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1 /\ \ \ /\ /\ \ POTTERY STYLE AND ITS ASSOCIATIONS " A----- A" ~ A----- C > /* \ /*-A / A /0 / / 1/ 1'\\ \ ' \ //I I l \ ' \ ///I \ ' \ / / lll\ / I l'\\ \ X\ /// l \ ' \ ///I \'v ///»l''\.'//i,7/1 l \ '\ ///I \'v / 1 I *" V, ^ I l ". ///Ill' ///I l'\ ^ ***" \ ///III' // I '' \ ^ ** * ' \ /// I I \' //II I I'. /^/I I I //II I //II» ' ' \ /^/I I ' ///I I l " //II II'. /^/I l'\\ ///I I l'' \\)/± i_i_ i»_\_\//_/_»_i_\_\y_/_/ j /_i_^i w/_/j_i_i_\y_/j LLi±W / M i / i %/ II %# I 1 ' I II %/ M / M \ I II '/Mi/ II If!»f 1 ' I II II I 'I I II I I I* 'I I 'I >1 >» M 11 I 11 * 11 1 V I I I \ I I / X I I I \ I I M I I / V I I / v I I 1 \ I I \ I I / v I I \ 1 1 / ' 1 I J I i 'III' 11 *I ^ J *I 111 Ml. K?WTi JyM/'A r%rj,* Ī^ÊĒ^] V\ g j»1 I I I I I I * I I ' l l I I I I I I I I! I l I I I I I I I I I I ' l l I I I I t i l l I I I I I I I I I I I * I I I I I I I I I I I 1 M M I I i i i i I I i I I I I I i i i i I I I I I I l I i i I I I I l I I I (I I I I I I i l I I I I I I I I I I i l I I I I I I II I I I I I S. M. Mead / Lawrence Birks / Helen Birks / Elizabeth Shaw

2 C M P l a t e I Vessel 16/81/2 3/3/6 (Yanuca). The decorations detailed in Figure 2.16 include Design Elem ent 8, M otif 11, M otif 32 and M otif 2 (in reverse position)

3 Memoir No, 38 THE LAPITA POTTERY STYLE OF FIJI AND ITS ASSOCIATIONS by S. M. Mead Lawrence Birks Helen Birks Elizabeth Shaw WELLINGTON THE POLYNESIAN SOCIETY (INCORPORATED) 1975

4 CONTENTS INTRODUCTION 5 PART 1. DENTATE-STAMPED POTTERY FROM SIGATOKA, FUI BY LAWRENCE AND HELEN BIRKS Introduction 6 Manufacturing technique 8 Surface texture 8 Colour 8 A. Flat-bottomed dishes 8 B. Flat-bottomed shouldered vessels 11 C. Large bowls with convex base 12 D. Shouldered vessels with a narrow flat or convex area above the shoulder 13 E. Shouldered vessels with plane or convex area above the shoulder 14 F. Vessels with sub-globular body 15 G. Wide-mouthed bowls or dishes with convex lower walls 16 Function of dentate-stamped vessels 17 PART 2. THE DECORATIVE SYSTEM OF THE LAPITA POTTERS OF SIGATOKA, FIJI BY S. M. MEAD Introduction 19 Method of analysis 20 The corpus 20 The design field 21 Processes, rules and terminology 21 The statement of rules in iconics 22 The classification of design elements 23 Class 1. Three-dimensional design elements 23 Class 2. Zone markers 24 Types of design zone 24 Class 3. Two-dimensional design elements 29 The rules for design elements 29 The inventory of design motifs 30 Design zones 38 Rules and processes 40 Conclusion 42 2

5 PART 3. THE DECORATIVE SYSTEM OF NATUNUKU, FIJI BY ELIZABETH SHAW Introduction 44 The design field 45 Design zones 45 Vessel forms and associated dentate-stamped motifs 46 Type 1 vessels 47 Type 2 vessels 48 Comparison of decorated vessels from Natunuku and Yanuca 48 Yanuca Type A 48 Yanuca Type B 49 Yanuca Type E 49 The Natunuku inventory of design elements and motifs 49 Summary 52 PART 4. THE RELATIONSHIPS OF THE DECORATIVE SYSTEMS OF FIJI BY S. M. MEAD Comparisons: Yanuca, Natunuku and Tonga 56 Broader comparisons 62 The ancestral design elements and motifs 64 Conclusions 67 appen dix 1. Three-dimensional design elements in Yanuca 69 app endix 2. Zone markers in Yanuca 71 appendix 3. Two-dimensional design elements in Yanuca 73 appendix 4. The inventory of design motifs in Yanuca 76 app en dix 5. Three-dimensional design elements in Natunuku 87 appendix 6. Two-dimensional design elements in Natunuku 88 appendix 7. Natunuku design motifs 89 REFERENCES 97 3

6 CONTENTS LIST OF TABLES 1. Comparative frequency of vessel forms 2. Dimensions of Type A vessels 3. Dimensions of Type B vessels 4. Dimensions of Type C vessels 5. Dimensions of Type D vessels 6. Dimensions of Type E vessels 7. Dimensions of Type F vessels 8. Dimensions of Type G vessels 9. Summary of three-dimensional design elements 10. Summary of zone markers 11. Design elements and their rules 12. Motifs and associated rules 13. Distribution of elements and motifs in design zones 14. Association of elements and motifs with design zones at Natunuku 15. Natunuku vessels and associated motifs 16. Natunuku design elements and their rules 17. Natunuku design motifs and their rules 18. Comparison of rules applied in Yanuca, Natunuku, Tonga 19. Additional motifs from Tonga 20. Geographical distribution of design elements and motifs 21. Percentages of shared elements and motifs between paired areas 4

7 INTRODUCTION Archaeological investigations in Fiji have provided a comparatively large body of decorated sherds on which to base detailed studies of Lapita decorations from a standpoint which is slightly different from past studies. In Part 1 of this work, Lawrence and Helen Birks describe the vessel types recovered from two excavated sites near Sigatoka: a rock shelter at Yanuca and a sand dune site near the mouth of the Sigatoka River. In Part 2, Mead analyses the decorations on the sherds recovered from these two sites, applying a method which yields not only an inventory of design elements and design motifs, but also a set of rules by which design elements and motifs are combined into patterns. This same method is applied in Part 3 by Shaw to the material she recovered from Natunuku. Finally, in Part 4, comparisons are made between Fiji and Tonga and then broadened to include material from New Britain, New Caledonia and the New Hebrides. The final section is written by Mead. Most of the detailed descriptions of analysis are placed in the appendices so that readers will be able to deal with the essentials of the method without having to read through the details and many problems of analysis which are discussed. Each author is responsible only for the section written so that each part is an individual contribution, although all parts contribute to the whole. The authors of this memoir gratefully acknowledge the editorial services of Ms Janet Davidson. Through her efforts the manuscript became a memoir. As principal author I wish to thank my fellow authors for their co-operation in the present venture. To Lawrence and Helen Birks I convey my special thanks for allowing me free access to their archaeological material. I wish, also, to thank Roger Green for his helpful comments and for his encouragement. The line drawings were prepared by Mr K. M. Peters and Plate 1 by Mr C. Scholium, both of the Anthropology Department, University of Auckland. Inclusion of all the line drawings was made possible by a grant from the National Science Foundation. In acknowledging the help of individuals and institutions, the authors hope that the present work will provide a base for further comparative work on lapita decoration. S.M. 5