Maori Treasure Boxes

PRM 2004.27.2 © Pitt Rivers Museum

I've been busy researching Maori treasure boxes, often called feather boxes because they were used to store valued personal possessions including huia feathers. Maori people regarded the huia, a New Zealand wattlebird now extinct, as sacred (tapu).

Only those of a chiefly rank could use the skins as ear ornaments or the tail feathers as hair decorations. This photo from around 1900 shows Maggie Papukara, who was descended from Te Arawa chiefs, with two relatives all wearing huia feathers in their hair.

These carved wooden boxes became valued treasures (taonga) in themselves. They gained prestige (mana) by containing items worn on the head, the most tapu part of the body. They also became tapu heirlooms through their association with particular owners.

Treasure boxes were designed to be kept suspended from the rafters. Look at this box from the Museum collection, shown below, to see how the base is curved rather than designed to sit on a flat surface. The carved heads at each end enabled the attachment of suspension cords, as well as serving as handles.

The Maori word for treasure boxes carved in this oval-shape style is wakahuia
PRM 1933.82.1 © Pitt Rivers Museum

Detail of the handle
© Pitt Rivers Museum

Detail of join between the lid and
the base © Pitt Rivers Museum

As you can see, the box is decoratively carved over the entire outer surface, the pattern creating an almost seamless join between the lid and base.

The wood is finished on the outside in two colours. The darker colour was often created by mixing shark oil and powdered charcoal  The reddish orange effect usually a combination of shark oil and red ochre (kokowai).

Lid (top) and base (below) © Pitt Rivers Museum

Look at these photos on the right, showing the lid and the base, to see how colour highlights the
details of the carved pattern on the base in particular. This would be the most visible part of the box when suspended overhead.

Maori treasure boxes soon became popular souvenirs with Europeans. This resulted in some carvings being produced specifically for the tourist trade. This may have been the case with the two you can see below, both in the Museum collections, which are designed to stand on a flat surface.

Treasure boxes designed to stand on a flat surface, PRM 1952.3.3 (left), PRM 2000.21.1 (right) © Pitt Rivers Museum

You will be able to see all of these treasure boxes in the Museum towards the end of the year as part of a new display dedicated to the art of Maori woodcarving.  There are several already on display in the Museum's Court (ground floor) - you can hear staff talk about one of them (PRM 1927.81.1) here:



Zena McGreevy
Senior Assistant Curator

If you are interested in reading more about feather boxes and Maori carving see:

Julie Paama-Pengelly, 2010, Maori Art and Design (New Zealand: New Holland Publishers).

Roger Neich, 2001, Carved Histories (New Zealand: Auckland University Press).

D.C. Starzecka (editor), 1996, Maori Art and Culture (London: British Museum Press).

Selecting Objects For Maori Carving Display

I'm pleased to let you know we've selected the objects for a forthcoming display highlighting the art of Maori carving. Staff from collections, conservation, and technical services will all be working on the display. We finalised the selection in a team meeting, which enabled us to discuss ideas and practical issues from a wide range of perspectives.

Left: laying out the objects ready for the meeting; right: discussing the display © Pitt Rivers Museum

Curator, Jeremy Coote talking with Technicians, Chris and Alan
© Pitt Rivers Museum

The wooden carvings are a mix of house panels, feather boxes, canoe parts and associated material. In collections we need to think about a story line and possible sub-themes for the display. We can then write the display text and labels and, if useful, find images to include in the display.

Talking through our ideas with technicians, who will actual install the case, means we can think collectively about the most effective way to display the objects. We can consider their actual placement in the case, the best angle to position each object, and ensure supports and fittings can be made.

Conservation staff clean the objects and carry out any necessary treatments before the objects go on display. Working with the collection in front of us, meant conservators could check the current condition of the objects and assess how long they will take to prepare.

Left: Head conservator, Heather, checking the condition of the objects;
Right: Technicians, Chris and Alan, considering how to angle door jamb PRM 1930.85.7 .2 © Pitt Rivers Museum

Placing the canoe balers
© Pitt Rivers Museum

We were all able to realistically see how many objects to include in the display. Having measured out the area of the case, we could move the objects around and decide on a workable layout.

Moving objects around
© Pitt Rivers Museum

The meeting was really useful. I think we are all pleased with the final selection and agreed initial design.

The majority of the carvings are from the reserve collection so this a great opportunity to put them on display. Keep an eye on this site for future blogs about this forthcoming display.

Basic layout of the carvings in the new case © Pitt Rivers Museum

Zena McGreevy
Senior Assistant Curator