According to the traditional Māori mythology, the art of carving, weaving, and tattooing were not born of the human world. In 'The Lore of the Warewananga' (1913), the translated teachings of two distinguished
Tohunga, state how the generous offerings of celestial wisdom represent the tender connection of the
Māori to this spiritual world. This is represented in the myth of Mataora, as the story emphasises the importance of the underworld's Gods and spirits (atua) to modern
Māori culture.
Tā Moko The
tā moko (or 'kauae' for women) is a
sacred facial tattoo still frequently practiced in
Māori society. Its name is derived from the mythological figure 'Atua
Rūaumoko' – the latest child of
Ranginui et Papatūānuku of Rarohenga. The origin of the art is recorded in several variations. However, its conception is most commonly regarded as derivative of the Mataora myth. In this famous legend, the wisdom and knowledge of the permanent tattoo (tā moko) was gifted to humankind by the celestial
Rangatira, Uetonga. It is explained that up until that point,
Māori civilisation had only practiced the application of temporary tattoo. This was known as 'hopara makaurangi', and was achieved with
soot, blue clay or
red ochre. Uetonga would explain to Mataora the "worthlessness" of his temporary tattoo by wiping his hand across it and embarrassing Mataora by declaring it had no "
mana" – meaning no
honour,
prestige, or
authority. Uetonga agreed and taught Mataora the underworld's design of the nostrils (pōngiangia)
, the line tattooing of the eyebrows (tīwhana), the designs encompassing the mouth (pīhere), and the upper part of the nose (ngu).
Weaving, ornamental patterns, and finger-twining Like the
tā moko, the art of
weaving was another artistic gift received from Rarohenga. Ornamental patterns and finger-twinning were also acquired from Mataora's time in Rarohenga, and would too circulate heavily into
Māori culture, art, and design.
Tribal woodcarving Although the narrative of 'Ruatepupuke' is the most commonly accepted origin story of tribal woodcarving (whakairo) – Māori
ethnographer Elsdon Best's translations of the Mataora myth suggest the influence of Rarohenga's entities in the cultural and artistic development of
woodcarving practiced today. Uetonga reiterated to Mataora the necessary adaption of painting and "carving". His insight expressed that the temporary tattoo seen on Mataora's face, should be used for woodcarving and design found in buildings. == Myth and origin ==