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EN
Previously we described a short rongorongo sequence painted on bark-cloth from Easter Island (Schoch and Melka, 2019), the Rangitoki (Raŋitoki) fragment, named after the Rapanui woman who, according to the history passed down with the piece, presented it to a European male visitor in March 1869. Here we expand on our original analysis of some of the ambiguous glyphs found on the fragment. Further we also analyse details of the German inscription that accompanied the fragment in the nineteenth-century watchcase in which the fragment had been stored. Based on the evidence to date, we conclude that the Rangitoki painted sequence and the commemorative note found in the watchcase have a much higher probability of reflecting a past reality than not. We maintain that the Rangitoki inscription represents an authentic addition to the known rongorongo corpus.
EN
This article focuses on an antique wooden fragment from Easter Island engraved with a single rongorongo (RR) glyph. Based on our analysis, we conclude that the most likely hypothesis regarding this fragment is that it dates to pre-missionary times (prior to 1864). It was a part of some type of weapon or fighting instrument, either of a functional or ritual nature. It may represent a portion of a handle for an obsidian-tipped spear or knife. The “bird”-like RR glyph on the fragment belongs in all probability to a category that has previously been connected in the scholarly literature on RR with “slumber”, and hence “waning”, “demise”, and “death”. Its presence on a hand-weapon or ceremonial warlike artefact suggests a meaningful real-world, “non-literary”, context for this glyph.
EN
RAŊITOKI (RANGITOKI) BARK-CLOTH PIECE: A NEWLY RECOGNIZED RONGORONGO FRAGMENT FROM EASTER ISLAND
EN
In Part I of this article (Melka and Schoch 2021), we described an antique wooden artefact from Easter Island, known as the “Lutz–Terasaki fragment”, that bears a single rongorongo glyph. Here we focus further on the “Lutz–Terasaki fragment”, gleaning as much evidence as we can by resorting to a complex analysis. The ethno-linguistic, epigraphic, and xylological data point – thus far – toward the remains of an artefact of utilitarian and/or ritualistic scope. In order to exhaust every potentiality regarding the “Lutz–Terasaki fragment” and the meaning of the glyph that it bears, we must consider similar contexts that may appear in the future if other artefacts are located bearing the same or a similar glyph. It is acknowledged that in the absence of new corroborating evidence, even the best-formed hypotheses concerning rongorongo glyphs and sequences may stretch too thin and, quite often, be summarily dismissed or simply ignored. Continuing investigation and rational conversation with scholars of Rapa Nui, we have found to our profit, are efficacious ways to respond to hypothetical settings. To suggest otherwise would be highly arguable or erroneous.
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