A Rongorongo Key to Several Rapanui Rock Drawings

From my point of view Easter Island petroglyphs played a role of hieroglyphs on the stone (Rjabchikov 1994: 57). I elaborate upon this subject in a number of the works (e.g., Rjabchikov 1994: 32ff; 1996a; 1996b: 8ff; 1997a: 21ff; 1997b; 2001). In this connection the studies on this topic of other investigators are noteworthy. Recently P. Horley and G. Lee (2008: fig. 6, a - d) compared several petroglyphs from the sacred houses of the ancient village Orongo with rongorongo glyphs. However, it is important not only to find such a correlation, but also to interpret these signs.

Consider the rock drawings in order. In the first figure (Horley and Lee 2008: fig. 6a) petroglyph (glyph) 12 ika is represented. Because it is seen as an isolated sign on the photo, one can offer certain of its possible interpretations.

1) Ika 'Fish' is an epithet of the moon goddess Hina. In the Maori mythology (Reed 1963: 145-6) the legs of Hina-uri were once changed into the tail of a fish, and this personage was given names Hine-moana (Ocean girl) and Hine-ika (Fish girl). According to a Rapanui myth, the god of feathers by the name of Hena Naku and the goddess by the name of Hina Hau Mara appeared at Easter Island. The god was incarnated in a big bird with a human face, and his wife was incarnated in a big fish, later in a beautiful woman, and later in a beautiful fish (Felbermayer 1960). There are indications that here the sun god Tane-Tiki-Makemake and the moon goddess Hina-Haua are described (Rjabchikov 2009: figs. 23 and 28). The "big bird" is the frigate bird indeed. The "big fish" is a pei (cf. Barthel 1978: 194). The "beautiful fish" corresponds to the fishing ground Te Aku Renga in the external area of the bay of Anakena. It should be remembered that Rapanui renga signifies 'beautiful'. Here the resemblance of the pei fish and the tunafish is stressed (cf. Samoan pei 'to be (just) like; to look like, to resemble'). On this basis let us examine a Rapanui rock motif near Vai Tara Kai Ua, north-west of Anakena (Lee 1992: 103, fig. 4.100). Vai Tara Kai Ua is also situated not far from Hanga Oteo where the deities appeared initially.

In this plot I distinguish a human head decorated with feathers (= Hena Naku; Rapanui kings) and a big fish (= Hina Hau Mara). Petroglyphs (glyphs) 60 mata 'face' ('the sun' figuratively) and 39 raa 'the sun' are the features of the sun god. His wife is shown in the form of different fishes (cf. glyph 12 ika). They are associated with a big petroglyph (glyph) 3 hina 'the moon'. In this complex design one can pick out petroglyphs (glyphs) 159 (ha)ipo 'wedding' (cf. also Maori ipo 'lover'), 140 "the full moon", 3-17 hina tea 'the white moon' and 27 rou 'hook' as well. Petroglyph (glyph) 154 timo shows the connection of both deities with initiation rituals (Rjabchikov 2008a; 2008b). This word is presented in the beginning of the famous Rapanui chant "He timo te akoako". The nearness of this drawing to the residence of Rapanui kings is a key element in our research. The story tells that this fantastic fish was later caught and brought to the king Tuu-ma-heke.

So, in the Orongo drawing discussed above the picture (glyph) of the fish could be connected with high rank rituals and initiation customs.

2) Petroglyph (glyph) 12 could be read (h)ika 'initiation/puberty rites', cf. Maori hikahika 'ceremony performed over a new-born child'. In this meaning glyph 12 is written down on the Small Santiago tablet (Gr 2) and on the "Tablette échancrée" (Db 2, 4).

3) In the Maori beliefs the fish is the symbol of the god Tangaroa, the lord of ocean (Buck 1966: 439). Therefore it is natural to assume that in the Orongo drawing (inscription) Tangaroa's epithet is recorded, cf. glyph 12 ika. In this meaning this glyph is taken down on the Tahua tablet (Ab 4). Besides, in the Rapanui folklore text "Apai", an oral version of a rongorongo inscription, this deity denotes the sun (Rjabchikov 1996b: 6).

4) Petroglyph (glyph) 12 could be read ika 'fish', too. In this meaning the sign is written down on the Small St. Petersburg tablet (Qv 1).

5) Petroglyph (glyph) 12 could be read ika 'victim; to sacrifice'. In these meanings the sign is presented on the Santiago staff (I 3/4).

6) Petroglyph (glyph) 12 could be read ika 'death; dead; killed (warrior etc.)', compare the corresponding rongorongo records on the Santiago staff (I 1, I 8).

In the second figure (Horley and Lee 2008: fig. 6b) petroglyph (glyph) 25 hua is represented. It can be translated as 'fruit; to produce' (cf. Rapanui hua 'fruit; to sprout'), see a record on the Santiago staff (I 2). The next meaning of this word is 'egg' (cf. Maori, Tahitian, Hawaiian hua, Samoan fua 'egg'), see the same source (I 9). This word can be interpreted as 'son' (cf. Rapanui hua atahi 'only son'), see the same source (I 7). Furthermore, the word can signify 'the 12th night of moon age', see records on the Mamari tablet (Ca 7), on the Small (Gv 4) and Great (Hv 11) Santiago tablets.

I identify a small-sized sign on the left of sign 25, see the photo. It is petroglyph (glyph) 3 hina. So, I prefer the reading 'the 12th night of the lunar month' of sign 25 Hua. In this case it may be the designation of the 12th day (night) of the spring month Hora-nui (September/October), an important date of birdman elections.

Let us consider the third figure (Horley and Lee 2008: fig. 6c). This plot was outlined as "lizard: long, narrow body, tail, and four legs" earlier. In this complicated picture any vulva-sign was not discovered by G. Lee (1992: 39, fig. 3.10:4). I tried to understand these signs using R.R. Koll's (1991: 62, fig.) tracings. As a result, the sign 69 Moko connected with sign 1 Tiki (the sun) as well as sign 2 Hina, the sign depicting a curve and sign 12 ika were interpreted. The whole plot was declared as a description of a solar eclipse. The curve was interpreted as the ecliptic, and the fish sign was read as a solar emblem (Rjabchikov 1997a: 23).

On the other hand, a fragment of the Tahua tablet (Aa 5/6) was read as a report about a solar eclipse, too (Rjabchikov 1997c: 37). Here glyphs 69-69/1 Mokomoko Tiki 'The Lizard (the chthonic god Hiro) - Tiki (the sun)' are inscribed. Although I did not compare both records - on the wall and on the tablet - they are parallel in fact taking into account their similar meanings. P. Horley and G. Lee were right when they compared the two pairs of the signs. By the way, on the photo sign 2 Hina and partially the sign 'curve' are seen, too.

Let us study the semantics of some lines in the Rapanui rock art. First, some motifs of the Ava o Kiri panel are significant (Lee 1992: 81, fig. 4.63). In the upper part of this picture I pick out a mask (petroglyph/glyph 60 mata) on a curve. It is the designation of the sun moving along the ecliptic. In the lower part of the same picture there are 6 lines and an octopus located near them. I believe that it is an image of the Great Octopus Heke holding the sky (the 6 levels) in the early period of the development of the Universe. This conception is relevant to the Tahitian beliefs (cf. Buck 1938: 71).

Let us examine the following plot (Lee 1992: 68, fig. 4.40). Here a birdman sits above a straight line which marks the 2nd level of the sky. The heavens consist of the 9 levels. The birdman is a symbol of the sun here. Really, another birdman with a sun design is depicted on the rock picture (Lee 1992: 73, fig. 4.48). In the previous plot a dot on the 4th level of the sky and a dot on the body of the birdman can be related to each other. The head of the birdman is attached to the 7th level of the sky. Clearly the first level corresponds to the month Maro/Maru (the first month of the year; the winter solstice), the second to the month Anakena, the third to the month Hora-iti, the fourth to the month Hora-nui (the vernal equinox), the fifth to the month Tangaroa-uri, the sixth to the month Ruti, and the seventh to the month Koro (the summer solstice). This archaic diagram represents the sun moving from the first to the seventh sky (level). The months Anakena, Hora-nui and Koro are marked as important intervals for the cult of birdmen. According to the ancient beliefs, stars and planets inhabit the eighth and ninth levels of the sky.

Let us examine the fourth figure (Horley and Lee 2008: fig. 6d; Koll 1991: 61, fig.). Here various petroglyphs (glyphs) are shown. It must be emphasised that glyph 44b tua is a key to this plot. It is worth noting that Old Rapanui tua means 'disappearance; to be turned; back', Rapanui tua means 'behind; back'. It might be well to point out that Proto-Polynesian *tu'a signifies 'back; far side' (Biggs and Clark 2006).

Alternatively, petroglyph (glyph) 22 rapa, ao is also presented in this "talking rock drawing". It is known that ceremonial paddles rapa and ao were connected with the cult of the rain god Hiro (Fedorova 1981: 268-9). Thus, both signs 44b tua and 22 rapa, ao are pertinent to certain rites to invoke rain. In this context the word tua, several words Tiki (signs 1) and the word mata (sign 60) read as an incantation: Tua Tiki, Tiki, Tiki, Tiki, Tiki, mata Tiki 'The sun (on this day), the sun (on the next days), the face of the sun, disappear!" A similar incantation is included in a Rapanui folklore text (Felbermayer 1963). To fall rain a priest shouted at the sun: "Tiki, hide your face!"

In the Keiti tablet (Ev 3) glyph 44b tua denotes the god Tua (= Kava Tua, Kavakava a Tua), the personification of the darkness and the west direction.

It is evident that several priests of the rain deities gathered in some houses of Orongo. In conformity with the rongorongo texts taken down on the Aruku-Kurenga tablet (Bv 1) and on the Santiago staff (I 11), these houses could be called Ana Moko (The house [houses] of the god Hiro) (Rjabchikov 2009: figs. 12 and 31).

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Rjabchikov, S.V., 2008a. Obryady initsiatsii na ostrove Paskhi. Etno-Zhurnal, 2008:
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Rjabchikov, S.V., 2008b. The Rapanui king Nga Ara and his rongorongo school. AnthroGlobe Journal, 2008:
http://www.anthroglobe.info/docs/srjabchikov_rongorongo_7_2008/srjabchikov_rongorongo_080714.html

Rjabchikov, S.V., 2009. Rapanui Proper and Place Names versus Rongorongo Texts. AnthroGlobe Journal, 2009:
www.anthroglobe.org/docs/srjabchikov_rongorongo_9_2008/rongorongo_srjabchikov_main.htm
www.anthroglobe.info/docs/srjabchikov_rongorongo_9_2008/rongorongo_srjabchikov_main.htm

Copyright © 2009 by Sergei V. Rjabchikov. All Rights Reserved.

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