The auction of a Wharekauri Tahuna that fetched $3.75 million dollars that painting by renowned New Zealand artist C.F. Goldie has brought attention not only to its financial worth but also to its deep cultural significance. This sale is a powerful reminder of the ongoing challenge iwi face, particularly Ngāti Manawa, in preserving taonga for future generations.
Goldie’s painting is more than just a historical artifact; it is a symbol of Māori ancestral connections and a reflection of the impact of colonization on indigenous art forms. Waikato University academic Hemopereki Simon, from Ngāti Manawa, emphasizes that these works are not mere assets but are taonga tuku iho—treasures passed down from ancestors to be safeguarded. As a result of colonisation photos and paintings have been used as substitutes for traditional carvings that were once vital to Māori identity, especially after the decline of carving practices.
Simon critiques the view of such works as investments and assets, urging a deeper understanding of their true cultural value to Te Ao Māori and the wider Aotearoa cultural heritage. The titles of Goldie’s paintings, such as “A Noble Relic of A Noble Race,” reflect a colonial mindset that assumed Māori people was destined to die off. Yet, Aotearoa New Zealand today is home to a thriving Māori population, and this resilience challenges the narrative Goldie’s paintings often convey and their depiction of only kuia and kaumātua. Such philosophies behind these paintings are that it is destiny for white people to take over Indigenous lands.
While the auction of this painting may seem like a mere financial transaction, it highlights the significant cultural implications for Māori communities. Simon calls for greater efforts to preserve such works within Māori communities, ideally works like Wharekauri from the likes of Linduear, Angas and Goldie would return to their homelands, where they hold deep historical and spiritual meaning. The sale of these taonga outside of Aotearoa risks severing the connection between Māori descendants and their ancestral heritage. The government needs to address this.
For small iwi like Ngāti Manawa, the ability to reclaim such taonga is increasingly difficult. Treaty settlements, which are based on population size, offer limited resources, making the repatriation of significant artworks unattainable for many iwi. Simon acknowledges that for Ngāti Manawa, the only realistic hope of acquiring such a Goldie painting is through unforeseen and unrealistic circumstances, such as a lottery win,
The auction of the Wharekauri painting serves as an opportunity to reflect on the intersection of art, colonial history, and indigenous cultural preservation and cultural survial. It brings into focus the urgent need for better protection and understanding of Māori taonga, emphasizing that their value is not in their market price but in the cultural and ancestral connections they represent.
Photo Supplied:
Contact Information:
Contact Person: Hemopereki Simon
Company Name: The University of Waikato
Website URL: https://profiles.waikato.ac.nz/Hemopereki.Simon
Email: [email protected]
Phone: +64273442628
Targeted Location: New Zealand, The Art World, Museums, Australia
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Sahyadri Times journalist was involved in the writing and production of this article.
