There are many parts of the world where the tattoo is employed, but in none is it of so formidable a description as among the New Zealanders. As the reader is probably aware, the tattoo consists of patterns made by introducing certain coloring matters under the skin; charcoal, variously prepared, being the usual material for the purpose. We have already seen among the Kaffirs examples of ornamenting the skin by cutting it deeply so as to form scars, and in Australia a similar but more cruel custom prevails. In neither of these countries, however, is there any attempt at producing an artistic effect, while in New Zealand beauty of design is the very object of the tattoo.
There is a distinction between the tattoo of the New Zealanders and the Polynesians; that of the latter people being formed by rows of little dots, and that of the former by lines cut completely through the skin. On account of this distinction, though a New Zealander and a Polynesian be covered from head to foot with tattoo marks, there is no possibility of mistaking the one for the other.
The moko of the New Zealander is a mark of rank, none but slaves being without a more or less complete tattooing of the face. In the present day, even the chiefs have begun to discontinue the ancient custom, chiefly owing to the exertions of the missionaries, who objected to the practice as a mark of heathendom. Consequently, several of the most powerful convert chiefs present a very curious, not to say ludicrous, aspect, which can hardly have a good effect in recommending Christianity to the people. Having been converted before the moko was completed, and being unwilling to continue the process and unable to obliterate those portions which were already drawn, they appear with one half of their faces tattooed and the other half plain, or perhaps with a solitary ring round one eye, and a couple of curves round one side of the mouth.
As, however, the present work treats only of the native customs, and not of modern civilization, the New Zealanders will be described as they were before they had learned to abandon the once-prized tattoo, to exchange the native mat for the English blanket, the picturesque war canoe for the commonplace whaling boat, and the spear and club for the rifle and bayonet.
The principal tattoo is that of the face and upper part of the head, which, when completed, leaves scarcely an untouched spot on which the finger can be placed. When finished, the whole face is covered with spiral scrolls, circles, and curved lines; and it is remarkable, that though a certain order is observed, and the position of the principal marks is the same in every case, no two persons are tattooed in precisely the same manner, the artists being able to produce an infinite variety with the few materials at his command.
For example, the first portion of the tattoo is always a series of curved lines, reaching from the corners of the nose to the chin, and passing round the mouth. This portion of the tattoo goes by the name of rerepi. Next comes a spiral scroll on the cheekbone; and below it is another spiral, reaching as low as the jaw-bone. These are called respectively kakoti and korohaha. Next come four lines on the middle of the forehead, called titi; and besides these there are several lines which run up the centre of the nose and cover its sides, some which spread over the forehead, others which occupy the chin; and even the lips, eyelids, and ears are adorned with this singular ornament.
Besides possessing these marks, a great chief is seldom content unless he can cover his hips with similar lines, each of which has, like those of the face, its proper name.
Although the moko was considered as a mark of rank, there were no sumptuary laws which forbade its use. Any one, provided he were not a slave, might be tattooed as much as he pleased; but the expense of the operation was so great, that none but men of position could afford a complete suit of moko. No man could tattoo himself, and the delicacy of touch and certainty of line was so difficult of attainment, that tattooing became an art or science, which was left in the hands of a few practitioners, who derived a good income from their business. Some of those who had attained much reputation for their skill used to command very high fees when called in to decorate a client, and their services could therefore only be secured by the men of high position. It is rather remarkable that some of the most celebrated operators were slaves, men who were forbidden to wear the tattoo on their own persons.
The mode of operation is as follows. The patient lies on his back, and places his head between the knees of the operator, who squats on the ground after the usual native fashion. The latter then takes a little of the black pigment, and draws on the face the line of the pattern which he intends to follow; and in some cases he slightly scratches them with a sharp instrument, so as to make a sketch or outline drawing. The object of this scratching is to prevent the pattern from being obliterated by the flowing blood and the black pigment which is rubbed into the wounds.
Next, he takes his instrument or chisel, which is usually made of teeth, or the bone of a bird, and with it follows the pattern, cutting completely through the skin. Sometimes, when engaged in tattooing the face, a careless operator has been known to cut completely through the cheek, so as to put a temporary check to smoking, the sufferer experiencing some difficulty in getting the smoke into his mouth at all, and then finding it escape through the holes in his cheek. On page 722 the reader may find an illustration which gives a good idea of the different forms of the tattooing chisel. As the operator proceeds, he continually dips the edge of his chisel in the black pigment, and, when he has cut a line of a few inches in length, he rubs more of the pigment into the wound, using a little bunch of fibre by way of a brush or sponge.