General copyright and disclaimer - ResearchSpace@Auckland ...

found their way into private collections that never again saw the light of day, and no
‘superstitious’ protection would prevent him achieving that goal, especially when it came from a
people soon facing extinction. This does not, however, excuse his raiding of various shellmiddens,
deserted ‘pa’ sites and burial sites (57, 80, 89, 96f., 114, 118, 235-37, 239f.).
Unfortunately, he was not alone in his search for Maori objects, nor even in his collecting
techniques, as can be seen in the many sacred items which mysteriously materialised in private
collections and museums around the world. The fact that the Government did not prevent such
actions at the time and many local scientists, museum curators, collectors and governmental
officials were fully aware of his undertakings, and in various situations also took part in them,
further illustrates this nineteenth-century European mindset, which often placed more importance
on the acquisition of specimens than on the manner in which they were acquired. 129
As the prevailing image of Reischek is tied in closely to his perceptions of the Maori, it is
essential to first discuss the matter of his actions in Sterbende Welt. Granted the nature of the
work often causes difficulty in confirming whether details are specifically the work of Reischek
senior, rather than his son, there are clear examples where the latter has made his presence felt.
From the outset Reischek junior attempts to portray his father as a courageous pioneer who was
prepared to take great risks in the name of science. 130 However, to a New Zealand audience it
comes across as a blatant disregard for the Maori concept of ‘tapu’ and objects of religious
sensitivity, even though he knew full well of the dangers involved: “[S]ie [halten] diese Plätze
tabu […] und [bestrafen] jeden Frevler mit dem Tode” (81). The most graphic episode takes place
in Northland, and reads like a scene straight out of an adventure novel. It is made clear that
Reischek is acting alone in his breaking of ‘tapu’ (82f.). 131 Once the target of his curiosity, a
dilapidated hut in the deserted Marikura ‘pa’, is in sight and the “Hüter des Heiligtums” (84) have
retired to their village, he leaves his hiding-place in order to venture into the “einstige[n] ‘Palast’
129 Ibid., 57-61; cf. Kolig, “Collector or Thief”, 138-44.
130 See 72, 113f., 233, 255, 285.
131 Cf. 100, 313. Reischek’s attitude to ‘tapu’ is somewhat ambiguous on several occasions. On the one hand, for
example, he recognises the custom of honouring the dead with ‘tapu’, in spite of his apparent indifference when
attempting to acquire them: “Es ist anzunehmen, daß zum erstenmal gegenüber Toten der Tabubegriff aufgetaucht
ist; die Scheu und der Widerwille vor dem Leichnam haben zweifellos dazu geführt, die Toten als ‘tabu’ zu erklären”
(157). Yet, on another occasion he has to be told to wait before receiving a gift which is ‘tapu’, and then proceeds to
eagerly cut excess wood from the edges of the sacred carving to the surprise and fear of another, as if he does not
entirely understand the concept in the first place (192).
252