Hawaiian Polynesian Kanaloa - god of the Sea Wood Tiki

Brand New, Never Used Hawaiian Wooden Tiki Statue. 100% Solid Hawaiian Acacia Wood. Design: Kanaloa, Ancient Polynesian Tiki god of the Sea; Cutout, Solid Hand-Carved Wood, 2-Tone Wood Color, Original Carving Design, Standing Tiki Statue, Tapered, Lightly Sanded and Varnished Surface; Symbolism: A Protector and Ancient Hawaiian Symbol...

Brand New, Never Used Hawaiian Wooden Tiki Statue. 100% Solid Hawaiian Acacia Wood. Design: Kanaloa, Ancient Polynesian Tiki god of the Sea; Cutout, Solid Hand-Carved Wood, 2-Tone Wood Color, Original Carving Design, Standing Tiki Statue, Tapered, Lightly Sanded and Varnished Surface; Symbolism: A Protector and Ancient Hawaiian Symbol Representing Harmony of Love and Power, Self-Confidence, Physical Healing and Mental Energy. Measures: Approx. 9 3/4" High X 2 3/8"-2 7/8" Widest; Weight: 1lb, 8oz. Features: In Hawaiian, the Words "Mai na kupuna mai" Means "Traditional", "Piha pono" Means "Detailed", and "Nani e makahehi 'ia ai" Means "Alluring", All of Which Describe This Tiki Design Exactly! The Design Features a Vertical, Standing Tiki Statue Crafted With a Lightly Sanded and Varnished-Coated Surface. This Labor-Intensive Hand-Carved Hawaiian Tiki is Created Using a Single Piece of Solid, Hawaiian Acacia Koa Wood (aka Raintree, Monkey-pod, Hale Koa Wood) Displaying a 2-Tone Color Background to Enhance the Detailing. This Monkey-pod Wood Displays a Mixed, Natural Dark Camel-Brown and Light Khaki-Tan Color. This Genuine Polynesian Tiki Was Lightly Sanded to Maintain a Semi-Rough Surface and Varnished to Create a Nice Glossy Surface Shine. This Tiki Was Hand-Carved by a Tongan Master Wood Carver to Create the Likeness of Kanaloa or Tangaloa, in Tonga, Who Was the Ancient Polynesian god of the Sea (Please See Details Below). Intricate Cuts, High Attention-to-Detail and the 2-Tone Wood Colors Accentuate the Overall Appearance. The Wood is Moderately Hard, Semi-Heavy and Fairly Strong. Monkey Pod is Resistant to Decay and Drywood Termites. The Wood Shrinks Very Little and Takes a Finish Beautifully, Thus Making Great Looking Furniture, Bowls and Tikis. This Beautiful Grained Wood Has a Specific Gravity of 0.5 to 0.6, Which is Similar to Honduran Mahogany. Tikis are Perfect for Use in any Indoor Hawaiian/Polynesian-Themed Decorated Room, Bar Area, or Great for Any Outdoor Living, or Social Area Wall. A Unique Opportunity to Collect This Authentic, Hand-Carved Souvenir From a Tongan Master Wood Carver! About the Carver: Semisi is a gifted Master Wood, Whale Ivory and Bone Carver. His wife is also a skilled artisan with Mabe pearls and shell crafts. In fact, their family encompassing three generations are all involved in craftmaking as their eldest 11-yr old son is beginning to learn the trade. Semisi, his wife and five children currently reside on O`ahu, Hawai`i. He is originally from the ?Friendly Islands? of Tonga and has been carving since his early 20?s. Specifically, he hails from the island of Tongatapu in the village of Lakepa. Technically, he's not Hawai`ian, but since he does all of his Polynesian carvings here on O`ahu, I consider him ?the real thing.? His skills extends to all sorts of Polynesian design craft influences from the various islands of the South Pacific covering Tonga, Samoa, Hawai`i, New Zealand, Fiji and Tahiti. His skills require no blueprints or manuals to carve a piece. He simply creates what his mind envisions from his past cultural teachings of his heritage, and from his inherent traits as a skilled carver. With each hand-carved piece, he can create amazing works of art. Each and every piece is 100% unique in its own right; it is not mass-produced, and there is no duplication whatsoever. His works reflect the passion and love that he has as a Master Carver. Renown for their high quality of workmanship, Tonga is the home to some of the world's best wood, ivory and bone carvers, and jewelry makers. I hope you will enjoy one or more of his mini-masterpieces created with mana (divine power and the inherent traits of generational legacy teachings). I love all the special symbolism to the pieces he hand carves and designs. This Tiki was beautifully hand-carved by Semisi on O'ahu, I am proud to offer and bring his pieces to your home, luau, bar or other special settings. About Tonga: The Kingdom of Tonga in the south Pacific Ocean comprises an archipelago of 171 islands, 48 of them inhabited, stretching over a distance of about 500 miles in a north-south line. The islands lie south of Samoa, about one-third of the way from New Zealand to Hawai`i. Tonga is divided into three administrative divisions: Ha'apai, Tongatapu and Vava'u. Each has its own capital; the national capital, Nuku`alofa, is also the capital of Tongatapu. Nudging the International Dateline, the kingdom is the first country in the world to welcome the dawn of each new day. Tonga, the only sovereign monarchy among the island nations of the Pacific Ocean, has a unique distinction as the only island nation in the region to have avoided formal colonization. The world also knows the islands of Tonga as the "Friendly Islands" because of the friendly reception accorded to Captain Cook on his first visit in 1773. He happened to arrive at the time of the `Inasi Festival, the yearly donation of the first fruits to the Tu`i Tonga, the islands' paramount chief. In many Polynesian languages the word "Tonga" means "South". The name Tonga was derived from the word "Tongahahake", which translates to "Southeast", but having the original meaning, "The wind that blows from the Southeast". Polynesian peoples settled Tonga in the course of their diaspora across the Pacific. By the 12th century Tongans, and the Tongan paramount chief, the Tu`i Tonga, had a reputation across the central Pacific, from Niue to Tikopia. In 1845 the ambitious young warrior, strategist, and orator Taufa`ahau united Tonga into a kingdom. He held the chiefly title of Tu`i Kanokupolu, but was baptized with the name King George. In 1875, with the help of missionary Shirley Baker, he declared Tonga a constitutional monarchy, formally adopted the western royal style, emancipated the 'serfs', enshrined a code of law, land tenure, and freedom of the press, and limited the power of the chiefs. While exposed to colonial forces, Tonga has never lost indigenous governance, a fact that makes Tonga unique in the Pacific and gives Tongans much pride. On July 29, 2008 the Palace announced that King George Tupou V would relinquish power and surrender governmental affairs to the Prime Minister in order to prepare for 2010, when most of the first parliament will be elected. Women and men have equal access to education and health care, and are fairly equal in employment, but women are discriminated against in land holding, electoral politics, and government ministries. However, in Tongan tradition, women enjoy a higher social status than men, a cultural trait that is unique among the insular societies of the Pacific. Almost two-thirds of the 150,000 inhabitants of Tonga live on the island of Tongatapu. The Tongan language is the official language of the islands, along with English. Contemporary Tongans often have strong ties to overseas lands. Many Tongans have emigrated to Australia, New Zealand, and the United States to seek employment and a higher standard of living. This Tongan diaspora is still closely tied to relatives at home, and a significant portion of Tonga's income derives from remittances to family members (often aged) who prefer to remain in Tonga. Tongans, therefore, often have to operate in two different contexts, which they often call Anga Fakatonga (traditional Tongan way), and Anga Fakap?langi (the Western way). A culturally adept Tongan learns both sets of rules and when to switch between them. Hawaiian ?Monkey-pod? or ?Hale Koa? Acacia Wood: Albizia saman is a well-known tree in many languages and has numerous local names in its native range including: Sam?n, Raintree, Acacia Koa, Hale Koa, Monkey-pod, Giant Thibet, Inga Saman, Mimosa, Cow Tamarind and the East Indian Walnut. The most widely used common name for the species is Raintree coined in tropical India from the belief that the tree produces rain at night. The leaflets close up at night or when under heavy cloud cover, allowing rain to pass easily through the crown. This trait may contribute to the frequently observed fact that grass remains green under the trees in times of drought. However, the shading effect of the crown, the addition of nitrogen to the soil by decomposition of litter from this leguminous tree, and possibly, the sticky droppings of cicada insects feeding on the tree leaves all contribute to this phenomenon. The Hawaiian common name, Monkey-pod, is used here because it is a logical derivation of the scientific name Pithecellobium (meaning ?monkey earring? in Greek). Monkey-pod (Pithecellobium saman), is a fast-growing tree that has been introduced to many tropical countries throughout the world from its native habitats in Central America and northern South America. Although generally planted as a shade tree and ornamental, it has been naturalized (adopted) in many countries and is greatly valued. The tree is native to the mainland neo-tropics, from Mexico south to Peru and Brazil, but has been widely introduced to many of the Pacific islands, including Hawai`i, Philippines, Fiji, Puerto Rico, Virgin Islands, Guam, Samoa and the Northern Marianas. The tree was reportedly introduced into Hawai`i in 1847, when Peter A. Brinsmade, a businessman visiting Europe, returned to Hawai`i, presumably via Panama, with two seeds, both of which germinated. One of the seedlings was planted in downtown Honolulu, the other at Koloa on the island of Kauai. These seedlings are possibly the progenitors of all the Monkey-pod trees now in Hawai`i. The tree usually reaches a height of 75-80 feet and has a diameter of 120 feet. Monkey-pod is a wide-canopied tree with a large symmetrical crown, when open grown, but is intolerant of shade. Its wood is highly valued in some locations for carvings and furniture. The pods contain a sweet edible pulp that supplies nutritious food for animals. Children also chew on the pods, which have a ?licorice-like? flavor. Monkey-pod wood has been reported as hard and heavy, and difficult to work. Actually, in Hawai`i and elsewhere in the Pacific where it has been used much more extensively than in its native habitat, the wood is considered easy to work compared to Blackwood or Koa, particularly because low shrinkage during drying allows it to be machined while green. In Hawai`i, monkey-pod has been the premier craftwood used for carved and turned bowls since 1946. The best quality Tiki Statues and Totems are hand-carved from this Acacia wood. Monkey-pod Acacia is a dense, naturally resinous hardwood which is perfect for outdoor use and by it's very nature, resists penetration by water and will not stain as well as it naturally repels insects. About Tikis: If you?ve ever seen the wooden, novelty representations of the ancient hand-carved figures, you will notice by their readied stances and stern facial expressions that a tiki was intended to represent very important, respected authorities, namely principal gods, guardians and spirit powers. Very few tiki lovers are aware of the unique history and spirituality of tiki images, but even a brief description of the ancient purpose of the tiki will give you a glimpse at the very essential role symbolism played in traditional Hawaiian society. The first inhabitants of Hawai`i voyaged from Polynesia about one thousand years ago, bringing with them religious and spiritual convictions. The many gods of Hawai`i and Polynesia were represented by tikis. The name tiki can refer to many different types of images used throughout Polynesia, from images used ceremonially by Maori tribes in New Zealand, to the moa carvings on Easter Island, to modern day images displayed in Hawai`i. In Polynesian mythology, tiki often represents the first human being on Earth. These images are still used today in some Polynesian cultures in the context of spiritual practice. In ancient Hawaiian culture, the gods, the `Aina (land), and the kanaka (Hawaiian people), shared a symbiotic existence. If the people took care of the land in a pono (right) manner, the gods were appeased. If the gods were happy, they would allow the land to provide sustenance for the people through verdant growth. Each god had many kinolau (forms), including human and animal forms. Tiki statues were carved to represent the image of a certain god and as an embodiment of that specific god?s mana (divine power). With well-formed tikis, perhaps the people could attain protection from harm, strengthen their power in times of war and be blessed with successful crops. The primary Hawaiian gods represented with tiki images include Ku, the god of war; Lono, the god of agriculture and peace time; Kane, the god of creation, sunlight, forests, fresh water; and Kanaloa, the god of the sea realm. The ancient Hawaiians kept their gods close using many creative forms of communication. Tikis were created as a medium of connection or interaction. Through continued communication with these all-powerful deities, the Hawaiian people were sure to follow the right path to appeasement. All Hawaiian people were said to have descended from the lineage of the gods. It was the job of the ali`i nui (high chiefs) to make sure everything was in societal balance and that the ultimate respect was paid to the gods through many avenues. The ali`i nui were considered direct descendents of the gods and thus carried great responsibility. In addition to tiki images, the higher spirits and ruling deities were paid homage through every action undertaken in ancient Hawaiian society. Divine guidance ruled society. According to Hawaiian history, there was a time when gods walked the earth as men, and tiki images recognize not only their divinity, but also their human qualities as well. Tikis reminded the people just how close the realm of the gods was and reinforced their acknowledgement of the awesome power the gods sustained. The first stone tikis were said to have been carved around the year 1400 in the Marquesas Islands. The artistic likenesses created in tikis demonstrate a high level of craftsmanship and perfectionism. Beginning in the 1930s, an entire ?tiki culture? representing the island life of the South Pacific began to form around these odd statues. Before long, tiki culture had a large following in the United States, using South Pacific themes in everything from clothing to interior design. After Hawai`i became a state in 1959, tiki culture, the aloha shirt and other island representations were incredibly en vogue, which are still in great demand today. About Kanaloa, The Hawaiian Ancient Tiki god the Sea: Kanaloa is one of the four great gods of Hawaiian mythology, along with Kane, Ku, and Lono. He is the local form of a Polynesian deity generally connected with the sea. Roughly equivalent deities are known as Tangaroa in New Zealand, Tagaloa in Samoa, Tangaloa in Tonga, and Ta'aroa in Tahiti. Kanaloa is the leader of the first company of spirits placed on Earth after Earth was separated from Heaven. The direction West is known in Hawaiian lore as the "much traveled road of Kanaloa" The East is spoken of as the "high road traveled by Kane" or the "red road of Kane." The southern limit of the sun in celestial eclipse is "that of Kanaloa." The northern limit is called the "black shining road of Kane." In the traditions of Ancient Hawai`i, Kanaloa is symbolized by the he`e (squid), and is typically associated with Kane in legends and chants where they are portrayed as complementary powers. In examples, Kane governed the northern edge of the ecliptic, Kanaloa the southern; Kanaloa points to hidden springs, and Kane then taps them out. In this way, they represent a divine duality of wild and taming forces like those observed in Indo-European chief god-pairs like Odin-Tyr and Mitra-Varuna, and like the popular yin-yang of Chinese Taoism. Kanaloa is also considered to be the god of the Underworld. However, depictions of Kanaloa as a god of evil, death, or the Underworld, in conflict with good deities like Kane contradicts Kanaloa and Kane's paired invocations and shared devotees in Ancient Hawai`i. Thus, the relationship of Kanaloa with the underworld is likely the result of European missionary efforts to recast the four major divinities of Hawai`i. In traditional, pre-contact Hawai`i, it was Milu who was the god of the Underworld and death, not Kanaloa; and related traditions of other Polynesian cultures confirms this. From ancient times, it is believed that gods Kane and Kanaloa came together as foreign gods from Kahiki (Tahiti) and traveled about the Islands. They came traveling on the surface of the sea and first caused plants for the food of the man to grow. They were known to bring water sources, by establishing springs of water and seeing that they were kept clear for drinking purposes or for uses of the chiefs, but used mainly for crops and fishing. Kanaloa is almost always associated with Kane, the god of fresh water. Kane and Kanaloa?s main food was the drinking of `Awa. The mixing water with the `Awa made water a vital food source for them, hence always leading them to water finding activities. `Awa (Piper methysticum), a member of the pepper family, grows in the wild and is also cultivated increasingly throughout the Pacific Islands, where it is called Kava or Kava Kava. The word `Awa means bitter. It is valued as an intoxicating drink and for its uses as a medicine. The working relationship between Kane and Kanaloa was important as Kanaloa was known for finding the source of water and Kane, for the execution of creating the pond or source for it. Both Kane and Kanaloa live in a place called "lost islands" or "islands hidden by the gods". These islands may be seen on the distant horizon, sometimes never to be pointed at. He is described as being tall and fair, and Kane being dark with curly hair and thick lips. Both are represented as gods living in the bodies of men in an Earthly paradise situated in a floating cloudland or other sacred and remote spot where they drink `Awa and are fed from a garden patch of never-failing growth. Kane and Kanaloa are lords over the children of the gods who peopled the Earth in the early days. Kanaloa is referred to in the Kumulipo (Hawaiian creation chant) in the 8th era (which ushers in humans) as one of three male gods. He is known as the Great Octopus and god of the squid (Kahe'ehaunawela) and fishermen would call on Kanaloa for protection. Kane and Kanaloa are both invoked by canoe men; Kane for the canoe building and Kanaloa for its sailing. In a chant consecrating a new canoe, Kanaloa is specified as the "`Awa drinker" (a sacred position of honor). Polynesia is a vast region of the Pacific Ocean consisting of many hundreds of widely separated, culturally and politically diverse island groups. Although the mythology of Polynesia took different forms on various islands, many of the basic stories, themes, and deities were surprisingly similar throughout the region. Scholars believe that humans first migrated to Polynesia from Southeast Asia about 2,000 years ago. These people carried with them their mythological traditions about events, deities, and heroes. As time passed and people moved to different island groups, they adapted their mythology and religious beliefs to suit their new environments. In the process, they added new characters and events to the traditional myths and legends. Nevertheless, the basic elements of religion and myth remained relatively unchanged throughout the island groups, and a fairly distinct pantheon of gods and goddesses emerged. Kanaloa's Symbolism: Polynesian religion and mythology placed great emphasis on nature, particularly the ocean environment. The Polynesians became masters of navigation and other seafaring skills, and their religion and myths strongly reflected the importance of nature and the sea. Polynesians believed that all things in nature, including humans, contained a sacred and supernatural power called mana. Mana could be good or evil, and individuals, animals, and objects contained varying amounts of mana. Huna Kupua (New Thought) is a Hawaiian word adopted to describe a theory of metaphysics which linked to ancient Hawaiian kahuna (experts). Long believed the key to Huna is the concept of the Three Selves (the low self, middle self and higher self; or unconscious, conscious and super-conscious), which is called the unihipili, the uhane and the aumakua. Other Huna teachers also refer to the Three Selves but give them the alternate names of Ku, Lono and Aumakua. The seven principles of Huna include: Ike (The world is what you think it is); Kala (There are no limits); Makia (Energy flows where attention goes); Manawa (Now is the moment of power); Aloha (To love is to be happy with someone or something); Mana (All power comes from within) and Pono (Effectiveness is the measure of truth). According to a Kauai tradition, if you could look into the eye of Kanaloa you would see an eight-sided web pattern with four rings and a star in the center. In the Hawaiian language, "Kanaloa" is also used as a word that means "a sea shell; the young stage of a certain fish; an alternate name for Kaho'olawe Island; and secure, firm, immovable, established, unconquerable." A root translation of the word, ka-na-loa, means "the great peace, or the great stillness." The word also has the connotation of total confidence. In the esoteric tradition of Huna Kupua, Kanaloa represents the Core Self, or the center of the universe within oneself. As a whole, the web pattern represents the Aka Web (The Web of Life), the symbolic connection of all things to each other. In this aspect, the star at the center is the spider/shaman, or the individual who is aware of being the weaver of his or her own life, a dream weaver. In another aspect, the eight lines represent "mana", or spiritual power, because another meaning of "mana" is "branching lines" and the number eight in Hawaiian tradition is symbolic of great power. The four circles represent "aloha", or love, because the "lei" or garland, a symbol of love, is circular and is used figuratively in Hawaiian to mean a circle, and because the word "ha" is a part of the word "aloha" and also means "life" and the number four. Together the circles and lines represent the harmony of Love and Power as an ideal to develop. The star pattern is composed of a dot in the center representing the Aumakua, or Higher Self; a ring representing Lono, or the Mental Self; the seven limbs of the star representing the Seven Principles of Huna; and the ring around the star representing Ku, the Physical or Subconscious Self. One point of the star is always down, aligned with a straight line of the web, representing the connection of the inner with the outer. The Eye of Kanaloa symbol generates subtle energy, known as "ki" in Hawaiian. This energy can be used for healing, for stimulating physical and mental faculties, and for many other purposes. By itself, the symbol will help to harmonize the physical, emotional and mental energies of a room or other location. The symbol can also amplify and harmonize other energy sources by placing it behind or in front of the source. END. Makes a Great Gift or Treat Yourself to Start or Add to Your Collection of Fine Hand-Carved Polynesian Tiki. Made with "aloha". 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**Return Policy**: If You are Not Completely Satisfied With Your Purchase, Return This or Any Other Jewelry Item Within a Combined Invoice (Excluding All Earrings, Toe Rings and Belly Rings) in its Original, Unworn Condition Upon Receiving Your Package Within 7-days After Delivery Date for an Exchange, Credit or Refund of the Item?s Cost (Less All Shipping and Insurance Costs To/From You). Return Body Jewelry (Earrings, Toe Rings and Belly Rings) Items Only Upon Receiving Your Package Within 7-days After Delivery Date for Only an Exchange and Only If Received in a Condition That Immediately Fails to Meet Expectations of Construction Integrity or Workmanship. Unless Otherwise Noted, All Other Non-Body Jewelry Items Have a FULL 30-day Reliability Warranty. If Any Jewelry Item, by Itself (Without External Cause), Fails to Meet Expectations of Workmanship Within 30-days After the Delivery Date, Please Return the Item/s for Exchange or FULL 100% Refund of the Item?s Cost (Including All Shipping and Insurance Costs To/From You). Please Feel Free to Email me if You Have Any Questions. Live Aloha!

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