The Korotangi is a fascinating and historically important artifact in Maori culture, known to us through its discovery in the late 19th century and the respect shown to it by some Maori communities. This carved stone bird has long interested scholars and enthusiasts, leading to ongoing questions about where it came from, the details of its meaning, and the depth of its symbolism. This post aims to address the main question of the oldest and most reliable meaning and symbolism of the Korotangi, using the documented accounts found in publications before 1950.
The disputed origins of the Korotangi, especially the observation that it was carved with metal tools, require a careful examination of the stories surrounding it. This detail challenges the idea that it was purely a pre-European Maori creation, since traditional Polynesian technology didn't include metalworking. As a result, this report will carefully analyze how early scholars and Maori themselves tried to reconcile this difference with the common oral traditions about the artifact's beginnings and age. Furthermore, to find a "reliable meaning," we need to identify consistent interpretations that appear in multiple independent historical sources. Instead of relying on a single account, the repetition of themes and symbolic explanations in pre-1950 publications will be essential in establishing a credible understanding of the Korotangi's cultural importance.
Early Encounters and Descriptions of the Korotangi
The physical object of the Korotangi first became widely known after its discovery in 1878 near Aotea Harbour. Accounts of this event describe it being unearthed from the root system of a fallen manuka tree. The artifact was initially acquired by Albert Walker, who later sold it to Major John Wilson. Early scholarly investigations into the Korotangi, documented in publications before 1950, provide detailed physical descriptions. These sources consistently note that it is about ten inches long and weighs around four pounds and ten ounces. The material it is carved from is identified as a dark green serpentine stone.
The carving is clearly in the shape of a bird, with comparisons made to various bird species, including the prion, duck, dove, and pigeon. A significant observation, noted even in these early accounts, is the apparent use of metal tools in the carving process. This detail is particularly important when considering the traditional technological abilities attributed to pre-European Maori society. Several early scholarly articles about the Korotangi appeared in the Transactions and Proceedings of the Royal Society of New Zealand. Among these, Julius von Haast's initial remarks on the carved stone bird provide an early documented encounter. Later, John Wilson offered a more detailed account in the same publication, adding to the early understanding of the artifact.
The initial scholarly approach to the Korotangi focused strongly on its physical attributes. Early investigators aimed to classify the bird species it represented, aligning with the Western scientific methods of the time. This emphasis on categorization, while providing valuable descriptive information, may have initially overshadowed the deeper cultural and spiritual interpretations held by the Maori people. The consistent mention of metal tools being used in the carving, even in these early accounts, creates a significant point of disagreement with the idea of a purely pre-European Maori origin. This observation suggests either a creation after European contact or an origin outside the traditional technological practices of Polynesia, a discrepancy that early scholars had to address in their interpretations.
The Korotangi and Oral Traditions
A prominent feature in understanding the Korotangi is its strong association with the legend of the Tainui waka in Maori oral traditions. The belief that this stone bird was brought to New Zealand from the ancestral homeland of Hawaiki aboard the Tainui canoe is a recurring theme. Tradition further recounts that upon the waka's arrival at Kawhia Harbour, the Korotangi was housed at "Te Ahurei," a respected wananga or school of learning, along with other precious stone emblems.
The name "Korotangi" itself is often interpreted as "bird of sorrow" or "crying dove". This evocative name connects with a waiata, or song of lament, that is traditionally linked to the Korotangi, with various translations and interpretations existing. One notable translation of this waiata was provided by C.O. Davis. It has also been suggested that the waiata might originally have referred to a pet bird, named Korotangi, rather than the stone relic itself.
Beyond its association with sorrow, oral traditions also portray the Korotangi as having protective power and serving as an oracle. It is said that in times of war, the Kawhia and Waikato tribes, descendants of the Tainui, would carry the Korotangi into battle, placing it on a hilltop and consulting it for guidance. This practice highlights its role as a tribal talisman, potentially ensuring success in warfare and good fortune in general. Furthermore, it has been described as a "guardian of treasures" in some accounts.
The consistent and widespread connection of the Korotangi to the Tainui waka across numerous sources emphasizes the important role this narrative played in shaping the artifact's cultural significance, especially for iwi tracing their ancestry to this migration. This enduring link to a foundational voyaging tradition likely gave the Korotangi substantial ancestral mana and historical importance. The dual interpretation of the name "Korotangi," signifying both "bird of sorrow" and potentially a "crying dove," suggests multiple layers of meaning. These interpretations could relate to themes of loss, remembrance of ancestors who journeyed on the waka, or perhaps even a spiritual connection to the divine realm, with the bird acting as a symbolic messenger of grief or peace.
Interpretations of Meaning and Symbolism in Early Sources
Pre-1950 sources frequently interpret the Korotangi as a "taonga," a term signifying a treasured possession of immense cultural and spiritual value, embodying prestige, authority, spiritual power, and sacredness. This designation is closely linked to the concepts of "mana," representing spiritual power or authority, and "tapu," denoting something sacred or forbidden, both of which are associated with the Korotangi. The artifact is understood to represent a tangible link to the past and to ancestral figures, serving as a reminder of lineage and heritage. Furthermore, early interpretations suggest that the Korotangi functioned as a tribal talisman, believed to ensure success in hunting and provide general well-being for the community. It is also referred to as a "guardian of treasures," implying a protective role over valued possessions and perhaps even the spiritual well-being of the people.
Notably, some early sources draw comparisons between the Korotangi and similar carved birds found in Japan and Malaya. This comparison hints at a potential origin outside of New Zealand and suggests that its meaning and symbolism might have been influenced by or adapted from other cultural contexts. The consistent recognition of the Korotangi as a "taonga" within Maori society highlights its profound cultural and spiritual significance. This classification implies that the artifact was not merely an aesthetic object but held deep ancestral connections, embodying the spiritual essence and prestige of past generations. The potential foreign origin of the Korotangi, acknowledged even within early Maori accounts, introduces a layer of complexity to its symbolism. The Maori recognition that the bird was "not a Maori bird" and the noted similarities to artifacts from Japan and Malaya suggest that its meaning within Maori culture might have evolved through a process of adaptation and reinterpretation, integrating foreign elements into existing spiritual and cultural frameworks.
Debates on Origin and Authenticity
The history of the Korotangi is intertwined with significant debates surrounding its geographical origin and its authenticity as a pre-European Maori artifact. A central point of contention is the contradiction between the strong oral tradition linking it to the arrival of the Tainui waka from Hawaiki and the physical evidence suggesting it was carved using metal tools, a technology not traditionally associated with pre-European Polynesian societies. Some sources propose an Indonesian origin for the carving, potentially dating back to around 790 AD, citing the type of serpentine stone used and the style of craftsmanship. The observed similarities to ancient Japanese bronze birds further fuel speculation about an origin beyond the traditional Polynesian sphere.
Adding another layer to the complexity is the emergence of historical discussions questioning the Korotangi's authenticity as a genuine pre-European Maori artifact. These debates notably involve claims of fraud perpetrated by Albert Walker in his dealings with Major Drummond Hay and subsequently Major John Wilson. Discrepancies in the accounts surrounding the artifact's discovery and its subsequent sale have further fueled these doubts. The early emergence of skepticism regarding the Korotangi's authenticity underscores the critical importance of carefully evaluating historical accounts, even those contemporaneous with its discovery. The fact that doubts arose relatively soon after the Korotangi came to public attention indicates a degree of critical scrutiny applied to the artifact from the outset, suggesting that the earliest interpretations were not universally accepted and were already subject to alternative explanations. The potential involvement of individuals like Albert Walker, known for fraudulent activities, in the Korotangi's early history introduces a significant element of uncertainty. The possibility of misinformation or deliberate deception influencing the narratives surrounding its discovery and provenance necessitates a cautious approach to analyzing the early interpretations and a consideration of potential biases within the historical record.
The Korotangi within the Context of Maori Bird Symbolism
To gain a fuller understanding of the Korotangi's meaning, it is essential to consider the broader significance of birds within Maori mythology and culture. Birds frequently feature as messengers between the human and spiritual worlds, embodying a connection to the divine. The Manaia motif, a prevalent figure in Maori art, is often depicted as a bird-headed being representing a spiritual guardian and a conduit between worlds. Bird carvings in general often symbolize qualities such as courage, strength, and spiritual guidance. The interpretation of the Korotangi as a "bird of sorrow" might align with the symbolic representation of certain birds as omens or messengers carrying news, potentially including tidings of loss or change. It is also plausible that the Korotangi was seen to represent a specific atua or ancestor associated with avian forms, further deepening its spiritual significance.
The well-established symbolism of birds in Maori culture provides a vital context for understanding the potential meanings attributed to the Korotangi. Given the prevalence of avian motifs and their spiritual connotations, it is logical to assume that the Korotangi, as a carving of a bird, would have been interpreted through this symbolic lens. The specific characteristics of the Korotangi, such as the type of bird it resembles (prion, duck, dove, pigeon), could further refine its symbolic interpretation based on the known attributes and associations of these birds within Maori traditions. While distinct in its specific form, the shared bird-headed characteristic between the Korotangi and the Manaia motif could suggest a conceptual link to ideas of spiritual guardianship or the role of intermediary between the physical and spiritual realms. Although the Korotangi lacks the distinct profile and other features of the Manaia, this shared avian element hints at potential underlying connections to broader Maori beliefs about the spiritual significance of birds.
Conclusion
Based on the examination of pre-1950 publications, the oldest and most reliable meaning and symbolism of the Korotangi reveal a complex interplay of Maori oral traditions and early Western scholarly interpretations, further complicated by ongoing debates surrounding its origin and authenticity. The Korotangi is consistently portrayed as a "taonga," a sacred and treasured artifact deeply connected to Maori heritage and embodying spiritual power. Its strong association with the legend of the Tainui waka underscores its importance within the foundational narratives of certain iwi, linking it to ancestral voyages and the establishment of Maori presence in Aotearoa. The interpretation of its name as "bird of sorrow" or "crying dove" suggests a symbolic link to themes of lament, remembrance, or spiritual communication. Furthermore, oral traditions hint at its role as a protector and oracle, consulted in times of conflict and believed to ensure good fortune.
However, the persistent questions regarding the Korotangi's origin, particularly the evidence of metal tool carving contradicting a purely pre-European Polynesian creation, cast a shadow on the uncritical acceptance of its traditional Hawaiki narrative. The historical debates surrounding its authenticity, including accusations of fraud, further complicate the reliability of early interpretations, highlighting the need for ongoing critical evaluation of historical sources. Despite these uncertainties, the Korotangi's form as a bird carving places it within the broader context of rich and significant bird symbolism in Maori culture, potentially linking it to concepts of spiritual messengers, guardians, or ancestral representations.
In conclusion, the meaning and symbolism of the Korotangi, as gleaned from pre-1950 publications, are multifaceted and deeply embedded in Maori oral traditions, particularly its connection to the Tainui waka. While revered as a sacred taonga associated with sorrow, ancestry, and potential spiritual guidance, the artifact's contested origins and authenticity necessitate a nuanced understanding of its historical interpretations. The Korotangi serves as a compelling example of how cultural artifacts can embody complex layers of meaning, shaped by both internal cultural narratives and external scholarly inquiries, with lingering questions continuing to fuel ongoing interest and research.