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Tahitian Idol, The Goddess Hina, 1894-95 (wood-block print)
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Tahitian Idol, The Goddess Hina, 1894-95 (wood-block print)
3500005 Tahitian Idol, The Goddess Hina, 1894-95 (wood-block print) by Gauguin, Paul (1848-1903); 14.8x11.9 cm; The Art Institute of Chicago, IL, USA; (add.info.: Hina is a form of the ProtoAustronesian word for " Matriarch" and its cognates are found in Taiwan, throughout South East Asia and across Polynesia in the forms Ina, Sina, Tina and Hina. In addition to the usual meaning of " Mother", Polynesian mythology Hina is the name of several different goddesses.); Gift of Edward McCormick Blair; French, out of copyright
Media ID 22727226
© Gift of Edward McCormick Blair / Bridgeman Images
Form Hina Idol Matriarch Patterns Polynesia Polynesian Primitivism Primitivist Stylised Tahiti Tahitian
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EDITORS COMMENTS
This wood-block print, titled "Tahitian Idol, The Goddess Hina" transports us to the enchanting world of Polynesian mythology. Created by the renowned artist Paul Gauguin in 1894-95, this small yet powerful artwork measures 14.8x11.9 cm and is housed at The Art Institute of Chicago. Gauguin's depiction showcases his fascination with primitivism and his deep study of Polynesian culture. The figure portrayed represents Hina, a significant goddess in Polynesian mythology who holds various meanings across different regions. In addition to being associated with motherhood, Hina symbolizes power and reverence. The intricate patterns adorning the idol's form add an element of ritualistic beauty to this piece. Gauguin masterfully captures the essence of Tahitian ceremonial worship through stylized details that evoke a sense of awe and wonder. As we gaze upon this print, we are transported to a vibrant celebration where ancient traditions come alive. It invites us to immerse ourselves in the rich tapestry of Polynesia's cultural heritage while paying homage to its matriarchal roots. Gifted by Edward McCormick Blair, this artwork serves as a testament to Gauguin's artistic genius and his ability to capture both the physicality and spirituality within his subjects. Through "Tahitian Idol, The Goddess Hina" we are granted access into a realm where myth intertwines with reality - an invitation not easily declined.
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