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Abstract
This essay addresses debates over the study of archaeological art objects. I review and recognise value in Gell's ideas about the social agency of art, Scott's challenge to consider local significance in evaluating ancient artistic expressions, and Meskell, Gosden et al. on notions of biography or life history as applied to cultural objects. In the last regard, it is recognised that many indigenous communities continue to care for and recreate ancestral images as culturally active productions at historical and more recent sites of significance. Taking this lead, I argue that the analysis of cultural historical space is critical to achieve a meaningful social understanding of archaeological images in place. I illustrate the point with reference to Polynesian studies involving historical and contemporary interpretations of erect archaeological images, including biologically and culturally live Moriori tree carvings on Rēkohu (Chatham Island).
Acknowledgements
As legal representative of Moriori people, Hokotehi Moriori Trust is a full partner in the collaborative Rēkohu research project discussed here. General Manager Maui Solomon and Trust chair Shirley King are thanked in particular for direction and advice. Moriori elder Tom Lanauze is acknowledged for invaluable field support and insights. The mana (authority) of Hokotehi Moriori Trust over rākau momori sites, knowledge and images is recognised. Justin Maxwell has provided significant field and other, ongoing research contributions. Rēkohu fieldwork was funded by the New Zealand Department of Conservation (2010) and University of Otago research grants (for 2011 and 2012). Les O'Neill, Department of Anthropology and Archaeology, University of Otago, prepared line illustrations. Editorial and referee comments assisted in the process of revision, in which, however, I accept full responsibility for the personal views expressed, and any errors.