FAMOUS MAORI CARVER.

New Zealand Herald, Volume LXIX, Issue 21201, 6 June 1932, Page 11

FAMOUS MAORI CARVER.

DEATH OF HORI PUKEHIKA.

NOTED LINK WITH THE PAST. FINE EXAMPLES OF NATIVE WORK One by ono they have passed (o To Reingn, tho old Maori warriors that our fathers know, and only last week the last and strongest link with the past was severed, with tho passing of Hori Pukohikii.

Hori was a descendant, of Hinemoa and a closo relation of the late Major Kemp. He belonged to tho Ngatihau, Ngakura, Ngaruka, Ngapaerangi, Ngatuera and Ngapoutama tribes and was born at Pipiriki 85 years ago. As a young man of 17 ho witnessed tho battle of Moutoa. It has been said that ho is the last survivor of that battle, which took place in 1864, but ho did not join in tho fight; ho was ono of a number who waited on tho bank of tho river and left the chosen warriors to fight it out between themselves. Ho did go later with Major Kemp from Wanganui to Taumarunui and on' to Taupo, in pursuit of To Kooti, and distinguished himself at Porere pa (Taupo). He was presented with tho Maori War Medal. Many Changes Seen.

Pukehika's birthplace was an important kaianga in tho old days, for it was the junction of the great river road and the main Maori highway from Rotorua, Taupo and tho East Coast. He has seen through his lifetime tho great canoes superseded by tho river steamboat. He has seen the white man gradually hew homsteads for himself from the wild bush country and seen the Maori life gradually dio from the river, for once the Wanganui River Valley contained the largest Maori population in New Zealand Hori Pukehika was a staunch friend of the white people and did much to make a harmonious understanding between the two races. He was a man of wide learning and his services to the Alexander Museum in Wanganui were greatly appreciated by the museum trustees. Through him many rare treasures of his race were deposited in the museum for safe keeping. Kawana Moraro and his son, Utiku Mohuia, were tho official carvers for tho Wanganui tribes and when Hori was a young man they wero engaged on big work at Putiki (Wanganui River) —the carving of a wharepuni. Now, Maori carving has a definite meaning—every line, every curve, and woo betide the unlucky man who makes a mistake. Dire misfortune would at once fall on him and his family. So the carvers were always well on in years, versed in the tradition of their calling. They worked carefully and slowly. Older Workers Watched.

Hori watched them. He watched them for weeks. He knew the meaning of the intricate lines. His fingers itched to hold tho tools. lie plotted and waited, and whenever the two were away he went on with the work. With great amazement Kawar.a and Utiku noticed that most mysteriously the work progressed during their absence. Was it the little "people" of Maoriland, who, like their English cousins, assisted humans at their tasks ? They hid and watched and so caught young Hori. They were not angry, they were too fair-minded for that. They recognised the work was that of a master hand and praised nori and asked him to complete the carvings. After that there was no question about tho matter and Hori carved to his heart's content.

A magnificent example of his work is in the Alexander Museum, brought from the great meeting house Waiherehere, at Ivoriniti (Wanganui River). The maihi (barge boards) were carved by Pukehika, Molniia and others. Magnificent panels carved by him for the Christchurch Exhibition are now at Karatia. Pukehika was twice married, first to tho widow, of Major Trafford, Ngakaari Tukia, and after her death to Tiraratana, and ho had four children. He is survived by his wife. For many years he lived at Pukerimu, on the Wanganui River, and later at Pungarehu.