Introduction
I have a friend from Tonga, which is a cluster of islands in the South Pacific Ocean. Because of my connection to the country through him, I decided that I would like to write about his homeland for this blog post.
Tonga is not a wealthy nation, and in many of its islands, the making and selling of art is a large portion of its income. As I look through Tongan art, I see that it has a very natural look, and it is clear to me that Tongan artists truly utilize the land to create beauty. Even some of their paintings have grass woven through the edges.
It is difficult to say what time period I have selected to cover for this post, because Tongans have kept traditional methods for a long time. Everything that you will see in this post came from the last 50 years, but this style and culture dates back much farther than that.
The Art
This picture, titled Tonga Dance from Niuafo'ou, was painted by Judith Kunzle in 2017. It was inspired by numerous sketches of dancers from Niuafo'ou, one of the northern islands in Tonga. As the audience can surely tell by looking at the painting, these women are graceful and lovely to watch as they dance together. Their costumes are made from tapa (tree bark), coconut fronds, fresh flowers, and other materials that came straight from Tongan ground. Though it is unclear what tools and materials were used for this painting, it is still a perfect example of Tongan people using the outside world around them to express beauty.
The above photograph does not have a title, or a name for its photographer that I could find, but I do like this picture and it shows something that I want to discuss today. The women in this photo, from 1982, are wearing ta'ovala. They are not Tongan, but they are from Fiji, which is a nearby island that shares a lot of culture and blood with Tonga. Ta'ovala is simply a mat worn around the waist, like a skirt. It is tied with a rope made from braided coconut husk that acts like a belt and holds the ta'ovala in place. Wearing this piece of clothing is known as a sign of respect, and it is often passed down from generation to generation.
This little painting is titled Tonga Friendly Islands, signed at the bottom by "Lemani M." The date on this picture is unfortunately cropped off a little bit, but it looks to me like it is dated from 2009. I wanted to include this work of art because I have something very similar on my wall, given to me by the Tongan friend I mentioned earlier. It is painted on a rounded piece of tapa cloth, framed with grass woven around the edges. It seems to give its audience a feeling of serenity, with its soft colors and beautiful scenery.
Art Analysis
Color - I noticed right away, when I began to look at Tongan art, that the colors they use are very natural. In a way, it brings me to the islands and the Tongan culture to observe their art, which mostly consists of soft reds and browns and plant-based materials.
Line - This particular art element does not apply to the second work of art in this post, the picture of the ta'ovala, but it does go nicely with the other two. Most of the paintings that I have looked at in this class have strictly used color and value to create the essence of the art without line. However, I noticed with these two paintings that line is a significant element that adds to the energy of the picture and creates something beautiful.
Texture - Although we cannot feel the art through this screen, somehow we can still sense its natural texture. Just by looking at the ta'ovala, I can almost see each Tongan woman's hand stripping bark from a mulberry tree, boiling it, and thoughtfully weaving it together to make the treasured clothing. Again, it brings me back to the Tongan culture, though I have never been there.
Sources
Heemsoth, Amy. “Ancient Art of Tonga.” Khaled Bin Sultan Living Oceans Foundation, 2013.
Kunzle, Judith. “Tonga Dance from Niuafo’ou.” Fine Art America, 2017.
