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The architecture of the Pacific Islands was varied and sometimes large in scale.
In Melanesia, paintings were made mainly on sago-palm spathes and sheets of tapa cloth.Men make their own canoes, build their own houses, and carve simple household equipment such as hooks and stools; individuals are responsible for decorating their own belongings, including their bodies.In the case of body decoration, however, which can be culturally prescribed in form, highly skilled in execution, and dense in symbolism, the more lavish displays usually entail more than the wearer’s sole efforts.visual art and architecture of native Oceania, including media such as sculpture, pottery, rock art, basketry, masks, painting, and personal decoration.In these cultures, art and architecture have often been closely connected—for example, storehouses and meetinghouses are often decorated with elaborate carvings—and so they are presented together in this discussion.Birds gave down, beaks, and plumes (those of the birds of paradise were especially prized); animals provided teeth, tusks, and skins; insects supplied their brilliant wing cases.
The vegetable realm was drawn upon for flowers, leaves, and fibres.
The technique of forging was jealously guarded, virtually as a cult secret; some tools were traded but only in quantities far too small to have made much impact on normal working conditions.
Throughout the rest of Melanesia and in Polynesia and ax and sometimes interchangeably as both.
There seems to have been an inclination to regard artistic talent as passing from father to son, or from mother to daughter when appropriate; but, in cases in which this was true, society’s concept of the role of the artist probably played a bigger role than heredity.
In many societies the artist was—and still is today—expected to begin his career as an Solomons, artistic progress is recognized as covering several stages.
For more general explorations of media, see individual media articles (e.g., painting, sculpture, pottery, and textile).