museum is a museum in the town of Hanga Roa on Rapa Nui in Chilean Polynesia. Named for the Bavarian missionary, Fr. Sebastian Englert, OFM Cap., the museum was founded in 1973 and is dedicated to the conservation of the Rapa Nui cultural patrimony.

Jo Anne Van Tilburg is an American archaeologist best known for her research on the statues of Easter Island. Her primary specialty is rock art.

<span class="mw-page-title-main">Angata</span> Rapa Nui religious and rebel leader

Angata, full name María Angata Veri Tahi ʻa Pengo Hare Koho was a Roman Catholic Rapa Nui religious leader from Easter Island during the late 19th and early 20th century. After experiencing a prophetic vision in which God instructed her to retake the land and livestock, she led an unsuccessful rebellion on the island against the Williamson-Balfour Company, intending to create a theocracy centered on Roman Catholicism and Rapa Nui spiritual values.

<span class="mw-page-title-main">Juan Tepano</span> Easter Island leader

Juan Tepano Rano ʻa Veri ʻAmo was a Rapa Nui leader of Easter Island. He served as an informant for Euro-American scholars on the culture and history of the island.

<span class="mw-page-title-main">Rapa Nui tattooing</span> Tattooing among Rapa Nui people

As in other Polynesian islands, Rapa Nui tattooing had a fundamentally spiritual connotation. In some cases the tattoos were considered a receptor for divine strength or mana. They were manifestations of the Rapa Nui culture. Priests, warriors and chiefs had more tattoos than the rest of the population, as a symbol of their hierarchy. Both men and women were tattooed to represent their social class.

References

  1. ↑ Métraux, A (1940). The Ethnology of Easter Island. Honolulu: Bernice P. Bishop Museum. p. 298.
  2. ↑ Métraux, A (1957). Easter Island: A Stone-Age Civilisation of the Pacific. London: Andre Deutsch. p. 162.
  3. ↑ Routledge, K (1919). The Mystery of Easter Island. London: Sifton, Praed & Co. p. 166.
  4. ↑ Van Tilburg 2004, pp. 45–47.
  5. 1 2 Van Tilburg 1992, pp. 56–59.
  6. 1 2 Van Tilburg 1992, p. 41.
  7. ↑ Routledge, K (1919). The Mystery of Easter Island. London: Sifton, Praed & Co. p. 257.
  8. 1 2 Davletshin 2012a, pp. 62–63.
  9. ↑ Davletshin, A (2012). "Images, which are not seen, and stolen friends, who steal: A reply to Van Tilburg and Arévalo Pakarati". Rapa Nui Journal. 26 (1): 68.
  10. ↑ "RapaNui Sprache - Übersetzung Buchstabe N". Osterinsel. Archived from the original on 9 July 2012. Retrieved 14 May 2012.
  11. 1 2 3 "Hoa Hakananai'a ('lost or stolen friend') / Moai (ancestor figure)". British Museum. Archived from the original on 6 June 2017. Retrieved 15 June 2017.
  12. ↑ Van Tilburg 1992, pp. 41–42.
  13. ↑ Routledge, K (1920). "Survey of the village and carved rocks of Orongo, Easter Island, by the Mana Expedition". Journal of the Royal Anthropological Institute. 50: 425–45. doi:10.2307/2843492. JSTOR   2843492. Archived from the original on 20 January 2022. Retrieved 9 September 2019.
  14. 1 2 Van Tilburg 1992, p. 47.
  15. ↑ Pitts et al. 2014, pp. 7–10.
  16. ↑ Episode 70 of the 2010 BBC Radio 4 series A History of the World in 100 Objects
  17. ↑ Van Tilburg 2004, p. 39.
  18. ↑ Fischer, S (2005). The Island at the End of the World. London: Reaktion Books. p. 33.
  19. ↑ "Hoa Hakananai'a Easter Island statue". BBC. Archived from the original on 27 October 2019. Retrieved 21 December 2019.
  20. ↑ Van Tilburg 2004, p. 47.
  21. 1 2 Van Tilburg 1992, pp. 48–50.
  22. 1 2 Van Tilburg 2006, p. 17.
  23. 1 2 3 Pitts et al. 2014, pp. 6–7.
  24. ↑ Van Tilburg, J (1994). Easter Island: Archaeology, Ecology and Culture. London: British Museum.
  25. 1 2 Van Tilburg 2004, p. 45.
  26. ↑ Pitts et al. 2014, p. 3.
  27. ↑ Van Tilburg, J; Pakarati, C (2012). "Hoa Hakananai'a in detail: comment on A. Davletshin's unconvincing assertion of an "overlooked image" on the ventral side of the 'Orongo statue now in the British Museum". Rapa Nui Journal. 26: 64.
  28. 1 2 Pitts et al. 2014, p. 6.
  29. 1 2 Pitts et al. 2014, p. 23.
  30. ↑ Routledge, K (1920). "Survey of the village and carved rocks of 'Orongo, Easter Island, by the Mana Expedition". Journal of the Royal Anthropological Institute. 50: 436. doi:10.2307/2843492. JSTOR   2843492. Archived from the original on 20 January 2022. Retrieved 9 September 2019.
  31. ↑ Pitts et al. 2014, pp. 10–11.
  32. ↑ Van Tilburg 2006, p. 38–40.
  33. ↑ Pitts et al. 2014, pp. 11–19.
  34. ↑ Lee, G (1992). Rock Art of Easter Island: Symbols of Power, Prayers to the Gods . Los Angeles: Institute of Archaeology, University of California.
  35. ↑ Horley, P; Lee, G (2009). "Painted and carved house embellishments at 'Orongo village, Easter Island". Rapa Nui Journal. 23 (2): 106–24.
  36. ↑ Van Tilburg 2004, pp. 50–51.
  37. ↑ Van Tilburg 2006, p. 38.
  38. ↑ Horley, P; Lee, G (2008). "Rock art of the sacred precinct at Mata Ngarau, 'Orongo". Rapa Nui Journal. 22 (2): 112–14.
  39. 1 2 3 Pitts 2014a, pp. 39–48.
  40. ↑ Van Tilburg 2004, p. 22.
  41. ↑ Routledge, K (1917). "The bird cult of Easter Island". Folk-Lore. 28 (4): 335–55. doi:10.1080/0015587X.1917.9719006.
  42. ↑ Flenley, J; Bahn, P (2003). The Enigmas of Easter Island. Oxford: Oxford University Press. pp. 175–77.
  43. ↑ Van Tilburg 2004, p. 23–25.
  44. ↑ Routledge, K (1919). The Mystery of Easter Island. London: Sifton, Praed & Co. pp. 265–66.
  45. ↑ Pitts et al. 2014, pp. 1–31.
  46. ↑ Van Tilburg, J. "Hoa Hakananai'a laser scan project". Archived from the original on 9 September 2014. Retrieved 7 March 2011.
  47. ↑ Miles et al. 2014, pp. 596–605.
  48. ↑ Pitts, M; Miles, J; Pagi, H; Earl, G (2013). "Taking flight: the story of Hoa Hakananai'a". British Archaeology. 130: 24–31.
  49. ↑ Pitts, M. "Last night in the Wellcome Gallery". Archived from the original on 11 September 2014. Retrieved 9 September 2014.
  50. ↑ Van Tilburg, J (2014). "Comment on M. Pitts' Hoa Hakananai'a, an Easter Island statue now in the British Museum, photographed in 1868'". Rapa Nui Journal. 28: 49–52.
  51. 1 2 Lee, G; Horley, P; Bahn, P (2014). "Comments on historical images of the moai Hoa Hakananai'a". Rapa Nui Journal. 28: 53–59.
  52. ↑ Miles, J. "Update on the Hoa Hakananai'a statue". Archived from the original on 11 September 2014. Retrieved 9 September 2014.
  53. ↑ Horley, P; Lee, G (2008). "Rock art of the sacred precinct at Mata Ngarau, 'Orongo". Rapa Nui Journal. 22 (2): 112–13.
  54. ↑ Davletshin 2012a, pp. 57–63.
  55. ↑ Van Tilburg, J; Pakarati, C (2012). "Hoa Hakananai'a in detail: comment on A. Davletshin's unconvincing assertion of an "overlooked image" on the ventral side of the 'Orongo statue now in the British Museum". Rapa Nui Journal. 26: 64–66.
  56. ↑ Davletshin, A (2012). "Images, which are not seen, and stolen friends, who steal: A reply to Van Tilburg and Arévalo Pakarati". Rapa Nui Journal. 26 (1): 67–68.
  57. ↑ Pitts et al. 2014, p. 11.
  58. ↑ Pitts et al. 2014, pp. 26–28.
  59. ↑ "Updated Photogrammetry Model of Hoa Hakananai'a - 3D model by James Miles (@jm1706) [9e7c7d1]". Archived from the original on 9 October 2018. Retrieved 8 March 2021.
  60. ↑ Van Tilburg 2006, pp. 26–37.
  61. ↑ Lee, G; Horley, P; Bahn, P (2014). "Comments on historical images of the moai Hoa Hakananai'a". Rapa Nui Journal. 28: 54–55.
  62. ↑ Horley, P; Lee, G (2008). "Rock art of the sacred precinct at Mata Ngarau, 'Orongo". Rapa Nui Journal. 22 (2): 113–14.
  63. ↑ Van Tilburg 2006, p. 37.
  64. ↑ Lee, G; Horley, P; Bahn, P (2014). "Comments on historical images of the moai Hoa Hakananai'a". Rapa Nui Journal. 28: 56–57.
  65. 1 2 Van Tilburg 2006, p. 3.
  66. ↑ Wilson, D (2002). The British Museum: A History. London: British Museum.
  67. ↑ Van Tilburg 1992, p. 4–5.
  68. ↑ MacGregor, N (2010). A History of the World in 100 Objects. London: Allen Lane. pp. 449–55.
  69. ↑ "Hoa Hakananai'a Easter Island statue". Archived from the original on 27 October 2019. Retrieved 21 December 2019.
  70. ↑ BBC. "'Oil slick' protest against BP at the British Museum". Archived from the original on 24 June 2018. Retrieved 21 June 2018.
  71. ↑ "Easter Island governor begs British Museum to return Moai: 'You have our soul'". The Guardian. 20 November 2018. Archived from the original on 7 March 2020. Retrieved 17 March 2020.
  72. ↑ Bartlett, John (4 June 2019). "Easter Islanders call for return of statue from British Museum". The Guardian. Archived from the original on 7 March 2020. Retrieved 17 March 2020.
  73. ↑ "Moai Hoa Hakananai'a, the stolen friend of Rapa Nui". Archived from the original on 23 April 2021. Retrieved 22 February 2021.
  74. ↑ Wilson, D (2002). The British Museum: A History. London: British Museum. p. 226.
  75. ↑ Wyver, J (2013). "Lost encounter". Archived from the original on 10 September 2014. Retrieved 9 September 2014.
  76. ↑ Moore, H; Finn, D (1981). Henry Moore at the British Museum. London: British Museum.
  77. ↑ "Ron Mueck". Archived from the original on 24 March 2016. Retrieved 15 June 2017.
  78. ↑ Fagan, D (2007). Critical Companion to Robert Frost. New York: Facts on File. pp. 37–38.
  79. ↑ "Ronald Lampitt Archive". Archived from the original on 11 September 2014. Retrieved 9 September 2014.
  80. ↑ CollectGBStamps.

Bibliography

Preceded by A History of the World in 100 Objects
Object 70 		Succeeded by

51°31′12″N0°07′39″W / 51.5199°N 0.1274°W / 51.5199; -0.1274

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.