British Museum blog

Easter Island (Rapa Nui): a new narrative

Moai staues on Rapa Nui
Jago Cooper, curator, British Museum

Small island communities represent some of the most vulnerable people on the planet to the impacts of climate variability and environmental change. This is why their voices are so powerful when heard above the clamour at international meetings designed to tackle these issues at the global scale.

Government of the Maldives hold a cabinet meeting underwater to raise awareness of global sea level rise. © Mohamed Seeneen

Government of the Maldives hold a cabinet meeting underwater to raise awareness of global sea level rise. © Mohamed Seeneen

From an archaeological perspective these island communities are particularly interesting as they have commonly been populated relatively late in the great human colonisation of our planet, often only arriving in these archipelagos in the late Holocene (past 5,000 years). Therefore archaeological studies in the North Atlantic, Caribbean, Pacific and elsewhere have revealed some fascinating narratives of how human communities have lived with the impacts of climatic variability and environmental change in these archipelagos. In particular these comparative island studies demonstrate how different decisions that people have taken have directly affected their relative vulnerability through time.

Within this context Rapa Nui (Easter Island) has often been heralded as a warning to the world, an example of a remote island community’s inability to live within their means, chopping down all the trees on the island, over-exploiting the island’s resources and self-inflicting their own demise. However, recent evidence offers a very different picture of what actually happened on Rapa Nui.

Recent archaeological excavations have revealed that the current treeless landscape of Rapa Nui has often been misinterpreted. © IWC Media

Recent archaeological excavations have revealed that the current treeless landscape of Rapa Nui has often been misinterpreted. © IWC Media

This new perspective to Rapa Nui’s past is the focus of a documentary that I have worked on for BBC4, Easter Island: Mysteries of a Lost World. It uses the latest scientific and archaeological evidence to reveal a compelling new narrative, one that sees the famous Moai as only part of a complex culture that thrived in isolation. To this end, I argue that there are indeed important lessons to learn from Rapa Nui but they don’t begin by blaming its inhabitants for their own downfall.

Iconic Moai standing on the slopes of Rano Raraku. © IWC Media

Iconic Moai standing on the slopes of Rano Raraku. © IWC Media

Easter Island, Mysteries of a Lost World is on BBC4 on Thursday 30 January at 9.00 pm. Watch clips from the programme on the BBC website.
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In this second watercolour from the ‘Flower Book’ of Pre-Raphaelite artist Edward Burne-Jones, we can see the goddess Venus walking through the night’s sky with doves. This painting is titled ‘Rose of heaven’ – a name given to the plant campion, a small pink flower. Burne-Jones took inspiration from the name of the flower and its connotations, rather than what the flower actually looks like. The depiction of Venus seems to be heavily influenced by Botticelli’s ‘Birth of Venus’, with flowing blonde hair and a dynamic pose.
#EdwardBurneJones #BurneJones #PreRaphaelite #flowers To mark the birthday of Pre-Raphaelite artist Edward Burne-Jones (1833–1898) this week, we’re featuring paintings from his ‘Flower Book’ – a sketchbook full of watercolours and drawings that contained fantasy artworks inspired by the names of flowers. This painting is titled ‘Love in a tangle’ – a name sometimes used for the climbing plant clematis. The scene suggests the story of Ariadne, who gave Greek hero Theseus a ball of golden thread to unwind as he wandered through the labyrinth in search of the minotaur (a mythological creature – half-man and half-bull). Here she waits anxiously for her lover to follow the thread back out of the maze. The clematis and its maze of tangled foliage inspired Burne-Jones to represent this story from ancient Greek mythology in his Flower Book.
#EdwardBurneJones #BurneJones #PreRaphaelite #flowers #mythology Here’s a #regram from @mrapachekat. Doesn’t this lion look majestic? The Museum’s Montague Place entrance is just as grand as the more-visited Main entrance on Great Russell Street. This part of the Museum contains the King Edward VII galleries, and the foundation stone was laid by the King in 1907. This side of the building was designed in the Roman style rather than the Greek Revival of Great Russell Street. It features numerous imperial references, including the coat of arms above the door, and sculptures of lions’ heads and crowns. The architect Sir John James Burnet was knighted for his work designing these galleries, and the building was opened by King George V and Queen Mary in 1914 (Edward VII had died in 1910). #regram #repost #architecture #BritishMuseum #lion Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure
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