EASTER ISLAND'S GIANT STATUES: How Did They Move Them? by Caroline Arnold at The Intrepid Tourist

Easter Island's Giant Statues (Moai)

WEEK 4: 52 Places to Go

The first European visitor to Easter Island was a Dutch sea caption, Jacob Roggeveen, who landed on April 5, 1722.  In the tradition of his time, he named his “discovery” for the day of his arrival, which was Easter Sunday.   Today, the island is known both as Easter Island (Isla de Pascua in Spanish) and Rapa Nui, a Polynesian name given to it in the nineteenth century by Tahitian sailors.

Sixteen centuries ago, about 400 A.D., a small group of seafarers and their families sailed east across the Pacific from their island homes in central Polynesia.  Their large double canoes were filled with food, water, tools, and other things they needed to survive.  After many weeks they reached the rocky shores of a small island, later known as Easter Island.  There they established homes, planted gardens, and started a new life.  They developed a rich and complex culture that lasted for more than a thousand years.  Perhaps their most remarkable and unique accomplishment was the carving of giant stone statues called moai.  They created nearly a thousand of these stone figures, some more than three stories high, and erected hundreds of them on huge stone altars called ahu.  Even more amazing is that all this was accomplished by people whose only tools were stone, bone, and coral.

The ancient Easter Island statue makers were skilled craftsmen specially trained in the art of stone carving.  They were privileged and honored members of the community, and, according to legend, they did no other work.  They were provided with food by fishermen and farmers.  Ruins of stone houses found at Rano Raraku are believed to be the places where the sculptors lived.
    Sculptors carved the moai with basalt adzes, or axlike tools called toki.  Thousands of toki litter the ground in the Rano Raraku quarry.   Basalt was also used to make axes for wood cutting as well as for fishhooks and household tools. Obsidian, a glass-like rock that is formed when lava cools rapidly, is another stone that Easter Islanders used for tools.  Obsidian is extremely hard and can be shaped into a razor-sharp cutting edge,  It was used to make cutting and scraping tools, drills, and files.  Because obsidian absorbs tiny amounts of water when it is cut, this can be measured to determine the date that the tool was made.  

    Sculptors carved a moai with the statue lying on its back.  After chipping the outline of the statue’s profile into the quarry wall, they made a niche around it so they could work from both sides.  People at the back side worked in a cramped space about two feet wide and five feet deep.  The sculptors began by carving the head of the moai and finished with the hips. 
    No two moai are exactly alike, although most follow a basic model.  All of them are designed to be standing figures with the base at about hip level.  The arms hang straight down the sides of the body, but the hands, which have elongated fingers, curve around the front of the abdomen.  Moai heads are elongated and always face forward.  The faces usually have narrow lips, large noses, and deep eye sockets below a large forehead.  The ears are usually long and sometimes have depressions in the earlobes where ornaments could be inserted.  Most moai are male although there are a few examples of female figures.

Moai at Anakena

   After the carving of the top, or the front half, of the moai was complete, the bottom was slowly undercut until a narrow ridge of rock was all that attached it to the quarry.  This was then cut away and the moai was lowered to the bottom of the hill with ropes.  There the figure was set upright into a hole in the ground and carving of the back was finished.  The standing statues that now litter the slopes of Rano Raraku are abandoned moai whose lower portions gradually became buried by eroding rocks and soil from above.
    The real challenge in moving the finished moai was getting it from the quarry to the ahu where it would be erected.  Most of these sites were at least several miles away, an enormous distance to transport a huge object weighing many  tons.  The ruts of several roads that were used for moving statues to various parts of the island from the quarry can still be seen.
    No one knows exactly how the moai were moved or whether the statues were transported lying down or standing up.  A variety of experiments have been conducted, both with real moai during the process of reconstruction, and with models, to test possible methods of transportation.

    In the July 2012 issue of National Geographic, the cover article asks the same question. How did people move the moai, which, in some cases, weighed more than 80 tons?  According to local legend, the giant statues “walked” from the quarry to the altars where they were mounted.  In experiments conducted in 2011, scientists showed that as few as eighteen people could maneuver a large statue by tipping it from side to side, as if it were walking, and move it a few hundred yards.  Perhaps this is the answer.  But, no matter how the moai arrived at their destination, they will always be an impressive sight.

I visited Easter Island in 1996.  My experience there inspired my book Easter Island: Giant Stone Statues Tell of a Rich and Tragic Past (Clarion, 2000). (Now available as a Kindle book.) The picture on the left, of a detached Easter Island head, was taken in front of the Natural History Museum of Los Angeles County.  If you imagine the full-size statue, relative to my height, you can appreciate the enormous size of the Easter Island moai.

Note:  For a fictional story set on Easter Island, inspired by real events, you  might enjoy reading Easter Island:  A Novel, by Jennifer Vanderbes.  I recently read this book and it brought back many memories of my visit there.

UPDATE (November 12, 2012):  To view the latest attempt to solve the question of how the Easter Island moai were moved, you can watch the PBS Nova program The Mystery of Easter Island online. In it researchers demonstrate how the statues may have "walked" to their sites.  The program first aired on November 7, 2012.

For a picture of a finely carved moai exhibited in the British Museum, see my post London in Winter.

All text and photos copyright Caroline Arnold.

THE COLCHAGUA MUSEUM, Santa Cruz, Chile: From Shark Teeth and Pre-Columbian Pottery to Old Maps and Automobiles

Pre-Columbian sculpture from the Chancay Culture on the central coast of Peru at the Colchagua Museum, Santa Cruz, Chile

I never expected to find the giant jaws of megalodon, model ships, or the piano played Bernard O’Higgins, the founder of Chile, at a museum in a part of Chile otherwise known for its agriculture. It turns out that the Colchagua Museum, in Santa Cruz, Chile, is the largest private museum in Latin America and is packed with thousands of objects ranging from cowboy gear and weapons, to religious artifacts and pre-Columbian pottery and more. Founded by controversial tycoon Carlos Cardoen, the museum includes something for everybody.

The Colchagua Museum is located in the small city of Santa Cruz in the Colchagua valley, 110 miles from Santiago.

We visited as a day trip from Rancagua (about an hour and a half away), where we were visiting our son-in-law’s family. As we drove to Santa Cruz from there we passed orchards, vineyards, and ranches that are the heart of  this verdant valley and one of Chile’s several wine growing regions.

In the fossil and paleontology room

After purchasing our tickets at the museum entrance, we watched a short video and then set off to view the exhibits, listening to our English language wands for key explanations in each room. As you make your way from the entrance you pass through rooms containing fossils and exhibits of the early history of world, and then move forward in time through archeology of Chile, Peru and Columbia, then to the period of the conquest by Spain, to national independence, influence of the church, and up through life in the nineteenth and twentieth century. The last rooms on the main level feature old carriages, cars and farm machinery. A recently added exhibit, The Great Rescue, honors the men who were trapped and rescued from a copper mine in northern Chile 2010.

Portrait of Bernard O'Higgins, Chile's liberator, and his piano, which he imported from Europe

Every room was filled with so many fascinating objects that it is impossible to describe them all. Here are some of my favorites.

Fossil teeth in the jaw of the giant extinct shark, Megalodon. When a tooth fell out, a new one was always ready to rotate up and replace it. Megalodon could grow more than 50 feet long!

A small reptile (gekko) trapped in amber; from the Dinosaur Age

Ceramic vessel decorated with a bean design. (From the Nazca culture in Peru.) Beans (frijoles) have been a staple in South America for centuries.

Stone figure from the Pucara Culture, which developed in Peru in the area near Lake Titicaca.

Knotted strings called quipu, from the Inca culture. The knots were part of a counting system used in trade. The cords had different colors for each product and the spacing of the knots indicated the quantity sold.

Silver cup for tea (mate)and jewelry from the Mapuche culture of southern Chile.

Carvings and artifacts from Easter Island (Isla de Pascua). Easter Island, which gets its name from the day of its "discovery" by a Dutch sea captain in 1722, is part of Chile.

Our reflection, in the room at the museum displaying farm implements

We should have allowed more time to spend in the museum and to visit the associated Automobile Museum, located in a nearby vineyard, and the Chilean Craft Museum, located in a restored house in the nearby town of Lolol, featuring traditional crafts of Chile (stone carving, basket making, wood crafts, pottery, metals, naval and textiles.) As it was, after visiting the Colchagua Museum we took a walk through the center of Santa Cruz with its beautiful colonial era architecture around the main square and visited a few of the local shops before having ice cream at a favorite local restaurant. Someday we’ll have to go back to Santa Cruz to see the other museums and tour some of the vineyards.
For information about and directions to the Colchagua Museum, click HERE.

The Colchagua Valley

..

LONDON IN WINTER: Museums and More, Part 1

British Museum of Natural History, London

Why go to London in January, when it is cold, wet, and dark?  As long as you dress warmly, carry an umbrella, and plan mostly inside activities, it is a terrific time to see this great city when it isn’t jam packed with summer tourists--and there are more exhibits, plays and concerts than you could possibly see in one visit.  We were in London for a week in mid-January, opting to stay in Kensington because of its central location.  Here are some highlights from my diary:

The Cranley Hotel, Kensington, London

Saturday-- We arrived at our hotel, the Cranley, at about 8:30 pm, after walking through light snow from the Gloucester Road tube station. Checked in.  Very genteel--living room with fire and drinks available.  The desk person made a reservation for us for 9:30 at the Bumpkin, a pub about five minutes down the Old Brompton Road.  The dinner was surprisingly good.  Fresh organic food.  Art had a chicken pie and I had squash with brown rice risotto.  We also ordered an onion tart as an appetizer–an artfully presented slab of pastry, red onions, topped with cheese.  We had no room for the sticky toffee pudding on the menu.  Maybe we’ll go back. (We did.)

Statue of Charles Darwin, Museum of Natural History

Sunday– We walked to the Natural History Museum, on Cromley Road, about 10 minutes away and got tickets for the wildlife photography show–100 stunning prize winning nature photos, including a number of penguins photographed underwater by Flip Nicklin (seen in the recent National Geographic.)  On the way to the show we passed the ichthyosaurs and plesiosaurs found by Mary Anning. [See my post for Feb 11.] After lunch in the museum cafeteria we went to see the statue of Darwin, who presides over the main hall.  At the other end is a giant sequoia slice, brought from CA in the late 1800's, and nearly 2000 years old. That evening we went to a piano concert at Wigmore Hall.

Easter Island Moai

Monday–Took the tube to Kings Cross, walked to a pub called The Driver to see the  Patrick Blanc vertical gardens, then stopped for a Cornish pasty and sausage roll at the station for a late lunch before going to the British Museum.  The entrance hall there is huge, and filled mainly with an enormous gift shop.  First we went to see the Easter Island moai, (made of basalt so the details of the carvings on the back were especially fine).  We then went upstairs to view the mummies, and spent most of our time in just two rooms–all the Egyptian rooms extend across the width of the museum.  Our last stop was to see the Elgin Marbles on the main level.

(Continued next week.)

Easter Island's Giant Statues: How Did They Move Them?

The first European visitor to Easter Island was a Dutch sea caption, Jacob Roggeveen, who landed on April 5, 1722.  In the tradition of his time, he named his “discovery” for the day of his arrival, which was Easter Sunday.   Today, the island is known both as Easter Island (Isla de Pascua in Spanish) and Rapa Nui, a Polynesian name given to it in the nineteenth century by Tahitian sailors.

Sixteen centuries ago, about 400 A.D., a small group of seafarers and their families sailed east across the Pacific from their island homes in central Polynesia.  Their large double canoes were filled with food, water, tools, and other things they needed to survive.  After many weeks they reached the rocky shores of a small island, later known as Easter Island.  There they established homes, planted gardens, and started a new life.  They developed a rich and complex culture that lasted for more than a thousand years.  Perhaps their most remarkable and unique accomplishment was the carving of giant stone statues called moai.  They created nearly a thousand of these stone figures, some more than three stories high, and erected hundreds of them on huge stone altars called ahu.  Even more amazing is that all this was accomplished by people whose only tools were stone, bone, and coral.

The ancient Easter Island statue makers were skilled craftsmen specially trained in the art of stone carving.  They were privileged and honored members of the community, and, according to legend, they did no other work.  They were provided with food by fishermen and farmers.  Ruins of stone houses found at Rano Raraku are believed to be the places where the sculptors lived.
    Sculptors carved the moai with basalt adzes, or axlike tools called toki.  Thousands of toki litter the ground in the Rano Raraku quarry.   Basalt was also used to make axes for wood cutting as well as for fishhooks and household tools. Obsidian, a glass-like rock that is formed when lava cools rapidly, is another stone that Easter Islanders used for tools.  Obsidian is extremely hard and can be shaped into a razor-sharp cutting edge,  It was used to make cutting and scraping tools, drills, and files.  Because obsidian absorbs tiny amounts of water when it is cut, this can be measured to determine the date that the tool was made.  

    Sculptors carved a moai with the statue lying on its back.  After chipping the outline of the statue’s profile into the quarry wall, they made a niche around it so they could work from both sides.  People at the back side worked in a cramped space about two feet wide and five feet deep.  The sculptors began by carving the head of the moai and finished with the hips. 
    No two moai are exactly alike, although most follow a basic model.  All of them are designed to be standing figures with the base at about hip level.  The arms hang straight down the sides of the body, but the hands, which have elongated fingers, curve around the front of the abdomen.  Moai heads are elongated and always face forward.  The faces usually have narrow lips, large noses, and deep eye sockets below a large forehead.  The ears are usually long and sometimes have depressions in the earlobes where ornaments could be inserted.  Most moai are male although there are a few examples of female figures.

Moai at Anakena

   After the carving of the top, or the front half, of the moai was complete, the bottom was slowly undercut until a narrow ridge of rock was all that attached it to the quarry.  This was then cut away and the moai was lowered to the bottom of the hill with ropes.  There the figure was set upright into a hole in the ground and carving of the back was finished.  The standing statues that now litter the slopes of Rano Raraku are abandoned moai whose lower portions gradually became buried by eroding rocks and soil from above.
    The real challenge in moving the finished moai was getting it from the quarry to the ahu where it would be erected.  Most of these sites were at least several miles away, an enormous distance to transport a huge object weighing many  tons.  The ruts of several roads that were used for moving statues to various parts of the island from the quarry can still be seen.
    No one knows exactly how the moai were moved or whether the statues were transported lying down or standing up.  A variety of experiments have been conducted, both with real moai during the process of reconstruction, and with models, to test possible methods of transportation.

    In the July 2012 issue of National Geographic, the cover article asks the same question. How did people move the moai, which, in some cases, weighed more than 80 tons?  According to local legend, the giant statues “walked” from the quarry to the altars where they were mounted.  In experiments conducted in 2011, scientists showed that as few as eighteen people could maneuver a large statue by tipping it from side to side, as if it were walking, and move it a few hundred yards.  Perhaps this is the answer.  But, no matter how the moai arrived at their destination, they will always be an impressive sight.

I visited Easter Island in 1996.  My experience there inspired my book Easter Island: Giant Stone Statues Tell of a Rich and Tragic Past (Clarion, 2000). The picture on the left, of a detached Easter Island head, was taken in front of the Natural History Museum of Los Angeles County.  If you imagine the full-size statue, relative to my height, you can appreciate the enormous size of the Easter Island moai.

Note:  For a fictional story set on Easter Island, inspired by real events, you  might enjoy reading Easter Island:  A Novel, by Jennifer Vanderbes.  I recently read this book and it brought back many memories of my visit there.

UPDATE (November 12, 2012):  To view the latest attempt to solve the question of how the Easter Island moai were moved, you can watch the PBS Nova program The Mystery of Easter Island online. In it researchers demonstrate how the statues may have "walked" to their sites.  The program first aired on November 7, 2012.