Hi everybody ,
Time for me to have a look at a recent release from DG Artwork and have a rumble with the resin or perhaps that should be a "haka" as the subject is one of the famed warriors from the Maori population of New Zealand.
The release was announced here and in Social media
http://www.planetfigure.com/threads/new-release-for-feb-2017-dg-artwork.84788/
The chosen title is
The Maori have a long history and were feared as warriors in the past with many wars being fought amongst them against the British in the Victorian period .
As a people they have at times in my opinion been very badly treated by many both past and recent history but despite that they are a proud and strong people with the traditions being maintained through the generations through both education and word of mouth by elders who story tell of long past memories .
Both men and women have had particularly in the past and even now face tattoo markings or Moko
Perhaps in modern times the Haka (with the chanting and tongue out being the most recognised part ) is performed by the NZ All Blacks rugby squad to the amazement and delight of the crowd .
For more details on the Maori here are a couple of excellent sites
http://www.newzealand.com/us/maori-culture/
http://www.maori.com
http://www.the maori.com
Here is a good article about skintones
http://www.coolminiornot.com/articles/1310-ethnic-skintones
According to Tony's research.....
Never use black when painting the moko ...it's not historically accurate. Moko inks were traditionally very dark green/ brown in colour, and while they can appear black from a distance, they are more dark green than black in reality. According to Tony some of the pigments used to create the tatoo inks were sourced from dog faeces!!!!
Since the release we have seen a couple of versions amongst them by an Australian modeller we all know ...Tony Dawe so a thank you to him for permission to use his pictures .....more on this later .
I would also like to thank fellow modeller Mike "The Kiwi" Butler for his permission to use some of the excellent information he has quoted like this
The designs sides do not need to be symmetrical as they tell different sides of the warrior's Whakapapa - his origins:
"It can also be noted that a person’s ancestry is indicated on each side of the face. The left side is generally the father’s side and the right side the mother’s. Noble or note-worthy descent was a primary requirement before a moko was undertaken."
http://www.zealandtattoo.co.nz/tattoo-styles/maori-tattoos/
We have an option of adding or leaving off the flax shoulder covering, which is a type of rain cape, known as a kahu tōī. Kahu toi was a garment worn by warriors made from the fibre of tōī, or mountain cabbage tree, rather than flax. Apart from its value as a rain cloak, the kahu toi could resist a blow from a hand weapon making it also a form of defensive body armour.
Wearing headdress consisting of he large greeny/brown feathers are supposed to be tail feathers from the native New Zealand bird the Kakapo, which vary in colour from bright green to brown. The Kakapo is a flightless, nocturnal ground dwelling bird that was once plentiful across new Zealand, but its population has been devastated by feral cats and it is now endangered.
And some other refereneces for you
Ccntinued in next post
Nap
Time for me to have a look at a recent release from DG Artwork and have a rumble with the resin or perhaps that should be a "haka" as the subject is one of the famed warriors from the Maori population of New Zealand.
The release was announced here and in Social media
http://www.planetfigure.com/threads/new-release-for-feb-2017-dg-artwork.84788/
The chosen title is
Powhiri
The powhiri is the ritual ceremony of encounter.
Traditionally the process served to discover whether the visiting party were friend or foe, and so its origins lay partly in military necessity. As the ceremony progressed, and after friendly intent was established, it became a formal welcoming of guests (manuhiri) by the hosts (tangata whenua or home people). As the ceremony progresses also, the tapu or sacredness surrounding manuhiri is removed, and they become one with the tangata whenua.
It begins with the karanga, the high pitched voices of women from both sides, calling to each other to exchange information to begin to establish intent and the purpose of the visit. It is said that the kaikaranga (callers) between them weave a mat laid upon Papatuanuku (Mother Earth) binding the two sides together, and protecting Her from the men who will verbally, and perhaps physically, joust with each other.
In traditional times a wero or challenge was performed by a warrior or warriors, advancing on the manuhiri to look them over and further establish intent. The wero is sometimes performed today, particularly for the most prestigious manuhiri.
The tangata whenua will perform the haka powhiri, a chant and dance of welcome, during which the manuhiri are symbolically drawn onto the marae (sacred courtyard). The chants often use the symbolism of hauling a waka or canoe onto the shore.
Next is the mihi or exchange of greetings by the orators (usually male) from both sides. Oratory is much prized. An expert will display his knowledge of whakapapa (genealogy and history) and mythology, and his mastery of language, rhetoric and dramatic presentation. During whaikorero (speechmaking) links between the ancestors and the living are made, and genealogical links between tangata whenua and manuhiri are emphasised. The kaupapa or purpose of the occasion will be discussed, and perhaps general present day issues and concerns might be aired.
Each speech is followed by the performance of a waiata (song), or sometimes a haka (dance), by the orator's support group. The quality of the performance is a matter of critical concern, and reflects on the orator, and the orator's party.
At the completion of their speeches the manuhiri will present a koha to the tangata whenua. Today it is usually in the form of money, but in the past it would have been food or valued possessions.
Then the manuhiri move across the marae to hongi with the tangata whenua. The hongi is a gentle pressing of noses, and signifies the mingling together of the sacred breath of life, and the two sides become one.
The powhiri concludes with the sharing of kai or food, called hakari. The food removes the tapu or sacredness from the manuhiri, so that the two sides may complete the coming together. As in all cultures the sharing of food also signifies a binding together.
The Maori have a long history and were feared as warriors in the past with many wars being fought amongst them against the British in the Victorian period .
Here's a couple of reference books that you should find of use when painting this bust
As a people they have at times in my opinion been very badly treated by many both past and recent history but despite that they are a proud and strong people with the traditions being maintained through the generations through both education and word of mouth by elders who story tell of long past memories .
Both men and women have had particularly in the past and even now face tattoo markings or Moko
Perhaps in modern times the Haka (with the chanting and tongue out being the most recognised part ) is performed by the NZ All Blacks rugby squad to the amazement and delight of the crowd .
For more details on the Maori here are a couple of excellent sites
http://www.newzealand.com/us/maori-culture/
http://www.maori.com
http://www.the maori.com
Here is a good article about skintones
http://www.coolminiornot.com/articles/1310-ethnic-skintones
According to Tony's research.....
Never use black when painting the moko ...it's not historically accurate. Moko inks were traditionally very dark green/ brown in colour, and while they can appear black from a distance, they are more dark green than black in reality. According to Tony some of the pigments used to create the tatoo inks were sourced from dog faeces!!!!
Since the release we have seen a couple of versions amongst them by an Australian modeller we all know ...Tony Dawe so a thank you to him for permission to use his pictures .....more on this later .
I would also like to thank fellow modeller Mike "The Kiwi" Butler for his permission to use some of the excellent information he has quoted like this
The designs sides do not need to be symmetrical as they tell different sides of the warrior's Whakapapa - his origins:
"It can also be noted that a person’s ancestry is indicated on each side of the face. The left side is generally the father’s side and the right side the mother’s. Noble or note-worthy descent was a primary requirement before a moko was undertaken."
http://www.zealandtattoo.co.nz/tattoo-styles/maori-tattoos/
We have an option of adding or leaving off the flax shoulder covering, which is a type of rain cape, known as a kahu tōī. Kahu toi was a garment worn by warriors made from the fibre of tōī, or mountain cabbage tree, rather than flax. Apart from its value as a rain cloak, the kahu toi could resist a blow from a hand weapon making it also a form of defensive body armour.
Wearing headdress consisting of he large greeny/brown feathers are supposed to be tail feathers from the native New Zealand bird the Kakapo, which vary in colour from bright green to brown. The Kakapo is a flightless, nocturnal ground dwelling bird that was once plentiful across new Zealand, but its population has been devastated by feral cats and it is now endangered.
And some other refereneces for you
Nap
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